“NIGHTMARE!” | She Woke Up From Murdering Her Husband - Or Did She? - Retro Radio: Old Time Radio in the Dark

Episode Transcript
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Speaker 1 (00:07):
Latins, Tony Stations Present Escape.

Speaker 2 (00:13):
Oh Fantasy.

Speaker 3 (00:16):
You're gonna thank some miss.

Speaker 1 (00:26):
A man us Seal Present Suspense.

Speaker 4 (00:41):
I am the Whistler.

Speaker 5 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro Radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
wellcome to the show. While you're listening, be sure to
check out Weirddarkness dot com for merchandise, sign up for

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

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

Speaker 6 (01:30):
The CBS Radio Mystery Theater Presents.

Speaker 1 (01:50):
Come in. Welcome. I'm E. G.

Speaker 6 (01:55):
Marshall. It's a wise father that knows his own child,
said the Great poet. From this, we may also infer
that it's a wise child that knows his own father.
In the same vein, we're also told the child is
the father of the man. If we carry this much further,
we may discover it's impossible to distinguish between the two.

Speaker 1 (02:19):
Therefore, when a man dies, does he live on in
his son?

Speaker 6 (02:23):
Well, now that might all depend on how you define
dying and what you consider living.

Speaker 7 (02:30):
What orvill your father is dead?

Speaker 8 (02:33):
Is he?

Speaker 1 (02:34):
Mother?

Speaker 7 (02:34):
Of course?

Speaker 9 (02:35):
Thirty years ago in France, he was killed in action?

Speaker 7 (02:39):
You know that?

Speaker 1 (02:40):
How do I know that?

Speaker 2 (02:41):
Mother?

Speaker 7 (02:42):
Aw? Well, what's come over you?

Speaker 10 (02:45):
I know it because you tell me so, and I
grew up believing it. But it's true. Then show me, mother,
Show you what? Something?

Speaker 1 (02:57):
Anything?

Speaker 10 (02:59):
When a soldier dies in battle, the War Department notifies you,
it's on record papers. Show me something, mother, anything that
says he's dead.

Speaker 6 (03:18):
Our mystery drama Strikeforce, was written especially for the Mystery
Theater by Sam Dan and stars Michael Wager. It is
sponsored in part by Certaintyed Fiberglass, Attic Insulation and Buick
Motor Division. I'll be back shortly with Act one. Life

(03:47):
is a pattern, sometimes is even cast in a mold.
The days slip by one so much like the other
it's almost impossible to tell them apart.

Speaker 1 (03:58):
And after a while, why bother?

Speaker 6 (04:01):
We like our routine, the well worn grooves that guide
our journey through life. The Watsons are entertaining the Sandersons
at dinner. Predictably, this is Wednesday night. The Watsons are
Andrea and Bob. The Sandersons are Orville and Alice. Andrea
Watson is doctor Orvill Sanderson's mother. Bob is Orville's stepfather.

(04:26):
Alice is Orville's wife. Have you got all that all right?
Dinner goes quietly, happily. These people know each other, like
each other, even love each other.

Speaker 9 (04:40):
I know nobody should, but will anyone have more dessert?

Speaker 7 (04:43):
Where did you get that silver serving spoon, Andrew?

Speaker 11 (04:46):
Or do you like it?

Speaker 7 (04:47):
Alice?

Speaker 10 (04:47):
Dear Bob, because should get back into the market.

Speaker 9 (04:50):
This lovely spoon was a wedding gift, Alice. That is
from my first wedding, when.

Speaker 7 (04:55):
I married Orville's father. You're probably wondering why I'm using
it tonight since you brought it up. Yes, well, Bob
and I've been married what thirty years now?

Speaker 9 (05:06):
Weren't doing and I finally feel secure enough to use
some of the things for my first marriage.

Speaker 7 (05:12):
I'll bet you.

Speaker 9 (05:13):
Are you no the truth of the matter, Alice, I'd
forgotten all about it, and I was cleaning out one
of the cupboards.

Speaker 12 (05:18):
Is that lovely?

Speaker 7 (05:20):
I even remember who gave it to us? Polifax Hoolofax mother.

Speaker 9 (05:25):
And why do I remember that name? Because it's such
an odd one, Major Polifax. He was Orville's father's battalion commander.

Speaker 7 (05:34):
The man must have had excellent taste.

Speaker 9 (05:35):
Oh yes, he was built like a gorilla, and yet
he was a very aesthetic person. I remember one evening
we were also having dinner seven hour that the conversation
got around the books, and I happened to ask Major Polifacts,
what is your favorite reading?

Speaker 7 (05:52):
And you know what he answered? The Iliad?

Speaker 9 (05:54):
The Iliad, Homer's Iliad and in Greek no less. Well
he's dead. All of them are dead. May the Lord
rest their souls. And your father, Well, now, isn't anyone
going to have more?

Speaker 7 (06:09):
Bottle?

Speaker 6 (06:09):
I'll have some, Andrea, bob you really can't afford the calories.

Speaker 13 (06:13):
Oh, I know, doctor Obell, but it's an information of
faith in your mother's fantastic.

Speaker 7 (06:20):
Skill a very modest slat to.

Speaker 13 (06:24):
Answer your question, Orville, which question should you get back
into the market?

Speaker 1 (06:29):
Well, you haven't lifted. I did too.

Speaker 10 (06:31):
You sold out all my common stocks and put me
into bonds and treasury notes.

Speaker 13 (06:34):
And you're still in the money market when I see
some good values in common stocks.

Speaker 1 (06:39):
So, Bob, I wasn't questioning your tale. You should always
question your broker.

Speaker 6 (06:44):
Here's the funds you, Bob. You've done a terrific job
for me over the years. Hello, I really don't know
where i'd been without you.

Speaker 7 (06:53):
Doctor Sims. Oh, yes, he's here, just a moment.

Speaker 10 (06:56):
Orville, I hope that's not important.

Speaker 1 (07:01):
Hell all I see all right about about an hour, Darling.
I've got to make a call tonight.

Speaker 14 (07:11):
Oh.

Speaker 1 (07:12):
I didn't think you doctors made house calls anymore. I've
got to stop at the morgue. Ooh, how gruesome now, Alice, death, it's.

Speaker 7 (07:19):
A fact of life.

Speaker 9 (07:20):
That's hardly a suitable topic for a dinner table. Is
he also this way at home?

Speaker 7 (07:24):
Alice? You get used to him, mother.

Speaker 9 (07:27):
Why do you have to stop off at the morgue?

Speaker 10 (07:30):
Well, you know, I agree to work for the car
in his office in duty calls.

Speaker 7 (07:33):
In the midst of dinner. Oh, dinner's about over. We're
going at least soon.

Speaker 1 (07:36):
Anyhow, I'll get your coat. Sorrow.

Speaker 9 (07:40):
You said something very nice to Bob just before Orville,
did I Mother? Yes, when you told Hi, me done
a terrific job for you, and you don't know where
you'd have been without him.

Speaker 1 (07:51):
Well, it's true.

Speaker 9 (07:52):
Bob's always been so self conscious of the fact that
he hasn't been your real father, and he's tried so
hard to make up for it.

Speaker 10 (08:00):
Well, when you get down to it, he has been
my real father.

Speaker 1 (08:06):
What else did I have?

Speaker 9 (08:08):
Or Little Sanderson Senior was a man of glamour, lived
an adventurous life, and he died.

Speaker 1 (08:13):
Of heroes dead, I think the.

Speaker 10 (08:14):
Real heroes in this world, of the Bob Watsons, who
plod along and do their job.

Speaker 9 (08:20):
We ought to tell him that more often, Alice.

Speaker 1 (08:23):
I'll drop you the house and then go to the morgue.

Speaker 13 (08:33):
Sorry to get you over here dark at this hour
of the night.

Speaker 6 (08:36):
It's all right, Penny, And for what look at him,
he's just a bomb.

Speaker 1 (08:39):
I don't know that he's dead. He may be an angel, fat.

Speaker 10 (08:43):
It's just skin and bones, hardly anything to him.

Speaker 13 (08:49):
The reason they want to have an autopsies because it's
a homicide.

Speaker 10 (08:52):
Yeah, I can see what appears to be a nasty
blow on a head.

Speaker 13 (08:55):
Yeah, that must have done him in. Him and another
bomber's having an argument over what over who knows? Well,
bums argue about some right got booze?

Speaker 7 (09:05):
More likely we know who he is.

Speaker 1 (09:07):
Yeah, he's a bomb.

Speaker 10 (09:09):
And let me see if I can find any identifying watch.

Speaker 13 (09:12):
Oh, he's got himself, abute?

Speaker 1 (09:16):
What's that? Well, look it's the greatest tattoo marker I've
ever seen.

Speaker 15 (09:20):
Here.

Speaker 1 (09:21):
Raise up his arm. Look on the inside.

Speaker 13 (09:24):
It's just above the older you see, it's a rattlesnake
all coiled.

Speaker 1 (09:28):
Up to strike.

Speaker 13 (09:29):
And there's a bould of lightning on either side of him.
And it says, uh, hey, doc, dok, what's the matter?

Speaker 1 (09:37):
Hey dog? You all right? I'm sorry?

Speaker 7 (09:46):
Mother, Oh it's all right.

Speaker 1 (09:47):
I know it's very late.

Speaker 7 (09:49):
Don't worry about it.

Speaker 16 (09:50):
Is brother asleep?

Speaker 7 (09:52):
Yes, want me to wake him?

Speaker 1 (09:53):
No?

Speaker 7 (09:55):
No, not for this, not for what Ordil.

Speaker 1 (09:58):
Strike Force?

Speaker 10 (10:01):
Strike Force, yes, mother, strike force. You remember strike force? Oh?

Speaker 1 (10:10):
Oh, my father's Ranger Battalion.

Speaker 9 (10:12):
Yes, yes, I hadn't thought of that in you.

Speaker 10 (10:15):
And the insignia of the battalion. Remember, I think so.
I saw that insignia tonight. Yes, and not on a sleeve,
not on a shoulder patch, but inscribed on a man's skin.
Oh to two, They all tattooed that insignia under their arm.

Speaker 9 (10:36):
Who was the man, derelict?

Speaker 7 (10:41):
What did happened to him?

Speaker 10 (10:43):
He was murdered in a drunken brawl, hardly more than
skin and bones, wasted away by too much alcohol, not
enough food. And yet this poor, pathetic bag of bones
was once big and brawny and bursting with vitality in
the peak of condition, the finest fighter in the United
States Army.

Speaker 7 (11:00):
They were the best in strike for us.

Speaker 10 (11:03):
But Mother, this man, this man must have known my father.
He may have been my father's best friend. He may
he may have been there when.

Speaker 7 (11:10):
My father died.

Speaker 17 (11:11):
Poor man.

Speaker 10 (11:13):
All the time I kept looking at him, I kept thinking,
you knew my father, You must have known my father.

Speaker 9 (11:22):
Yes, to see that insignia, it must have been a
terrible show.

Speaker 1 (11:26):
Mother, Mother, we could do something for him.

Speaker 7 (11:29):
Well, what is there we can do now?

Speaker 10 (11:31):
But we can't let him disappear into a nameless grave.
In Potter's feeling he deserves better than a pauper's funeral. Oh, well,
of course, because he was one of my father's friends.

Speaker 7 (11:41):
Then we shall give him a decent barrier.

Speaker 1 (11:43):
Mother, Mother, do you suppose you could identify him?

Speaker 18 (11:48):
He?

Speaker 9 (11:49):
Oh, but he's been so long ago, and the man
must have undergone such drastic changes.

Speaker 10 (11:55):
But Mother, if you could recognize him, I know it's
difficult for you.

Speaker 7 (11:59):
But if I would, why are you so determined to know?

Speaker 19 (12:02):
Dear?

Speaker 10 (12:04):
For my father's sake, it would be doing something for
his memory.

Speaker 9 (12:09):
But to go to the moor, we's better go, Andrew, Bob.

Speaker 13 (12:15):
I was wakened by someone coming in, so I got up,
and I know I heard what Awful said to you, Dear.
I'm frightened Awful, and I will be with you. There's
nothing to be afraid of.

Speaker 1 (12:31):
Just stand over here, mother, Is this where they're pius?

Speaker 20 (12:35):
Yes?

Speaker 1 (12:36):
Mother, Look we'll get this over as quickly as we can. Okay, Benny,
I got folks.

Speaker 16 (12:44):
Mother, I try try try to remember.

Speaker 1 (12:50):
Oh no, I can't seem to Andrew. Isn't it at
all familiar? Try try to remember? Mother?

Speaker 13 (12:59):
Are you sure you'll never saw him before?

Speaker 1 (13:04):
He does look familiar? For Bob, you never know any
of these fellows, did.

Speaker 13 (13:10):
You No, but your mother used to describe it.

Speaker 1 (13:18):
What is familiar about this one? Andrea?

Speaker 13 (13:21):
Didn't you once tell me about that officer friend of
awful seniors?

Speaker 21 (13:25):
Oh?

Speaker 9 (13:26):
Yes, yes, that's right, I remember now with a funny name.
He yes, Polofs it's Mortimer Polyps. It's Major polit X,
the battalion commander.

Speaker 7 (13:41):
Are you sure, mother, are you Andrea?

Speaker 9 (13:44):
Oh yes, yes, it's Mortimer Politics. You see, he used
to visit your father and me very awful.

Speaker 1 (13:52):
But you said he used to look like a gorilla this.

Speaker 22 (13:57):
Fellows.

Speaker 1 (13:59):
He must have been handsome at one.

Speaker 9 (14:00):
Time, or what I meant was that he looked tough.
Polofax was handsome, too, ruggedly handsome, if you know.

Speaker 23 (14:10):
What I mean.

Speaker 1 (14:12):
Major Polofax.

Speaker 9 (14:13):
Yes, Mortimer Politics, scholar, soldier.

Speaker 10 (14:18):
And my father's best friend. Yes, well, it's it's hard
duty to bury him.

Speaker 7 (14:23):
Yes, we'll have Bob make the arrangement.

Speaker 10 (14:26):
It's no, mother, these are arrangements I want to make myself.

Speaker 7 (14:40):
Well, it's four o'clock in the morning. No, Alice, are
you still looking at those pictures?

Speaker 10 (14:45):
My father in uniform and here's his friend, Major Polifax.

Speaker 7 (14:49):
I suppose the major change after all these years.

Speaker 10 (14:52):
Oh, drastically, he was unlucky. You should have died in glory.
Steady lived in degradation for all these years a bomb.
If another doctor had been on call, nobody would have
ever known. But we'll give him a meaningful service, a
decent cough, and a respectable grave.

Speaker 1 (15:10):
Here was my father's brother.

Speaker 7 (15:13):
We'll give him a hero's burial.

Speaker 12 (15:14):
Of course, you just said it.

Speaker 10 (15:17):
He deserves more than just a quiet private service here.
He should have a full military funeral at the Arl
International Cemetery.

Speaker 7 (15:23):
Is it possible.

Speaker 10 (15:24):
Of course, this man was Major Polifax, commander of the
Strike Force Ranger Battalion.

Speaker 1 (15:29):
If he's not.

Speaker 10 (15:29):
Entitled to full military honors.

Speaker 1 (15:31):
Who is?

Speaker 7 (15:32):
What a great idea.

Speaker 10 (15:33):
I'll start making arrangements for the first thing in the morning.

Speaker 9 (15:44):
Bob, Why did you insist on my going to the morgue?

Speaker 1 (15:47):
You had no choice.

Speaker 7 (15:48):
I certainly did. I could have refused to go.

Speaker 1 (15:51):
He wanted you to go.

Speaker 13 (15:52):
Had you turned him down, the question would have haunted
him for the rest of his life.

Speaker 7 (15:56):
What question?

Speaker 24 (15:58):
You know?

Speaker 1 (15:58):
What question?

Speaker 13 (16:00):
He needed to be told that that the man lying
on the slab in the morgue was not his own father.

Speaker 9 (16:06):
But why did you get me to say it was Polifex?

Speaker 13 (16:09):
Because it had to be somebody. It couldn't be allowed
to remain a mystery. The book had to be closed
and put away forever. And we've done that, Bob. We'll
have a quiet, dignified, private service, and that'll be the
end of it.

Speaker 7 (16:25):
Yes, yes, that'll be the end of it. Oh, Bob.

Speaker 1 (16:29):
I was terrified, Yes, I was too.

Speaker 9 (16:32):
The peace it was so changed, so ravaged. But I
recognized him at once, so did I. Then he didn't
die when we went up.

Speaker 1 (16:43):
But please, please shoot. You mustn't even think about it, Bob.

Speaker 9 (16:46):
Do you know what it means. It means that we
didn't murder him, andry you must never We've tried our best,
but we didn't.

Speaker 1 (16:55):
Don't even think about At least.

Speaker 9 (16:57):
His blood was not on our hands. That's something to
be grateful for.

Speaker 6 (17:06):
Gratitude comes in many forms, and to learn that you
have not committed a murder is one of them.

Speaker 1 (17:14):
If you thought this is going to be a.

Speaker 25 (17:16):
Typical family story, you can see.

Speaker 6 (17:18):
Now you will have to rethink your position and act too,
which I shall bring in a few moments, becomes even
more untypical, or maybe it is typical. Four fathom five,

(17:42):
thy father, lies of his bones are coral made.

Speaker 1 (17:48):
Those are pearls that were his eyes. Nothing of him.

Speaker 6 (17:52):
That doth fade, but doth suffer a sea change into
something rich and strange. We're talking today about dead fathers
who were war heroes once long ago, and about some
history that is being rewritten and some identities that are
about to be counterfeited.

Speaker 9 (18:13):
Oh hello, mother, Good morning, Art Andrea, you're here early?
Well have you forgotten, Alice? We're to play tennis this morning.

Speaker 7 (18:20):
Oh that's right. And isn't this late for you?

Speaker 20 (18:23):
Orville?

Speaker 7 (18:23):
Aren't you do at the hospital for rounds or whatever?
Oravill has canceled his appointments for the day.

Speaker 9 (18:28):
Oh really, I'm flying out of Washington, mother, what's happening there? Well,
I have to make arrangements for the funeral, the funerals
major polifacts.

Speaker 7 (18:38):
But aren't we having a private little service here?

Speaker 1 (18:42):
Nope, that's been changed.

Speaker 26 (18:43):
Why don't know?

Speaker 1 (18:44):
This is going to be the full work, full military honors.
But what Well, that's what polofaxs, what it wanted.

Speaker 10 (18:50):
He was a professional soldier and that's what he's going
to get.

Speaker 7 (18:53):
Oh, but how can.

Speaker 10 (18:55):
I don't know, but I'm going there to find out.

Speaker 1 (18:57):
O Mother, I'll miss the play.

Speaker 7 (18:59):
Hurry to Andrew. We have the tennis court at nine Shops, but.

Speaker 1 (19:02):
I should be back by early evening.

Speaker 13 (19:09):
Darling, Is it important I have this very special client
coming in for lunch.

Speaker 9 (19:13):
He's going to Washington to arrange for an official funeral.

Speaker 13 (19:16):
Oh well maybe maybe what I don't know, Pop.

Speaker 7 (19:23):
He's going to find out he's going to find out.

Speaker 1 (19:26):
No, he won't. He won't find out anything.

Speaker 7 (19:29):
Are you sure?

Speaker 1 (19:30):
Yes, yes, I'm sure. I'm reasonably sure.

Speaker 10 (19:43):
But Captain Matts impossible, It's absolutely impossible.

Speaker 27 (19:47):
You're talking about the late Major Mortemer Polifax two L's
that's right, commanding officer of the nine hundred and eighteenth
Ranger Raiding Battalion.

Speaker 1 (19:54):
Now a strike force, yes, single word strike force. I think.

Speaker 10 (20:03):
I know we've absolutely identified the man.

Speaker 7 (20:05):
I know he's.

Speaker 1 (20:06):
Entitled to a military funeral.

Speaker 27 (20:07):
Is that's true? But he's already headed? What his military funeral?

Speaker 20 (20:15):
When?

Speaker 1 (20:15):
Where?

Speaker 20 (20:15):
How?

Speaker 10 (20:17):
He only died the day before yesterday? He's still in
the morgue, Doctor Sanderson. According to the record, I have
here Major Polofax more to a no middle initial was
killed in combat. What he's saying, I'm reading from his file.

Speaker 27 (20:31):
He was killed in action in a town called Celts
in Alsace, Lorraine, on December twenty seventh, nineteen forty four.

Speaker 1 (20:37):
That's impossible. These are the facts.

Speaker 10 (20:40):
He's been positively identified. Major Polofax has been identified by
Missus Robert Watson in Philadelphia.

Speaker 27 (20:47):
Not according to the official record.

Speaker 10 (20:49):
The official record, Captain carry, how many times is the
body of a soldier killed in combat been wrongly identified?

Speaker 22 (20:54):
Very rarely?

Speaker 1 (20:56):
Don't tell me these things don't happen. They do but
in movies and in I.

Speaker 7 (21:00):
Got the look.

Speaker 10 (21:00):
I respect your opinion, but I still think my mother
is right and the army is wrong.

Speaker 1 (21:05):
That's possible, isn't it.

Speaker 27 (21:07):
Theoretically anything is possible. But there's a very simple solution
to a whole problem. You know, fingerprints, I'm sorry, or
a villain. He did resemble the major.

Speaker 10 (21:24):
No, mother, he wasn't the major. That's been established. And
I wasn't too surprised. Oh, because from the moment I
laid eyes on that man's body, I had stranger sensation.
I had the feeling, was my father your father? You

(21:47):
looked at him.

Speaker 6 (21:49):
You.

Speaker 7 (21:51):
Thought he was this major Politex?

Speaker 9 (21:53):
Why well, from what I remembered of the major from
so many years ago, there was a slight resemblance.

Speaker 10 (22:03):
But didn't he looked anything at all like my father?

Speaker 7 (22:07):
Your father? No? No, And why don't I have this feeling?

Speaker 14 (22:16):
Why?

Speaker 10 (22:18):
Well, well, we'll soon find out if he is or not.

Speaker 7 (22:21):
How can he be your father?

Speaker 9 (22:23):
Your father died in France, he died in the art
in forest.

Speaker 1 (22:27):
There could have been a mistake.

Speaker 9 (22:28):
Oh no, no, not about.

Speaker 17 (22:30):
Things like that.

Speaker 10 (22:31):
So this captains had done in Washington. But they're willing
to check out the fingerprints.

Speaker 7 (22:37):
I thought they already did.

Speaker 10 (22:38):
Yes, against those of major polifacts. Now they have to
find out if they match my father's. You don't tell
you something, mother, I'm sure they will.

Speaker 9 (22:51):
We'll have to tell him the truth, Bob.

Speaker 1 (22:59):
Why will we have to tell him anything, because.

Speaker 9 (23:01):
He'll only find out for himself.

Speaker 1 (23:03):
What will he find out?

Speaker 9 (23:05):
Ab I told you, I'm frightened.

Speaker 1 (23:07):
Nothing is going to happen.

Speaker 9 (23:09):
He looked at that body in the Morgan he knew,
he knew it was his father.

Speaker 7 (23:15):
How how did he know?

Speaker 1 (23:16):
Andrea, just don't lose yourself.

Speaker 7 (23:18):
How did he know?

Speaker 1 (23:20):
He'll never be able to prove it.

Speaker 9 (23:21):
He won't have to. For him, It'll be enough just
to believe it. What are we going to.

Speaker 1 (23:26):
Do, Darling? I keep telling you we don't have to
do anything, or.

Speaker 7 (23:35):
Will you have to get some rest?

Speaker 10 (23:37):
I will as soon as this identification thing is straightened out.
It can't be your father, then, Alice, Why do I
feel so sure?

Speaker 7 (23:48):
I don't know.

Speaker 10 (23:50):
I wish I didn't feel this way, but I can't
help it. I keep going to the Morgue. I look
at him, and I've become more and more convinced.

Speaker 7 (24:00):
I spoke to your mother and to Bob, and they
tell me that your father was killed in the Ardennes Forest.

Speaker 1 (24:07):
Could be a mistake.

Speaker 7 (24:08):
They were notified by the defense.

Speaker 10 (24:10):
Since when did my mother and my stepfather accept things
just because some government official has told them that?

Speaker 7 (24:16):
Orville, I just have a feeling of a very uneasy feeling.
I'm suddenly afraid of what well these past few days,
ever since you came across that body in the moorg.

Speaker 10 (24:29):
Really rather you didn't refer to it as that body
it's my father, Orville.

Speaker 7 (24:35):
I'm well, let's say you happen to be right. See
where that takes us? Ask the first questions. If he's
your father, what is he doing in the morgue?

Speaker 1 (24:47):
You know that he was killed in a street brawl.

Speaker 7 (24:49):
He was supposed to be in his grave all these
years in an American military cemetery in France. Why isn't
he still buried?

Speaker 1 (24:57):
Because he wasn't killed there for the sake.

Speaker 7 (24:59):
Of argument, true, and the army made a mistake. So
he's been alive all these years. Where has he been living?

Speaker 20 (25:08):
What I know?

Speaker 7 (25:09):
Why didn't he come back to his wife and his
infant son?

Speaker 10 (25:14):
Maybe he maybe he had amnesia.

Speaker 7 (25:17):
Darling, that's what they have in the movies. Why did
he become a bomb?

Speaker 28 (25:21):
To call him a bomb?

Speaker 15 (25:23):
All right?

Speaker 7 (25:24):
What do you want to call him?

Speaker 1 (25:29):
I don't know. Wait a minute, maybe there's someone like
I can't ask you. You're feeling all right, treating okay?

Speaker 12 (25:48):
In here?

Speaker 1 (25:50):
Who are you? I'm a doctor? Asked me to look
at you. Listen, Doc, it's.

Speaker 27 (25:55):
A bomb rap I didn't kill a guy.

Speaker 1 (25:58):
You didn't. It's a bomber rapp. Did did you know him? No?
The man you are supposed to have killed, Doc, com terristy,
I ain't had a drink and so.

Speaker 10 (26:12):
Many try to clear your head and thin. What what
was the name of the man? The man, the man
they say you killed?

Speaker 1 (26:20):
His name? His name? Yeah? What was his name?

Speaker 29 (26:24):
Hey?

Speaker 27 (26:24):
Doc, do you suppose you give me a drink?

Speaker 1 (26:27):
He had a tattoo on his arm.

Speaker 10 (26:28):
Would that help you remember to to to what a snake?

Speaker 27 (26:34):
Yeah, that was what the fight was about. The snakes,
them snakes on his arms. I could see the snake
starting to come after me.

Speaker 1 (26:43):
What are you talking about?

Speaker 27 (26:44):
He has this tattoo on his arm and it had
this this.

Speaker 1 (26:48):
Big snake on it.

Speaker 27 (26:50):
Big snake had become a lot of little snakes. Everyone
was our com bite you. That's what happened soon what
I mean?

Speaker 1 (26:58):
Yeah?

Speaker 27 (26:58):
Yeah, See the snakes should be crawling all over his arms.

Speaker 1 (27:02):
And he yelled for me to help him.

Speaker 8 (27:04):
He hallowed kill him, kill him before got me.

Speaker 27 (27:07):
Well, there was this big stick and I picked it
up and I was getting hitting the snakes. I guess
I hit him when I had by a mistake. I
was only trying to help him out. The snakes were
the poison, the dead.

Speaker 10 (27:21):
And that's how it happened. You try to help him, Okay.

Speaker 1 (27:26):
Why why because he was my friend?

Speaker 10 (27:28):
Well if he was your friend, surely, surely you must
remember his name name.

Speaker 1 (27:33):
How long did you know him?

Speaker 27 (27:35):
Hard to remember. You asked a lot of questions. Yeah,
you asked questions very well. I was good at asking
questions once. Oh, yes, I could ask what the best
that was his name? You're a doctor. Take my advice.
Keep away from the booze. I was a member of

(27:58):
the bar. That's funny. He's had I heard me cross examined.
That's why. It's good friends.

Speaker 1 (28:07):
Who great, great friends with whom.

Speaker 27 (28:10):
Old snake arm I used to practice with him.

Speaker 1 (28:14):
He didn't mind.

Speaker 27 (28:15):
You See, I may come back one day and I
had a shop in my friends.

Speaker 1 (28:19):
Excuse what's his name?

Speaker 27 (28:21):
I would say to him, Sandy, take the.

Speaker 25 (28:23):
Stand, Sandy, Sandy.

Speaker 1 (28:25):
What did you call him Sandy?

Speaker 27 (28:27):
Because his name was was Alexander Alexander, No, no, no,
it was Orbo.

Speaker 1 (28:33):
His name was Orville. What did you call him Sandy?

Speaker 27 (28:35):
It's very simple. I call him Sandy. But because his
name was Sanderson, that's right. His name was Orbo Sanderson senior.

Speaker 1 (28:52):
Orvile Sanderson senior.

Speaker 6 (28:54):
And he did not fall in France during the Battle
of the Arden Forest. He came back to America alive,
and the Defense Department made a.

Speaker 1 (29:03):
Mistake, or did they?

Speaker 6 (29:06):
Our story has taken a new turn, But bear in
mind the direction has been set by.

Speaker 1 (29:11):
A half mad alcoholic.

Speaker 6 (29:13):
I shall return shortly with Act three. At the very beginning,
we said the child is the father of the man.
Childhood shows the man as morning shows the day. The

(29:39):
father he never knew, the father who died young, lives
in the memory of the sun, in most cases, as
the tragic hero. For this is the image the son
wants to cling to. Perhaps it's the image the son
must have. But an image is only a reflection. How
easily it can be distorted or disturbed.

Speaker 1 (30:02):
You say his name was Orville Sanderson.

Speaker 27 (30:05):
Oh that's what he said, you see, doctor, it's evidence
that cannot be established other than by by hearsay.

Speaker 10 (30:13):
Why why would he say his name was Ravill Sanderson Senior.
If it wasn't, that's.

Speaker 27 (30:18):
A good point. I don't remember. That's what the booze
does to you. You don't remember anymore. It could have
been someone I knew all my life, worse some when.

Speaker 1 (30:30):
I just met that night, which was he?

Speaker 27 (30:32):
And let me think, try to remember, Try to remember.
That's oh, that's what I kept saying. The sandy.

Speaker 1 (30:40):
Try to remember, Try to remember what? Oh they are?

Speaker 27 (30:44):
Who the people are of the war who try to
murder him?

Speaker 7 (30:50):
Someone tried to murder him.

Speaker 1 (30:53):
His wife, her lover.

Speaker 27 (30:56):
He used to say, If I can only remember then
names you and I will be uneasy street for life.

Speaker 7 (31:05):
What are you saying about a wife and a lover?

Speaker 1 (31:07):
They tried to kill him? Yes, when I don't know,
try to think.

Speaker 8 (31:12):
Oh no, I can't do that anymore.

Speaker 27 (31:15):
I can't think straight. All I can do is drink.
That's all I want. Please get me a drink.

Speaker 7 (31:23):
I'm sorry I can't do that.

Speaker 1 (31:24):
Then all needs you? Who wants you to get out
of here?

Speaker 7 (31:28):
Please?

Speaker 1 (31:28):
I'll help you all I can.

Speaker 27 (31:31):
God, God, get him out of here.

Speaker 25 (31:42):
What am I going to do about what my father?

Speaker 7 (31:46):
I don't understand, Darling.

Speaker 10 (31:48):
This man is derelict. He identified my father. That's hardly
a remile my father's name.

Speaker 7 (31:54):
According to the Defense Department, your father died in France
more than thirty years my father.

Speaker 1 (32:00):
You you don't know what he meant to me, but
you never knew him. I knew him.

Speaker 10 (32:06):
I'd look at his picture all those years I was
growing up secretly because I didn't want to make Bob
feel badly.

Speaker 7 (32:12):
You never told me this. I was a tapuny kid.

Speaker 10 (32:15):
When I get pushed around, Bob would say you look
sell and other things. But I'd look at his picture
and my father would say, get in there, kid and fight.
And I did, and after a while I ended all
my life whenever things were rough. I remember there were
courses in medical school. I didn't see how I ever passed,
and I'd look at my father's picture.

Speaker 7 (32:37):
Awville, I can't believe what you're trying to tell me.
I can't believe that your mother and Bob tried to
murder I actually believed they murdered your father. How would
he know about it? Jerry Jerry? Who Oh?

Speaker 1 (32:55):
He can't remember his last name, but.

Speaker 7 (32:57):
He can remember a crazy story.

Speaker 10 (33:00):
It isn't a crazy story, that's right, it is. Well,
then you admit it's true.

Speaker 7 (33:04):
No, I admit it isn't crazy. It's one of the
oldest and best stories in the world.

Speaker 1 (33:09):
Or what are you talking about?

Speaker 7 (33:11):
The Iliad? The Iliad by Homer? Now what does that
have to do with this, the story that you're telling me. Now, listen,
the Trojan war, Agamemnon, king of Athens, commander of the
Greek I know that story, you're actually living it. Agamemnon's wife, Clytemnestra,
had a lover, a justus. When Agamemnon came home alive,

(33:34):
they murdered.

Speaker 1 (33:35):
Oh, Alisa has nothing to do.

Speaker 7 (33:37):
With son, Arrestes, The son of Agamemnon and Clytemnestra avenged
his father and murdered his mother and her lover. Now,
isn't that what you're building?

Speaker 29 (33:47):
Tor Alie?

Speaker 7 (33:48):
You can now believe that Andrew and Bob murdered or
wanted to murder.

Speaker 1 (33:53):
Or saw they murdered my father.

Speaker 10 (33:56):
How can you say that a morg Didn't you see
the look of shock on my mother's face? Don't you
tell me they didn't recognize my father.

Speaker 7 (34:04):
We don't know it's your father, But just because some
alcoholics are going to find out, the Defense Department will
match the fingerprints.

Speaker 1 (34:13):
And then we'll know.

Speaker 7 (34:15):
What will we know?

Speaker 1 (34:16):
We will know officially what.

Speaker 10 (34:19):
I know to be true now that my father didn't
die in France, that he came back, and that they
lied to me.

Speaker 7 (34:26):
And what will you do? What Arrestes?

Speaker 1 (34:29):
Did I want the truth?

Speaker 7 (34:32):
What will you do with it?

Speaker 15 (34:35):
Darling?

Speaker 7 (34:35):
This could all be in your mind. The Iliad. Listen,
I remember it was only two nights ago. We were
having dinner with your mother and Bob and the mention
of Major Polifax's name came up, and somehow the iliad
got into the conversation. Oh yes, I remember. It was
the major's favorite reading, and all that somehow started something.

Speaker 1 (34:59):
You were saying that it's all on my life.

Speaker 7 (35:00):
Yes, and when you hear from the Defense Department, they'll
tell you that this man was not your father, and
that will be the end of it, and you will
be thoroughly ashamed of yourself. I've tried to talk to him.

Speaker 13 (35:19):
On the phone, Andrea, he could be busy. He's a
doctor after all.

Speaker 9 (35:23):
Oh he's avoiding me. Why he knows? He suspects? Oh, please,
don't knows that dead man is his father. Something tells
him and he's mind fault.

Speaker 1 (35:32):
Now, don't say that.

Speaker 9 (35:33):
At dinner the other night I mentioned Major Politics.

Speaker 7 (35:38):
Why did I have to bring up that name?

Speaker 1 (35:40):
Well, it's true, you shouldn't have.

Speaker 9 (35:42):
And that started his mind thinking.

Speaker 13 (35:44):
Why did you mention the spoon as a gift from
Major Politfax.

Speaker 1 (35:48):
It isn't true. We never even knew Major Polofax.

Speaker 9 (35:51):
Well, once you create a falsehood like we did. It
becomes a world of its own. You feel that every
now and then you have to enhance it. I I
just felt I had to say that.

Speaker 13 (36:03):
In any event, he would have been called to the
Morgue and he would have seen that Strike Force Insignia.

Speaker 1 (36:09):
And we'd be right where we are.

Speaker 7 (36:11):
Now where are we, Bob?

Speaker 1 (36:14):
I don't know.

Speaker 9 (36:15):
I have a feeling it's going to keep on folding
itself until he'll know everything.

Speaker 7 (36:21):
Then what will we do.

Speaker 1 (36:23):
Then we'll have to tell him the.

Speaker 7 (36:24):
Truth that we wanted to kill his father.

Speaker 13 (36:28):
We didn't want to kill him, but we had to.
As it turns out, we didn't do it.

Speaker 7 (36:33):
But he'll never believe us. No one will ever believe us,
and I'll lose my son. I'll lose him forever.

Speaker 27 (36:48):
I'm sorry, mister Sanderson.

Speaker 10 (36:50):
Now look here, Captain carry you are saying to me
that this man is not my father.

Speaker 27 (36:53):
That's not what I'm saying, doctor Sanderson.

Speaker 1 (36:57):
What I'm saying is I don't know who he is.

Speaker 27 (37:00):
Fingerprints fingerprints do not match anything in our service file.

Speaker 1 (37:04):
Then there has been a mistake.

Speaker 7 (37:05):
The files are wrong.

Speaker 10 (37:07):
You have the fingerprints of Lieutenant Orville Sanderson, A member
of the nine hundred and eighteenth Ranger Raiders known as
Strike Force Doctor.

Speaker 27 (37:14):
There was no Lieutenant Sanderson in the.

Speaker 7 (37:16):
Strike Force Battalion.

Speaker 1 (37:17):
That's impossible.

Speaker 27 (37:18):
No record, no fingerprints, nothing at all to indicate that
he was even in the United States Armed Forces.

Speaker 1 (37:23):
I don't believe it, I said, I was sorry.

Speaker 7 (37:26):
I have a picture of him from the morgue.

Speaker 10 (37:28):
Here you can see the Strike Force insignia tattooed under
his arm.

Speaker 1 (37:31):
Now that is the Strike Force insignia, the snake and
the lightning is he is? Well, oh, doesn't that prove?

Speaker 27 (37:38):
All it proves is that this man, whoever he is
or was, had the insignia tattooed under his arm.

Speaker 7 (37:53):
Oiver, Oliver, where have you been? Where haven't I been?
All over Washington, d C.

Speaker 10 (37:58):
They all say, I have to accept what's in the
official record. My father was never a member of the
Armed Forces.

Speaker 7 (38:03):
Then the dear look, he's not your father.

Speaker 10 (38:07):
He is my mother, and Bob lie to me, my
father was never a soldier.

Speaker 1 (38:14):
He was a bum.

Speaker 10 (38:14):
They tried to murder him many years ago, and somehow
they didn't.

Speaker 1 (38:19):
And here he turns up. Now, well, well, what I'm
going to face him with it.

Speaker 7 (38:28):
Oh, please, awful? What good will that do?

Speaker 10 (38:31):
They destroyed my father? They'll pay for it?

Speaker 7 (38:35):
What do you mean pay for it? How?

Speaker 1 (38:38):
I don't know yet?

Speaker 7 (38:40):
Orville, mother?

Speaker 1 (38:42):
What are you doing here?

Speaker 7 (38:42):
We decided to wait for you.

Speaker 12 (38:44):
What for Bob and I?

Speaker 9 (38:46):
We we should talk about what.

Speaker 1 (38:51):
How you lied to me?

Speaker 10 (38:52):
Yes, oh, mother, all of it was a lie.

Speaker 1 (39:01):
My father was never in the army. No, you made
it all up? Why because you need it? You keep
out of this.

Speaker 7 (39:12):
Don't talk that way to your father.

Speaker 1 (39:14):
He's not my father.

Speaker 13 (39:15):
Please please it. Oh, we need in our facts, not emotions.

Speaker 1 (39:20):
Some think you can smooth talk your way out of this. Awful.
You needed a war hero while you were growing up.

Speaker 13 (39:30):
We thought we'd give you one, someone glamorous, exciting, not
some old nose to the grindstone, stick.

Speaker 1 (39:37):
In the mud like me.

Speaker 7 (39:38):
Don't talk that way, Bob.

Speaker 13 (39:40):
So we read a magazine article about the strikeforce ranges.
They sounded like the most exciting troops in the world.
So we decided to make your father one of them.
And we used the name of the real major politics
to make it sound more authentic.

Speaker 7 (39:58):
Didn't you think I'd learned the truth?

Speaker 13 (40:00):
No, we didn't. And if you hadn't gone to the
morgue that night, you.

Speaker 10 (40:04):
Still wouldn't know he was my father, wasn't he?

Speaker 1 (40:10):
Yes, we recognized him immediately.

Speaker 10 (40:14):
If he wasn't in Strike force? How did you get
that to two? Why want is to try to kill him?

Speaker 1 (40:23):
Well, I won't tell you.

Speaker 20 (40:26):
Of course not.

Speaker 10 (40:28):
I'll tell you you had an affair with with my mother.

Speaker 1 (40:32):
He found out you had to kill him. That's the truth,
isn't it.

Speaker 13 (40:36):
No, No, Andrea, Please let him believe that if he
wants to Awful is dead and can't defend him.

Speaker 9 (40:43):
But he tried to destroy us while he was alive.
He won't succeed now that he's dead. Your father was
a thief, a lie, it is. You've been checking fingerprints
and looking up old records, but at the wrong place.

Speaker 7 (40:58):
Go downtown the Hall of Justine.

Speaker 1 (41:00):
Andrea, don't don't.

Speaker 9 (41:02):
Look up Orville Sanderson, confidence operator, flim flam artist. You
know why he tattooed that insigney on his arm so
he could pose as a Strikeforce ranger and trade off.

Speaker 1 (41:14):
I don't believe you.

Speaker 9 (41:15):
I married him because I was young and stupid. He
deserted me the day after you were born.

Speaker 1 (41:20):
You said enough Andrea, please.

Speaker 9 (41:22):
Bob helped me because he loved me. Orville had disappeared,
but he came back when you were three years old,
and he was crazy. Something had snapped in his mind.
He believed his own stories. He believed he had been
in the war, and he accused me of betraying him
with Bob.

Speaker 1 (41:42):
It wasn't his fault. He was mentally disturbed.

Speaker 7 (41:44):
And he had a gun.

Speaker 9 (41:45):
He forced Bob and me into a car.

Speaker 7 (41:48):
He drove us up to the mountains.

Speaker 9 (41:49):
He said he was going to kill us, and.

Speaker 13 (41:52):
I tried to get the gun away. There was an accident.
We drove off the side of a hill. We had scratches,
Andrea and I, but he We thought he was dead.
It was wild country, deserted country, and we thought that would.

Speaker 1 (42:12):
Be the end of it.

Speaker 9 (42:12):
Maybe it was wrong, but we wanted him dead because
as long as he was alive, we'd never have a
moment's peace.

Speaker 13 (42:20):
Evidently he didn't die. Now years later he turns up
in the morgue and you find him.

Speaker 7 (42:28):
That's the truth.

Speaker 6 (42:29):
You you killed my father.

Speaker 7 (42:33):
No, darling, they didn't kill your father. They killed a
man named Orville Sanderson Sr. Your father is Bob Watson
he always was and he always will be.

Speaker 27 (42:46):
We'd better go now, Andrea, Orville Son, I I come, Maria.

Speaker 1 (42:52):
Yes, mother, Bob, where are you going?

Speaker 30 (43:01):
Oh?

Speaker 13 (43:03):
This is Wednesday night.

Speaker 1 (43:07):
Aren't we supposed to have dinner together?

Speaker 7 (43:09):
That's right, and it's supposed to be at our house. Well,
well we're here.

Speaker 6 (43:25):
It's Wednesday night, which means that the Watson's and the
Sanderson's are having dinner together. Andrea Watson is doctor Orviel
Sanderson's mother. Bob Watson is his stepfather. Alice Sanderson is
Orville's wife. They are such a close.

Speaker 1 (43:42):
Knit and devoted family.

Speaker 6 (43:44):
Things run so smoothly and comfortably practically everyone envies them.
I shall return in just a few moments. Who was

(44:06):
really Orville's father, Orville Sanderson Senior who gave him his body,
or Bob Watson, who gave him his mind. Both men
have a very strong claim on Orville Sanderson Junior, and
for a long time Orville acknowledged both. But in the end,
when he had to choose, he knew which one, because

(44:28):
it's a wise child that knows its own father. For you,
wisdom consists in knowing enough to tune us in seven.

Speaker 14 (44:37):
Times each week.

Speaker 6 (44:39):
Our cast included Michael Wager, Patricia Elliot, Mary Jane Higbee,
Court Benson, and Gilbert Mack. The entire production was under
the direction of Hyman Brown. Radio Mystery Theater was sponsored
in part by Anheuser Busch Incorporated, Brewers of Budweiser and
True Value Hardware stores.

Speaker 1 (44:56):
Missus e. G.

Speaker 6 (44:57):
Marshall inviting you to return to our Missus Street Theater
for another adventure in the macabre. Until next time, pleasant dream.

Speaker 31 (45:51):
If a dead man reappears on the scene. Just to
get into the spirit of things.

Speaker 17 (45:58):
Isn't it a.

Speaker 31 (46:05):
Wnew presents the thirteenth in a series of famous mystery
stories relating to the gentle art of mayhem and the
less gentle art of murder.

Speaker 16 (46:16):
Isn't It a Crime?

Speaker 31 (46:26):
This is Jerry Marshall speaking. Not Not only will you
hear the exciting story of speaking of murder, but you
will be invited to join our radio detective force and
be given a chance to solve the crime before the
answer is revealed, just as if you might have been
there on the scene when all the clues are in
We'll return to the scene of the crime for the
solution of tonight's mystery.

Speaker 22 (46:47):
Speaking of murder.

Speaker 1 (46:56):
It's nearly noon.

Speaker 31 (46:57):
Sunlight pokes inquisitive fingers under the window blinds of the
penthouse apartment of Glenn Winthrop, writer of mystery stories. But
Glenn isn't having any His face is buried in the
pillow when he sleeps with sound effects. The door opens,
framing a lean, melancholy face. The owner of the face

(47:20):
peers the figure on the bed, then approaches, holding at
arm's length, an infernal machine, destroyer of sleep, shatterer of nerves.

Speaker 4 (47:34):
Answer the door, Smithers, it's not the door, mis too
in pro and answer the phone.

Speaker 22 (47:39):
I want to sleep.

Speaker 21 (47:40):
It's not the phone, Sair.

Speaker 22 (47:42):
Whatever it is, answer it.

Speaker 32 (47:45):
It's an alarm clock, sir, Oh, no, no alarm clocks.

Speaker 22 (47:49):
The curfew shall not ring tonight.

Speaker 21 (47:52):
But it isn't night, sir, it's nearly.

Speaker 4 (47:54):
New it's really you speak, Smithers. I don't care if
it's night morning midwinter. Go away and take that instrument
of satan with him, for heaven's sake, Smithers, turn that
confound the hang on, Yes.

Speaker 32 (48:09):
Sir, Oh, go away. But mister Winthrop, sir, I must
shave you. You just sit over there.

Speaker 4 (48:17):
I'll grow a beard. I'm not gonna shave for a month.
But you must say, Archibald, what's got into you? I
do is, sir, that you wouldn't call me Archibald? As
I told you, sir, when I entered your service, I
did test the name. My name is Archie, and I
wish Archibald, that you'd go away and let me sleep.

Speaker 22 (48:37):
I did test alarm clocks.

Speaker 1 (48:39):
And I'm beginning to detest you.

Speaker 32 (48:41):
Surely, sir, you don't want to entertain a lady with
that ghastly stubble on your chin, especially your fiancee.

Speaker 4 (48:47):
But what's my fiancee got to do with it? She's
in Florida?

Speaker 32 (48:51):
Oh no, sir, the South with phoned a few minutes ago.

Speaker 22 (48:54):
Francis phone. Oh I didn't just say so.

Speaker 32 (48:57):
I hadn't, as yet had the opportunity to do so.

Speaker 21 (49:00):
She said she'd be here in thirty minutes.

Speaker 4 (49:02):
Here in thirty minutes, yes, sir, just my luck. And
I was all set to go on a hunting trip tomorrow.

Speaker 32 (49:09):
I didn't realize that you didn't wish to see you, Sir.
Shall I refuse her entrance?

Speaker 1 (49:13):
Tell you?

Speaker 2 (49:14):
What?

Speaker 21 (49:14):
Shall I turn her away? Sir?

Speaker 22 (49:16):
Of course not?

Speaker 20 (49:17):
You're dope?

Speaker 22 (49:17):
Where was my robe.

Speaker 32 (49:19):
Here, sir, If you just sit over here, I'll shave
you no time. I have everything ready, Archie. I apologize.
I'll never call you watch the ball again. You're a
life safe Thank you, sir. Now just sit here, sir.

Speaker 4 (49:34):
I wonder what brought Francis back.

Speaker 32 (49:36):
She didn't say, sir. Now, if you'll just turn your
head so I lad your.

Speaker 21 (49:41):
Face in the middle of the season too.

Speaker 4 (49:44):
I think, what good archer you put the shaving soap
in my mouth.

Speaker 32 (49:50):
I'm sorry, sir, you keep your mouth closed. It won't
happen again.

Speaker 11 (50:05):
Old Glenn Darling, I'm so glad to see you kiss
me again. What is it, Archable?

Speaker 21 (50:15):
Shall I bring some coffee? Mister Darling?

Speaker 4 (50:20):
I'm afraid Archie doesn't approve of romance before breakfast.

Speaker 11 (50:24):
Well he'll just have to approve after we're married. I'm
sure I shall insist upon being kissed before breakfast?

Speaker 21 (50:30):
Shall I bring the coffee?

Speaker 30 (50:31):
Said?

Speaker 29 (50:31):
Oh?

Speaker 4 (50:32):
Yes, by all means, Archable, bring the coffee, Thank you, sir.

Speaker 11 (50:45):
You're a valet is sort of sort of weird, Darling.

Speaker 4 (50:49):
Oh he's all right. He's fussy about his name, that's all.
I don't think he liked it. When you call him Marchibald, But.

Speaker 11 (50:55):
You just called him that yourself.

Speaker 22 (50:56):
I always do when I'm annoyed with.

Speaker 11 (50:58):
Him, and you were annoyed with him. Just now, when.

Speaker 4 (51:00):
Anyone interrupts the most beautiful woman in the land and
the best actress, just when she's about to kiss me,
why shouldn't I be annoyed?

Speaker 11 (51:09):
You're crazy, but I love it.

Speaker 22 (51:11):
Tell me, Darling, what brings you back to the city
so soon?

Speaker 4 (51:13):
When your show closed last week, you told me you
were going away for a month.

Speaker 11 (51:16):
I got a wire from Robert that I must be
at my uncle's house tonight.

Speaker 4 (51:19):
I mean that gloomy old ruin out in the suburbs.
But why I thought.

Speaker 22 (51:23):
That house was closed after your.

Speaker 11 (51:24):
Uncle died, It was that Robert's stayed on there.

Speaker 20 (51:26):
It was Robert.

Speaker 11 (51:27):
He was Uncle Ned's confidential secretary. He had charge of
all my uncle's affairs. He and my cousin Irma nursed
uncle during his last illness. Robert wired that it was
urgent that I come to the house tonight. Erma's to
be there.

Speaker 22 (51:39):
Too, be taken care of by mail.

Speaker 11 (51:41):
I don't know what it is, but Robert's wire states
that if I helped to participate in uncle's of state.
I had to be there tonight anyway, There's something funny
about the way Uncle died. I almost think sometimes that
it was murdered.

Speaker 4 (51:54):
That sounds like the beginning of one of my mystery stories.

Speaker 11 (51:56):
I know dread going out there. The place has always
made me so an easy. That's why I want you
to come with me.

Speaker 4 (52:03):
I see, I just spent three months writing a book
about a spooky old house.

Speaker 22 (52:07):
Now I have to visit one and me on my vacation.

Speaker 1 (52:19):
Is this a place, mister? Yeah?

Speaker 2 (52:20):
This is it?

Speaker 4 (52:23):
Oh thanks, mister Yeah, gosh.

Speaker 1 (52:25):
What a spooky time.

Speaker 33 (52:26):
You wouldn't catch me gone into a place like that.

Speaker 22 (52:29):
Are you hitting for an invitation?

Speaker 30 (52:30):
No, not me, buddy.

Speaker 22 (52:32):
Well taste different.

Speaker 34 (52:33):
Be seeing you, Cabby, I hope so, But I ain't
holding my bread.

Speaker 11 (52:41):
Cab driver gives me the creeps the way he said
he hoped so when you told him you'd be seeing you.

Speaker 22 (52:46):
Oh, he was just kidding. This is a spooky looking place.

Speaker 4 (52:50):
Why'd your uncle, with all his dough want to live
in a house way back from the street like that.

Speaker 11 (52:53):
He built the wall all around the ground so it'd
have privacy.

Speaker 4 (52:56):
Well he might as well have lost himself in a jungle.
Here's the gate. Oh watch out, she don't stumble, Frian. Gee,
it's sure dark.

Speaker 22 (53:07):
Around this place.

Speaker 7 (53:08):
Who loves that?

Speaker 22 (53:10):
It's just a hoodoll, darling. We're really in the jungle,
but don't let it get on your nerves.

Speaker 7 (53:15):
But it is scary.

Speaker 11 (53:17):
After that gate shuts us off from the street, we
might as well be in another world.

Speaker 22 (53:20):
Hey, by the way, is there a dog here?

Speaker 7 (53:22):
Oh?

Speaker 11 (53:22):
Yes, yes, Uncle's dog Hamlet. Robert kept him after uncle died.
He's a great Dane Hamlet Hamlet, I mean.

Speaker 1 (53:29):
Not Robert.

Speaker 22 (53:30):
That's not so good.

Speaker 11 (53:31):
Well, why don't you like great danes?

Speaker 4 (53:33):
I don't mind him in the daylight, but I certainly
don't fancy young elephant jumping on me in the dark.

Speaker 11 (53:38):
Oh, Hamlet, going as he knows me?

Speaker 22 (53:40):
Yeah, but he doesn't know me.

Speaker 11 (53:42):
I can't understand, though, why he hasn't barked. He usually
raises the roof when anyone comes to the grounds at night. Look, hook, Glynn.

Speaker 35 (53:52):
There by the tree in the porch, there's there's a
huge dog shadow and something white.

Speaker 1 (53:56):
Oh, Glenn, let's get.

Speaker 11 (53:57):
Out of here.

Speaker 22 (53:58):
No, wait a minute, I'm gonna see what it is.

Speaker 4 (54:01):
No no, darling, don't come out of there.

Speaker 22 (54:05):
Whoever you are.

Speaker 21 (54:08):
Is that you mister wincrip Archie.

Speaker 32 (54:11):
Yes, when Miss Southwit screamed, it nearly scared the wits
out of me.

Speaker 4 (54:16):
Well, Archie, I can't say that your sudden appearance was
a sedative to our nerves.

Speaker 32 (54:22):
That outlandish creature seems to be a birds most over
my head ever since I got here.

Speaker 4 (54:28):
Incidentally, Archie, what are you doing here anyway?

Speaker 21 (54:31):
Oh?

Speaker 32 (54:32):
I beg your pardon, sir. It quite slipped my mind
in my discomposure, you see, sir, After you and Miss
south With left for dinner, I discovered an appalling thing,
a terrible oversight.

Speaker 1 (54:42):
What is it?

Speaker 21 (54:43):
I hope you'll forgive me, sir, But when you were.

Speaker 32 (54:46):
Dressing, I was guilty of a terrible bit of negligence.

Speaker 22 (54:49):
So well, Archie, what is it?

Speaker 21 (54:51):
It was an oversight, sir, and I'm terribly sorry.

Speaker 32 (54:53):
I didn't know where you were dining, so I came
out here to meet you.

Speaker 22 (54:56):
Here, Archie, what are you talking about?

Speaker 9 (54:58):
Oh?

Speaker 32 (54:58):
It's horrible, sir, that you come out in public without
a handkerchief in your best pocket, and here it is so.

Speaker 4 (55:04):
Well, I'll forgive you this time Archie, just so you
don't let me go out in public someday without my pants.
Oh no, let's go inside, jerky.

Speaker 11 (55:16):
I frightened me.

Speaker 22 (55:16):
That house looks just as dark.

Speaker 4 (55:18):
Are you sure Robert said he'd meet you here.

Speaker 11 (55:21):
Yes, I'm sure.

Speaker 1 (55:22):
Look.

Speaker 11 (55:22):
Look there's a light. That window at the side not
used to be uncle's dan.

Speaker 22 (55:26):
I beg, pardon, what is it, Archie?

Speaker 32 (55:29):
I was wending, sir, you'd mind walking to the gate
with me. It seems that the nocturnal aspect of this
place appalls me. I feel that my nervous system has
been sadly today.

Speaker 22 (55:42):
You may as well come in with as Archie. WI
shadn't be here long.

Speaker 4 (55:46):
I hope the Southworth is planning to fly back to
Florida tomorrow, and I want to start on that hunting trip. God,
I almost fell down confounded. Somebody left a roll up
rug or something on that I can't they have lights
on when they're expecting company.

Speaker 11 (56:03):
Well, there never was any furniture on the porch when
Uncle was alive.

Speaker 22 (56:06):
Places is that bell?

Speaker 11 (56:07):
There isn't a bell, Dear Uncle could never stand bell's ringing.
It wouldn't even have a telephone for that reason. Here
the big door knocker.

Speaker 4 (56:15):
Well, let's see how this contraption works.

Speaker 2 (56:18):
I have got it.

Speaker 4 (56:20):
Wow, echoes through the house like a crack of doom.
Do you suppose there's anybody there?

Speaker 30 (56:26):
Sure?

Speaker 11 (56:26):
I saw a light in it? Then knock again.

Speaker 21 (56:28):
Okay, it is silent as a mausoleums.

Speaker 4 (56:34):
Archibald, your choice of words is unfortunate under the circumstances.

Speaker 22 (56:38):
But you're right, Frian.

Speaker 4 (56:40):
I think someone's been playing a practical joke on you, bringing.

Speaker 11 (56:43):
Me out to this gloomy old house when there's nobody here.
Isn't my idea of a joke that isn't funny?

Speaker 22 (56:48):
Practical jokes rarely.

Speaker 21 (56:49):
Are a big pardon said.

Speaker 32 (56:51):
But there seems to be someone with the candle moving
around inside.

Speaker 34 (56:59):
Oh, good evening, miss Francis. You're a little early.

Speaker 11 (57:03):
Good evening, Robert, this is my fiance, mister winterp.

Speaker 22 (57:06):
Good evening, good evening.

Speaker 11 (57:08):
Why why the candle? What's happened to the electric lights?

Speaker 34 (57:10):
A fuse blew out, Miss Francis, and I had no spare.
We'll have to make out with candles tonight. Who is
this other gentleman?

Speaker 11 (57:18):
Oh, I'm sorry, this is Smith's mister Wintrop's man.

Speaker 22 (57:21):
Great Scott Archie. What's the matter with you?

Speaker 4 (57:23):
You're shaking like a leaf and looks there on the porch.

Speaker 21 (57:28):
That's what you stumbled over all.

Speaker 4 (57:30):
The light higher when your Robert Blady thanks, it's a dog.

Speaker 11 (57:35):
It's Hamlet. No, wonder he didn't bark at us. He's dead.

Speaker 4 (57:40):
There's not a mark on him. Wonder what happened to him?
The dog grieved for his master. Probably died of Greek.
He was very old.

Speaker 11 (57:49):
No, no, Clintlyn, I'm fighting. There's there's menace in the
air here tonight. I can feel it. Something terrible will
happen here tonight midnight. I wonder where Irma is.

Speaker 34 (58:11):
She's probably coming with doctor Blade. Perhaps he's been detained
on a call.

Speaker 11 (58:16):
Doctor Blade. You mean young Dick Blade, uncle's doctor. Why
is he coming?

Speaker 34 (58:21):
Irma's been working in his office since your uncle died.
He promised to bring her.

Speaker 11 (58:26):
I never liked Dick Blade.

Speaker 22 (58:28):
He's been very kind to Irma.

Speaker 11 (58:30):
Yes, probably feathering his nest. Probably wants to marry her
for her share of uncle's fortune.

Speaker 34 (58:34):
Perhaps if you had been your uncle's nurse instead of Irma,
you might feel differently about doctor Blade.

Speaker 11 (58:41):
Oh, I'm sorry, Robert that was a terrible thing to say.
Now I'm not myself tonight.

Speaker 17 (58:46):
Please gives me the creeps.

Speaker 11 (58:48):
So it almost seems that uncle is here tonight, re
approaching me because I wasn't with him when he died.

Speaker 34 (58:52):
I'm sure your uncle understood that you would have been
with him had it been possible.

Speaker 22 (58:56):
You were very thoughtful.

Speaker 34 (58:58):
You sent fruit and flower was nearly every day flowers.

Speaker 11 (59:02):
It meant nothing. Oh, I should have left the show
and come here.

Speaker 34 (59:05):
Your uncle wouldn't have wanted that. He was proud of
your career.

Speaker 11 (59:11):
Oh, why doesn't irma come.

Speaker 34 (59:15):
It was just a month ago tonight that he died
at one o'clock. It's just an hour from by, Miss Francis.
You're shivering? Are you cold?

Speaker 11 (59:27):
No? No, I was just listening to that wind. It
has an eerie sound.

Speaker 34 (59:32):
It's been a sultry day, probably a storm brewing.

Speaker 15 (59:37):
What was that?

Speaker 22 (59:38):
I didn't hear anything.

Speaker 1 (59:39):
Listen, you're upset, my dear.

Speaker 11 (59:43):
I heard nothing, but I tell you I heard something.
It was the sound of something banging, like like someone
pounding on the wall.

Speaker 34 (59:49):
There is again, Miss Francis. You're overwrought. You're imagining things.
I must have doctor blade prescribe something.

Speaker 11 (59:56):
No, no, no, I don't trust that man.

Speaker 22 (59:59):
Hello, Darling, Sorry, I scared you, Glenn.

Speaker 4 (01:00:02):
Where have you been? Archie and I were moving Hamlet's
body so your cousin wouldn't get a scare when she arrived. Oh,
by the way, Robert Smithers is out in the hall.
If you'd be so kind as to show us where
we can wash up?

Speaker 11 (01:00:12):
No, no, don't leave me, Glenn.

Speaker 1 (01:00:14):
Why Francis, what's wrong?

Speaker 11 (01:00:15):
I don't know. I just don't want to be left alone.

Speaker 1 (01:00:17):
All right, I'll stay.

Speaker 22 (01:00:19):
I'll show Smithers the way upstairs. Thanks.

Speaker 11 (01:00:23):
Oh, I'm so glad you came back when you did that.
That man gives me the creep.

Speaker 4 (01:00:29):
Oh, Robert, Yeah, he is sort of strange. I suppose
it's just his way. You're sort of nervous. I've never
seen you like this before.

Speaker 7 (01:00:37):
Oh that win and.

Speaker 11 (01:00:39):
An earthly screeching wind. If it's almost as so, uncle,
we're trying to speak to me.

Speaker 4 (01:00:44):
If he is, great, I'll see here, young lady. You've
got to get a grip on yourself. You mustn't go
to pieces this way.

Speaker 11 (01:00:50):
Only Irma would come then we could get this business.
Is Robert over wouldn't go home.

Speaker 22 (01:00:56):
I thought you said that your uncle never had a phone.

Speaker 30 (01:00:59):
Give me a.

Speaker 4 (01:00:59):
Start too, because I'm developing your nerves. Oh all right,
all right, I'm coming. But where is the confounded thing?
It's over in this corner somewhere, but I can't find it.
It's a fine place to keep a phone. Hello, Hello, Hello,

(01:01:24):
that's funny.

Speaker 11 (01:01:25):
Did they hang up?

Speaker 4 (01:01:26):
Oh, that's the funny part of it. There wasn't even
a dial tone. The line's dead.

Speaker 11 (01:01:34):
Oh, blend all and take me out of here. There's
something horrible going on in this place.

Speaker 4 (01:01:38):
Beginning to agree with you, there's something mighty funny about
a phone hidden in a waste basket ringing when the
lion is.

Speaker 11 (01:01:43):
Dead and hamlet, I'm sure somebody killed him.

Speaker 22 (01:01:47):
I wasn't a mark on the dog's body.

Speaker 11 (01:01:49):
It could have been poisoned.

Speaker 22 (01:01:50):
Yes, that's true. Did Robert tell you why he sent
for you to come here tonight?

Speaker 11 (01:01:55):
He said, we'd have to wait until Erna got here.
She and I are uncle's only surviving it is It
has something to do with the will. Robert drew it up,
you know.

Speaker 4 (01:02:03):
Yeah, But why should your uncle's secretary draw up his will?

Speaker 22 (01:02:06):
Why not a lawyer.

Speaker 11 (01:02:07):
Robert was more than uncle's secretary. He was an old friend.
He gave up his law practice to handle Uncle's affairs.

Speaker 4 (01:02:13):
You know, Francis, this is all very strange. I feel
as though I'm living in the pages of one of
my own crazy books. I've written this story a dozen
times myself.

Speaker 34 (01:02:25):
Your man will be down in a minute, mister Winthrop.

Speaker 4 (01:02:28):
Thanks Robin Robert. When did you have a phone installed
in this house?

Speaker 20 (01:02:33):
Phone?

Speaker 22 (01:02:33):
Yes, a little while ago, a phone rang.

Speaker 4 (01:02:36):
I had trouble locating it, but finally found it in
the waste basket. But I answered the line was dead.
It did seem rather strange.

Speaker 34 (01:02:44):
I had the phone put in shortly after your uncle's death,
Miss Francis, I was working at the desk today and
remember putting it in the basket to clear the desktop.

Speaker 4 (01:02:54):
As to the line being dead, are you sure of that,
mister Winthrop? Quite sure yourself? Oh that's probably I excuse me,
I'll let her in. You know, Francis, I believe you're right.
There is something fishy about that man. That strange gliding walk,
that flat voice.

Speaker 11 (01:03:16):
That pale face. Glennie, he looks like a dead man.

Speaker 36 (01:03:27):
So you're Glenn Dear, Francis has told me so much about.

Speaker 11 (01:03:31):
You, never mind trying to make a play for him.

Speaker 15 (01:03:33):
Dear, he's mine.

Speaker 36 (01:03:35):
How you talk Francis? Well, Robert, suppose we get down
to business. Jick and I want to get back to town.

Speaker 4 (01:03:41):
Oh, we had a wet trip out. It's pouring in town,
bad storm. I tried to call you but couldn't get you.
So the reason later, there's a tree down right across
the telephone lines to fallen. While you were calling, the
phone rang, but when I answered, the line was dead.

Speaker 36 (01:03:54):
Oh, don't talk about dead things. This house always gives
me the willies. I don't see, Robert, why we had
to come out here. Why couldn't we meet in town?

Speaker 34 (01:04:03):
This really concerns only Miss Irma and Miss Francis, but
the rest of you may as well hear it. You know,
of course, that I drew up your uncle's.

Speaker 11 (01:04:12):
Will, Yes, of course.

Speaker 34 (01:04:13):
And you know too that for some time before his
death your uncle was interested in spiritualism.

Speaker 11 (01:04:20):
Yes, it always gave me the creeps to hear him
talk about it.

Speaker 34 (01:04:23):
Well, your uncle's will contained a strange clause. I, as executive,
was instructed to request his heirs to be present here tonight,
exactly one month after his death, cute.

Speaker 11 (01:04:34):
Little lady uncle had did he order a storm too.

Speaker 22 (01:04:37):
Please, miss Hermer.

Speaker 34 (01:04:40):
I was further instructed to inform you of the terms
of his will.

Speaker 22 (01:04:44):
I'll read it.

Speaker 11 (01:04:44):
We'll skip all the legal stuff.

Speaker 25 (01:04:46):
Just tell us how it affects us very well.

Speaker 22 (01:04:49):
Aside from some minor bequests.

Speaker 34 (01:04:52):
The bulk of the property is to be divided between
you two.

Speaker 12 (01:04:55):
Girls, and you hauled us out here to hear that.

Speaker 34 (01:04:58):
Wait, miss Herma, let me read the paragraph which refers
to your inheritance. In the event that, at exactly one
month from the hour of my death, my two nieces,
Francis and Irma, are living and unmarried, and in the
event they have not been involved in any scandal that

(01:05:20):
would be smirched the name of Southworth, the residue of
my estate shall be divided equally between them. What should
either of my nieces fail in these conditions, said niece
shall forfeit her inheritance, and the entire estate shall go
to my niece who fulfilled said conditions.

Speaker 22 (01:05:39):
But both nieces.

Speaker 7 (01:05:40):
Fail, you need to read the rest of it.

Speaker 36 (01:05:42):
We're both alive, We've been in no scandals, and I'm
certainly not married, how about you.

Speaker 11 (01:05:47):
Francis, of course not, so that's that. Come on, Dick,
let's start back to town.

Speaker 37 (01:05:52):
One moment.

Speaker 34 (01:05:53):
Your uncle specified that both Francis and Irma should be
here in this house at exactly one month from the
time of his day death. He died at one am,
one month ago. We've still half an hour to wait.
The conditions of the will are not effective till one am.

Speaker 22 (01:06:11):
Well, that's pretty silly.

Speaker 4 (01:06:12):
Neither of the girls is going to die or get
into a scandal in half an hour. Well, as a doctor,
I grant you that marriage or scandal or unlikely, but
who can be sure about death?

Speaker 34 (01:06:40):
Ten minutes of one Now we must fulfill the final
conditions of the will.

Speaker 11 (01:06:45):
What do you mean final conditions?

Speaker 34 (01:06:47):
I will explain your uncle's interest in spiritualism. Prompted one
other request. We are all to sit around this table.
As Ima sit here beside me, Doctor Blair on my
other side. I will thank you, Miss Francis next to
doctor Blade, mister Winthrop and smithers at the foot of
the table.

Speaker 22 (01:07:09):
Thank you.

Speaker 20 (01:07:10):
Good.

Speaker 34 (01:07:12):
Now I am instructed to place this loaded revolver on
the table in front of me.

Speaker 11 (01:07:17):
So what's this all?

Speaker 34 (01:07:19):
About at exactly one o'clock, the hour of his death,
your uncle will endeavor to speak to us from the grave.

Speaker 11 (01:07:28):
This is so silly.

Speaker 22 (01:07:29):
If you wish to forfeit your inheritance, you may.

Speaker 11 (01:07:31):
Withdraw, not on your life.

Speaker 4 (01:07:33):
You will note that a fire is laid in the grate.

Speaker 34 (01:07:36):
If your uncle succeeds in returning to us, he will
light that fire.

Speaker 11 (01:07:42):
Must we go through with this ridiculous farce?

Speaker 34 (01:07:44):
Robert, you have heard the terms of your uncle's will.

Speaker 11 (01:07:46):
That's a lot of tommy rot perhaps, but.

Speaker 34 (01:07:49):
It was your uncle's wish. I intend to carry out his.

Speaker 11 (01:07:53):
Wishes, all right, get on with it.

Speaker 34 (01:07:56):
Then, Now each one clasp his neighbor's hand. All right,
then our circle is complete. I will now blow out
the candle.

Speaker 36 (01:08:12):
That clock, monotonous clock tick, it's.

Speaker 11 (01:08:16):
Driving me crazy.

Speaker 34 (01:08:17):
Your uncle was very fond of that class.

Speaker 11 (01:08:19):
Well, I don't like it.

Speaker 4 (01:08:21):
It must be nearly one.

Speaker 12 (01:08:23):
It must be quiet, I tell you, I can't standish quiet.

Speaker 4 (01:08:30):
Please, Robert, Robert, Yes, you have done well?

Speaker 22 (01:08:37):
Is that you mister Southworth? On earth? That was my name?
Now I have no name.

Speaker 38 (01:08:45):
I cannot free myself from earth until my work is done.

Speaker 22 (01:08:49):
Your work? What is your work?

Speaker 1 (01:08:52):
Vengeance.

Speaker 22 (01:08:54):
Only one here need fear me. The one who murdered
me murdered.

Speaker 38 (01:09:00):
Yes, with a slow poison. One of you murdered me. Robert,
you brought me whiskey. Was the poison in that? Or
was it in the medicine doctor.

Speaker 22 (01:09:13):
Blade gave me?

Speaker 4 (01:09:15):
Francis, you sent me the fruit nearly every day? Was
it the fruit of death?

Speaker 22 (01:09:23):
Emma? You cooked my food?

Speaker 1 (01:09:27):
One of you murdered.

Speaker 11 (01:09:28):
Me, wasn't I tell you I.

Speaker 7 (01:09:30):
Didn't do it?

Speaker 31 (01:09:43):
Ladies and gentlemen, this is Jerry Marshall speaking. We take
time out now, in fact sixty seconds time to allow you,
amateur detectives, to solve the mystery of tonight's story. To
help you along with the solution, hear a few leading
or misleading clue. First, is there anything that Robert said

(01:10:05):
that might shed light on his innocence or guilt?

Speaker 22 (01:10:09):
The dark grief for his master?

Speaker 33 (01:10:12):
Probably died of grief.

Speaker 1 (01:10:14):
He was very old.

Speaker 31 (01:10:17):
Now, how about doctor Blade do you recall him saying, well, as.

Speaker 4 (01:10:22):
A doctor, I grant that marriage or scandal or unlikely,
but who can be sure about dead?

Speaker 31 (01:10:29):
Then there is Francis, a very definite heir to uncle
shekels hit tonight.

Speaker 12 (01:10:36):
I can feel it.

Speaker 11 (01:10:37):
Something terrible will happen here tonight.

Speaker 22 (01:10:40):
Or could it have been Irma who was heard to say, must.

Speaker 12 (01:10:44):
We go through with this ridiculous, sparse Robert?

Speaker 22 (01:10:50):
Well, the sixty seconds are up.

Speaker 17 (01:10:52):
Do you think you'll have the answer?

Speaker 31 (01:10:54):
All right, hold on to it and we'll return to
our play and see if.

Speaker 1 (01:10:59):
You're right.

Speaker 11 (01:11:05):
If I tell you I didn't do it.

Speaker 22 (01:11:07):
Ned, Ned, don't you know who killed you? I do
not know, but I have ways of learning.

Speaker 38 (01:11:16):
At the stroke of one, I will light that fire
in the fireplace, and the finger of death will touch
my murderer. The flame will see her into the treacherous
brain that planned my death.

Speaker 34 (01:11:28):
Robert, like that candle, tell me, Ned, who killed you?

Speaker 4 (01:11:34):
I can't tell you, but in a moment you will know.
In a moment, the finger of death will touch the
guilty one. There is a gun on the table. That
is the only chance for the murderer.

Speaker 38 (01:11:47):
That is the only escape from eternal suffering, that is
the only expiation.

Speaker 22 (01:11:52):
No, No, the finger.

Speaker 4 (01:11:53):
Of death is approaching. Confess your crime. Confess your crime.
You murdered me.

Speaker 38 (01:12:01):
Confess, Confess before it's too late. The hour is at hand. Confess.

Speaker 4 (01:12:10):
Look a fire is lit, the finger of death is
upon you.

Speaker 7 (01:12:15):
I did it, I child you, Robert quick the light?

Speaker 39 (01:12:21):
Oh shut her factor is she?

Speaker 20 (01:12:25):
Yes?

Speaker 22 (01:12:26):
She's dead.

Speaker 34 (01:12:37):
We felt for a long time that his death was
not natural, and so Dick Blade and I got an
exhumation order, and Dick found signs of poison.

Speaker 22 (01:12:44):
In the body.

Speaker 34 (01:12:45):
We suspected both of you, miss Francis. It had to
be either you or miss Irma. So we set the
stage for our ghost. The banging shutter, the candle light,
the seance.

Speaker 1 (01:12:57):
It was all staged.

Speaker 37 (01:12:59):
Henle Well, the dog died this afternoon.

Speaker 22 (01:13:02):
I put the body on.

Speaker 11 (01:13:04):
The porch, sure the fire lighting itself.

Speaker 34 (01:13:07):
Dick released my hand and I set off a charge
of flashlight powder.

Speaker 21 (01:13:10):
What about the ghost boys?

Speaker 1 (01:13:12):
That was Dick.

Speaker 34 (01:13:13):
We planned to scare a confession from the guilty one.

Speaker 33 (01:13:16):
And it worked.

Speaker 2 (01:13:18):
Poor.

Speaker 22 (01:13:19):
It's horrible, It's better the way it happened.

Speaker 4 (01:13:22):
Want to be legal complications and publicity about all this?
After all, I'm a committed a murder and then committed suicie.

Speaker 28 (01:13:27):
No.

Speaker 34 (01:13:28):
The police have informed me that no one need remain
for questioning, No charges will be pressed, there will be
no publicity. In fact, an inspector from the homicide squad.

Speaker 22 (01:13:36):
Was present in the west room. It was he who
removed the body.

Speaker 11 (01:13:40):
Oh then I'll be so happy to get out of
this awful house. Listen, Darling, I'm not going to go
back to Florida. Let's get married tomorrow.

Speaker 21 (01:13:48):
Francis, you're darling. Of course, I beg your pardon, sir?

Speaker 22 (01:13:52):
What is it?

Speaker 32 (01:13:53):
Archie and mister Winters, Speaking of tomorrow, have you considered
you were going on a hunting chip?

Speaker 22 (01:13:58):
Speaking of murder?

Speaker 4 (01:14:00):
Have you considered what a swell corpse you'd make? Archibald?

Speaker 21 (01:14:04):
Please don't call me Archiebald, Sir.

Speaker 31 (01:14:11):
We have brought you the thirteenth of a series of
mystery stories.

Speaker 22 (01:14:14):
Tonight's drama Speaking.

Speaker 31 (01:14:16):
Of Murder was written by Don Thompson and directed by
Milton Bernard Kay.

Speaker 22 (01:14:21):
The cast featured Casey.

Speaker 31 (01:14:22):
Allen, Elenora Reed, Leonard Shearer, Jason Johnson, Eileen Court and
Merril E.

Speaker 22 (01:14:29):
Jowels. Musical settings were by Kay Reid.

Speaker 31 (01:14:31):
This is Jerry Marshall speaking and saying good night for
isn't it a crime?

Speaker 40 (01:14:50):
Mystery in the Air, starring Peter Laurie, presented by Camels cigarettes.

Speaker 41 (01:15:13):
All right, man, I guess that's all, put him on
the streacher and take him to the morgue.

Speaker 12 (01:15:17):
Oh must stay inspector for.

Speaker 41 (01:15:20):
A while, missus bunty dear, I need all the details
for my report.

Speaker 12 (01:15:24):
Oh that such a thing could have happened here here
in my own house.

Speaker 40 (01:15:43):
Each week at this hour, Peter Laurie brings us the
excitement of the great stories, of the strange and unusual,
of dark and compelling masterpieces culled from the four corners
of world literature. Tonight The Lodger by Missus BALLACKLOWNDS. Peter
Laurie is the Lodger, and Alan Banting is played by

(01:16:04):
Miss Agnes Moorehead.

Speaker 42 (01:16:09):
Mystery in the Air brought to you by Camel. Cigarette
experience is the best teacher.

Speaker 3 (01:16:32):
Try a camel.

Speaker 42 (01:16:33):
Let your own experience tell you why more people are
smoking camels than ever before. Yes, let your tea zone
beside which cigarette you like best. Your tea zone that's
tea for taste and tee for throat is your true
proving ground for any cigarette.

Speaker 37 (01:16:50):
So try a.

Speaker 42 (01:16:51):
Camel on your t zone. Introduce Camel's rich, full flavor
to your taste, Acquaint your throat with camel's cool, mild
mat see if you don't decide, like so many other smokers,
that camels suit your teas on to a tea.

Speaker 41 (01:17:24):
On, missus Bunting, you said you were looking for a lodger.

Speaker 12 (01:17:27):
Yes, yes, Inspector, we had to. But I never dreamed
such a thing could happen here to us. Why it
was only last Tuesday night My husband and I were
sitting before our fire reading the newspaper about the latest murder.
It was the Fifths by the Avenger.

Speaker 43 (01:17:48):
Yes, yes, I remember saying distinctly, Robert, Robert, that he
could be the fellow standing next to you, or maybe
the man you bump into.

Speaker 1 (01:18:00):
Terrible for Yes, but it appears to me that the Avenger.

Speaker 21 (01:18:03):
Is too quick for the police.

Speaker 12 (01:18:05):
And look here, look here it says this girl I
got last night was like all the others, pretty blonde,
and she just come from a music hall, exactly like
all the rest of his victims. Oh what a pity, Ellen, Have.

Speaker 1 (01:18:19):
You stopped to think?

Speaker 44 (01:18:20):
Who fits that description perfectly our own days?

Speaker 12 (01:18:24):
Oh sures, what a pretty thought, Bunting. The good thing
she's with around instead of here? London isn't a safe
place for any girl now, Just the same.

Speaker 44 (01:18:33):
I can't help thinking I find it'd be too ever real, Wills.

Speaker 12 (01:18:36):
Well, there's no sense even talking about it. We just
can't afford it.

Speaker 37 (01:18:39):
I know that, Ellen, but I hope we could manage
it someway.

Speaker 12 (01:18:43):
Oh hown'd I splpt myself half crazy trying to keep
us going.

Speaker 1 (01:18:47):
I know, Ellen, Well, don't you go worrying about it.
I think we can.

Speaker 12 (01:18:52):
Who do you suppose that could be?

Speaker 3 (01:18:55):
Could it be someone looking for a room?

Speaker 28 (01:18:57):
Oh?

Speaker 12 (01:18:58):
I wish it were, then you could have your day beg.

Speaker 17 (01:19:05):
Well.

Speaker 12 (01:19:06):
I went to the front door, and when I opened
it there stood a man wearing a black cape and hat.
He carried with a single piece of luggage. Good evening, sir.

Speaker 14 (01:19:22):
I saw a sign. So you have a room to rent.

Speaker 12 (01:19:25):
Yes, sir, Yes, sir? Please won't you come in?

Speaker 14 (01:19:30):
Thank you?

Speaker 12 (01:19:31):
Could I take your cape?

Speaker 1 (01:19:34):
Sir?

Speaker 14 (01:19:34):
No, I'm looking for a quiet room, but it should
be very quiet.

Speaker 12 (01:19:39):
Oh we have that, sir, just that above all our houses.
Quiet your bags and may I take it?

Speaker 22 (01:19:46):
No?

Speaker 14 (01:19:46):
Just show me the room please?

Speaker 12 (01:19:48):
Oh yes, yes, sir. It's right up these stairs, sir,
this way, yes, he sir. There's just my husband and
me here, and we're ever so quiet. I'm sure you'll
find this room to your liking. Well, here we are.

Speaker 7 (01:20:07):
M.

Speaker 14 (01:20:09):
Yes, I I think I like this room.

Speaker 12 (01:20:12):
Yes, it is pleasant, isn't it. There's not many rooms
with such pretty pictures, now is there.

Speaker 14 (01:20:19):
I don't know. Pretty pictures interest me very little. What
I like about this room is it's the simplicity. I
like the bayness. Yes, I think i'll take it.

Speaker 12 (01:20:32):
What is your name, Missus Bunting, sir?

Speaker 14 (01:20:34):
All right, Missus Bunting, I'll take the room.

Speaker 12 (01:20:37):
Oh yes, sir. And please let me help you with
your luggage.

Speaker 14 (01:20:40):
No, don't you touch it.

Speaker 12 (01:20:42):
But I only wish to.

Speaker 14 (01:20:45):
I know, I know you only wish to help. Missus
Bunting's just forgive me. It's just that I'm I'm weary,
and I'm very tired. See I do a lot of studying.
Oh yes, yes, of course, of course. Well anyway, you
can see how few things I needed. It's just might

(01:21:05):
be what's in his bag? But this this is my
favorite book. It's the Bible. Good book, Missus Bunting, isn't it?

Speaker 2 (01:21:15):
Oh?

Speaker 12 (01:21:16):
Yes, oh yes, indeed it is, sir.

Speaker 14 (01:21:18):
Yes, it says he brings them to their desired haven.
Beautiful words. Huh. And now at last I found my
haven of rest. Now, Missus Bunting, if I pay you
thirty shillings a week for this room, that satisfactory?

Speaker 12 (01:21:36):
Oh oh my yes, sir, yes that'll be quite all right.

Speaker 14 (01:21:41):
My name is Sloth. Mister Slouth, yes Sloth s l
e U t h think of a hound, Missus Bunting,
and you'll never forget my name. Here here are your
thirty shillings.

Speaker 12 (01:21:57):
Oh oh, thank you, sir, thank you. Would you be
wishing anything now, super ty?

Speaker 14 (01:22:03):
Oh no nothing, good night, Missus Bunting.

Speaker 12 (01:22:06):
Yes, yes, good night, sir.

Speaker 1 (01:22:15):
Please stop that you here, sir.

Speaker 14 (01:22:20):
You were humming. That's music. Music is an instrument of sin.

Speaker 12 (01:22:25):
Oh yes, yes sir.

Speaker 14 (01:22:26):
And you did tell me, Missus Bunting, that your house
would be absolutely quiet what it is.

Speaker 12 (01:22:31):
Sir, I didn't need any harm.

Speaker 14 (01:22:33):
Believe me, sir, I believe you. I'm sorry I spoke sharply.

Speaker 1 (01:22:38):
I know you.

Speaker 14 (01:22:40):
You are trying to be considered and kind.

Speaker 12 (01:22:42):
Oh thank you sir.

Speaker 14 (01:22:44):
By the way, Missus Bunting, I think I would like
some bread and some.

Speaker 12 (01:22:48):
Tea, certainly, certainly, so I'll have it in an instant.

Speaker 44 (01:23:08):
So he took the room. Allen, He took the rumor
at thirty shillings a week.

Speaker 12 (01:23:12):
It's in advance now, Bunting. It's a water of the teat. Yes,
stroke put the bread the butter on the tray after
the water.

Speaker 44 (01:23:20):
You know, Ellen, it's wonderful. You realize what this means.
We can have Daisy Beck. I well, we can have
her back with.

Speaker 12 (01:23:28):
Murrow water and the tea. And I guess yes, it's
already open the door, Bunting. I'll take that to him
right away.

Speaker 44 (01:23:34):
Here you go, old girl. First thing in the morning.
I'm gonna fetch Daisy and bring her own. It's a
wonderful night, is wonderful?

Speaker 12 (01:23:46):
Oh, I mustn't do that.

Speaker 20 (01:23:51):
From her?

Speaker 14 (01:23:52):
Yes, many strong.

Speaker 1 (01:23:56):
Come in.

Speaker 14 (01:23:58):
And to know how the wickedness of folly.

Speaker 12 (01:24:02):
Oh why, mister Sluth.

Speaker 14 (01:24:04):
You yes, what is it?

Speaker 12 (01:24:07):
Those pictures? Those pretty good?

Speaker 14 (01:24:09):
You've turned all their faces? Y, yes, I've turned them
to the wall because they are wicked and sinful. Oh,
but sir, don't you agree, Missus Bunting, that everything wicked
and sinful should be purged from the earth.

Speaker 12 (01:24:23):
Huh, yes, yes, yes I do.

Speaker 14 (01:24:27):
I'm happy to hear that, Missus Brunting. Now, if you'll
excuse me, I I have.

Speaker 12 (01:24:34):
To leave, but sir, here's your tray.

Speaker 45 (01:24:35):
I have good night to missus blunting, you know, for
the moment I was stiff with fear.

Speaker 12 (01:24:50):
I set the tray down. He hadn't so much to
notice the lights supper I'd prepared for him, and rushed
to the winter to watch. He came out of our
cottage and moved off down on the street, his black
cape swirling about him. Finally he was lost in the fog.
And I don't know why, but I steered after him

(01:25:10):
for a long, long while. Well, I did the dishes
and got ready for bed. I lay there thinking, and
it was almost dawn before I had convinced myself that
at most he was a trifle odd, and after all,
paying thirty shillings, maybe maybe he had a right to
his strange way. It was daylight when I was suddenly

(01:25:38):
awakened by the newsboy shouting in the street or of
a murder.

Speaker 46 (01:25:41):
Read over urd Jing's cross last night, Avenger strikes again.

Speaker 47 (01:25:47):
Lowly I realized what the news voice was shouting for.

Speaker 3 (01:25:51):
Murder Avenger, class stick, Dambo, no.

Speaker 14 (01:25:56):
Another album.

Speaker 40 (01:26:21):
In a few moments, mister Peter Laurie will bring us
the climax of tonight's mystery in the air when Camel's
present Act two of the Lodger.

Speaker 42 (01:26:33):
Any sports champion can tell you how true it is
that experience is the best teacher.

Speaker 39 (01:26:40):
Don Whitfield, for one, he's the world's outboard speed champion.
You know it's taking the turns around the marking boys
just right that makes that exper speed. And boy how
Don Whitfield worked out on that problem.

Speaker 42 (01:26:52):
Don Whitfield recently said, experience is the best teacher in
outboard racing and in smoking too. Smoking whatever I could
get during the wartime cigarette shortage, thought me, there's no
other cigarette like a camel, and many other smokers had
the same experience. Yes, during the wartime cigarette shortage, when

(01:27:12):
people smoked whatever brands they could get, then's when we
all compared cigarettes, whether we wanted to or not. And
then's when so many people decided that their tastes liked
camel's rich, full flavor and their throats like camel's cool mildness.

Speaker 14 (01:27:28):
The result, more.

Speaker 48 (01:27:30):
People are smoking camels than ever before.

Speaker 42 (01:27:33):
Experience is the best teacher. Try a camel yourself.

Speaker 40 (01:27:56):
As the inspector takes notes of the terrifying events, Alan
Bunting continues the story.

Speaker 41 (01:28:03):
And now, missus Bunting, what did you do the morning
you learned the avenger that murdered his sixth victims?

Speaker 12 (01:28:09):
Well, I was a little frightened to meet our lodger,
yet I kept my thoughts to myself. After all, you know,
there still wasn't much to go on. Robert had gone
to make Daisy, so mister sleuth ate breakfast alone. I
watched him through the crack in the door. Finally I
went in with more tea and er tea er.

Speaker 14 (01:28:32):
No, no, thank you, thank you, Missus Bunting. I I
don't care for any more tea. Thanks sir, you're very kind,
But I have to go on with my work now,
if you'll excuse me.

Speaker 12 (01:28:51):
My fear really changed to pity.

Speaker 29 (01:28:53):
Then.

Speaker 12 (01:28:54):
Oh, he seemed so helpless and tired, and he was
so considerate. This man couldn't be a murderer. It was
all a coincidence. Besides, we just couldn't afford to lose
that thirty shillars a week. Well, around ten in the morning,
he left the cottage, and I decided to go upstairs

(01:29:15):
and have a look about his room. I had to
find out what he carried in his one piece of luggage.
It wasn't a bag.

Speaker 17 (01:29:24):
It was more like a case.

Speaker 12 (01:29:27):
Yes, yes, a case, a case for a knife. I
rushed upstairs, my heart beating wildly the thought I'd had
of the case. No, no, there wasn't anything in his cottage.
I went over to the chest of drawers against the wall.

(01:29:48):
Nothing in the top one. In the next one there
was just some socks and some underclothes. The next one
was empty. There was only one other place for the small,
narrow case, a bottom door, and it was locked. I
pulled and pulled at it, and then suddenly I had
the front door open.

Speaker 17 (01:30:08):
Downstairs.

Speaker 12 (01:30:12):
I rushed out of the room and down the hall.

Speaker 9 (01:30:16):
Here.

Speaker 12 (01:30:17):
Oh, thank heaven, Oh oh, good to see you. It's
so good to be home. Why whatever's the matter?

Speaker 3 (01:30:24):
Yes, you're quite white early.

Speaker 12 (01:30:26):
Oh I it's it's I'm mother, mo lot. I'm all right.
It's just that I wasn't expecting you so soon, and
it's good to be back. It's all right, But there's
nothing like London now we still Oh no, no.

Speaker 7 (01:30:39):
No, that isn't well.

Speaker 44 (01:30:41):
As long as that avengers about, you're going to have
something to do to keep this young lady indoors London.

Speaker 12 (01:30:46):
Or no, don't you worry.

Speaker 49 (01:30:48):
Mother will see to that.

Speaker 12 (01:30:49):
Oh well, Daisy, I might as well get your settled.
You can say, father, what did I tell you to
have a dust cloth in my hand for I and
my cop.

Speaker 14 (01:31:01):
Mister South Why is my door open?

Speaker 1 (01:31:06):
We were just leaving, sir.

Speaker 14 (01:31:08):
Have you been in my room?

Speaker 50 (01:31:09):
Oh?

Speaker 12 (01:31:10):
Oh, not at all, not at all, sir.

Speaker 25 (01:31:13):
From now, Missus Bunting, I shall keep my room locked.

Speaker 12 (01:31:17):
But you see, so I was just tidying up a bit,
and mister Bunting he brought our daughter home. She just arrived.
This is daisy place to meet you, sir.

Speaker 44 (01:31:29):
She's been away for quite a while. That's why we're
a bit excited, you might, sir. You were probably surprised
to hear us laughing and carrying off.

Speaker 14 (01:31:37):
Yes, yes, I must say I was.

Speaker 2 (01:31:39):
I was.

Speaker 25 (01:31:40):
But then there are different kinds of joy they're.

Speaker 12 (01:31:45):
Not, Daisy, Yes, and I'm sure there are.

Speaker 14 (01:31:48):
Yes. There is the despicable evil joy of the abandoned,
and then there is the divine happiness of the blessed.
That's a great difference. You understand that, Daisy, don't you?

Speaker 12 (01:32:03):
Why? Yes, sir, Yes, mister Sluth, good.

Speaker 14 (01:32:07):
Dear, there are so few young women nowadays who.

Speaker 12 (01:32:10):
Do I'm mister Slouth. You mean a girl's not to
enjoy life at all, not to have any.

Speaker 14 (01:32:16):
Fun, enjoyment and fun, my child, how the devil's breeding ground.
All his implements are there, pleasure and impropriety, the temptation
of music. Dancing.

Speaker 12 (01:32:28):
Ah, that's crazy. Why there's nothing I like better than dancing?

Speaker 14 (01:32:31):
And I'm not you like to dance.

Speaker 12 (01:32:33):
It's what she was saying, mister Slouth. She's just a child, Daisy.
You know you've never been one for dancing. You've never
learned heart? You did learn, mother, and I was away?
What's so wrong about it? What's the harm in dancing?

Speaker 14 (01:32:48):
It says, she lies in wait as for a prey
and increases the transgresses among men.

Speaker 12 (01:32:54):
I don't know what you mean. I've never heard such answer.

Speaker 14 (01:32:57):
Nonsense you call a scripture answer?

Speaker 12 (01:33:00):
Jay Z, jay Zy, go into the front room, all right,
missus banty, that's all right.

Speaker 14 (01:33:06):
I'm used to that kind of talk. Good day, jay Z.

Speaker 12 (01:33:19):
Yes, Daisy listened to me. What mother, I've got to
tell you about about?

Speaker 21 (01:33:26):
What?

Speaker 7 (01:33:27):
Oh?

Speaker 12 (01:33:28):
Nothing, nothing. I've got to go out for a while now,
I'll be back.

Speaker 7 (01:33:41):
For a moment.

Speaker 12 (01:33:42):
I was about to tell her my awful suspicions that
I stopped. They were only suspicions. At the same time,
I had a thought i'd go to the coroner's inquest
they were having for the Avenger's latest victim. I was
hoping to hear something said. It could clear my suspicions
of the lodger. At least I'd give him this last chance.

(01:34:10):
A lady was testifying as I took my seat. She'd
seen the Avenger from her window, she said, and her
description of him didn't tell it with mister stupor tall. Oh,
I can't tell you how ilaved I was till it
was pointed out she couldn't possibly have seen anyone that
night from her window because of the farm. Then the

(01:34:37):
next witness was a mister Cannot. I leaned forward anxiously
as they swore him in and began asking questions.

Speaker 44 (01:34:45):
You say, mister Kenny, you're positive that you saw this
man positive? It was only a few moments before the
mouth I saw the Avenger and described it well.

Speaker 7 (01:34:57):
He wore a black cape.

Speaker 3 (01:34:58):
I believe it was very good looking, and was carrying
a small.

Speaker 1 (01:35:02):
Handbag, A hand ben. Yes, a small narrow.

Speaker 3 (01:35:05):
Handbag, such a one as it might contain a knife.

Speaker 44 (01:35:16):
He had a low, hesitating voice, i'd say, with something
of a comment accent.

Speaker 3 (01:35:22):
An educated man, i'd judge, but quite mad.

Speaker 2 (01:35:25):
And what you mean by that?

Speaker 12 (01:35:27):
Well? As he emerged from the fog, he was talking
aloud to himself. Don't believe me, sir, he was reciting
scriptures from the back. Oh no, he's he's turn. Could
there be any doubt about it?

Speaker 1 (01:35:42):
Now?

Speaker 12 (01:35:43):
Mister Boos are larger he was the murderers. I got
out of the court froom as quickly as I could.
I didn't even notice it had started to rain. I
hardly remember going home, running and walking somehow while the

(01:36:04):
nightmare of fear and terror grew bigger and bigger inside me.
It was three streets from our cottage that I saw
my husband, Robert. One thought h'd be clearly. I realized,
Daisy must be home alone with the avenger, dunting, honey,
what is it someting?

Speaker 14 (01:36:25):
Where's Daisy?

Speaker 12 (01:36:26):
Where is she? Where's Daisy at home?

Speaker 17 (01:36:28):
Listen?

Speaker 12 (01:36:29):
Listen somehing, listen, sooths Sleuth is the avenger?

Speaker 30 (01:36:32):
What what are you saying?

Speaker 35 (01:36:34):
Larger?

Speaker 43 (01:36:35):
He's the avenger, Daisy is alone where they're right.

Speaker 14 (01:36:38):
Now, Hurry, hurry, I listen to me carefully, my child,
and rejoice with me in your heart, for the moment
is at hand.

Speaker 24 (01:36:56):
And you're not.

Speaker 14 (01:36:58):
Afraid, Daisy, are you?

Speaker 12 (01:37:00):
No, I'm not afraid.

Speaker 14 (01:37:02):
You're very beautiful and and you should live in ways
of righteousness. You hear me, Daisy. You want to live
in a ways of righteousness, don't you?

Speaker 12 (01:37:13):
Yes, yes, I do.

Speaker 24 (01:37:15):
I know you do.

Speaker 14 (01:37:16):
I I know, And and that is why I've been
sent to purge your soul so that you will be
elevated beyond alls in evil. You like to dance, Daisy,
don't you? Already Six have gone on before you, and
they are beyond all sin and evil. You are the
seventh to be elevated, my child, and my work is

(01:37:39):
almost done for the seventh. I've promised a disappointed hour.

Speaker 51 (01:37:44):
Be still gazy, and don't listen to the temptations of
the crowd when he call out your name, because I
am here to save you from all evil and wickedness
that consumes you like a wildfire of scarlet and crimson.

Speaker 14 (01:38:05):
You like to dance, don't you.

Speaker 1 (01:38:09):
Look at me, my child?

Speaker 52 (01:38:11):
Look at me, and don't fear me, and do not
tremble woo to them that call evil good and good evil,
and put darkness for light and light for darkness.

Speaker 14 (01:38:23):
And therefore I must bring.

Speaker 1 (01:38:25):
You down like the lamb to slaughter.

Speaker 37 (01:38:29):
And now I lift my hands with.

Speaker 53 (01:38:32):
A flaming sword, for now comes to vengeance and the
time to enjoy.

Speaker 35 (01:38:44):
Like you, you're safe that if.

Speaker 7 (01:38:50):
You'll take away your hands, let go of me, get away.

Speaker 54 (01:38:59):
You know that's such that if for death to death
and such that off for a sword to the sword,
and no one, no one dared to have pity on him.

Speaker 12 (01:39:14):
Desis mercy. He fell on the knife.

Speaker 14 (01:39:27):
Yes, and he's burning. It is burning me like a fire. Oh, it.

Speaker 26 (01:39:36):
Purges me, and it consumes me, all seen and evil
falling away. Praise, praise, and glory, for it is I
who is the seventh is the vengeance.

Speaker 7 (01:39:59):
Is full old.

Speaker 42 (01:40:30):
Eight week for makers of camel cigarettes and free camels
the servicemen's hospitals from coast to coast. This week, the
camel's go to Veterans Hospital, Jefferson Barracks, Messerra, US Army,
Letterman General Hospital, San Francisco, California, US Naval Hospital, Charleston
South Carolina, US Marine Hospital, Ellis Island, New York Veterans Hospital, Fort.

Speaker 39 (01:40:48):
Meade, South Dakota. Yes, everywhere, more folks are smoking camels.
Many of those camel smokers are doctors.

Speaker 55 (01:40:55):
You know.

Speaker 39 (01:40:56):
Three leading independent research organizations asked one hundred and thirteen thousand,
five ninety seven doctors, what cigarette do you smoke?

Speaker 29 (01:41:03):
Doctor?

Speaker 39 (01:41:04):
The brand name most was Camel.

Speaker 48 (01:41:07):
According to a nationwide survey, more doctors more Camel's than
any other cigarette.

Speaker 40 (01:41:23):
Next week, Mystery in the Air, starring mister Peter Laurie,
brings you one of the world's great stories of the
strange and unusual, The Horror by Demopo song with a
special musical score composed and conducted by Paul Baron.

Speaker 48 (01:41:58):
Hey there, mister pipe's do you know that more pipes
smoked Prince Albert than any other tobacco? Well, it's true,
so why don't you give pa a try. Prince Albert
is specially made for smoking pleasure. It's choice tobacco, specially
treated to ensure against tongue bite, crim cut to burn, slow,
smoke cool. See if the extra rich, full flavor of

(01:42:19):
Prince Albert doesn't give you added interest in your pipe
be sure to listen to Prince Albert's Grand Ole Opry
Saturday Night for a half hour of folk music and
laughter with Red Foley, Minnie Pearl, Rod Brassfield and the
rest of the Opry gang, and as Red special guest.
This week you'll hear Salty Holmes. Remember Prince Albert's Grand
Old Opry Saturday Night over MBC. Listen again next week

(01:43:04):
at this same time when the makers of Camel's Cigarettes
present mister Peter Laurie in Mystery in the Air. Next
week's play will be The Horlor by De Mopisson. The
artists supporting mister Laurie tonight were Agnes Moorehead as Ellen,
Henry Morgan as the Voice of Mystery, Barbara Eiler as Daisy,

(01:43:25):
Eric Snowden as Bunting, Raymond Lawrence as the Inspector, Ralph
see Dan as the Witness, and Conrad Binyon as the
newsboy and on behalf of mister Laurie in the entire cast.
Our sincere thanks to Agnes Moorehead for her great portrayal
of Ellen Bunting. This is Michael Roy in Hollywood, wishing

(01:43:56):
you all a pleasant good night for Camel's.

Speaker 37 (01:44:13):
This is NBC, the National Broadcasting Company.

Speaker 29 (01:44:18):
And now the Mullay Mystery Theater presented by m O.

Speaker 2 (01:44:22):
L L. E.

Speaker 29 (01:44:25):
Pay the heavy your brushless shading cream for tough whiskers
or a tender skin.

Speaker 2 (01:44:48):
What's your name?

Speaker 29 (01:44:49):
This is jeffrew Burn welcoming you to the Molay Mystery Theater,
the program that presents the best in mystery and detective fiction.
Story by Paul Monash entitled The Four Fatal Jugglers and
Tarrying Allan Hewett has its own peculiar prescription for mystery.
The ingredients will take poor people mixed together lightly in

(01:45:14):
an isolated place, and a dash or two of mutual hatred.

Speaker 2 (01:45:18):
Let them juggle that hatred.

Speaker 29 (01:45:19):
Back and forth until it erupts into murder, and you
have the four Fatal Jugglers. Wellness upon setting the stage
for murder. Four fatal Jugglers. That makes me shiver to
think of it, just as I shiver a bit the
think of a fellow all set the shave, tough whiskers
or a tender skin without molay. Yes, when you start

(01:45:39):
juggling that racer in the morning, you want molay because.

Speaker 2 (01:45:46):
It's it's the.

Speaker 29 (01:45:49):
Ful, slick slake shave you get with m l L
Molly the heavier brushless shading cream for tough whiskers or
a tender skin.

Speaker 2 (01:46:00):
Try it Molly.

Speaker 29 (01:46:03):
Now for the night's Molle mystery, The Four Fatal Jugglers
starring Helen Hewett. Yeah, yeah, Dave say, I'd like to

(01:46:31):
have a talk with you. Got a moment to spare
seven in my office. I got something to show you.

Speaker 2 (01:46:41):
Where.

Speaker 29 (01:46:41):
Don't tell you mine? Good, Come on in close the.

Speaker 2 (01:46:44):
Dog, take a look at what I've got for you. Well,
what do you know?

Speaker 29 (01:46:51):
The papers with the Mendoza and bronc. That's that day.
I worked on this day and night, and now we're
ready to take it in the cart. That's for your
job begins the court room, the press, the admirer, the glory. Oh,
you're not gonna start in on that again. I got
not on what an all song and hands about me
getting all the glory in this partnership.

Speaker 2 (01:47:07):
He being Dave Cooplan, Brigian's young attorney.

Speaker 29 (01:47:10):
Why you were those tears? When you think of it,
you're shitting here in your office, working, working, working, the
brains behind the mouth my voice.

Speaker 2 (01:47:17):
Something's eating you.

Speaker 29 (01:47:18):
You were born with I am some face, a quick
tongue and a well developed Laryxie. Well I have other gifts.
Good lord, Dave, what's wrong with you? Nothing? Nothing at all,
and stop working at me as if you hate me.

Speaker 2 (01:47:29):
I hate you.

Speaker 29 (01:47:31):
Why do you always insist on twitting things about less
and Dave? We've been partners for ten years. I like you,
and I flatter myself that you like me. It's just
about we both had problems with me. It's been Lydia. Yes,
I know that she's been insisting on a divorce. She
says she's in love with someone else.

Speaker 2 (01:47:47):
It's cruel.

Speaker 29 (01:47:47):
It hurts to hear someone you're mad about say that.

Speaker 16 (01:47:49):
Yeah, sure, I know.

Speaker 29 (01:47:50):
And Dave, I've got a confession to make. Confession about
six months ago, when Lydia first began to talk divorce,
I hired a detective. What's another day, nothing's a manute.
Well here's the concession, Dave, and it's a nasty one.
That detective told me you were the man Lydia was.

Speaker 2 (01:48:07):
In love with me.

Speaker 29 (01:48:08):
I knew it was impossible. You're married, you have a
wonderful wife, a great boy. You're not the kind of
a guy who would do his friend dirt. When the
detective told me, my first reaction. Never mind that day,
that's all water under the bridge. What do you mean
water under the bridge?

Speaker 2 (01:48:22):
If you suspect me of.

Speaker 29 (01:48:23):
Having anything to do, you know I told you I
don't think anything of the kind. Oh, Lyddya is attractive
and all that, But well, my friend, Dave, you're my partner. Look,
I'm about a drink.

Speaker 16 (01:48:33):
No, no, thanks, no, no, what day I'm looking?

Speaker 29 (01:48:37):
Are we friends? Of course we then friends quarrel, but
essentially friends agree. We've been close for a long time, Dave,
and I want us to stay that way. So here's
an idea. You know my place on the lake, and
I've heard you talk about it. I'm going up there
this afternoon for the weekend. Lyddia has got things to
do in town, and I thought it would be a
good idea for you to come along. Well, I think
of it an island right smack in the middle of
a lake, complete isolation. The ducks will be flying over

(01:48:59):
this time of We come down and dozens, But I
don't have any stuff here. I can say, oh, you
go home now, and I'll drive by and pick you
up and say two hours at five, where's that?

Speaker 2 (01:49:07):
You don't even give a guy? Got there?

Speaker 29 (01:49:08):
By seven thirty, cook ourselves a nice dinner. The life.
I guess I might as well. That's the boy day.
If you'll love it, I give you my word, you'll
never want to get off the island. Yeah, well this

(01:49:43):
is Gordon, Gordon Penrose, your brother in law.

Speaker 2 (01:49:47):
What do you want.

Speaker 29 (01:49:47):
I want to have a talk with you, Bob, good
long talk.

Speaker 2 (01:49:49):
Well it's got anything to do with my sister.

Speaker 29 (01:49:51):
Want to get the voice you can say back about
I want to have a mind side of the story. Bottles.
You'd only listen.

Speaker 2 (01:49:57):
Listen, Yeah, listen, I listened to you lie about then
with the money and Lydia's transport.

Speaker 29 (01:50:01):
What do you mean I've been checking in the handling
a lot of corn.

Speaker 2 (01:50:04):
I should say, you're miss Handley.

Speaker 29 (01:50:06):
Well, you're nothing better than the common thief.

Speaker 2 (01:50:08):
I'm gonna say that they put your way.

Speaker 30 (01:50:10):
Bob.

Speaker 29 (01:50:11):
Please, there's a lot to explain, more than I can
say over the phone. But Bob, I've got a suggest
you to make. I want you to come up to
my place on the island this weekend.

Speaker 2 (01:50:18):
This weekend.

Speaker 29 (01:50:19):
My partner, Dave Copeland, he's going to be there, but
he won't be in the way for long.

Speaker 2 (01:50:24):
Why don't we just get together in car.

Speaker 29 (01:50:25):
Oh, this way we can do some other things, a
little hunting, for instance, or what well for ducks? Ostensibly ostensibly?
Did I say ostensibly? I meant obviously obviously, then your

(01:50:51):
beloved husband, do remember, Lydia, the man you sometimes see
coming and going in your apartment, or at least one
of the men are very Fanny Garden? Just what are
you doing? I just want to give you the good
news that I'll be away this weekend. I'm on a
verge I thought you would be. I'm not deserting you, however,
just going up to the island for the weekend with
a couple of people you know who interested well, one

(01:51:11):
of them is your dear brother Bob, and the other
no one other than say what rhymes with other lover, yes, lover, nothing, nothing.
I was just going to mention that I'm also taking
up Dave Copeland. Dave, he's never been up there, has he?
You and your stilthy mind, trained legal mind, My dear,
We're gonna have a cozy time, all three of us
sitting around the fire, going out hunting. Honey, certainly ducks

(01:51:34):
things like that, No, I know, Lydia, you don't think, oh, Lydia,
no good, I know we rapid eye are your own husband? Yeah,

(01:52:08):
say that, this is Lydia.

Speaker 21 (01:52:09):
I know.

Speaker 29 (01:52:10):
I just welcome to Gordon, Oh my dear partner. He
told me you're going up to the island with him, Dave.
You mustn't go. You can't go up there with him.

Speaker 2 (01:52:17):
Why shouldn't I go?

Speaker 29 (01:52:18):
Because he hates you and I hate him too, So
if I can't just a second, Lydia, I told you
before our little affair is over, I can't have you
interfering in everything I do.

Speaker 2 (01:52:29):
I'm sorry, you know, I've got a family to think of.
I'll forget it. I'll be okay.

Speaker 29 (01:52:34):
Ready.

Speaker 55 (01:52:34):
He once told me that if he ever wanted to
commit a murder of hunting accident, say the way.

Speaker 7 (01:52:38):
He do it.

Speaker 2 (01:52:39):
Oh, just calm yourself, Vida.

Speaker 11 (01:52:42):
I think to think through think through.

Speaker 2 (01:52:46):
Hunting. You know, a thing like that can work both ways.

Speaker 29 (01:52:51):
Can wait a minute, I'm coming, Lydia. What in the
world have I had to come? I'll come in sis.

Speaker 2 (01:53:15):
Now, what's up?

Speaker 29 (01:53:16):
So I can just tell me you're going up to
the island with him? Yeah, that's right, and uh, Dave
Copeland's coming along too. I'm expecting the many minutes. You
can't let them go this. I want to ask you something,
yes about Dave Copeland. I know you're in love with him. Well, oh,
I get around and hear things. But I also heard
something else which disturbs me.

Speaker 2 (01:53:35):
What I heard that Dave Copeland has been just kidding
you along.

Speaker 29 (01:53:39):
It's a lie. I heard it from someone I tried.
I don't care where you heard it.

Speaker 2 (01:53:42):
It's not true.

Speaker 29 (01:53:43):
I hope you're right because you're my sister and the
way I feel right now, my god, let's not talk
about it.

Speaker 2 (01:53:49):
Then it is true.

Speaker 29 (01:53:49):
No, no, I don't care what's true or what isn't true.
Just don't let them go there.

Speaker 2 (01:53:55):
Don't let them go.

Speaker 29 (01:53:56):
Why not because Gordon he wants to.

Speaker 55 (01:53:58):
Use hunting as an excuse, a blind to kill someone.

Speaker 29 (01:54:01):
I thought he made that quite evident. Why he might
even want to kill me you, but don't worry about
me that thing hunting It works both ways.

Speaker 12 (01:54:10):
That's what he said.

Speaker 29 (01:54:11):
He who good? Now, yes, please, I'm so confused. Just
promise me you won't come, but you'll stop things from
going nonsense, Lydia, I wouldn't do that for anything, after all,
A chance like this comes only once in a lifetime

(01:54:42):
and sold the streets. That was one of four peaceful
jugglers who I can think of pleasanter situations than being
on that island with three potential killers. Now say, and
so can I, mister vines A pleasant shave with Moley.
Now that's the situation that I want listeners to arraigne
for themselves, because Molay is the heavier brushly shaving cream

(01:55:04):
for tough whiskers or a tender skin. Because Molay is heavier,
it not only softens your whiskers, it stands them up
straight while your razor cuts them off close and clean.
With Molay, you shave faster, closer, easier, and you shave painlessly.

Speaker 2 (01:55:20):
Try it.

Speaker 29 (01:55:21):
See if you don't say it's smooth, so smooth.

Speaker 2 (01:55:25):
It's slick.

Speaker 29 (01:55:28):
It's a small, smooth, flick flake shave. You're gaming with
M L L. Molay, the heavier brushly shaving cream for
tough whiskers or a tender skin. And now this is
just free barns returning you to heck two of the
four fatal jugglers.

Speaker 2 (01:56:00):
Perfect drive up to the island. That's wonderful scenery.

Speaker 29 (01:56:03):
Yeah, what you can see of it? Why don't you
slow down? God, I'm not going so fast. The little
of a sixty, that's all. I generally get it up
around sixty five or seventy along here crying out loud, God,
what's eating you? You're taking these curves on two wheels.
You always want to give up the gas going around curves.
Get that attraction that we're never mind that slowed down
with him?

Speaker 2 (01:56:20):
Yeah, this is getting me.

Speaker 29 (01:56:21):
We want to get there by dark. I hate to
drive at the dark. Keep this up and you won't
have a chance to.

Speaker 2 (01:56:26):
Go out and have a heart.

Speaker 29 (01:56:27):
Take it easy, My nerds are getting shot. Slow down,
will you before you get as all killed?

Speaker 2 (01:56:30):
Get your killed? You.

Speaker 29 (01:56:32):
Bob my own brother in law, and Dave, my partner
and best friend in the world. Now, why would I
want to do a thing like that?

Speaker 56 (01:56:43):
Well, this is that we made it a good time miracle.

Speaker 29 (01:56:55):
That's the landing. See the island out there at them,
only one hundred yards out, but really isolated. Yeah, boys,
that's right down the path here. Always then that how
we get out to the islands in that Rob book, No,

(01:57:16):
not exactly, Dave. We use the canoe. The rowboat belongs
to some other people.

Speaker 2 (01:57:20):
I can't go in the canoe. Why not?

Speaker 29 (01:57:22):
You know I can't swim. Those things can go over.
You know I'm a good swimmer. Just sit in the
middle of the boat and nothing will happen, all right, Bob,
I guess something, but I don't. Even if it does
go over, I can rescue you can't. I. Well, why

(01:57:44):
don't you guys get settled now? You can bunk in
there and I'll take the cat out here. You're not
going to be comfortable on that ah, sure I am.
When I even sleep on the floor sometimes I like
to rub it. How about you, Bob?

Speaker 2 (01:57:54):
I think you like it here?

Speaker 29 (01:57:55):
It looks all right.

Speaker 2 (01:57:56):
Well I'll go on.

Speaker 29 (01:57:56):
You guys throw away your stuff and I'll accept something
to eat, something to eat? For sure. We gotta eat,
don't we. I'm so hungry. I could eat a horse.
How about you, Dave? I could eat, I guess, but
sig going let me rush up the grub man. Uh no, Dave,
let's make that my job. What do you say You
guys haven't never had any of my cooking. I'll make
you some grub that you'll never forget. Gordon, I'm the
best bachelor cook you ever, So just let me handle

(01:58:18):
let skill on a bob. I've had ten years watching
my wife in the kitchen. I'd like to see what
I learned. I have no experimenting on as I'm the host.
It's only fair that I should labor over this hot
kerosene stove. Why you guys are really casting a horrible
reflection on my cooking. The way you act, one would
think you're afraid you couldn't survive Itus. Dave, come on

(01:58:47):
outside a minute, will you look for I want to
talk to you. Come on, okay, man, I think I
know what's on your mind. You think so, Yes, you
want to form a defensive alliance against Gordon. You feel
the way I do, that Gordon has some purpose in
bring us up here. I don't know what he is

(01:59:09):
against me, this strange guy, but I know you're Olivia's brother,
and perhaps he blames you for the divorce. Oh sure,
if he doesn't blame you, that is what do you mean?

Speaker 2 (01:59:18):
Skip it? Day?

Speaker 29 (01:59:20):
I know you've been going around with my sister. I
don't bother to deny it. The only thing I want
to know is what are you going to do about her?

Speaker 2 (01:59:26):
Do about her?

Speaker 29 (01:59:27):
What do you expect me to do she's getting a divorce,
she's setting herself free.

Speaker 2 (01:59:31):
What about you?

Speaker 29 (01:59:32):
Now, Listen, bo, I don't see where this is any
of your business.

Speaker 2 (01:59:35):
I'm aware of all that.

Speaker 29 (01:59:37):
But I'm a few years older than Lydia, and I've
been taking care of my sister for quite some time.
She's giving up a lot because she thinks she loves you.
What about you?

Speaker 2 (01:59:45):
I don't have to.

Speaker 29 (01:59:46):
Discuss this with you, all right. I think it made
yourself clear. I'm going to turn in soon. I'd like
to be kind of fresh and steady when we go
hunting tomorrow. Then I said, stop, wait a second step it.

Speaker 2 (02:00:01):
God the devil day? Who's that? Good Lord?

Speaker 29 (02:00:10):
I had to come, Dave. I had to stop you
stop me, I'm getting killed. I render the car and
drove up here. There was a roboat of the landing.
Were you just take that rowboat and get off the island?

Speaker 2 (02:00:18):
No?

Speaker 57 (02:00:18):
I can't.

Speaker 29 (02:00:19):
I won't go unless you come with me. And if
you love me, I don't love you.

Speaker 2 (02:00:23):
I thought I made that pretty clear.

Speaker 49 (02:00:25):
I've been a fool.

Speaker 29 (02:00:26):
I haven't died. You were just a little bored with
your marriage, so are you, and so we got together.
But good Lord, why does it have to be blown
up into some great Shakespearean tragedy. Why can't we just
let the whole thing be finished?

Speaker 2 (02:00:38):
Because I'm in love.

Speaker 29 (02:00:39):
With you, Dave.

Speaker 2 (02:00:40):
I was, well, that's fine, you were.

Speaker 29 (02:00:43):
Now you're not. Why don't we just be friends? Surely
we've got the basis of a friendship. Friendship. Do you
think I would have a like you? No, you just
don't understand. Do you please forget it?

Speaker 2 (02:00:56):
Can't you?

Speaker 7 (02:00:57):
No?

Speaker 57 (02:00:57):
I can't.

Speaker 29 (02:00:58):
You don't know me, you never have because you're all
so concerned with yourself.

Speaker 55 (02:01:02):
No, no, I'm going to make you.

Speaker 29 (02:01:05):
As unhappy as you're making me at this momentary. I'm
going to make you pay for this sound like something
out of a cheap novel. Cheap.

Speaker 12 (02:01:13):
I'm going to make you look cheap.

Speaker 29 (02:01:15):
I'm going to make you so miserable you'll wish it. God,
don't stop a Mica. I like to see your love
us quarrel. Do tell him the rest, Tell him you'll
make him wish he'd never have been bored. God, and listen,
shut up you, my friend. Go on, dear wife, finish
your farewell address. You mustn't let me interrupt you. I

(02:01:35):
never have so no, no, no, I hate men, all
of you. Oh no, let's not go to extremes. They
are good and bad in every sex. I always said, yes, tis,
I got a peculiar sense of humor. What the devil is, Ridia?
What in the name your sister decided to pay us
a little visit? Very thoughtful of her, Lydia. I don't
know why you've come here, but go back to the city, now,
do you hear? Oh, yes, I hear, but I'm not going.

(02:01:57):
I'm quite right you are, my dear. We'll put you
up in the bar frum and Bob and Dave and
I can sleep in the main run. You're being here
with us, couldn't liven what might possibly, but not probably
have been a dull weekend. Ah, yes, Lydia, Now that
I think of it, I'm very glad you came.

Speaker 58 (02:02:29):
Oh lord, hey, you guys, wake up, Come on, come on,
get up.

Speaker 29 (02:02:41):
Yeah, five o'clark, Come on, Dave.

Speaker 2 (02:02:45):
Let me sleep to cool.

Speaker 29 (02:02:48):
Still feel better in a few minutes. I want to
bag a few ducks, don't you. Okay, come Bob off
and on him on stiff as a bullet. Now we're
gonna find expining of us. You don't want to miss
any of us.

Speaker 2 (02:03:02):
That's right, I don't. And what time is it? Five o'clock? Hannah,
I'm gonna get Lidia.

Speaker 29 (02:03:08):
What for I want to get her out of here.
Oh I can do that when we come back from Honting. No,
I want to get her out of here right now, Lydia,
Lydia gotter. Let us sleep. You must be all knocked out.
Let us sleep, Hannah, Lydia, It's it's time.

Speaker 2 (02:03:26):
To get Vida. This is Jeffrey Barnes again, and just a.

Speaker 29 (02:03:47):
Moment will bring you at three of the four feafol jugglers.
The words from George put them. One thing to remember
about the most common type of danger is that many
outstanding authorities say it is not a natural condition but
actually is caused by a germ called pity ross borum
a valley. Now, the only way you can get real
relief is to destroy this germ, and simply washing or

(02:04:09):
brushing away loose dandruff won't do it.

Speaker 2 (02:04:11):
But double danderine will. Yes, double dandurene.

Speaker 29 (02:04:14):
Really works because it gets the cause of this dandriff
and kills it actually kills the germ.

Speaker 1 (02:04:19):
On contact.

Speaker 29 (02:04:20):
Results with double danderine have been remarkable, even in many
stubborn cases. And the thing that makes double danderine so
amazingly effective is a special ingredient, an active at aseptic
that's so wonderfully efficient many hospitals use it in double danderine.

Speaker 2 (02:04:33):
We call it al zam.

Speaker 29 (02:04:35):
So stop trying to combat this dandriff with ineffective methods
that actually are no better than plain water. Use double
danderine and destroy the cause. Get double danderine tomorrow, your
money back if not satisfied. Instead, my sister, Oh god,

(02:05:03):
the knife right through her back. She must have been sleeping.
You ought to know, Gordon, what do you mean by that? Dave?

Speaker 2 (02:05:11):
That's your knife, isn't it?

Speaker 29 (02:05:12):
Because it's my knife? But don't be absurd. I didn't
kill her, But you don't think I killed her? Well, Gordon,
didn't you?

Speaker 7 (02:05:19):
No?

Speaker 33 (02:05:19):
I smart?

Speaker 29 (02:05:20):
Why said I?

Speaker 2 (02:05:21):
Why? All right?

Speaker 29 (02:05:24):
I know what you're about thinking. No, you don't good.
I'm going for the police. If you stay here with her,
I'll go across the lake. No, you all you think
you're going to let you make a getaway. I'm trying
to make a get away. Dave. One of the two
of you killed her. Just stay where you are.

Speaker 2 (02:05:36):
Why the devil. Did you get that revolver?

Speaker 29 (02:05:38):
I brought it up with me just in case you're
not going to keep me here, Dave, not a victim
to your tender messes. I'm going for the police. If
you want to come with me, fine, If not, stay here.
You know I can't swim. You know I can't go
in that canoe with you as a robult. Come on
if you want, Gordon, I warn you, don't take another
step out.

Speaker 33 (02:05:54):
Don't be mello.

Speaker 29 (02:05:55):
If all right, Gordon, you are for now, I'm crazy, gotten, gotten.

Speaker 2 (02:06:09):
Day you killed him? Bob.

Speaker 29 (02:06:14):
You saw he was trying to get away, and I saw, Uh,
we better get out of.

Speaker 2 (02:06:22):
Here, Off off this island.

Speaker 29 (02:06:24):
We'll have to go to the fleece. You will back
me up, Dave.

Speaker 2 (02:06:29):
Put the gun away?

Speaker 29 (02:06:30):
Oh yeah sure, But Bob, you will tell them just
what happened. Yeah, you can depend on me. I'll let
them now everything.

Speaker 1 (02:06:49):
Oh no, there it is.

Speaker 29 (02:06:50):
We're floating out there, saying near the other shore. Must
have gotten loose.

Speaker 2 (02:06:54):
She probably didn't tie it tightly.

Speaker 29 (02:06:57):
Yeah, poling here, Why don't have to use the canoe?
Couldn't you swim out and get the robe books and
waste all that time? You just get up in front
and the bow and sit study. We'll be okay, all right, okay, okay,
we'll go. Bob, I had to shoot him, you know

(02:07:23):
that court you I'd have done the same thing i'd
been You're sure you would. He was getting away.

Speaker 2 (02:07:31):
Call the police, that's what he said. We can imagine
him calling the police after.

Speaker 29 (02:07:38):
After what after he killed her? But he didn't kill her.
What I said, He didn't kill her but then.

Speaker 2 (02:07:50):
And that means you did.

Speaker 29 (02:07:52):
Oh no, it means you did.

Speaker 2 (02:07:56):
You're kidding?

Speaker 29 (02:07:57):
Answer, would I care about my sister's murder?

Speaker 7 (02:08:00):
No?

Speaker 29 (02:08:01):
You got up in the middle of the night while
we were sleeping. It was easy to take Gordan's knife. Ah,
I see you still have the revolver. Yes, and I
wouldn't miss at about eight feet. Funny, you'll hold it
in your left hand.

Speaker 2 (02:08:16):
So what I'm left handed? Silly thing to be talking
about at a time like this.

Speaker 29 (02:08:21):
Not so silly. You see, if you'll consider the position
of my sister's bed in that room and the direction
of the stab wound, you'd know that she was stabbed
by a left.

Speaker 30 (02:08:30):
Handed man.

Speaker 2 (02:08:34):
Very deep.

Speaker 29 (02:08:36):
And you figure it out all by yourself. Only you're
not going to be able to tell anyone else.

Speaker 2 (02:08:42):
You're not going to shoot me.

Speaker 29 (02:08:43):
You think nothing now you can't because if you shoot me,
I'll topple over. I'll capsize the canoe and you can't swim, Dave.
You can't swim and you don't want to drown. That's
a pretty horrible way of dying. So now give me
the gun. Just throw it on the bottom. I'm gonna
lock the canoe, Dave a little more each time, and
if you don't throw the gun by the time I
count five, I'm gonna turn it over. One.

Speaker 2 (02:09:06):
Cut it out true today, Bob, you're wrong.

Speaker 29 (02:09:11):
Three gonna go. Dave, don't let me drowned. Please say
sum it?

Speaker 2 (02:09:16):
Or after?

Speaker 29 (02:09:16):
Did Dave call me the gun?

Speaker 1 (02:09:18):
Call me the gun?

Speaker 2 (02:09:20):
Here?

Speaker 21 (02:09:20):
Take it?

Speaker 2 (02:09:23):
That's it day.

Speaker 29 (02:09:25):
It's showing good sense like you. More strokes and we'll
be on the beach. Bob, listener, shut up, I get up,
go on, get up, club.

Speaker 2 (02:09:44):
You've got to take my work quiet.

Speaker 29 (02:09:45):
I'm not interest.

Speaker 1 (02:09:47):
You know.

Speaker 2 (02:09:47):
You had me scared out there, scared.

Speaker 29 (02:09:50):
I thought I'd never lived to see you burn for
killing Lidia and Gordon. But I bluffed you Dave buss
me when I rocked the canoe. You see, I don't
know how to swim either. This is Jeffrey Barnes again

(02:10:20):
bringing down the final curtains tonight's Mystery Theater presentation of
Paul Monash's The Four Fatal Jugglers. Be with us next
week to hear a story entitled Check Number D one
thirty one. The original music for the Mystery Theater was
composed and conducted by Alexander Sember. Alan Hewett was starred

(02:10:44):
and John Sylvester, Charlotte Manson and Grant Richard's features. Any
resemblance between the names and characters used on Mystery Theater
and any actual persons living or dead is purely coincidental.
Well maybe you haven't thought about it, but when you're

(02:11:21):
too tired, you get depressed, apprehensive. You have two strikes
on you from the start. Now, if you're often that
tired and pale, besides, your doctor may find you have
a borderline anemia resulting from a ferronutritional blood deficiency. In
that case, take ironize yeast tablets. They help build up
your strength by building up your red blood cells. So

(02:11:41):
take ironized east tablets to get back your energy, your enthusiasm,
your healthy color, ask for ironized yeast tablets. A novice
is dan Seymour again, saying goodnight and inviting you to
be with us again next week at this same time,
when the Mystery Theater.

Speaker 2 (02:12:01):
Present check number.

Speaker 29 (02:12:03):
B one thirty one. This is NBC, the National Broadcasting Company.

Speaker 59 (02:12:17):
Rank Sinatra transcribed as Rocky Fortune, Rank Sinatra, starring as

(02:12:41):
that footloos and fancy free young gentleman, Rocky Fortune.

Speaker 29 (02:13:07):
Time.

Speaker 59 (02:13:08):
Well, I landed myself a new job last week again
inside Talker on a Manhattan sightseeing tour. Grant's Tomb, Chinatown,
the Empire State Building, Brother, I've been.

Speaker 37 (02:13:19):
The place that really gets me, though, is the Museum
of Ancient History.

Speaker 2 (02:13:22):
Man.

Speaker 37 (02:13:22):
They got dead people in all over that joint, some
of them in mummy cases five thousand years old.

Speaker 59 (02:13:28):
Now I don't object to a few old corpses, but
they tried to embomb a fresh one named Rocky Fortune.
All right, ladies and gentlemen, As you will note, we
are progressing up Central Park, Western on your right is
the largest civic park to be found inside the city
the size of New York. The bus will stop at
the famous Museum of Ancient History next, where we'll take

(02:13:49):
an hour or so to explore the finest collection of
natural nature ever collected, including the Hall of Man, the
Egyptian Wing, the mummies of the ancient Pharaohs.

Speaker 42 (02:13:59):
As well as Full of the Doddies and the Wildlife
Exhibit of.

Speaker 33 (02:14:05):
Wildlife.

Speaker 37 (02:14:06):
Any questions, Yeah, I got a question.

Speaker 12 (02:14:08):
Sure, how long you've been conducting this tour?

Speaker 21 (02:14:11):
Well?

Speaker 37 (02:14:11):
As a matter of fact, lady, this is my first
time around.

Speaker 12 (02:14:14):
Yeah, that's what I thought all my life. I ain't
been inside a museum even so I finally.

Speaker 47 (02:14:19):
Decide, Linda Kogerman, it's time.

Speaker 12 (02:14:21):
For a little culture. So what happens? I get a dodo.

Speaker 37 (02:14:25):
It's life, kid, you gotta take the chances. But I'll
do what I can. I'll liven up the tour that.

Speaker 12 (02:14:29):
Kind of enlightenment. I can live without.

Speaker 37 (02:14:33):
Any more questions.

Speaker 12 (02:14:34):
I'd like to ask a question if.

Speaker 37 (02:14:35):
I may anything. Uh, yeah, Sugar, is it true that they.

Speaker 12 (02:14:41):
All have real dead people inside them?

Speaker 29 (02:14:43):
There?

Speaker 12 (02:14:43):
Soar a cup of guys is at the museum.

Speaker 37 (02:14:45):
Yeah that's right, sugar.

Speaker 12 (02:14:46):
Wow, that's scary.

Speaker 59 (02:14:48):
Well, I can be guided tours guarantees to protect his
clients at all times, Sweedie. And seeing that there are
only three clients on this tour. Why uh, I'll take
special care that nothing happens to you.

Speaker 12 (02:14:58):
Hey kid, Yes, and the iyday, which means look out
for wool.

Speaker 47 (02:15:03):
If you mean mister Fortune, our guide, well, I'm sure
he's a gentleman, aren't your mister Fortune.

Speaker 25 (02:15:09):
Well, it's up for grabs, but I'll try misterfortune.

Speaker 37 (02:15:12):
Colonel Porters, being in the.

Speaker 42 (02:15:14):
Oil business back in Waco, I'm naturally interested in the
natural formations in this part of the country.

Speaker 25 (02:15:20):
Hmm, naturally Can you tell me so what that formation
over that way might be?

Speaker 59 (02:15:24):
Well, if you mean the blonde walking down the street, Colonel,
that is a product of the ice age. And if
you mean the rock like structure behind her, that's a
public washroom in Central Park.

Speaker 12 (02:15:33):
I'm boy, you should be on television.

Speaker 59 (02:15:35):
You're a screen Yeah, thanks, Sadie. I was on the
radio once my mom made me get off. I was
scratching the top.

Speaker 22 (02:15:42):
Yup, yup, yuk.

Speaker 59 (02:15:45):
All right, everybody, everybody out here was in of ancient history.

Speaker 37 (02:15:49):
Please wear your green tags and follow me.

Speaker 59 (02:15:56):
We all file out of the bus and I lead
the way into the museum, wondering how I'm gonna fun
my way through the next hour, Right, Behind me is
the cute little Blunde from the land of Cotton.

Speaker 37 (02:16:04):
Behind her is the Redhead from Brooklyn.

Speaker 59 (02:16:05):
And bringing up the rear as Colonel porchas hand obamustaches.

Speaker 37 (02:16:09):
Trailing like banners. The first place we breathed through is
the Egyptian wing. Now a few folks will all step
over this way. We have a genuine example of a rock.

Speaker 59 (02:16:19):
Job brought over from Egypt, which is called, according to
the guide pamphlet, a monolith from the.

Speaker 37 (02:16:24):
Temple of Osiris. Follow me, please just a minute, sir.
Where's Linda, the Redhead from Brooklyn?

Speaker 47 (02:16:33):
Why she was with us when we went inside that
scary old king Pharaoh's tomb back there.

Speaker 37 (02:16:38):
Well, I haven't seen her since.

Speaker 22 (02:16:39):
We came in here.

Speaker 42 (02:16:40):
Come to think of it, I'll give her a blast, Hey, redhead,
Perhaps we'd better conduct a searching party.

Speaker 37 (02:16:49):
Look, I'll go back to the tomb.

Speaker 17 (02:16:51):
Colonel.

Speaker 59 (02:16:51):
Will you take a look in the hall of man
and honey, Yes, you better stay right here in case
she comes along.

Speaker 37 (02:16:56):
We'll all meet back here in five minutes.

Speaker 12 (02:16:58):
Let's go.

Speaker 37 (02:17:04):
I go back to the tomb of King tut Amon.

Speaker 59 (02:17:08):
Or whatever his name is, a walk inside and places
his empty as Sanda's bag.

Speaker 37 (02:17:12):
The morning after Christmas.

Speaker 59 (02:17:13):
I'm just about to leave when I see what it
looks like a piece of red silk sticking out of a.

Speaker 37 (02:17:17):
Stone sarcophagus that's up against a wall. I go over
and give the cover of Eve. Inside is the body
of Linda Kogelman, stone dead.

Speaker 59 (02:17:31):
I turn around to go for the gendarmes, just in
time to feel a ton of concrete to send on
the back of my skull.

Speaker 12 (02:17:46):
Isn't he a cute laying there just like Moses in
the bow rushes?

Speaker 1 (02:17:50):
Oh, he seems to be reviving.

Speaker 12 (02:17:52):
I'll get somence first.

Speaker 59 (02:17:53):
Oh oh, drop that pyramid on me? Easy boy, you'll
excuse the expression.

Speaker 37 (02:17:59):
But where am i?

Speaker 42 (02:18:00):
The office of the Curator. This young lady is miss
Baby and the curator secretary. How are you all feeling?

Speaker 29 (02:18:06):
Boy?

Speaker 37 (02:18:07):
Like I've been santraized.

Speaker 42 (02:18:08):
I like the thought you all was dead when I
came bunking a bunking in that there tomb.

Speaker 59 (02:18:13):
Speaking of dead, did you see the body you all
was stretched out like a w corne My body, Colonel
Linda Kougelman's the redhead.

Speaker 37 (02:18:20):
She was inside that sarka, that that trunk.

Speaker 12 (02:18:23):
And that dead the poor man was hurt worse than
we thought.

Speaker 7 (02:18:25):
I'd better call a doctor.

Speaker 37 (02:18:27):
All that miss This is no dream. I saw that
body inside the sarcophagus.

Speaker 12 (02:18:30):
We'd better open it and have a look.

Speaker 37 (02:18:32):
We'd better not disturb anything.

Speaker 22 (02:18:34):
I think we order send for the law son.

Speaker 17 (02:18:36):
Good.

Speaker 37 (02:18:36):
Let's have the phone. Hello, Sogean handled the finger?

Speaker 17 (02:18:48):
Please?

Speaker 2 (02:18:49):
Yeah?

Speaker 59 (02:18:49):
Wait, hello, Sage Rocky. Uh huh, I got a corpse
and king touched tomb. No, it ain't in a Halloween joke.
It's over at the Museum of Ancient History. Yeah, get
your fat feet over here. I'll see you. I spend

(02:19:13):
the next few minutes nursing my noggin until Sarjean finger
flippers in the curator's office.

Speaker 37 (02:19:17):
We all head for the tomb of King Tutt.

Speaker 3 (02:19:21):
Sure this name is in there.

Speaker 37 (02:19:22):
I saw with my own eye sids.

Speaker 1 (02:19:24):
Okay, who is she?

Speaker 25 (02:19:26):
The name of her tour ticket, said Linda Kugelman.

Speaker 14 (02:19:28):
What she looked like like she's.

Speaker 37 (02:19:30):
Been around more than once. Just the spot right in here.

Speaker 12 (02:19:34):
You all don't mind if we don't go inside.

Speaker 7 (02:19:37):
It's scary you wait.

Speaker 59 (02:19:38):
Here, Let's go, right, I said, side inside that stone
coffin there opened the lid right.

Speaker 37 (02:19:50):
Holy smokes.

Speaker 21 (02:19:51):
Linda Kugelman, girl, mummy.

Speaker 59 (02:19:54):
Huh, I swear she was in that coffin not more
than fifteen minutes ago.

Speaker 42 (02:19:58):
This guy has been in there fifteen years, but looks
of somebody moved her, Rocky, old.

Speaker 21 (02:20:03):
Man, this may come as something of a blow to you.

Speaker 42 (02:20:06):
But one more crazy trick like this and I'm gonna.

Speaker 3 (02:20:08):
Put you him in the closet.

Speaker 60 (02:20:09):
It's no joke.

Speaker 3 (02:20:10):
Side you bump your head on the stone, and don't
you saw a body?

Speaker 29 (02:20:12):
Now?

Speaker 12 (02:20:12):
Forget it?

Speaker 3 (02:20:13):
Come on, is she I mean there's nothing but a mummy?
Go home, Mollie.

Speaker 1 (02:20:20):
Is you mean miss Linda?

Speaker 7 (02:20:21):
Just Vanni?

Speaker 3 (02:20:22):
But where Maybe she's hiding your mustange?

Speaker 14 (02:20:25):
Uncle.

Speaker 3 (02:20:26):
Okay, Rocky, now you remember what I said.

Speaker 1 (02:20:28):
One more false alarm and out through the book.

Speaker 59 (02:20:35):
By this time, I'm beginning to wonder myself if I
really saw a body in that box. I gave another
yodel for Linda Kugelman, but she doesn't show. So I
hustle handle bars and honey back into the sightseeing wagon.
As I get the motor started, things begin to happen.

Speaker 37 (02:20:49):
Okay, Honey, yes, ready, colonel.

Speaker 47 (02:20:51):
Ready, son like stop grants to just a minute mister boucher.

Speaker 61 (02:20:55):
What now?

Speaker 12 (02:20:56):
I think I found this coogleman's pocket book stup way
down here.

Speaker 11 (02:20:59):
Let's see.

Speaker 37 (02:21:00):
Oh, let's have a luck.

Speaker 7 (02:21:02):
Right here it is.

Speaker 59 (02:21:04):
I guess you won't mind if we open it to
find out where she lives. Well, well, look at this
stack of letters or wrapped in nice pretty red ribbon.

Speaker 30 (02:21:13):
Son, I think you all had better hand those letters
over to me.

Speaker 37 (02:21:16):
Just a minute, pop, I said, hand them over.

Speaker 42 (02:21:19):
Boy, This ain't no bubble pipe I'm holding against your head.

Speaker 37 (02:21:23):
Yeah, I hurt you good. He wouldn't be the gentleman
who stuffed in his body in that money case? Would
you the letters?

Speaker 29 (02:21:29):
Boy?

Speaker 37 (02:21:29):
Be my guest?

Speaker 29 (02:21:31):
Thank you?

Speaker 37 (02:21:32):
Anything else?

Speaker 21 (02:21:32):
Just loan me the bory of your little bud.

Speaker 25 (02:21:35):
Hey, I'll just take it a few blocks and leave it.

Speaker 42 (02:21:38):
Son, you won't get in no trouble now if you
and the young lady, you'll kindly step out.

Speaker 37 (02:21:45):
Better, dude, like the man says.

Speaker 12 (02:21:46):
Honey, will I do the clay? I never expected a seven.

Speaker 25 (02:21:50):
Gentleman to have bl likely step down.

Speaker 1 (02:21:52):
Man, Thank you?

Speaker 25 (02:21:54):
When is notches, I'll leave the bus a few blocks down.

Speaker 59 (02:22:08):
Honey and I stand there like a couple of outs.
Here was watching one sail over the fence, while Colonel
Lucia's Porchers drives away and Achemy's dinky.

Speaker 37 (02:22:14):
Little sight seeing bus.

Speaker 12 (02:22:16):
What now, mister Fortune.

Speaker 37 (02:22:17):
That's a good question, and I wish I had an answer.

Speaker 47 (02:22:19):
As long as we're here at the museum, supposing we
finish our tour.

Speaker 37 (02:22:23):
As a matter of fact, Baby, that's not a bad idea.

Speaker 59 (02:22:26):
Something tells me our front Colonel Porchres had something to
do with Lynda Kogelman's recent demise and the removal of
her body too. We hustle back into the museum and
I start looking around for one fresh corpse, which is not.

Speaker 37 (02:22:40):
An easy thing to locate in a place the size
of a museum.

Speaker 12 (02:22:44):
But, mister Fortune, we've already been in the Ferris too.

Speaker 59 (02:22:47):
I know, Baby, But if that body was moved, it
was moved from here, So let's have a look around.

Speaker 47 (02:22:51):
It just doesn't seem possible if somebody carried a dead
lady through the holes without somebody.

Speaker 12 (02:22:56):
Remarking about it.

Speaker 47 (02:22:58):
Yeah, you're right there, unless there's another entrance to this
little old tomb.

Speaker 14 (02:23:02):
Uh huh, My goodness.

Speaker 12 (02:23:04):
They must have a place they so a party can.

Speaker 59 (02:23:06):
Breathe air conditioning, Baby, don't ever let anybody tell you
you're dumb.

Speaker 7 (02:23:13):
What are you doing?

Speaker 37 (02:23:14):
It's going to have a look behind the vent in
this air conditioning pipe.

Speaker 14 (02:23:19):
Oh yeah, oh that's all all right.

Speaker 59 (02:23:24):
Whoever killed or came back conked me and stuffed the
body in that air vent. Come on, we're too the
Curator's office. I want to make a phone call on
my pal size and finger.

Speaker 1 (02:23:39):
Come in. Yes, pardon me.

Speaker 37 (02:23:43):
My name's Fortune, Rocky Fortune.

Speaker 42 (02:23:45):
Oh yes, my secretary told me you're the young man
with hallucination.

Speaker 37 (02:23:48):
That's right.

Speaker 25 (02:23:49):
My name's Demons, curator of ancient art.

Speaker 1 (02:23:52):
What can I do for you?

Speaker 37 (02:23:53):
Call the cops. My hallucination is laying in the air
vent with a broken headbone.

Speaker 1 (02:23:57):
Are you serious?

Speaker 37 (02:23:57):
Take a look for yourself.

Speaker 59 (02:23:58):
If you don't believe me, we intend to. You might
if I use the phone while you're gone, help yourself. Operator,
give you the police headquarters. Make it fast, Finger is there?

Speaker 37 (02:24:13):
Unless time it takes to say fit the camp of
who erect us and we head for the tomb of
King Tutt.

Speaker 14 (02:24:17):
Once again, you say she's in the air man, Eh.

Speaker 37 (02:24:21):
So help me, sarje ask honey here, Well.

Speaker 12 (02:24:24):
There she was as big as life. Hours never so
skin my whole life.

Speaker 37 (02:24:28):
The curators in there, now, okay, let's go on in.

Speaker 59 (02:24:32):
I see the police have arrived, Sergeant Finger, mister dean, Sergeant.

Speaker 37 (02:24:35):
I regret all the confusion.

Speaker 1 (02:24:37):
This, this unfortunate man here is cause.

Speaker 37 (02:24:39):
Get the apologies. Let's see the corpus DELECTI.

Speaker 25 (02:24:42):
Of course that's just the point, Sergeant, there is no
corpus DELECTI.

Speaker 3 (02:24:46):
What hey are you kicking?

Speaker 20 (02:24:48):
See for yourself?

Speaker 37 (02:24:50):
This our way is perfectly empty.

Speaker 25 (02:24:54):
Fortune, Godge, I tell you come on with mate.

Speaker 37 (02:24:57):
Now, look, maybe if we call somebody in for a
certain nobody gets cold.

Speaker 25 (02:25:00):
Fortune, you are mine, Dodge Hamilton, control yourself.

Speaker 1 (02:25:03):
I'm gonna lock you up.

Speaker 52 (02:25:05):
Fortune.

Speaker 25 (02:25:05):
You need a charge, not in jail, Fortune in the booby.

Speaker 3 (02:25:08):
I'm telling you're telling me nothing.

Speaker 37 (02:25:09):
I'll come on anything you say, Sage all before we go. Yeah,
you have been locked in the tomb, not recently. Well,
I got nourse for you're locked in one.

Speaker 1 (02:25:18):
Now he rap the door.

Speaker 59 (02:25:30):
I slammed the steel fire door shut and take off
down the Egyptian wing like Pharaoh with the frogs after him.
I hear a finger get the door open again, and
his delicate Brogn's compounded down the marble and hunt pursuit,
arguing with a stone age dick trace. He's like flagging
down a bomber. So I duck into the nearest exhibit,
which happens to be the Hall of American Indians. They
got a dug out canoe there, fifty feet long paddle
by a gang of wax Indians.

Speaker 37 (02:25:49):
I jump in torres an avohole.

Speaker 59 (02:25:51):
Blanket over my shoulders and make like I'm stroking.

Speaker 37 (02:25:53):
The Carlisle crew.

Speaker 3 (02:25:54):
He came down this sleeve fortune.

Speaker 37 (02:25:58):
Come on, he must have. I'm further.

Speaker 3 (02:26:00):
Come on, he can't get fat.

Speaker 37 (02:26:04):
Finger in the curate.

Speaker 59 (02:26:05):
I head for the medieval exhibit, and I'm just about
to climb out of the canoe. One Honeygalt comes in,
followed by a couple of little kids on a grammar
school out here.

Speaker 12 (02:26:12):
He sammy, look at that, are gonna walk now with
Indians and everything?

Speaker 47 (02:26:15):
Oh boy, excuse me, little balls. Have you all seen
a nice looking, dark haired young man around all? Lady, Hey, sammy,
look at that inning with a blanket on him?

Speaker 17 (02:26:24):
Boy?

Speaker 12 (02:26:24):
Is he funny looking? Are you sure you all haven't
seen anybody?

Speaker 17 (02:26:28):
Hi?

Speaker 12 (02:26:28):
Lady, Hey, Sammy dig the rus on Indian William. If
you should see him, little boy, would you tell him
that honey, fair Child is looking for him. Surely, come on, Sammy,
let's go on.

Speaker 29 (02:26:38):
To the next walk.

Speaker 4 (02:26:39):
All they're gonna close.

Speaker 12 (02:26:41):
Come does that bunion that closed? That's right, lady, Come on, sammy, boy,
did you ever.

Speaker 15 (02:26:46):
See anything like that?

Speaker 12 (02:26:47):
He's Sammy, Let's.

Speaker 52 (02:26:51):
Get out of here.

Speaker 51 (02:26:52):
He just waked.

Speaker 12 (02:26:55):
Oh, dear, I beg your pardon.

Speaker 47 (02:26:59):
I'm not in the habit of being addressed by strange
northern warriors. If you are, why it's mister Fortune. I've
been looking all over for you.

Speaker 30 (02:27:08):
Honey.

Speaker 12 (02:27:09):
Whatever are you doing in that canoe with those Indians?

Speaker 59 (02:27:12):
Well, if you give me a hand, I'll try to Oh,
he comes fingering beams, play dumb.

Speaker 37 (02:27:17):
That shouldn't be hard.

Speaker 3 (02:27:18):
He must have got out. I don't see how the
guards at the exits. Oh it is Blossom Child. You
seen your friend Fortune?

Speaker 21 (02:27:24):
Honey?

Speaker 12 (02:27:25):
Why come to think of it, Sergeant, I did see.

Speaker 47 (02:27:28):
Well, he went through that door there, and then, well,
why don't you.

Speaker 12 (02:27:33):
Two gentlemen come with me and I'll show you just
where he all went.

Speaker 21 (02:27:36):
What's cool?

Speaker 59 (02:27:43):
Usually they're really dumb, but every once in a while
you find one who's so good she can even fool
smart people into believing she's dumb.

Speaker 37 (02:27:49):
Honey Fairchi was one of those.

Speaker 59 (02:27:52):
When she let finger and beams out of the American Wing,
I resigned from the tribe and climbed out of my canoe.
My first stop was the office of the Curator of
Ancient Art, Jeremiah Dan James. Something told me that all
was not kosher with this kid. Anybody home, Damsy, no good.

Speaker 37 (02:28:13):
I'll be your guest. Nothing, nothing more, nothing.

Speaker 59 (02:28:28):
Now, why would you keep this drawer locked, deemsy, old boy,
Let's just force it open and have a look inside.
Nothing nothing something mm seems to me. I've seen this

(02:28:48):
stuff before, my darling, It's been so long since. Uh huh,
let's read some more. I know it is wrong for
us to see each other, but you'll find the contents
of my desk interestingness to fortune.

Speaker 42 (02:29:06):
It knocks me out, anything in particular. Now, don't move
this gun as loaded, and I'm well within my rights
to shoot you.

Speaker 59 (02:29:13):
It's all very interesting, especially your tour tag with Colonel
Portress on it. Not to mention these letters that Linda
Coogleman was using a blackmail.

Speaker 42 (02:29:20):
Youre with, so I see you recognize them.

Speaker 37 (02:29:22):
I took the liberty of reading a couple.

Speaker 59 (02:29:25):
You know, it's a pretty foolish man who writes love
letters to a guy like Linda, especially when he's married.

Speaker 37 (02:29:29):
Hand them over, help yourself.

Speaker 17 (02:29:32):
You know.

Speaker 42 (02:29:32):
It's a pity I had to kill her. But then
she wouldn't listen to reason.

Speaker 37 (02:29:35):
She bled me White. You really had me fooled.

Speaker 59 (02:29:38):
With that fake mustache and a phony Texas accent.

Speaker 1 (02:29:41):
Colonel.

Speaker 25 (02:29:42):
Yes, I thought it was rather convincing myself, mister fortune.

Speaker 37 (02:29:46):
How did you manage to get Linda to take this tour?

Speaker 2 (02:29:48):
Oh?

Speaker 37 (02:29:48):
Quite easily.

Speaker 59 (02:29:49):
I suggested that if she took the tour and brought
the letters to the museum, we could meet surreptitiously inside
the Egyptian Wing, and I'd give her the final payment.

Speaker 37 (02:29:57):
Yeah, you gave her the final payment, all right.

Speaker 22 (02:29:59):
She wanted ten thousand dollars.

Speaker 42 (02:30:01):
I thought I was getting off quite cheaply with only
a few cents worth of lead pipe.

Speaker 37 (02:30:06):
Okay, Dames, you're a big success.

Speaker 59 (02:30:08):
You've pulled off the Colonel Porcher's act and knocked off
Linda's shuffled her body around so not even the cops
can find it, and you got your letters anything you
seem to overlook is little old me.

Speaker 7 (02:30:17):
Oh not for long, mister Fortune.

Speaker 37 (02:30:18):
You see, I have plans for you. I can imagine.

Speaker 25 (02:30:22):
Yes, mister Fortune, You're going to become a mummy at.

Speaker 37 (02:30:25):
My age doctor.

Speaker 42 (02:30:27):
After I've killed you, you'll be wrapped in mummy dressing
and placed inside a sealed stone sarcophagus. Just think you
may not be found for another ten thousand years, at.

Speaker 37 (02:30:37):
Least until next Christmas.

Speaker 59 (02:30:38):
Anyway, you don't seem particularly worried, mister Fortune, I'm not.
You see, I've got other plans, such as such as
putting out the light and leave it.

Speaker 37 (02:30:57):
I managed to knock a lamp off his desk and
beat it before he can find the rain. All I
had to do now is figure a way out.

Speaker 59 (02:31:02):
The museum was closed, the lights are out, the doors
were double locked, and I didn't have a key.

Speaker 37 (02:31:07):
I dove to the first door, which happened to be
the medieval.

Speaker 59 (02:31:09):
Exhibit about one hundred suits of armored clubs, wooden horses,
and shields.

Speaker 37 (02:31:13):
I figure I play it's smart and climb.

Speaker 59 (02:31:15):
Into a bulletproof suit before teams he gets there with
the artillery. So I manage a squeeze inside a little
number designed by Richard the Lion Hearted for the Crusades.
I pull on the shoulder plate, pull down the visor,
and make like a dead saracen.

Speaker 3 (02:31:29):
Fortune.

Speaker 1 (02:31:30):
I know you're in here. You may as well give up.

Speaker 3 (02:31:32):
You can't get out.

Speaker 37 (02:31:37):
It's no use, Fortune, I figure I'll weigh them out.

Speaker 59 (02:31:40):
But after a few minutes of this, my right arm
begins to get tired, since I'm holding it up over
my head with a forty pound accident, the arm slips
down and the ailbows joint creaks like it ain't had
a shot of oil in a few thousand years.

Speaker 42 (02:31:53):
Well, well you've given yourself away, mister Fortune.

Speaker 20 (02:31:56):
And let's see now.

Speaker 7 (02:31:57):
Would you be inside the eleventh century harper?

Speaker 37 (02:32:01):
No, no, not there, perhaps the thirteenth century suit of armor.

Speaker 7 (02:32:05):
Let's lift the visor and have a look.

Speaker 59 (02:32:11):
At this point, I figure I'll take a chance to
suit his really bulletproof and go after him with a
battle axe.

Speaker 37 (02:32:16):
Then you must be in the English armor, the Crusades type.

Speaker 59 (02:32:19):
You're getting warm, deamsy, You'll be a lot warm in
a minute, because I'm coming after you right now.

Speaker 62 (02:32:27):
Oh really, mister Fortune, don't you know that armor is
so rusted it couldn't possibly move. Oh, you're prepped like
a sardine in a can, mister Fortune, like a sardine
in a cab.

Speaker 37 (02:32:44):
When I try to move, I see that Dems's right.

Speaker 59 (02:32:47):
I can't, butche I stand there like an iron deer
on somebody's front lawn while Deams lifts the visor and
pokes is forty four.

Speaker 37 (02:32:53):
Into my bridge work. Your a new suit is very becoming,
mister Fortune.

Speaker 15 (02:32:57):
How do you like it?

Speaker 37 (02:32:58):
If you'll have your tail a grease up to lapels
our way at home?

Speaker 42 (02:33:01):
The tailor is out just now, mister Fortune. But after
I pull this trigger, you can change it for a
wooden one right now?

Speaker 29 (02:33:10):
What hey? But where are you?

Speaker 2 (02:33:12):
Oh?

Speaker 30 (02:33:12):
Hey, hey over here?

Speaker 1 (02:33:13):
Whatn't it.

Speaker 12 (02:33:16):
Rocky?

Speaker 11 (02:33:17):
Are you all right?

Speaker 37 (02:33:19):
I think so?

Speaker 63 (02:33:20):
What happened?

Speaker 14 (02:33:20):
Just spair?

Speaker 3 (02:33:21):
Charlie had convinced me how to give a place one
more look? See for the redhead's body.

Speaker 42 (02:33:25):
I found it in the closet and Deamon's office, and
we heard the noise and sneaked in here.

Speaker 37 (02:33:29):
How's my boy, dames or I.

Speaker 8 (02:33:30):
Had to put some malet in him?

Speaker 29 (02:33:31):
He ain't so good?

Speaker 37 (02:33:33):
Hey, how about getting out him? Cast iron?

Speaker 1 (02:33:35):
Overall?

Speaker 37 (02:33:35):
I'm stuck no kidding, sords, I'm dying in here.

Speaker 12 (02:33:39):
Oh you poor man. Is there anything I can do
to ease the pain?

Speaker 52 (02:33:44):
Yeah?

Speaker 37 (02:33:46):
Come to think of it, maybe there is sugar.

Speaker 12 (02:33:47):
Will you just name it Rocky?

Speaker 30 (02:33:49):
Yeah?

Speaker 37 (02:33:51):
Oil me, will your kid.

Speaker 59 (02:34:08):
NBC has presented Frank Sinatra as that footloose and fancy
free young gentlemen Rocky Fortune. Others in tonight's cast included
June for A, Gloria Grant, Bonnie Phillips, Dick Beale's, and
Dan Riffs. Tonight's script was written by George Leffards. Howard
Wiley directed. Now to tell you about next week's transcribed adventure,

(02:34:46):
here's Frank Sinatra as Rocky Fortune. This ain't exactly the
season for Fourth of July celebrations. But next week I'll
tell you about the time I almost got to be
a Roman candle and the biggest explosion since they took
the crock out of Vesuvius.

Speaker 37 (02:34:58):
See you around, Oh.

Speaker 64 (02:35:18):
Murder Midnight, No no don't, I say yes, it's got
to be no, and here she's got to die.

Speaker 12 (02:35:33):
I say yes, here, I'll hold her arm, all right, Faddy,
But no, no.

Speaker 1 (02:35:38):
No, no, no, no, no.

Speaker 65 (02:35:46):
Midnight the Witching Hour when the night is darkest, our
fears the strongest, and our strength at its lowest end midnight,
when the graves gape open and death strikes.

Speaker 20 (02:36:05):
How you'll learn the answer in just a minute.

Speaker 3 (02:36:09):
In Nightmare.

Speaker 8 (02:36:34):
And Now Murder at Midnight Tales of Mystery and Terror
by Radio's Masters of the MerCad Our, story by Joseph
Ruscall is one of the most terrifying and fantastic nightmares
we've never heard.

Speaker 3 (02:36:49):
Its title nightmare.

Speaker 50 (02:37:02):
Mm hmmm, mhm.

Speaker 3 (02:37:13):
No, don't Kelly, Hell Helen, take up for beatake stop it?

Speaker 12 (02:37:26):
It's me turn?

Speaker 3 (02:37:30):
Who am I? It's almost twelve o'clock. I wish youd
Let me get some sleep.

Speaker 12 (02:37:38):
Oh thank god? Oh it was.

Speaker 35 (02:37:44):
Must have been just a dream. Oh thanks, Look, oh, Ernie,
it was so real. I dreamed somebody was leaning over
me just now with a pillow.

Speaker 12 (02:37:59):
Was horrible. They were trying to smother me to death.
And Ernie, it was you.

Speaker 3 (02:38:07):
What weight? You were a foolish little hell. I'll kiss you.

Speaker 7 (02:38:20):
No, no, don't touch me, keep away?

Speaker 17 (02:38:23):
What is it?

Speaker 2 (02:38:24):
Hello?

Speaker 12 (02:38:24):
In your hand?

Speaker 3 (02:38:26):
For crying out?

Speaker 37 (02:38:27):
Fellows?

Speaker 3 (02:38:27):
Can't I even straighten it out?

Speaker 17 (02:38:30):
Sorry?

Speaker 12 (02:38:30):
Dear, she don't mind me, but that that horrible not married.

Speaker 35 (02:38:36):
It seems so real, Darling, wasn't that crazy? You the sweetest,
gentlest husband in the world. And now, please don't look
so hurt.

Speaker 3 (02:38:50):
No, I can't even look hurt. I just murdered my
wife and her sleep. Didn't I know?

Speaker 12 (02:38:54):
You were just about to.

Speaker 3 (02:38:57):
Oh what everything's happening?

Speaker 33 (02:39:01):
Good night?

Speaker 12 (02:39:02):
Hello?

Speaker 7 (02:39:04):
What?

Speaker 17 (02:39:06):
Who?

Speaker 15 (02:39:08):
Wrong?

Speaker 3 (02:39:08):
Number?

Speaker 66 (02:39:09):
And what's more, this is a heck of a time
to be ringed, Nerve night. But maybe that was the
police you're phoned in your dream now when you go.

Speaker 12 (02:39:18):
To sleep, Ernie crap. I'm sure I didn't mean to
insinuate anything. I was just telling you my dream.

Speaker 3 (02:39:23):
You asked, you're a character. I guess I'll have to
put you in that book I never wrote too.

Speaker 12 (02:39:30):
But now, what how was it too? That book you
never wrote?

Speaker 35 (02:39:36):
You've knowed about it so much? No wonder, Oh that
look when you been over me like a mad man, Ernie?

Speaker 12 (02:39:46):
One on earth? Do you suppose made me have a nightmare?

Speaker 3 (02:39:49):
Ntsy? You would insist on eating Hamburgers after the show tonight?

Speaker 35 (02:39:53):
Yes, I did, and I when we got out of
the movies Hamburger's a car.

Speaker 12 (02:40:00):
Ernie d They were part of my being too hamburger
Bernie stopped punching on that pill. All please, all.

Speaker 3 (02:40:06):
Right, all right, go ahead?

Speaker 66 (02:40:07):
Didn't better tell me your dream, all of it, neither
of us asleep. Until you do, I'll just like this,
but oh, let's have gruesome dts.

Speaker 12 (02:40:20):
Well, I don't know if I can remember now. It
was also hazy, it's terrified.

Speaker 3 (02:40:26):
Well what happened before I smothered you with a pill?

Speaker 12 (02:40:28):
A crazy quilt?

Speaker 35 (02:40:30):
Something about your job and I was a millstone around
your neck and hamburgers and you hated.

Speaker 12 (02:40:38):
Me in July fifteenth? July fifteen, Yes, I can't imagine
what that meant.

Speaker 3 (02:40:43):
Look, look, start at the stock. Why did I decide
the murder.

Speaker 12 (02:40:46):
Because of that other woman? Your secret love?

Speaker 3 (02:40:49):
Huh?

Speaker 12 (02:40:50):
You promised her you would kill me tonight when I
was asleep.

Speaker 3 (02:40:53):
My secret love.

Speaker 12 (02:40:55):
Yes, she had you in her spell.

Speaker 66 (02:40:57):
That's kind of bad casting, isn't it. But I'm the
traditions in dust fans. I remember in the five years
we've been married, have I ever know?

Speaker 12 (02:41:06):
I told you it was a crazy dream.

Speaker 66 (02:41:08):
Maybe you want me to eliminate my one night a
week out through my Saturday gin rummy with the boys.

Speaker 3 (02:41:14):
Who was my secret love? Did she have a face.

Speaker 12 (02:41:18):
This is Eliot thought of it, and he's absolutely ridiculous.

Speaker 35 (02:41:23):
It was that girl Verty Daniel, Betty Daniels, who you remember,
that tall, dark haired artist.

Speaker 12 (02:41:31):
I introduced you to a Kate God last summer at
the exhibition.

Speaker 66 (02:41:35):
No oh wait a minute, trousers, long cigarette holder, very intense,
very int What what was she doing in your dream?

Speaker 3 (02:41:45):
We set a low door, we walked off, and that
was it.

Speaker 12 (02:41:49):
Yes, I know, I hardy remember myself. I can't imagine
what I dreamt. Well, no, don't touch me. Oh dream Oh.

Speaker 67 (02:42:03):
So crazy, And yet it seemed to be killing me,
something warning me strange and weird, you know how dreams are.
The first thing I remember is problems town and us.

(02:42:25):
Look at the art exhibition, just.

Speaker 35 (02:42:26):
The way we did last summer, only now the picture
was about ten feet tall and hanging crooked. And then
she came along, Beddy Daniels, just the way she did them.

Speaker 57 (02:42:41):
Hello, Helen, and I introduced you.

Speaker 12 (02:42:44):
The same as I did then, only not exactly the same,
like in a dream. You know, silly Beddy Daniels. This
is my husband, Ernest. He is very How do you do?

Speaker 2 (02:43:01):
How do you do?

Speaker 12 (02:43:03):
That's a marvelous gloria painting.

Speaker 57 (02:43:04):
Helen, don't you think or do you prefer Hamburgers?

Speaker 3 (02:43:08):
Well, my wife prefers hamburgers, Miss.

Speaker 12 (02:43:11):
Dannim oh oh, I didn't know.

Speaker 35 (02:43:13):
Only I have to remove you though. Anyway, I'm sure
I can't tell one painting from another. My husband's the
art lover in the family, I guess, and I just
tag along for the fish only.

Speaker 12 (02:43:22):
I don't like fish. I like hamburger. I know you
don't wear trousers like I do. You're luffy.

Speaker 35 (02:43:29):
Daddy and I met on the beach here, and if
she's a painter, our rowboats got tangled.

Speaker 12 (02:43:32):
That's how we met. Yes, it was all very casual.
I hardly remember.

Speaker 3 (02:43:35):
Well, Ernie and I.

Speaker 35 (02:43:37):
Are going back to New York today. Isn't that a shame?
I wish you too wouldn't stare at each other.

Speaker 3 (02:43:41):
So well, we better run along on lots of packing
to do.

Speaker 12 (02:43:44):
Ernie has got to get back to a silly old job.
He's a reporter.

Speaker 35 (02:43:47):
A reporter, shouldn't he write a book he never wrote? Well,
imagine that's what he always says. Well, goodbye, I'm wondering
why I'm thinking of you now, Goodbye bye. The scenes
sort of dissolve into each other like a kind of

(02:44:07):
dream movie, and I'm trembling with fright because i have
a feeling I know how the plot's.

Speaker 7 (02:44:13):
Going to end.

Speaker 12 (02:44:16):
The next thing I remember, Ernie, I'm in a penthouse
apartment on Park Avenue.

Speaker 35 (02:44:20):
Everything zigzag, even the butler, and I'm the maid Helen there,
and what I'm doing is turning pages for Betty Daniels
while she plays the piano for you. Ernie, isn't that crazy?

Speaker 12 (02:44:37):
Neither of you hardly noticed me at all. And I
keep trying to open my mouth up.

Speaker 35 (02:44:44):
Like that, but it stuck, and I've absolutely frozen at
when I overhear.

Speaker 57 (02:44:51):
Darling, Yes, love, our love, miss.

Speaker 20 (02:44:57):
Ah.

Speaker 3 (02:44:57):
This is heavening, Ernie.

Speaker 12 (02:45:00):
Do you ever call your wife?

Speaker 3 (02:45:02):
Which never, I'll give you that idea. Hate the very
sight of her. She's really a little ignorabant, you're telling me.
She prefers Hamburger.

Speaker 57 (02:45:10):
And do you think she suspects you?

Speaker 3 (02:45:11):
Of course not. She thinks I met a gin rummy game.

Speaker 12 (02:45:14):
Darling, you're blind, but she's not.

Speaker 3 (02:45:16):
She knows, she knows how she find out. You may go, Helen, Helen,
do you hear me?

Speaker 12 (02:45:23):
Why don't you go answer me.

Speaker 1 (02:45:25):
Have you loser?

Speaker 7 (02:45:25):
Tom?

Speaker 12 (02:45:27):
Oh, well, there's murder in the air.

Speaker 3 (02:45:28):
How tell me, darling?

Speaker 68 (02:45:31):
Do you suppose she doesn't know what happened last summer
in Provincetown. After we all said goodbye, you came to
look for your cigarette lighter. She knew you hadn't lost
you a lighter, that you'd come back to ask me
for my New York telephone number. Of course, intuition, she

(02:45:51):
knows we've been having a secret affair I ever seen.

Speaker 1 (02:45:55):
I can't go on like this.

Speaker 12 (02:45:56):
I'm tired of being just a kidn't runny, excuse Ernie.

Speaker 57 (02:46:01):
If you love me, you'll do what I promise.

Speaker 3 (02:46:04):
I pity her soul. Don't be a fool.

Speaker 12 (02:46:07):
Isn't it her faults?

Speaker 3 (02:46:08):
You never wrote that book. You never wrote She wouldn't
let me give up my job. She's a millstone wrong.

Speaker 12 (02:46:15):
You get rid of her, Ernie, get rid of her,
and I'll bring your genius to the world.

Speaker 35 (02:46:19):
I've plenty of money and you can. You can give
up reporting and write that book. Fulfill your destiny.

Speaker 3 (02:46:25):
Fulfill my destiny. Oh Betty, you'll help me, yes, but
only if.

Speaker 57 (02:46:30):
You forget July fifteenth.

Speaker 12 (02:46:32):
You'll forget about July fifteenth. He won't mean a thing
to you from now.

Speaker 3 (02:46:35):
The thing, I promise, and you'll do away with it
the way I told you.

Speaker 23 (02:46:41):
I can told me the pillow.

Speaker 12 (02:46:47):
Just look at her standing there at the piano. You've
been spying on us all and haven't you?

Speaker 7 (02:46:51):
Haven't you? And sir, have you lost your tongue?

Speaker 12 (02:46:55):
Don't try to fool as we know you're the real
Helen and you're not the maid. She's through everything you've said, Ernie,
So you'll have to kill her now on this uns.

Speaker 3 (02:47:04):
She gives me a divorce, Will you will give him
a divorce?

Speaker 7 (02:47:07):
I'm so we'll finishing right now.

Speaker 12 (02:47:09):
Hello, here's the pillow right now, I'll hold her on
a don't do the answer.

Speaker 7 (02:47:19):
Your stripp and thumb.

Speaker 12 (02:47:23):
I'm not movie, but she's not paying anything.

Speaker 3 (02:47:25):
What are you trying to say? Will you don't make
me do it? Will you give me a divorce?

Speaker 1 (02:47:30):
Give me?

Speaker 15 (02:47:32):
Ernest tough?

Speaker 7 (02:47:37):
Do you want her body fround here? By boys?

Speaker 3 (02:47:41):
She's got no not here.

Speaker 12 (02:47:42):
I'm not like this.

Speaker 35 (02:47:43):
There must be some other way later tonight, Nie, after
the movies, hamburgers, she'll get hungry for hamburgers.

Speaker 12 (02:47:52):
She's down to the waiter, will ask her how she
wants to give you the clue, and then.

Speaker 57 (02:48:03):
And they'll find her in her pain. A perfect crime.

Speaker 12 (02:48:09):
Did you see your knee? Hamburger?

Speaker 1 (02:48:17):
A frightened girl.

Speaker 69 (02:48:18):
We live in a dream that was more terrible than
any reality, A dream that could even become more terrible.
Is the clock on the mattle, It takes on and
the hands draw closer to twelve o'clock and murder a man,

(02:48:55):
and now back to murder at midnight and nightmare, let's
hear listen to this dream of yours, Helen.

Speaker 3 (02:49:05):
What happened after that?

Speaker 12 (02:49:06):
Well, it was after that that it really got bad.

Speaker 35 (02:49:09):
It was so crazy but so real. I don't know
what stopped you, Ernie. He kept you from killing me then,
but you didn't. And still I knew you were going to.
You dragged me out into the street, and then into
a movie, and then out again, and I looked at
you and you were crying because you'd made up your
mind to finish me off when we got home.

Speaker 3 (02:49:32):
Who should have? Let me write that?

Speaker 1 (02:49:34):
He? Who should have?

Speaker 12 (02:49:35):
And I kept crying. I love you, Ernie. Don't kill me,
Please don't kill me tonight.

Speaker 3 (02:49:40):
But I've got to I've got to I pity you,
but I've got to sit.

Speaker 12 (02:49:44):
And you pulled me along through the streets again.

Speaker 15 (02:49:47):
I was terrified.

Speaker 12 (02:49:48):
And then I saw a policeman and I cried to
him all and.

Speaker 7 (02:49:51):
Yes, my wants to kill me.

Speaker 3 (02:49:59):
Why that's a.

Speaker 1 (02:50:02):
A fellow me?

Speaker 12 (02:50:03):
Why are you joking? Don't joke about it? Do something, please,
I'm frightened to death.

Speaker 3 (02:50:08):
Don't pay any attention to our officers.

Speaker 12 (02:50:10):
He dreaming not, don't believe him. He wants to wait
till I go to seat tonight and then as soon
as I fall asleep.

Speaker 3 (02:50:16):
Oh, come now, lady. He wouldn't do it to you
in your sleep, why you're cute. Not in their sleep, though,
would you miss it?

Speaker 29 (02:50:26):
Of course not?

Speaker 3 (02:50:27):
Or not in their sleep. As a matter of fact,
we're stopping off first for a hamburger. She's hungry.

Speaker 1 (02:50:31):
No, no, no, I'm not.

Speaker 35 (02:50:33):
I mean I am, but I don't dare. I'm starting,
but I don't dare. She's just waiting for me to
order one officer to see what I'll say, and then
you'll take me home and kill me.

Speaker 1 (02:50:41):
Oh lady, stop sure, and you're breaking me hard?

Speaker 11 (02:50:49):
Oh no, please take me, don't let it take.

Speaker 3 (02:50:52):
Me come along, I say, darling.

Speaker 35 (02:50:57):
And then we were in the little lunch room in boots,
around the corner from our house, sitting on stools. The
counter man came over to us. He winked at you, Ornie,
and you winked back at him, and he said.

Speaker 3 (02:51:08):
Evening, folks, for there you looked at me. But I
shook my head.

Speaker 12 (02:51:14):
I shook my head and the tears was singing.

Speaker 3 (02:51:17):
Out my seat.

Speaker 12 (02:51:18):
I'll tell you what.

Speaker 70 (02:51:18):
Joe, make it too, hamburg right, rare medium of well medium. Joe,
make my medium right. And the little lady, how do
you have yours?

Speaker 2 (02:51:31):
How do you like your?

Speaker 3 (02:51:35):
Make hers medium too? Joe Hamburgers medium, your medium?

Speaker 2 (02:51:40):
Come there?

Speaker 3 (02:51:41):
And when you had on him, folks us you're on, girlish,
make mine abolished? You right?

Speaker 66 (02:51:47):
And the little lady man's talking to you have how
you have yours? Answer, I said, answering, listen it how
you have me?

Speaker 12 (02:51:59):
If I do, I know you know to do it,
so I won't tell him. I won't.

Speaker 35 (02:52:04):
The next thing I did, we were home again, sitting
in the parlor, everything exactly the same, Ernie, just like
tonight before we went to bed, But in my dream
I was sitting paralyzed in a cold sweat, waiting for
the word, the word from you.

Speaker 3 (02:52:23):
The med like that. Well, but I guess we better
hit the Hey, what do you say? What do you say?

Speaker 17 (02:52:31):
No?

Speaker 12 (02:52:33):
Wait? I and did I tell that counter man how
I wanted my hamburger?

Speaker 11 (02:52:39):
Sir?

Speaker 12 (02:52:42):
What did I say? I can't seem.

Speaker 3 (02:52:45):
Remember, I forget to I'm along the bed.

Speaker 12 (02:52:49):
No, I don't want to go to bed yet. Please
don't make me go to bed. I'm scared.

Speaker 3 (02:52:57):
Come to bed, darling, like a good little.

Speaker 12 (02:53:03):
We went to bed, and then you said, and now
lights out?

Speaker 1 (02:53:11):
Eh.

Speaker 12 (02:53:13):
I tried to think of everything I knew to keep awake.

Speaker 35 (02:53:16):
I wondered whether I ought to count to one hundred
or whether counting would put me to sleep.

Speaker 12 (02:53:22):
I tried not to count, but I felt myself getting
sleepier and sleepier. I heard, but I pretended not to.
I thought to keep my eyes open.

Speaker 35 (02:53:35):
I knew I would die if I closed them asleep,
but I didn't answer.

Speaker 12 (02:53:41):
I couldn't if I wanted to.

Speaker 17 (02:53:43):
I was so scared.

Speaker 12 (02:53:46):
And then pretty soon I heard you stirring, ever so quietly,
and in a moment you were leaning over me. Oh, Ernie,
I know it was just a dream, but it was
so real. Was hatred in your eyes and with a
pillow in your hand?

Speaker 1 (02:54:02):
And I knew you were going to do it.

Speaker 3 (02:54:11):
That's a few Oh, my darling, when you have a
night marriage, you sure do that golden brown and creepy?

Speaker 7 (02:54:20):
Was it crazy?

Speaker 12 (02:54:22):
Oh, darling, wasn't it?

Speaker 3 (02:54:24):
Or wasn't I telling around the office tomorrow?

Speaker 6 (02:54:27):
Oh?

Speaker 3 (02:54:28):
This is too good?

Speaker 12 (02:54:32):
Have a horrible like that? What does it mean?

Speaker 3 (02:54:36):
I'm interpreted for you?

Speaker 1 (02:54:37):
And without a dream book too?

Speaker 12 (02:54:38):
Will go on there, Ernie? Tell me?

Speaker 3 (02:54:41):
Okay, then here it is. First of all, a dream
always means the opposite, right you ever hear that?

Speaker 15 (02:54:47):
Yes?

Speaker 3 (02:54:47):
I have that stride, which means I must love you
simply awful? Granted?

Speaker 12 (02:54:54):
But goodness, what about the rest of the easiest.

Speaker 3 (02:54:56):
Thing in the world? Darling? Where'd we go tonight?

Speaker 12 (02:54:58):
To a movie?

Speaker 3 (02:54:59):
What kind of movie?

Speaker 12 (02:55:00):
It was a murder story? Geez, that's right? Do you
think that was?

Speaker 3 (02:55:06):
N interrupt? Who was starring in the movie? Betty Davis
repeats the first name, Betty and.

Speaker 66 (02:55:11):
The villainess and the dream my secret love. The girl
we met last summer was also Betty. Betty Daniels. Oh well,
that gave you Betty on the brain when you went
to sleep tonight, and woovies and murder, and those hamburgers
you did stop to eat after the show wrapped up
the whole secrets, and no wonder they're still.

Speaker 3 (02:55:29):
Lying on my stomach.

Speaker 12 (02:55:30):
Tool What was the pillow doing in it?

Speaker 3 (02:55:33):
Sweetness? In life? What were you talking about earlier this evening?
That chore you intend to get after some day?

Speaker 12 (02:55:39):
Oh, yes, I've got the stuff. The pillows, they're taved
in the way the feathers have come on.

Speaker 66 (02:55:45):
Right, that's your pillow you had on the brain, which
brings me back to the hamburger.

Speaker 35 (02:55:50):
Yes, I was going to ask you, I mean that
nonsense of how did I want my hamburgers?

Speaker 12 (02:55:55):
What did all that mean?

Speaker 3 (02:55:55):
For him to say, precious, how did you order your
hamburger done?

Speaker 66 (02:56:00):
And I remember, no, I can't recall, of course you
can't think now, how do you almost always thought to your.

Speaker 12 (02:56:07):
Hamburger smothered than onions? Oh, Ernie, of course, smothered than onion. Smother,
pillow smother with a oh my heaven, think.

Speaker 1 (02:56:20):
Alive, Oh my god, so that would.

Speaker 35 (02:56:26):
Oh if that doesn't see, Ernie, that was wonderful, really,
the way you did that figured that all out. I
think you make a terrific detective.

Speaker 3 (02:56:37):
Okay, so I'm a police reporter. Close enough, Darling.

Speaker 12 (02:56:41):
It's made me think so. But maybe I have been
a little bit selfish.

Speaker 3 (02:56:47):
What do you mean, well, that book you always wanted
to write.

Speaker 12 (02:56:51):
Maybe I ought to let you give up your.

Speaker 66 (02:56:54):
Job and trunk oh and have us bull star nuts. Anyway,
in my same moments, Hell, I'm not. I've always known
the truth. I'm no writer.

Speaker 3 (02:57:02):
If I had an envy, it would have come out
of me job and no job.

Speaker 12 (02:57:05):
I could go back to work again, you know, I
could take up nursing again. It was pretty hot.

Speaker 3 (02:57:11):
But no, nonsense, it won't happen. I would say any
more about it, and that's fine. A swell guy, though,
But you go offer to.

Speaker 12 (02:57:20):
Oh there was one thing more. What do you suppose
that was?

Speaker 35 (02:57:25):
That was all out about July fifteenth, But you're forgetting
July fifteenth?

Speaker 12 (02:57:30):
What did that mean?

Speaker 7 (02:57:30):
You know?

Speaker 20 (02:57:31):
Yeah?

Speaker 3 (02:57:32):
Don't you?

Speaker 12 (02:57:34):
No, I can't. It does seem to many, but I
can't seem to.

Speaker 3 (02:57:39):
Where are you going get something on my wallet? Wait
a minute, what's the date of our anniversary of.

Speaker 12 (02:57:47):
July fifteenth? Of course, tomorrow.

Speaker 3 (02:57:51):
What was that right, you've had that on the brain too.
Oh yeah, A little present for you, darling, what.

Speaker 57 (02:58:01):
A chicken.

Speaker 12 (02:58:06):
Two Arrow chicks to Montreal?

Speaker 66 (02:58:09):
Right again, we're taking an anniversary trip. I wanted to
surprise you when you woke up, but anyway, happy anniversary.

Speaker 12 (02:58:17):
Baby, Oh Ernie. Oh you're great, big precious darling.

Speaker 3 (02:58:23):
How can I ever?

Speaker 71 (02:58:25):
You didn't forget? You always did before, but this time
you didn't. I there's that dreaming, that finding out that
it didn't be just ye.

Speaker 12 (02:58:41):
So sweet out.

Speaker 2 (02:58:42):
Your so thrill.

Speaker 35 (02:58:44):
It's Montreal where we had our honeymoon, and you haven't forgotten,
Oh Ernie.

Speaker 1 (02:58:49):
I do hope.

Speaker 12 (02:58:51):
I've been a good wife too.

Speaker 35 (02:58:54):
And if there's anything I ever, I mean, if you
want me to, I can always change.

Speaker 3 (02:59:01):
I wouldn't want any different for the world. I want
you to stay just the same, sweet little girl. I'm Mary,
And now let's get some shut out of huh.

Speaker 12 (02:59:10):
All all right, and I'm gonna put the tickets right
here under the pel and never happy sleep for a change.

Speaker 57 (02:59:19):
Ah, good night, h mm hmm, good night, dear.

Speaker 3 (02:59:52):
A sweet dying Uh are you asleep?

Speaker 7 (03:00:08):
Hello, Ernie?

Speaker 3 (03:00:10):
You shouldn't have phone before, Betty she was still awake.

Speaker 2 (03:00:17):
Is it done?

Speaker 12 (03:00:19):
Not checking you got the nickets?

Speaker 3 (03:00:21):
Yes, it has to be denied. Promise I know you
sleep now, yes, just gone off? And what are you
waiting for?

Speaker 1 (03:00:35):
Nothing?

Speaker 72 (03:00:37):
I'll do it now, right now, as soon as I
hang Ernie turns, it's to go off. Has been The
clock finishes striking twelve.

Speaker 8 (03:00:57):
Murder Remember to be with us again, and death appears

(03:01:24):
out of the darkness, wearing the face of one you know,
and the clock strike twelve for.

Speaker 20 (03:01:31):
Murder Man.

Speaker 8 (03:01:39):
Pater Hellen was played by Elsabeth. Eric water Vaughn was
Artie with music by Charles Paul. Murder at Midnight was
directed by Anton m Leader.

Speaker 73 (03:02:23):
This is Awston Wells speaking from London, the Black Museum.

Speaker 74 (03:02:36):
Here in the grim Stone structure on the Thames, which
houses Scotland Yard, is a warehouse of homicide where everyday
objects are paperwaiter, woolen, muffler, an old fashioned happen, drinking glass,
all are touched by murder. Here's the frosted glass. It's

(03:03:02):
a familiar object. You've seen such glass before in the
upper panels of the doors of older houses, and perhaps
the one in which you live. That's see in more
light the owner used to say. One man climbing to
his old fashioned apartment said to his son, Hello, what's
this glass on the landing from the door, Dad?

Speaker 1 (03:03:20):
He looked like a frosted panel fell out. Yes, some
pretty jaggedar Be careful, son, Those shods are shop.

Speaker 22 (03:03:28):
Well today.

Speaker 74 (03:03:29):
The glass shods can be seen in the black museums.
And here we are the Black Museum, Scotland Yards, Museum

(03:03:53):
of Murder. Yes, here lies death. Here's a passive. I
sniffled in ivory ring this in the Black Museum because
it seems there was a will. Where there's a will,
there's a way, even to infanticide. There's a pair of vandians,

(03:04:17):
grass graceful in the pattern cleaning execution, execution observed the
shining grass of this onely ugly blotch. On the other
a woman was pushed violently ahead strikes with malice, A forethought.
This was murdered nice. So we are the glass shots,
A shot pointed dangerous to light in them, even in themselves.

(03:04:42):
You know they are glistening, gleaming in their whitely frosted danger.
Once they were part of a whole. The glass panel,
as I told you of an apartment door.

Speaker 1 (03:04:50):
But we'll come to that.

Speaker 74 (03:04:52):
Let's begin this tale with the ringing of a doorbell.

Speaker 14 (03:05:02):
Maybe no one is home.

Speaker 74 (03:05:04):
Well we'll try again.

Speaker 7 (03:05:08):
Sorry to have kept you waiting.

Speaker 1 (03:05:10):
Oh oh, sorry to have disturbed you.

Speaker 15 (03:05:12):
Man.

Speaker 25 (03:05:13):
I've been looking for a chauffeur.

Speaker 1 (03:05:14):
Your name of Simmons.

Speaker 7 (03:05:16):
There's no one here about that name.

Speaker 11 (03:05:18):
Don't you say?

Speaker 7 (03:05:18):
There's no one but that name being in this neighborhood
were not in my memory. And I've lived here about
now twenty years.

Speaker 1 (03:05:24):
Oh well, thank you man. Get out really works. The
beacon hits called.

Speaker 75 (03:05:28):
Well, I let to find another errand boy, if they
can't give me better steers than this, Oh good nay men.

Speaker 7 (03:05:33):
Good day.

Speaker 74 (03:05:37):
That's a bit strange.

Speaker 7 (03:05:39):
There's no beacon garage in this neighborhood.

Speaker 74 (03:05:44):
Of course, this was not a neighborhood for garages and
items of that sort. This was strictly residential, mostly semi
detached houses with a bit of garden and an occasional
block of apartments or flats as they're still called in London.
Into one of those apartment houses came Charles Fly and
his son Charles Jue your home, after their respective days
work at business in college.

Speaker 1 (03:06:05):
When will they put lights in these stairs down.

Speaker 46 (03:06:07):
If someone breaks her leg in the dark, I just
told it doesn't your mother, so do I.

Speaker 1 (03:06:12):
I don't want watch the landing. Dad turns to ahead.

Speaker 9 (03:06:14):
I know.

Speaker 17 (03:06:16):
You know.

Speaker 1 (03:06:16):
Watch this glass on the landing from the door, Dad,
looks like the frosted panels are out. Listen pretty jaggedly,
be careful down those shards are shop. I said, do
you suppose mother let the door slam so hard with
glass broke? But I'll ask her when we get inside.

Speaker 25 (03:06:31):
Your key handy right here, right here, Dad, Thanks.

Speaker 1 (03:06:40):
Funny. I've never known your mother that he used to
chain on the door in a life. Oh, with the
glass broken like that? Quite goods the shame.

Speaker 76 (03:06:46):
I can reach in and clip hop the change from
me through the broken glass. D there's someone in there
for your mother. Probably, No, it's not. It's a man,
a little fellow, Julia. Yeah, go on down a Riverdale
road there's a police box.

Speaker 1 (03:07:00):
Call him quickly.

Speaker 22 (03:07:01):
What about you don't want now?

Speaker 1 (03:07:02):
I'll stay you don't watch him hurry. It's all right
if you say open.

Speaker 21 (03:07:12):
Shames off?

Speaker 2 (03:07:12):
Now? Why not?

Speaker 1 (03:07:14):
He's only a little fellow. Hey, now, what are you
putting in my shirtcase? You shouldn't have come in gunn.
I won't do you a bit of could im leave
it with your suitcase and what I've picked in it?
I can't handle you so fool.

Speaker 74 (03:07:36):
Mister fly should have stayed outside. He might have stayed alive.

Speaker 24 (03:07:40):
As it was.

Speaker 74 (03:07:40):
When the police did arrive with Charles Flyer Junior, Senior
was very dead. Called the Scotland Yard was automatic. After that,
Inspector Howard proceeded with the preliminary questioning, as his technical
experts called the apartment.

Speaker 28 (03:08:01):
I know you had quite a shocking boy, but we
need your help and right now I'll try my best speaking.

Speaker 1 (03:08:07):
Will take the apartment.

Speaker 28 (03:08:08):
The intruder, whoever he was at Patras suitcase was about
ready to leave.

Speaker 1 (03:08:12):
Did its dad zone?

Speaker 73 (03:08:13):
It was his suitcase?

Speaker 1 (03:08:14):
All right?

Speaker 2 (03:08:15):
Now?

Speaker 1 (03:08:15):
Is there anything else you know of that's missing?

Speaker 53 (03:08:18):
My mother said something before she collapsed about about her bracelet.

Speaker 1 (03:08:22):
I looked it's missing. Can you describe it in detail?
On items like that?

Speaker 28 (03:08:27):
We publish it in the Yards Data Gazette. It sucked
your eyes to every station, jeweler and pawn shop in England.

Speaker 10 (03:08:33):
Well, it was gold about an inch wide, engraved with
the kind of floral design and there were twenty five diamonds,
small ones in the pattern.

Speaker 25 (03:08:44):
Dad gave you the mother on the twenty fifth anniversary.

Speaker 28 (03:08:46):
I see very good. Now you will be an excellent help.
And you're certain he was a short man? Well, I
thaw him through the breken painey. It was just about
five feet tall. Quite a little fellow. I guess that's
why Dad went in after him. Dad didn't know you
had a gun. Housebreakers try to sail away from guns
in England. The penalties are too severe, yes, nom sir.

Speaker 1 (03:09:09):
Just the broken pane of glass.

Speaker 33 (03:09:11):
Thank you.

Speaker 1 (03:09:11):
Anything beyond that first show not you think one shot
was fired?

Speaker 28 (03:09:15):
That's all, No m means of operation, anything that's recognizable.
Most of these people have a kind of trademark, completely subconscious,
but it helps.

Speaker 1 (03:09:25):
Us to find them. Too bad, there's nothing.

Speaker 28 (03:09:27):
Then we'll do our best, all right, Sergeant, I want
the neighborhood canvast. Did anyone notice a small man sounding
the drum? Did anyone see a small man leaving the premises?
And check every carnival fare and circus for a small
fellow who's a sharp shooter? One cartridge, one shot and
bullseye got that's.

Speaker 1 (03:09:46):
We're going to make a start anyway, and here's.

Speaker 74 (03:09:48):
Hoping the police routine sounding the drum.

Speaker 23 (03:09:50):
It's a new term.

Speaker 1 (03:09:51):
What does it mean?

Speaker 74 (03:09:52):
Listen to the sergeant to see canvas? Is the neighborhood?

Speaker 53 (03:09:55):
Tell me, ma'am, in the past day or so, has
anyone run your bill and asked for someone who doesn't
live here and left in a hurry?

Speaker 74 (03:10:02):
Do you follow the term? Now, that's what Americans would
call casing the joint. Find out if anyone's home by
ringing the bellop there is, make an excuse and get
away fast. If there isn't, find a way to break
in and steal whatever may be lying about within easy reach.
It's simple, effective, very professional. But the police are professionals.

Speaker 77 (03:10:19):
To excuse me, sir, I'm from the CID, Sergeant Gordon
and my credentials.

Speaker 1 (03:10:30):
Oh what's up? I'm making inquiries to see if anyone's
called your house in the past few days.

Speaker 2 (03:10:35):
What.

Speaker 78 (03:10:35):
Oh no, no, we' will been away the past two weeks.
We han't got back today. Oh well, thank you then,
sorry to trouble you. Yeah, forgive me for troubling you, ma'am.
I'm Sergeant Gordon, CID, my credentials.

Speaker 12 (03:10:55):
What happened we are the literal robbit.

Speaker 53 (03:10:57):
No, calm yourself, ma'am, for you at any rate. It's
just that I wanted to ask you a question or two. Yes,
could you tell me if anyone has called at your
house during the past few days and asked for someone
who doesn't live here, and that if they were in
what a silly question?

Speaker 1 (03:11:13):
No, ma'am, it's a very serious question. So will you
put your mind to it?

Speaker 79 (03:11:17):
Well, no, I'm absolutely sure no body. Yes, Sergeant Gordon
Cid microad angels. Yes, has anyone wh raung your bail
in the past few days and ask for someone who
doesn't live here?

Speaker 2 (03:11:37):
No?

Speaker 53 (03:11:38):
Thank you, Yes, sorry to disturb your ma'am. I'm Sergeant
Gordon Cid micreading.

Speaker 1 (03:11:56):
Oh oh please? Yes? Did you that is?

Speaker 53 (03:12:00):
Has anyone run your bill in the past few days
and ask for someone who doesn't live here?

Speaker 7 (03:12:05):
That'd be a foolish thing.

Speaker 80 (03:12:07):
Why, Yes, there was just yesterday afternoon he asked for
a chauffeur or something said the fellow worked at the
Beacon Garage.

Speaker 1 (03:12:15):
And you remember this.

Speaker 80 (03:12:17):
I certainly did, hi, ma'am, because there's no such place
here about as the Beacon Garage, and I ought to
know I've lived here twenty years.

Speaker 1 (03:12:25):
See rather a foolish Now that you mention it.

Speaker 7 (03:12:30):
I'm not sure that it was an error.

Speaker 11 (03:12:32):
He seemed rather a nasty little man.

Speaker 1 (03:12:34):
Oh is that too wow and too.

Speaker 80 (03:12:37):
Dapper, too quick, much too little for a man sure
than I am, and I'm only five feet two.

Speaker 1 (03:12:43):
Could you describe him in more detail? Perhaps?

Speaker 2 (03:12:46):
Well?

Speaker 80 (03:12:46):
He had dark hair, grew very low on his head,
and his eyes were all shifty, blue but shifty, the
kind of thing you see in the cinema, you know,
and those pictures about bookmaking and.

Speaker 1 (03:12:57):
There anything else, ma'am?

Speaker 7 (03:12:59):
Well, not that I remember, not all hands at any rate.

Speaker 74 (03:13:11):
Now two people still living have seen this little man,
the dead man's son and the woman in whose door
he sounded the drum. The description is in hand, two
descriptions which tally in every point. And then Sergeant Gordon
came in to Inspector Howard's office with another fact, very
solid fact.

Speaker 1 (03:13:29):
What's this, sergeant?

Speaker 53 (03:13:30):
The weapons are founded behind the hedge of number twenty one,
three houses up from the flats where the flyer was killed.

Speaker 1 (03:13:36):
How'd you get onto it?

Speaker 53 (03:13:38):
We found a young fellow who'd been walking his girl
passed the flats on a way from the bus. This
little man ran out of the flats, almost not the
girl over, but he kept going. Our young fella turned
around to protest, saw him throw something over the hedge.

Speaker 1 (03:13:50):
We looked there.

Speaker 28 (03:13:52):
It is a nicety little gun, well shell jammed in
the chamber. No wonder if I had only one short,
but he pulled the trigger twice. Well, we can't drop
our search in the circuses, Sergeant, I doubt if this
fellow is the sharp shooter we thought he was. I
think now we'll concentrate on classification by size.

Speaker 1 (03:14:15):
Shall we get to it? Ergeant, We you seem to
have our work cut out for us again.

Speaker 74 (03:14:21):
Surely the picture takes shape dim at first, as if
seen through frosted glass, like the glass shirt to be
seen today in the Black Museum. Again, it's compounded of

(03:14:42):
hard work, good police training, and the little luck. They
start with nothing. It's time with the wrong theory that
their man is a sharp shooter. They have to abandon
this and they start fresh with the dullest and therefore
the hardest kind of police routine. Checking the files.

Speaker 1 (03:14:57):
He's a little man. Everyone to read on that.

Speaker 28 (03:15:00):
Ask criminal records to send us the dossiers on every
man we have on file under five feet two inches
in height.

Speaker 74 (03:15:06):
Carefully, the inspector in charge and his sergeant comb through
these dossiers, and finally, by reason of cross checking this
one in jail at the moment of the crime, that
one in some other part of the country, others with
perfect alibis, the list of little fellows is reduced to four.

Speaker 28 (03:15:22):
You take these two, Sergeant, I'll work over the others.
Anything that rings a bell, the smallest detail.

Speaker 2 (03:15:27):
Yes.

Speaker 74 (03:15:27):
For over an hour the two men are silent, reading, thinking,
trying to relate something in the files to the facts
that they already have. And then they exchange dossiers and
start again. By this time the lamps slided. The Thames
flows like black glass outside the window of the inspector's office.

(03:15:49):
All at once, I.

Speaker 53 (03:15:51):
May have something which file Larrymasonly, his nearest relatives, and
uncle Lennan aunt.

Speaker 1 (03:15:56):
Are recorded here as living in Beacon Road.

Speaker 53 (03:15:58):
Does that mean anything to use? It doesn't mean asociating
my report in passing Inspector. When I talk with the
woman who'd seen the fellow sounding the drum, he told
her the suffer he was looking for what at the
Beacon Garage, and she made quite a fuss over the
fact that there is no such garage.

Speaker 28 (03:16:12):
In the neighborhood. She was quite emphatic about it. Ah interesting,
and let me see the description. I see five feet
one and a half inch, the smallest of the lot,
Beacon garage and relatives on Beacon Road.

Speaker 74 (03:16:27):
Not important, perhaps yet all important. As the inspector thought
it through, we the same.

Speaker 28 (03:16:34):
A man needs a false name at at some moment,
he says, the first thing that comes into his mind.
It seems rather natural at the place his nearest relatives
live should be lurking somewhere just below his consciousness.

Speaker 1 (03:16:46):
Well, it's my dear slim, that it's worth a try.

Speaker 74 (03:16:49):
And having decided it was worth a try, Inspector Howard
and Sergeant Gordon set out to trace their prime if
tiny suspect.

Speaker 7 (03:17:00):
Mason.

Speaker 1 (03:17:01):
Yes he lived here, Oh lived? You mean he's left?

Speaker 7 (03:17:05):
He didn't leave?

Speaker 1 (03:17:06):
What the mom did he die?

Speaker 80 (03:17:08):
He could have for all I care, or threw him out,
didn't pay his rent for three weeks.

Speaker 7 (03:17:14):
I can't afford dead heads.

Speaker 1 (03:17:16):
I can't have you any idea when he's gone.

Speaker 7 (03:17:18):
No, what's more, I don't care.

Speaker 74 (03:17:24):
Next point of inquiry was the Beacon Road address Larry
Mason's uncle.

Speaker 1 (03:17:28):
About your nephew, mister Mason?

Speaker 23 (03:17:30):
What about him?

Speaker 1 (03:17:31):
Have you any idea of his? Whereabout? Who wants to know?
My name is hard Inspector Scott and in trouble? Is
he again? We're not certain yet? He may bee. We'd
like to talk to him.

Speaker 46 (03:17:43):
Well, you find it my lot to talk to him
too long enough to tell him not to come around
for me for help.

Speaker 74 (03:17:51):
Sergeant Gordon visited the pubs and hangouts where Larry Mason
had been known to spend his time. In one of them,
he found a friend of Mason's.

Speaker 46 (03:18:00):
I ain't seen him in a long time, not since
he was sent away from breaking and entering.

Speaker 1 (03:18:05):
He hasn't been round it all, and I can't say
I'm sorry, No, why not? Friend?

Speaker 46 (03:18:11):
He worked for me when I had my license and
was making a book legitimate.

Speaker 1 (03:18:15):
He was my clerk. Say, then one day he walks off,
just like it. We can quid. I don't expect to
see him again.

Speaker 46 (03:18:24):
He knows that little job cost me my license, and
he knows what will happened to him. He shows his
face in here again?

Speaker 74 (03:18:36):
How much to go on? How to find a man,
except the brushstrokes that fill the picture of the little
fellow's character unreliable, a thief, untrustworthy even where his friends
are concerned. I think back of that and of the
Daily Gazette the eye probsis and descriptions are stolen goods,
missing persons, and.

Speaker 53 (03:18:53):
So teletape from the Lancashire Police inspector. Huh, they've got
the bracelet and the flak is upon turned it up good.
It was offered to him by a tall, heavy set
fellow with a peculiar circular scar on his right cheek.

Speaker 81 (03:19:07):
That sounds like Dick Lorry. Let's have mister Lorry in here,
shall we. Mister Lorry was quite glad to oblige. She
wasn't in hiding anything like that.

Speaker 20 (03:19:19):
Not Dick Lorry.

Speaker 53 (03:19:20):
Where did you gettet Lorry? The inspector wants to know.
When I get on the bracelets, you're pond in Bolton.

Speaker 1 (03:19:27):
I found him. You found it, That's what I said.
Anything wrong in that if you found it? No, we
think you bought it on Now what would our bar
bracelet with sparklers in it for?

Speaker 33 (03:19:40):
My goods?

Speaker 1 (03:19:40):
Don't go for that sort of thing. You sold it
didn't you?

Speaker 22 (03:19:44):
Of course?

Speaker 1 (03:19:45):
Why not that I can do with a spot of cash, Larry, Yes, inspected.

Speaker 28 (03:19:50):
You may want to know that bracelet is involved in
a killing, Chilly, It is quite a gutty little oh gone.

Speaker 53 (03:20:00):
Larry, start talking Lorry accessory after the fact.

Speaker 1 (03:20:06):
A murder can be very nasty.

Speaker 20 (03:20:08):
You know, all right?

Speaker 21 (03:20:13):
Aborted.

Speaker 76 (03:20:14):
I've got a good price too, from home, Larry, From
whom Larry Mason?

Speaker 1 (03:20:19):
At last? Where do you see, Larry? Are they use
your place? Dog track whe him? It's horses or dogs
when the necks aren't running.

Speaker 74 (03:20:28):
Finally, the patience was bringing results, as it almost always
does canvas. The whole neighborhood came through hundreds of files, slowly, slowly,
narrow the possibilities, and finally a direct relation is established
between the crime and some person who may have committed it.
After that, find the person. In this case, it was

(03:20:51):
the dog tracks Southend is not here, Sergeant the White
City Raceway.

Speaker 1 (03:21:00):
Not a sign Inspector Wembley. They know him here, but
he hasn't been around in weeks.

Speaker 74 (03:21:10):
And back to South End.

Speaker 1 (03:21:12):
No luck again, sir, No luck is right, Misserger just
arose a pint of air? Who will help our patients
any This one seems a rather decent inspector. Yes, let's
get on with it. Excuse me, I'm sorry so I
didn't mean to come against you. That's all right, no

(03:21:33):
harm done. Holding young Hello, I think I know you?
Do you whe're from? You're Larry miss not me. My
name is Leonard Martin Society. You'll have to prove your identity.
We're from Scotland yard.

Speaker 74 (03:21:49):
A twist of luck, a turn, a chance to worry.
Policemen in search of a relaxing moment run across the killer.
They've been hunting for weeks that the ard Larry Mason
was not having a particularly relaxing time of it.

Speaker 1 (03:22:07):
Do you insist on denying your Larry Mason?

Speaker 2 (03:22:10):
I do.

Speaker 53 (03:22:11):
Look, Mason, you've been away for a while. Now you
know about these things. Your fingerprints are the prints on
Mason's record. Dick Lowries, where has he brought the bracelet from?

Speaker 21 (03:22:22):
You?

Speaker 53 (03:22:22):
Your land video on your former book making associate have
identified you. Now let's have no more nonsense.

Speaker 75 (03:22:29):
I thank giving you a thing just because on smowd
I mean you can push me around.

Speaker 53 (03:22:33):
Ah, you'd better tell us the whole story, Mason, and
stop this nonshysical denial. You'll go to trial anyway, you know,
and the more you lie out, the harder it will
be on your later.

Speaker 1 (03:22:43):
Now speak up, Mason.

Speaker 74 (03:22:45):
You know they get stubborn streaks. Sometimes they read somewhere
somehow that the best defense is to admit nothing, not
even their own identities. So they firmly shut their mouths
and refused to talk about anything except the weather. And
Sergeant knew they had the case, A good case inspector
how it came into help.

Speaker 28 (03:23:01):
I look at it this way, Mason. You can't do
yourself any harm. We've got the evidence, we've got the gun.
We're in the process of tracing it to you right now.
The woman who spoke to will identify you in court.

Speaker 1 (03:23:13):
You had the bracelet. You have no alibi worth mentioning.

Speaker 28 (03:23:17):
You'll hang on what we've got, Mason, unless you have
something which makes it manslaughter in place a murder.

Speaker 7 (03:23:24):
All right, It was an accident. I never used the
gun before, never even.

Speaker 1 (03:23:29):
Had one the first time.

Speaker 28 (03:23:30):
It's always one too many when he comes to guns.

Speaker 1 (03:23:33):
Now keep talking, How was it an accident? I broke
the girl?

Speaker 75 (03:23:37):
See, after nobody answered the bill, I'll stop my hand in.
It was a sinse to open the door. I woke first,
but this bill I come home earlier or something. I'll
try to make the big door.

Speaker 63 (03:23:48):
Now.

Speaker 1 (03:23:48):
Look, it was locked with a key, so you had
to come to the fact.

Speaker 7 (03:23:51):
It was a lot bigger than me.

Speaker 1 (03:23:53):
I'll pold the gun because I wanted to skeer him.

Speaker 22 (03:23:55):
That's all.

Speaker 1 (03:23:56):
Eat company, eat me with something.

Speaker 75 (03:23:58):
I'll be t that's it. I'll break down. Didn't he
need the gango wolf? And when you came to Mason,
he was stayed on the floor. I'll got out of
there as fose as I could get. It was an accident.
I swear it was an accident.

Speaker 28 (03:24:12):
What your opinion, Sergeant, It's a good story, but it
won't wash.

Speaker 12 (03:24:17):
Why not?

Speaker 7 (03:24:18):
Just what happened?

Speaker 21 (03:24:19):
Why not?

Speaker 28 (03:24:19):
It's very simple, Mason. You blacked out as you pull
the trigger. Therefore you fired only once, hardly once. Sorry, Mason,
you pull that trigger twice. There was a shell jammed
in the firing chamber. You pull the trigger at least twice.
That's no accident, Mason, that's murdered.

Speaker 74 (03:24:41):
Yes, the case was complete, each part in its correct place.
And those glass shines I told you about, those two
are in their correct place in the Black Museum. The
jury quite agreed with Inspector Howard that was no accidents.

(03:25:01):
And so in due course, little Larry Mason, the bookie's clerk,
who made the fatal error of carrying a pistol, went
the way of most murderers. At eight o'clock one summer morning,
Larry Mason's luck had run out, or had it was reported,
You see that as he walked to the scaffold with
its thirteen steps and waiting rope, Mason murmured to his guards,

(03:25:25):
they had to do this now. On June sixth, derby day,
and me with a few shillings riding on armstrong in
the big race. Curiously, although Mason wasn't available to collect
on his bed, I'm strong as the winning horse at
fifty three to one. And how do we meet next time?
Do we meet him the same place? And I tell

(03:25:45):
you another story about the Black Museum? I remain, as
always obediently yours.

Speaker 82 (03:26:08):
The Mutual Broadcasting System presents The Mysterious Traveler, written, produced
and directed by Robert Ay, author and David Cope, and
starting tonight, three of radio's foremost personalities, Grace Coffin, John
Gibson and Louis van Rudin in The Man from Singapore.

Speaker 20 (03:26:34):
This is a mysterious.

Speaker 16 (03:26:35):
Traveler inviting you to join me on another journey into
the realm of the strange.

Speaker 1 (03:26:40):
And the terrifying.

Speaker 16 (03:26:42):
I hope you will enjoy the trip, that it will
drill you a little and chill you a little. So
settle back, get a good rip on your nerves, and
be comfortable if you can, as we follow the machinations
of a ruthless woman. It's a story I call the
Man for Singapore. My story begins in the San Francisco

(03:27:11):
officers of the John Bates Importing Company. In a large,
well furnished office. Horace Riker, a junior partner in the firm,
sits behind his desk, staring unbelievably at a letter, which
he holds in trembling hands.

Speaker 20 (03:27:27):
He reads the letter a.

Speaker 16 (03:27:28):
Second time, then agitatedly turns to the intercom box on
his desk.

Speaker 30 (03:27:33):
Blanch, come in my office at once, Please be right there.
Oh Lord, What can we say to him?

Speaker 1 (03:27:41):
What can we say here?

Speaker 7 (03:27:44):
What is it? What's wrong?

Speaker 30 (03:27:46):
Come in close the door?

Speaker 7 (03:27:50):
What is it?

Speaker 30 (03:27:51):
Blanche? This hairmail letter I just received? He's coming back
to it.

Speaker 15 (03:27:58):
I mean Fates.

Speaker 30 (03:28:00):
Yes, John Bates, our senior partner. After twenty five years
in the Far East.

Speaker 3 (03:28:06):
He's coming back flying.

Speaker 30 (03:28:08):
Yes, because he's leaving Singapore this Thursday. He'll be here
a week from today.

Speaker 15 (03:28:13):
Leaving Singapore Thursday.

Speaker 30 (03:28:15):
Yes, Blanche, How can you stand there so calmly? Do
you realize what John Bates will do when he finds
out one hundred thousand dollars that's how much I'm short.

Speaker 7 (03:28:30):
All, Get hold of yourself.

Speaker 30 (03:28:33):
I took the money for you. You've got to help me.
Bates will send me to prison if you don't, and
they'll make you give everything back.

Speaker 15 (03:28:40):
They'll never get anything back, never the house, the car,
the money I'm keeping it.

Speaker 30 (03:28:47):
You've never met Bates. He's a vindictive man. He'll send
me to prison and you too if he can.

Speaker 18 (03:28:53):
Oh no, he won't.

Speaker 7 (03:28:55):
He isn't sending anyone to prison.

Speaker 30 (03:28:57):
He isn't.

Speaker 17 (03:29:00):
Stop him.

Speaker 15 (03:29:02):
I always knew that someday he'd return to this country,
that this moment would come, And now it has.

Speaker 30 (03:29:09):
Yes, now it has.

Speaker 15 (03:29:12):
I've had a long time to think it over, and
there's only one thing we can do. What's that John
Bates is never going to reach San Francisco. What he's
going to vanish in Hawaii?

Speaker 30 (03:29:25):
Vanish in Hawaii?

Speaker 20 (03:29:28):
What are you talking about.

Speaker 15 (03:29:30):
He's leaving Singapore Thursday. He'll be in Hawaii Saturday evening
and we'll stop there overnight. You and I will be
in Hawaii when he gets there. But four, I've told
you he's going to remain there.

Speaker 7 (03:29:44):
He's never going to reach San Francisco.

Speaker 16 (03:29:47):
Lanch, you mean.

Speaker 30 (03:29:51):
No, oh, no, I'll have no part of it.

Speaker 15 (03:29:55):
Would you rather go to prison for fifteen years?

Speaker 30 (03:29:57):
But murder?

Speaker 7 (03:29:59):
Yes, murder.

Speaker 15 (03:30:01):
We're living in a jungle where we have to kill
or be killed.

Speaker 7 (03:30:05):
As soon as you get used to the idea, the better.

Speaker 30 (03:30:07):
I stole Blanche, but I won't commit my hair.

Speaker 7 (03:30:11):
I can't.

Speaker 15 (03:30:12):
You can, and we will.

Speaker 7 (03:30:14):
We're in this thing together to the end.

Speaker 83 (03:30:16):
But Blanch are no butts.

Speaker 7 (03:30:19):
Now you'll do it exactly as I say. Just think chorus.

Speaker 15 (03:30:22):
Once Face is gone, this company will be really ours.
He hasn't any relatives. There's no one who will come
forward to make trouble.

Speaker 30 (03:30:29):
It's wrong. It's wrong.

Speaker 7 (03:30:31):
Isn't wrong?

Speaker 15 (03:30:32):
It's only wrong if we fail, and we aren't going to.
Now you and I are flying to Hawaii on Friday
under assumed names, and we're going on different flights. I
want you to shave off your mustache, dye your hair,
get yourself a pair of heavy black rimmed glasses.

Speaker 30 (03:30:48):
Yes, Blanche, I guess it's the only way.

Speaker 15 (03:30:53):
Our dress is a widow wear a black veil.

Speaker 1 (03:30:56):
WHOA.

Speaker 30 (03:30:57):
Won't people wonder where we are?

Speaker 7 (03:30:59):
Well?

Speaker 30 (03:31:00):
While we're gone, we'll.

Speaker 15 (03:31:01):
Tell them we're driving up to my mountain lodge for
the weekend. There's no phone there, it's completely isolated. We'll
fly to Hawaii Friday morning. We'll be back in the
office Monday afternoon.

Speaker 30 (03:31:11):
You you've you've had this plan for a long time,
haven't you.

Speaker 15 (03:31:17):
Yes, you should know by now, Horace, that I won't
let anything or anyone stand in my way.

Speaker 30 (03:31:25):
I've loved you so blindly blanched that I suppose I
have never realized how ruthless you can be.

Speaker 15 (03:31:31):
And it's my ruthlessness that will save us. Now here's
the rest of my plan. You will take the flight
that leaves at dawn Friday. When you arrive at Honolulu
in the afternoon, you're to go to.

Speaker 18 (03:31:42):
The Dorset Hotel.

Speaker 15 (03:31:44):
When you arrive at Myra, there's the thing, a fort
Clibber now staying up to the gate.

Speaker 7 (03:32:01):
Bates will be getting out in a.

Speaker 30 (03:32:03):
Minute, Blanche. It's still not too late to change your minds.

Speaker 21 (03:32:07):
Even if we.

Speaker 15 (03:32:08):
Come to Hawaii for one thing, Horace, and we're going
through with it, there's no turning back for either of it.

Speaker 30 (03:32:14):
Yes, but there are so many things that can go wrong.
What if Bates does.

Speaker 15 (03:32:19):
Nothing will go wrong if you do exactly as I
told you. Look, the passengers are leaving the plane. Now
point out Baits to me.

Speaker 30 (03:32:27):
What would the darkness and the distance, it's hard to
tell one passenger from another.

Speaker 15 (03:32:34):
Yeah, there is a tall, heavy man speaking to the stewardess.

Speaker 30 (03:32:40):
Yes, yes, that's Baits.

Speaker 15 (03:32:43):
All right, you stay here in the car and wait, Yes, Blanch,
pardon me, mister Bates.

Speaker 29 (03:33:00):
Why y?

Speaker 17 (03:33:01):
Yes?

Speaker 7 (03:33:01):
I wonder if I might have a word with you outside.

Speaker 29 (03:33:05):
Who are you?

Speaker 1 (03:33:06):
We've never met, have we?

Speaker 15 (03:33:08):
No, we haven't. My name is Bia, Charles. I flew
here to Hawaii with your partner, Horace Riker.

Speaker 1 (03:33:15):
Horace is here in Hawaii.

Speaker 15 (03:33:17):
Yes, as a matter of fact, he's waiting at a
car park just up the avenue.

Speaker 7 (03:33:21):
If we can step.

Speaker 16 (03:33:21):
Outside, very well, what's Horace doing here in Honolulu.

Speaker 15 (03:33:30):
Perhaps it would be better if Horace told you it
isn't a very pleasant story. Just who are you, miss, Charles,
I'm harsless fiance.

Speaker 16 (03:33:39):
Oh I see, I suppose I should offer my congratulations.

Speaker 1 (03:33:43):
But at this point there are a great many things
that need clearing up.

Speaker 15 (03:33:48):
Horas will explain, mister Bates.

Speaker 20 (03:33:50):
Where's the car.

Speaker 15 (03:33:51):
Right up ahead? That's block one. Oh, there's Horace in
the back.

Speaker 7 (03:33:55):
Of the car.

Speaker 1 (03:33:55):
Oh, yes, yes, I see, Hello on Horace. And what's
all this about?

Speaker 30 (03:34:03):
It's quite an involved story, John, Will you get in
the car.

Speaker 1 (03:34:08):
Thank you all.

Speaker 15 (03:34:09):
I think you'll be more comfortable in the front, mit debates.
The suitcases in the back will be in your way.

Speaker 2 (03:34:13):
Really well, and I'll get to it.

Speaker 1 (03:34:18):
What's happened you?

Speaker 30 (03:34:19):
Remember when I was in Singapore last year? I told
you about the office manager i'd hired, Blanche Worthy.

Speaker 16 (03:34:28):
Yes, yes, you said she was a very efficient woman.

Speaker 1 (03:34:31):
What about her?

Speaker 30 (03:34:32):
Well, she's absconded, abscribed, yes, with forty thousand dollars of
the firm's money.

Speaker 15 (03:34:40):
What yes, mister Bates. She took the money Wednesday through
sheer accident. Horras learned that she had flown to Hawaii
under an assumed name my word. Harras decided not to
waste a moment. Yes, Harras decided not to waste a moment,
but to take.

Speaker 16 (03:34:54):
Action your hot action, really, miss Charles, Oh, I thought
you were never going to hit him.

Speaker 7 (03:35:03):
Now let's get going.

Speaker 30 (03:35:11):
Did I kill him?

Speaker 9 (03:35:12):
Now?

Speaker 7 (03:35:13):
He's only unconscious?

Speaker 63 (03:35:14):
But so far, so good.

Speaker 15 (03:35:17):
I doubt if anyone even find me the air terminal.

Speaker 30 (03:35:20):
How far is it to the spot you picked up?

Speaker 15 (03:35:22):
It's thirty miles out. They'll never find him, believe me.

Speaker 30 (03:35:26):
But I won't do it. I can't.

Speaker 7 (03:35:30):
I didn't expect you to.

Speaker 1 (03:35:32):
I'll do it.

Speaker 15 (03:35:34):
We'll bury him out there. Four hours from now, we'll
be on a plane going.

Speaker 7 (03:35:38):
Back to San Francisco.

Speaker 16 (03:35:47):
Here's planch. There's no question in your mind as to
what has to be done? Is the John Bates dies
just as you plan and is buried in a lonely
grave on a Hawaiian mountain side after all identities has
been removed. Then you and and horrors drive back to
the airport. He returns the rented car, and as to Watters, strangers,

(03:36:08):
you bought a plane for San Francisco. You sit far apart,
never even looking.

Speaker 1 (03:36:15):
At each other.

Speaker 16 (03:36:17):
Eight hours later, you land in California. Disguises are abandoned
at your apartment. Then the pool you go to the
office acting is that you've just turned from the mountains.
As you went to Horace's office, he sinks despondently out
of the couch.

Speaker 7 (03:36:35):
Get hold of yourself, Horace.

Speaker 15 (03:36:37):
It's all over.

Speaker 7 (03:36:38):
I admit it was quite a strain, but it's all
over now.

Speaker 30 (03:36:41):
But the police, how about them?

Speaker 15 (03:36:44):
Basis, plane is due to land this afternoon at four.
When he doesn't turn up here at the office, we'll
start making inquiries. In the end we'll turn to the police.
They all established that he reached Hawaii and disappeared. We
have nothing to worry about, your sure, Blanche, you're sure,
of course, I am with the dead.

Speaker 7 (03:37:03):
We don't have to worry about the books.

Speaker 15 (03:37:05):
They're in perfect order, and in time we'll own the
company outright. Yes, it's going to be nice. Ah. We
haven't a thing to worry about, not a.

Speaker 30 (03:37:16):
Thing, Blanche. Yes, it's almost six o'clock. His plane was
supposed to have arrived at four. Shouldn't we call the
police now?

Speaker 15 (03:37:35):
Secondly, not, it's much too soon to become allottened. Tomorrow
morning at eleven or so, when Bates hadn't arrived. You'll
call the airlines and make inquiries. The following day we'll
go to the police.

Speaker 30 (03:37:46):
All right, just as you say, Oh.

Speaker 7 (03:37:48):
Relaxed, higher, I'll do the thinking.

Speaker 1 (03:37:51):
Yes, Blanch, it's six o'clock.

Speaker 30 (03:37:54):
What about suffer and some drinks at the club.

Speaker 15 (03:37:56):
Oh fine, we can stand a little relaxation.

Speaker 7 (03:38:00):
I'll get ready. Someone came into the office.

Speaker 30 (03:38:04):
The staff of all gone. Perhaps one of them came back.

Speaker 1 (03:38:09):
I'll see.

Speaker 16 (03:38:11):
Can I help you, Yes, yes, maybe you can. My
name is Garrett, Fred Garrett. Well, come into my office.
Mister Garrett, thank you.

Speaker 30 (03:38:24):
Now, what can I do for you?

Speaker 1 (03:38:28):
I said, what can I do for you?

Speaker 15 (03:38:31):
I don't like people who stare.

Speaker 1 (03:38:34):
Sorry, haven't we met before?

Speaker 15 (03:38:37):
No, I always remember people with bad manners.

Speaker 16 (03:38:41):
You still haven't stated your business, mister, mister Garrett. I'm
looking for mister Bates, John Bates, mister Bates.

Speaker 7 (03:38:48):
We expect mister Bates in the office tomorrow morning.

Speaker 30 (03:38:51):
Oh, well, then you've seen him spoken to him.

Speaker 15 (03:38:53):
By No, not yet, his plane only arrived two hours ago.

Speaker 16 (03:38:57):
Well, the plane arrived, but mister Bates didn't.

Speaker 30 (03:39:02):
He didn't.

Speaker 15 (03:39:03):
You must be mistaken. We have a letter here thommim that.

Speaker 30 (03:39:06):
Says it he wasn't on that plane.

Speaker 1 (03:39:10):
I know.

Speaker 30 (03:39:12):
How do you know?

Speaker 16 (03:39:13):
I boarded that plane in Singapore with Bates sat beside
him all the.

Speaker 1 (03:39:17):
Way to Hawaii.

Speaker 30 (03:39:18):
You got to know quite a bit about him after
a while.

Speaker 15 (03:39:21):
Well, mister Gare, if you say he didn't arrive this afternoon,
then I suppose he didn't. Possibly he decided to spend
a few days in Hawaii.

Speaker 16 (03:39:32):
You're wrong again, wrong, yes, because he told me he
was in a hurry to get.

Speaker 37 (03:39:37):
To San Francisco.

Speaker 16 (03:39:39):
In fact, we had tickets on the same plane, adjacent seats.

Speaker 14 (03:39:43):
I see.

Speaker 15 (03:39:45):
What do you make of it?

Speaker 1 (03:39:46):
Well this I do know.

Speaker 16 (03:39:50):
I left Bates in the air tunine in Hawaii to
buy some cigarettes. When I turned to look for him,
I caught sight of him going out the door.

Speaker 2 (03:39:59):
With a.

Speaker 7 (03:40:02):
You're staring again, mister Garrett.

Speaker 69 (03:40:05):
Yes, you know something.

Speaker 1 (03:40:07):
What the woman I saw Bates leave with.

Speaker 30 (03:40:12):
She looked like you. Well, that's preposterous. While miss Werby
spent the weekend at their lodge in the mountains.

Speaker 7 (03:40:19):
You don't say, we do say?

Speaker 1 (03:40:22):
I hope it stands up.

Speaker 30 (03:40:24):
What do you mean?

Speaker 16 (03:40:26):
Let's skip the preliminaries I'm betting that if the police.

Speaker 1 (03:40:29):
Found out what I know, it would.

Speaker 16 (03:40:32):
Give them an entirely different slamp on the whole disappearance
that weekend in the mountains.

Speaker 7 (03:40:38):
Wouldn't stand up if he how much.

Speaker 16 (03:40:45):
Swanky office you have here?

Speaker 22 (03:40:47):
How much you know?

Speaker 16 (03:40:49):
On that plane trip I managed to get quite a
bit of information out of Bates told me he hadn't
seen the States in twenty five.

Speaker 30 (03:40:56):
Years alone in the world.

Speaker 16 (03:40:59):
No real, So what are you getting at the office?
Force expects to see John Bates here tomorrow morning?

Speaker 1 (03:41:06):
Right, Well, they're going to well what are you talking about?

Speaker 16 (03:41:11):
What's the matter, mister Riiker. Don't you recognize your partner,
John Bates.

Speaker 15 (03:41:16):
No, that's the price we won't pay.

Speaker 7 (03:41:18):
Now, let's not be too hasty. Look at it this way.

Speaker 16 (03:41:21):
If I'm John Bates, then John Bates can't be missing,
which means there'll be no need to notify the police
start an investigation, which may end them who knows where.
From the looks of this business, I'm sure there's enough
for three. No, I'm afraid I can't take that as
an answer. Tomorrow morning, at exactly nine thirty am, I'm

(03:41:45):
going to walk into the reception room of this company.

Speaker 1 (03:41:49):
The rest will be up to you.

Speaker 30 (03:42:04):
Good morning, Horace, good to see you again. Good morning, John,
welcome home.

Speaker 16 (03:42:10):
When did you arrive yesterday afternoon on the four o'clock play. Well,
So this is our San Francisco office.

Speaker 30 (03:42:17):
Yes, I think you've never seen it before. All right, John,
This is our office manager, Miss Werby Blanche. This is
mister Bates.

Speaker 7 (03:42:25):
How do you do, mister Bates?

Speaker 16 (03:42:27):
Where so you're miss Werby. Horace has written so much
about you. This way to your office, John, Thank you,
harras Hey, it's good to be back in San Francisco
after all these years.

Speaker 7 (03:42:39):
It's hard to believe I've been gone twenty five years.

Speaker 22 (03:42:42):
Here we are.

Speaker 30 (03:42:45):
I hope you like the way it's decorated.

Speaker 37 (03:42:48):
Yes, yeah, very nice, very nice.

Speaker 16 (03:42:54):
Indeed, I'm glad to see that you two decided to
act sensibly. It shows ex judgment.

Speaker 15 (03:43:00):
I think we'd better have a clear understanding about everything
right now.

Speaker 16 (03:43:05):
Of course, now, as far as the business is concerned,
I have no wish to interfere with the way it's
being roun. I'm sure that I can trust you too,
and that the books will be in perfect order.

Speaker 15 (03:43:17):
There's more to it than that.

Speaker 16 (03:43:19):
I want to know just what your numb is worby.
Let's not go into details. When I've been home less
than twenty four hours. We'll discuss it another time, Horace,
would you have the cashier make out a.

Speaker 1 (03:43:31):
Check to me for five thousand dollars?

Speaker 30 (03:43:33):
Five thousand dollars?

Speaker 16 (03:43:35):
Yes, yes, I'm going to spend the day looking for
an apartment, buying a car, acquiring all the necessities that
a man in my position mu was to have. Now
hurry up, will you, Horace?

Speaker 30 (03:43:57):
Blanche? Why don't just stop pacing the floor and sit
down have a drink?

Speaker 15 (03:44:02):
In two weeks, he's taken seventeen thousand dollars.

Speaker 30 (03:44:05):
Well, it isn't as though the business couldn't afford it.

Speaker 7 (03:44:08):
Oh, you fool, Where.

Speaker 15 (03:44:09):
Do you think it'll all end? He'll milk the business dry?

Speaker 30 (03:44:12):
Well, perhaps if you were to have a talk with him,
point out.

Speaker 15 (03:44:16):
It'll take more than a talk, oh to have gotten
rid of base and then I've had this happen.

Speaker 30 (03:44:22):
Well, he isn't going to get away with now, Blanche,
there's no.

Speaker 15 (03:44:26):
Second mister Bates is going to join the first. No, no,
you think I'm going to let him blackmail me out
of everything?

Speaker 17 (03:44:34):
Blanch.

Speaker 30 (03:44:34):
No, we were lucky the first time. This time something's
bound to go wrong.

Speaker 15 (03:44:40):
No, Horace, I'll take care of everything.

Speaker 16 (03:44:50):
There's Flanch. You've known it would have to be this
way since the day that Fred Garrett walked into the
office seventeen. In the two weeks that have passed, you
are ready. He formulated a plan. Your coldness towards Garrett
gives away to warmness. Soon he's spending more and more
time in your office.

Speaker 22 (03:45:09):
In one day, you.

Speaker 16 (03:45:11):
Invite him up to your mountain lodge for a weekend.
He arrives on a Friday evening, Please to find that
he's your only guest. Then there was wonderful flash. There
was the liquor, the place must have.

Speaker 1 (03:45:28):
Who are you?

Speaker 7 (03:45:29):
Thank you?

Speaker 15 (03:45:30):
You're the perfect guest, Bread easy to please?

Speaker 30 (03:45:34):
Not Fred Blans John John.

Speaker 15 (03:45:37):
Bay, Yes, of course I keep forgetting you shouldn't.

Speaker 16 (03:45:41):
John Bache is a much safer name than Fred Garrett.

Speaker 30 (03:45:45):
In more waste than one.

Speaker 15 (03:45:48):
Another dream?

Speaker 29 (03:45:49):
Sure?

Speaker 1 (03:45:49):
Why not?

Speaker 69 (03:45:51):
You haven't one to?

Speaker 17 (03:45:52):
Of course?

Speaker 30 (03:45:53):
Why you and I are gonna get along?

Speaker 1 (03:45:56):
Flanch, gonna get along.

Speaker 15 (03:46:08):
Fred, Fred, that's it? Fall asleep, Fred.

Speaker 3 (03:46:19):
Horace, here's Blench?

Speaker 15 (03:46:22):
Is he?

Speaker 1 (03:46:23):
Is he out?

Speaker 7 (03:46:24):
He's dead of the world.

Speaker 30 (03:46:25):
And I thought he'd never pass out.

Speaker 3 (03:46:27):
It's almost one a m.

Speaker 7 (03:46:28):
The late hour makes it all over. The road will
be empty.

Speaker 15 (03:46:31):
Pick him up, Horace, and carry him out to the
car while I get his suitcase.

Speaker 1 (03:46:34):
Yes, blench, it's real heavy, hard to manic.

Speaker 84 (03:46:41):
He won't be for long, horrorce not for long, old
mister Garrett, steady, horrace.

Speaker 7 (03:46:59):
He's leaning on me.

Speaker 30 (03:47:00):
Yes, blench, we're almost there.

Speaker 7 (03:47:03):
Did you park my car where I told you to?

Speaker 30 (03:47:05):
Yes, it's hidden just off the road.

Speaker 7 (03:47:07):
Good. Well, we haven't passed the car yet. The mountains
are really deserted.

Speaker 29 (03:47:11):
At this hour.

Speaker 30 (03:47:12):
What if one comes along It isn't likely, but.

Speaker 15 (03:47:15):
If one does, we'll see the headline long before it
reaches us.

Speaker 1 (03:47:19):
Here we are.

Speaker 34 (03:47:22):
Now.

Speaker 15 (03:47:22):
Help me get him over here behind the wheel.

Speaker 1 (03:47:25):
That's what I'm doing.

Speaker 30 (03:47:28):
There.

Speaker 15 (03:47:29):
Good, Now, get out and come around.

Speaker 7 (03:47:31):
Here because he's still unconscious.

Speaker 15 (03:47:40):
Yes, look, come and down the road. Is there a
car coming either way? No, blench, and stand aside while
I release the brake and close the door. There now
hearth one push there it's going.

Speaker 30 (03:48:02):
Look how fast it's picking up speed on the downgram.

Speaker 7 (03:48:05):
It'll go off the road at the curve.

Speaker 30 (03:48:08):
There, it's going through the guard rail.

Speaker 7 (03:48:15):
There it goes over the cliff. That's what comes of
drunken driving.

Speaker 30 (03:48:25):
Come on, Blanche, the car's parked up the road behind
those trees.

Speaker 15 (03:48:28):
Oh no, we're going down the side of that mountain
to make sure he did.

Speaker 7 (03:48:33):
But he must be.

Speaker 30 (03:48:35):
There was one hundred foot fall.

Speaker 15 (03:48:37):
Maybe he is. But we're going down to makes.

Speaker 30 (03:48:39):
Sense, But Blanch, it'll take you.

Speaker 7 (03:48:41):
But I've got to be sure. There's the car in
the stream.

Speaker 30 (03:48:52):
It's completely demolished. He couldn't have lived through that.

Speaker 7 (03:48:56):
He'd better not have.

Speaker 30 (03:48:59):
Look, Blanche, there he is lying near the car. He
was thrown out by the crash. Yes, if there's an
a heartbeat, no, Blanche, I don't want to touch all.

Speaker 7 (03:49:12):
Right out of it myself.

Speaker 30 (03:49:16):
Is he Is he dead?

Speaker 7 (03:49:18):
I can't find any heartbeat yet.

Speaker 1 (03:49:20):
I'm not certain he must be dead.

Speaker 30 (03:49:23):
No one could survive that for maybe not.

Speaker 7 (03:49:26):
But we'll play it safe.

Speaker 30 (03:49:28):
What are you going to do?

Speaker 21 (03:49:29):
Help me?

Speaker 15 (03:49:29):
Dragging a few feet to the edge of that stream.
We'll leave him by the edge of the stream, face down.

Speaker 1 (03:49:34):
In the water.

Speaker 15 (03:49:35):
Blanche, must we I'm sure one of his arms. Now
pull him along slowly. That's it as if he'd called
to the stream for water. There, just face it in
the water. We'll wait a few minutes and then we'll leave.

(03:50:00):
Did I tell you, Lawrence, it's worked out perfectly.

Speaker 2 (03:50:10):
Come on.

Speaker 3 (03:50:12):
The sergeant.

Speaker 16 (03:50:16):
Right to come in, miss Worthy. That'll be all, sergeant,
I have a seat, Miss Well, thank you.

Speaker 15 (03:50:26):
I can't tell you how shocked I was, Lieutenants, when
you phoned and told me that John Bates had been
killed in an automobile accident. How did it happen?

Speaker 16 (03:50:36):
I suppose first you tell me when you last saw
mister Bates.

Speaker 7 (03:50:40):
Friday night?

Speaker 15 (03:50:42):
He arrived at my mountain lodge at about eight o'clock
is a weekend getting He told me that something unexpected
had come up and he'd have to return to the
city that same night.

Speaker 22 (03:50:51):
Well, then what happened?

Speaker 15 (03:50:53):
We had supper and he started drinking very heavily.

Speaker 7 (03:50:58):
At one am he started to leave us.

Speaker 15 (03:51:00):
I tried to persuade him to stay overnight, that he
was in no condition to drive, but he wouldn't listen.

Speaker 1 (03:51:06):
And that was the last you saw them.

Speaker 7 (03:51:09):
Yes, how was he killed?

Speaker 16 (03:51:13):
His car plunged through a guard rail, fell one hundred
feet down the side of a Mountain.

Speaker 15 (03:51:19):
I never should have let him drive off in that condition.

Speaker 16 (03:51:22):
And it looks like an open and shutcase except for
one thing. Yes, and autopsy was performed on Bates. Seems
his neck was broken. He was killed instantly. I see,
But there's one little thing.

Speaker 7 (03:51:40):
What do you mean?

Speaker 16 (03:51:42):
What we want to know is how could a dead
man drag himself six feet to the edge of a stream.

Speaker 7 (03:51:48):
I don't understand.

Speaker 16 (03:51:49):
Unfortunately, we do, see, Miss Worby. We've been questioning Horace
Raker for the past three hours. He's finally confessed to everything. No,
he claims it was your idea from beginning to end.

Speaker 7 (03:52:00):
That isn't so I had nothing to do it.

Speaker 16 (03:52:02):
I can claims you forced him into it. He's made
a full confession. Looks as though you were it, Miss Revie.

Speaker 7 (03:52:09):
No, it was he who planned it all. You must
be leaving, Lieutenant.

Speaker 15 (03:52:14):
You must He threatened to kill me if I didn't
do it, he told me.

Speaker 14 (03:52:18):
I seem.

Speaker 85 (03:52:22):
All right here in here, you even questioning me for
Howard's questions, endless questions. I've told them we don't know
anything about mister Bates.

Speaker 30 (03:52:34):
That I told them.

Speaker 15 (03:52:36):
Then you didn't confess.

Speaker 16 (03:52:38):
To Miss Revey. He didn't we have him enable to
break him. But your confession will do?

Speaker 29 (03:52:42):
You trick me?

Speaker 12 (03:52:43):
You trick?

Speaker 7 (03:52:44):
Yeah?

Speaker 16 (03:52:44):
But I wasn't the only one who tricked you.

Speaker 15 (03:52:47):
So that Fred Garrett, Fred Garrett, you know that he
isn't John Bates.

Speaker 16 (03:52:52):
There we found out this morning he isn't Garrett blackmailed you,
didn't he You were forced to accept him as John
Bates because he knew you'd kill the real gon Bake.

Speaker 30 (03:53:00):
Yes, he blackmailed her.

Speaker 16 (03:53:02):
He was bluffing her all the way, Buffy.

Speaker 7 (03:53:05):
But he threatened to go to the police.

Speaker 1 (03:53:07):
Police.

Speaker 16 (03:53:09):
He'd hardly have done that.

Speaker 7 (03:53:10):
Why not?

Speaker 22 (03:53:12):
Fred Garrett was a fugitive.

Speaker 12 (03:53:14):
A fugitive.

Speaker 4 (03:53:15):
He was wanted by the Singapore police for murder.

Speaker 16 (03:53:45):
This is a mysterious favor again, did you enjoy oty?

Speaker 1 (03:53:50):
Too bad about Branchworth, isn't it? Kristen?

Speaker 16 (03:53:53):
Ambitious woman trying to get ahead, trying to make sure
her tracks were well covered, But is too efficient? If
only she hadn't made the mistake of dragging poor dead Fred.

Speaker 74 (03:54:05):
Garrett to the edge of that stream.

Speaker 37 (03:54:08):
Oh well, you.

Speaker 1 (03:54:09):
Can't be right every time.

Speaker 16 (03:54:12):
Unfortunately, in Branch's case, the mistake was fatal. What it
reminds me of next week's story, Retreat from Tomorrow. It's
about two scientists who try to learn what the future
has in store for our frightened world.

Speaker 74 (03:54:27):
And oh, you have to get off here.

Speaker 1 (03:54:30):
I'm sorry. I'm sure you'll meet again.

Speaker 16 (03:54:33):
I take this same train every week at the same time.

Speaker 82 (03:54:49):
You have just heard The Mysterious Traveler, which is played
by Maurice Chocolate. In the cast were Great Coppin, John Gibson,
and Louis van Rout. Original music has posed and played
by Alconet. This is Bob Emerick speaking. All characters in
our story were fictitious and any resemblance to the names

(03:55:09):
of actual persons was purely coincidental.

Speaker 30 (03:55:22):
This is the mutual broadcasting system.

Speaker 2 (03:55:31):
House m.

Speaker 86 (03:55:56):
Mystery House, that strange publishing firm owned by Dan and
where each new novel is acted up by the Mystery
House staff before it is accepted for publication. Mystery House.

Speaker 33 (03:56:17):
Well, Barbie, you're looking very pert tonight, Well, thank you, guys, sir.

Speaker 49 (03:56:20):
I'm going to play the part of a glamour gallon
the story we're testing for a Mystery House novel.

Speaker 33 (03:56:24):
Tonight you'll be a hit.

Speaker 61 (03:56:25):
Baby.

Speaker 49 (03:56:26):
Well, I don't think I'd like being a glamor girl
if it means being the kind of person I'll portray
in this story.

Speaker 33 (03:56:31):
Oh me, even, Well, somebody has to play the bad parts.
Well that's what I like about my job, mister Glenn.
I'm always a hero.

Speaker 49 (03:56:37):
Why Tom, you never play any of the parts in
the story.

Speaker 86 (03:56:40):
Well, not in the stories, maybe, missus Glenn. But I
always feel like a hero because of the good news
I bring our listeners. For example, listen to this.

Speaker 33 (03:57:01):
Okay, places, everybody. I set the scene for a night's
story many Tom.

Speaker 2 (03:57:06):
Time to kill.

Speaker 86 (03:57:10):
Tonight's story opens in a swanky, nameless, exclusive, little private
club hidden away on the street level of a fashionable
hotel building, and the Archibald Seer, sage, poet, philosopher and
press agent is just taking a.

Speaker 87 (03:57:22):
Table in the almost deserted room as a sweet little
racket of yours. Mike calling this restaurant the club, You're
getting a little mixed up, Andy. I don't let the
customers insult me. I insult them. Oh yeah, it's a club,
not a restaurant. And you've made it very smart to
be insulted by Michael, haven't you You know? Mike, maybe
you and I should change jobs now.

Speaker 33 (03:57:43):
Thanks. I'm making a good living and you owe me
a neat little bill for last month.

Speaker 20 (03:57:48):
Andy.

Speaker 33 (03:57:49):
Who's going to pay it? Why? My new client, of course, Michael. Client.
When the cheap press agent starts talking about client, I'm
not a press agent anymore, Michael. I've risen. I am
now a public relations console. Yeah. Well, I'll be impressed
when you pay last month's bill. Oh come on, get
me a club sandwich and a cup of coffee, and
your new client will pay for it.

Speaker 30 (03:58:09):
Eh?

Speaker 33 (03:58:10):
Who is this new client?

Speaker 87 (03:58:12):
Get ready to bow your head repiently, Michael. It's the incomparable,
the lovely, the glamorous Monica Manning.

Speaker 30 (03:58:17):
What that now?

Speaker 20 (03:58:20):
Look?

Speaker 1 (03:58:20):
Andy?

Speaker 33 (03:58:20):
I've always kind of liked you. Take a tip from
uncle Mike and run. She's poisoned. Oh, you wouldn't say
that if you knewer, Michael. She's lovely. That's what it
says in the movie magazines. She's a phony and a
heel do too.

Speaker 87 (03:58:34):
I didn't know you were a buddy of hers, Mike.
Since when did you start traveling in her set?

Speaker 33 (03:58:38):
A long time ago? Sunny boy and her set ain't much.
I'll tell you that we jerked sodas together out of
the same path. Then surprise, Mike, she's gonna meet me here?
What get no right to bring her here? Why not?
I have a card for this club, haven't I? When
she coming, I'm not gonna be here.

Speaker 87 (03:58:55):
Do you think she wouldn't remember you, Mike? Say she's
as democratic and friendly as anyboy are. You'll find nothing
high had about her at all.

Speaker 33 (03:59:02):
Say it'll give you a thrillll my eye. She wouldn't
come here if she knew I ran the joint. I would, Oh,
Monica and Darling.

Speaker 49 (03:59:09):
I hope I haven't kept you waiting?

Speaker 2 (03:59:12):
Will you? Oh? Yeah?

Speaker 33 (03:59:15):
Go ahead?

Speaker 49 (03:59:15):
Sit down, Michael. What are you doing here?

Speaker 33 (03:59:18):
Am I doing here? I'm making a living, and a
fairly honest one too. I suppose I've.

Speaker 49 (03:59:23):
Got to wait on you now, Michael? Is that anyway?

Speaker 33 (03:59:26):
Turn off the charm?

Speaker 22 (03:59:27):
Baby?

Speaker 33 (03:59:27):
The only effect it has on me is to make
me a little sick of the stomach. I've seen some
of your pictures, and you're just as lousy on the
screen as off. Baby, Mike, you have no right to
talk like that. Oh how about it?

Speaker 22 (03:59:38):
Baby?

Speaker 33 (03:59:39):
Have I got a right to talk like that? Hmmm?
Go ahead, tell the man.

Speaker 49 (03:59:44):
Mike, you haven't cutivated any manners yet, have you? Just
as much as peasant as ever?

Speaker 33 (03:59:51):
I bet you didn't learn much about peasants over in
Europe with that count of yours, did you, Mike, Miss
Manning isn't married. Come on, Andy, catch up with the score.
I remember when it happened. Do that, Monica, really, Michael, Oh,
don't give me that lofty dame stuff.

Speaker 1 (04:00:05):
Baby.

Speaker 33 (04:00:05):
Count said he's gonna make a lady out of you.

Speaker 49 (04:00:08):
Boy, what a job he was tackling, Mike, nobody knows
about the Count. You'll have to keep quiet about.

Speaker 33 (04:00:13):
Understand my career, Glad, I care about your career or
the Count. I could show you something, baby, something that
ought to mean a lot more to you than the
Count or a career. Yeah, I got a notion to
do it too. Excuse me while I go to the form. Mike, No,
don't get upset. Marka upset.

Speaker 49 (04:00:31):
Why wouldn't I be upset? He'll make a.

Speaker 33 (04:00:33):
Scene, He'll I'll make a scene. That's a Jim Dandy baby. Oh,
cut it out, Mike. Oh, I'm enjoying myself. Andy stick around.
Maybe there'll be some laughs. Monica, we've got to get
out of here.

Speaker 49 (04:00:42):
Come on, No, No, I can't leave, Andy, I'm supposed
to meet my husband.

Speaker 33 (04:00:46):
Here, the dow or the Count. Hmmm, that ought to
be fun. I like to see that. Maybe I can
give the Count a few tips.

Speaker 24 (04:00:53):
Baby.

Speaker 33 (04:00:54):
You wouldn't, wouldn't i?

Speaker 49 (04:00:56):
Andy? You wait here for the Count? Bring him to
the hotel dining room.

Speaker 33 (04:01:00):
Afraid, Baby, I don't choose to.

Speaker 49 (04:01:03):
Allow you to humiliate me the hotel dining room.

Speaker 33 (04:01:06):
Man, right, I should have let her have it. I
should have what's gotten into you?

Speaker 7 (04:01:11):
Mike?

Speaker 33 (04:01:12):
You acted like a crazy man. These poison, pure poison
all the way.

Speaker 1 (04:01:16):
Hmm.

Speaker 87 (04:01:17):
Who would ever have guessed you'd know a woman like
Monica Manning well enough to talk to her that way?

Speaker 33 (04:01:22):
You really hate her, don't you.

Speaker 21 (04:01:23):
Well?

Speaker 33 (04:01:23):
I couldn't bother hating anybody else, Andy, because maybe I
wouldn't have enough hate left to concentrate on that day.
What's it all about? Nothing you'd want to use as
a press agent, that's for sure. I at least don't
want that sandwich and cup of coffee. I'll go back
to the kitchen get it for you if you do. No,
just a coffee, I guess I'll drink it while I'm
waiting for the count. Okay, I'd kind of like to

(04:01:44):
see that count myself.

Speaker 18 (04:01:46):
Oh cow, I thought Monica was to be a rapping
for me.

Speaker 87 (04:01:51):
There's been a little change in plans. Count, sit on
changing plans. See, don't get excited, Count, there's nothing wrong.
It's just a Monica had to change the meeting place.

Speaker 33 (04:02:01):
It's your coffee and he oh, now, don't tell me
that this is a count. Well, oh not, Mike, listen.

Speaker 59 (04:02:07):
I had always thought royalty was supposed to be kind
of glamorous. He's just funny and Count your babe stood you.

Speaker 2 (04:02:14):
Up, Babe.

Speaker 18 (04:02:16):
See here, my man, you'll usual respect him addressing me.

Speaker 33 (04:02:19):
You want to bet you're just one of the boys here.
I don't suppose I ought to take time to drink this.
Monica will be waiting for us. Count. What times seven
o'clock right.

Speaker 37 (04:02:30):
On the note?

Speaker 18 (04:02:30):
Then I'm supposed to take my peas. Wait, please get
me a drink of water.

Speaker 33 (04:02:35):
You you can wash him down with Andy's coffee.

Speaker 20 (04:02:38):
You all right?

Speaker 33 (04:02:40):
What kind of pills are they count for?

Speaker 18 (04:02:42):
If you Monica gave them to me. The boiling in
the air around here is simply devastating, and Monica says
he's a belt.

Speaker 33 (04:02:49):
I'd be afraid of anything that Dane gave me.

Speaker 18 (04:02:52):
Go ahead, Well you are very importent.

Speaker 33 (04:02:55):
I'll never mind him.

Speaker 20 (04:02:56):
Count.

Speaker 33 (04:02:56):
Come on, take the pills and let's get going. Here's
a coffee. But where is my wife?

Speaker 1 (04:03:01):
S not so loud?

Speaker 33 (04:03:03):
Count for movie contact? Remember no husband, stupid.

Speaker 7 (04:03:07):
Let's see stupe.

Speaker 33 (04:03:10):
Yeah, now let's find that's a hurry, Count, stick around.
I might even tell you some things about Monica way
back when her name was Molly.

Speaker 18 (04:03:19):
I'm sure I shouldn't be interested. And I find your
coffee as this statesful as your conversation. Let us find
what's wrong?

Speaker 33 (04:03:27):
Con what's matter?

Speaker 30 (04:03:28):
I can't see.

Speaker 33 (04:03:29):
Everything is black, Mike, but he's faded. Yeah, just a
second faded my eye? What when there's no breath and
no heartbeat? It ain't a fad, Andy, it's death. Now listen,

(04:03:59):
Captain Reig, and I listen to answers to my questions.
Andy locked that door there, all right. I don't know
a thing about it. Captain Riggan, you run a high
class club like this. You don't look for goof pills.

Speaker 18 (04:04:09):
Your coffee's always been pretty bad night, But I never
heard of anybody dying from it before.

Speaker 33 (04:04:14):
Wasn't a coffee like I said, Those pills pills?

Speaker 87 (04:04:17):
The cow said he had some hay fever pills. He
took a couple and washed him down with coffee. Then
he fell over dead. Why did he come here to
take his pills?

Speaker 2 (04:04:24):
Oh?

Speaker 33 (04:04:24):
He was here to me to meet a gal. And
he said the gal gave him the pills. And I'll
bet you'd like to know who the gal was, wouldn't you?

Speaker 2 (04:04:32):
Might?

Speaker 33 (04:04:32):
You can't keep out of Andy. You think I'm gonna
let that little louse cause me any more trouble?

Speaker 59 (04:04:37):
You're nuts, Now that's a Mike. It was the glamorous,
the lovely, the enchanting movie star, Monica Manning.

Speaker 27 (04:04:42):
Will Will Man.

Speaker 18 (04:04:43):
You just got a job as a press station, didn't you.

Speaker 13 (04:04:46):
Andy.

Speaker 33 (04:04:46):
That's got nothing to do with it Monica.

Speaker 18 (04:04:48):
You were pretty fond of Monica too, from what I hear,
And she was meeting this count here.

Speaker 33 (04:04:52):
That's for you.

Speaker 18 (04:04:53):
Mike. You made a crack about Monica Manning not causing
you any more trouble.

Speaker 33 (04:04:58):
Well, well, I got nothing to do with it.

Speaker 18 (04:05:00):
Yes, you're trouble with Monica Manning.

Speaker 2 (04:05:03):
Mike.

Speaker 18 (04:05:03):
It didn't arrests me.

Speaker 33 (04:05:04):
It's nobody's business, and it ain't a part of this setup.
I hate to admit it, but I think he's right.

Speaker 50 (04:05:09):
Yeah.

Speaker 87 (04:05:10):
Then the count was married to Monica, but he was
a bigger miss. We were trying to keep it quiet,
or we could get it cleared up. He didn't have
a divorce when he married Monica, and his first wife
had followed him here to make trouble.

Speaker 33 (04:05:20):
That's what this conference was to be about.

Speaker 87 (04:05:22):
Well, you can imagine what kind of a mess that
would have stirred up for Monica, the kind of publicity
he probably slipped the combat point, I'd say.

Speaker 18 (04:05:28):
The second wife, the bet, the killer Monica manning.

Speaker 33 (04:05:34):
That shot was not me. You just missed my hat.

Speaker 18 (04:05:36):
It's something crazy. Here a room is locked. Nobody could
have gotten in here, but they did. And something tells
me it was no friend of mine. Hey, there's a
bullet crease in the bar here. The bullet's right. It
shot to hit the mirror grades the edge of the bomb.
See where the line of fire points where? So that
mentor later.

Speaker 33 (04:05:51):
Here the cold air shaft goes straight up into the hotel.
That's it, Charlotte. Somebody climbed down the cold air shaft
and fire through that great at me?

Speaker 18 (04:05:59):
Maybe maybe not, but the ventilator said, big enough to
hold a small body just a minute.

Speaker 33 (04:06:09):
Well, now is this something?

Speaker 17 (04:06:11):
What is it?

Speaker 18 (04:06:12):
Is a gun or a timing device on it? Fix
the fire at seven point five? I'll be darned, Mike,
you had plenty of opportunity to put that gun there.
I think we'll just take you and a cup of
coffee down to the station.

Speaker 33 (04:06:35):
You get in my hair.

Speaker 87 (04:06:37):
Andy, What now, I've got something that'll get Mike out
of trouble rigging.

Speaker 18 (04:06:40):
Oh, you found out there was no poison in the coffee.
The corner's office just called me.

Speaker 33 (04:06:45):
Yeah. And the pills there was nothing wrong with them either.

Speaker 87 (04:06:48):
That lets Mike and Monica botha But the guy die
of right, the laboratory says the poison in the count's
stomach had been there a couple of hours before he died,
you know, a delayed action job, a kind of poison
which would take.

Speaker 33 (04:06:59):
Effecting from an or and a half or two hours.

Speaker 18 (04:07:01):
And somebody poisoned them. Who knew about those pills, And
maybe somebody who knew he was going to Mike's club
to meet Monica, somebody who wanted to make it look,
because if Monica or Mike killed him. But I don't
get the gun in the ventilator, you know, And I
think I think the Count had somebody plant that there.
But why his first wife had found out he married

(04:07:23):
Monica and the Count had to get rid of her.
The gun was aimed at the third bar school you
happen to be sitting on the fourth one when we
were talking leaning over. The Count maybe planned the maneuva
Monika under the third stool and let the gun take
care of her.

Speaker 33 (04:07:37):
Oh it sounds facy. Hello for you, you sent for me?

Speaker 49 (04:07:42):
I am a Linda Baroni.

Speaker 18 (04:07:44):
Oh yes, Countess, won't you be seated?

Speaker 30 (04:07:46):
Thank you?

Speaker 88 (04:07:48):
I did not see a song my husband.

Speaker 11 (04:07:50):
The Count.

Speaker 18 (04:07:51):
Yes, I'm sorry, but he had another wife too. How
did you feel about that?

Speaker 49 (04:07:57):
He did not tell me.

Speaker 88 (04:07:59):
I come to this entry because I did not hear
from me. Also, I hear stories in Europe and present
stories I arrive here and finally are true besides myself
and the Count deard net awful little club.

Speaker 12 (04:08:15):
I don't know.

Speaker 33 (04:08:17):
Hey, what's the matter with her?

Speaker 18 (04:08:18):
I'm what's the matter?

Speaker 2 (04:08:24):
Out cold?

Speaker 33 (04:08:25):
Get an abby lunch, Reagan. We've got to get her
to a hospital. Before it's too late.

Speaker 18 (04:08:28):
Yeah, it isn't too late already.

Speaker 86 (04:08:54):
The mysterious count they were only murdered for sure, a
second unsuccessful murder attempt and the third one is it
successful or not? Well, we'll find out on the second act.
It's a night story, a noow act two of time

(04:09:24):
to kill publicity agent and the Archibald has just gone
to the apartment of the beautiful Monica Manning, and Monica
seems terribly nervous.

Speaker 49 (04:09:33):
And they haven't found out about Mike.

Speaker 33 (04:09:36):
Mike's bonaette. Baby. He's spelled the whole story about you
and him.

Speaker 49 (04:09:41):
It would be almost as bad as the big any thing.
You'll promise to keep me.

Speaker 29 (04:09:45):
Off of this.

Speaker 49 (04:09:46):
It's your job.

Speaker 87 (04:09:47):
It's going to be too big a job, honey, child
all the world that you ever happen to marry Mike.

Speaker 49 (04:09:52):
We are kids working at a Soada coson.

Speaker 87 (04:09:55):
Oh yeah, Mike has a daughter by the name of Maui.
I'd forgotten that your real name was Molly Manischewski.

Speaker 49 (04:10:03):
I don't know why I ever married Mike Andy. I
was so far above him. The Count recognized it. He
took me to Europe when little Molly was only a
couple of months old. You can see I had to
skip I'll, can't you. I couldn't take the baby. Of course,
the County educated me. He gave me everything. You can see.

(04:10:24):
It was the only logical thing for me to.

Speaker 12 (04:10:26):
Have done, can't you, Andy?

Speaker 49 (04:10:28):
It gave me the opportunity I needed. I had to
do it.

Speaker 33 (04:10:32):
You can see that, Andy, I can see you didn't
give me the whole story. Baby. Now about the murder murder?

Speaker 49 (04:10:40):
What are you talking about?

Speaker 33 (04:10:42):
With what you've done on Mike and that kid. I
wouldn't put murder past you at all, Monica.

Speaker 49 (04:10:45):
And you mustn't talk like that. You're my publicity man.

Speaker 33 (04:10:49):
Look, Captain Riggin's coming up here. He's on his way now.

Speaker 49 (04:10:51):
But tell him I don't know anything about it.

Speaker 87 (04:10:53):
I'm afraid you will have to tell him yourself. Monica,
you should have told me when you were planning homicide.
Maybe I could have.

Speaker 33 (04:10:58):
Covered up for you.

Speaker 49 (04:10:59):
I didn't care.

Speaker 87 (04:11:00):
If I were you, I wouldn't deny that the count
was causing trouble.

Speaker 49 (04:11:03):
Have you told Reagan he was trying to blackmail me?

Speaker 12 (04:11:07):
No?

Speaker 49 (04:11:07):
But then I'll tell him this shakedown pure and simple.

Speaker 87 (04:11:10):
You know that you can swear it I don't know
whether that's so good or not. But why when they
find the Count was taking one hundred thousand dollars from
you to keep his wife from marrying that bigamy thing, Well,
it wouldn't help you much on the murder.

Speaker 33 (04:11:22):
Rap, would it.

Speaker 12 (04:11:24):
I don't know.

Speaker 49 (04:11:24):
But I didn't kill him, I mean not.

Speaker 87 (04:11:27):
But you were the person who made the date with
him to meet Mike's club. You knew about it two
hours early. You could have given him that poison, knowing
you wouldn't take effect until he was at Mike.

Speaker 49 (04:11:35):
I didn't.

Speaker 87 (04:11:35):
Are you sure you didn't think you could make it
look as if Mike killed him out of jealousy.

Speaker 49 (04:11:40):
I never dreamed of such a thing. My k isn't jealous.
He hates me.

Speaker 87 (04:11:45):
And there was just one other person who could blackmail
you with his bigamy thing, the Count's real wife, Helena Baroni,
and she had an accident.

Speaker 33 (04:11:53):
Only we got her to the hospital in time to
save her.

Speaker 49 (04:11:55):
You really think I tried to kill her?

Speaker 87 (04:11:59):
That the count cards are stacked against you, Monica, I'm
asking you to give it to me straight.

Speaker 33 (04:12:05):
I can't help you unless you tell me what really happened.
Maybe we can make it look like self defense.

Speaker 49 (04:12:09):
Self defense with the count poisoned does make me love.

Speaker 87 (04:12:14):
All right, So it doesn't self defense. The point is
you'll have to trust me if you want to get
off from under.

Speaker 49 (04:12:19):
Vest for just a minute the phone. Hello, Who, No,
Captain Reagan isn't here yet.

Speaker 33 (04:12:29):
What I'll take it?

Speaker 29 (04:12:31):
Hello?

Speaker 87 (04:12:33):
Yes, you say the woman took that poison herself, but
I can't believe.

Speaker 33 (04:12:40):
Oh, it wasn't poison.

Speaker 87 (04:12:43):
Sleeping pill to make it look as if she'd been
poisoned too, and she's admitted it.

Speaker 33 (04:12:49):
Wonderful she did.

Speaker 49 (04:12:51):
She killed the Count and tried to throw suspicions away
from her health by taking sleeping pick.

Speaker 33 (04:12:55):
Quiet. Yes, yes, I don't tell Reagan as soon as
he gets here. Thank you, goodbye.

Speaker 49 (04:13:03):
Now, maybe you'll believe me.

Speaker 33 (04:13:05):
But why would she kill the cows?

Speaker 49 (04:13:07):
Are you fool? So she could get the money, the
blackmail money I was paying? She was his legal wife.

Speaker 33 (04:13:13):
Yeah, and with the corn out of the way, she'd
get all the money you'd get us.

Speaker 49 (04:13:18):
That must be Captain Eaganough. Well I'm ready for him.
Captain Reagan, come right.

Speaker 18 (04:13:26):
Here, like you're glad to see me?

Speaker 87 (04:13:29):
Hi, Andy, Hi, she is glad to see your Higgan,
because we've broken your case for you. Helena Baroni's confessed
that her poisoning was a horse and she took sleeping pills.

Speaker 49 (04:13:37):
It tears up the whole thing. She had motive for
killing the count, his marriage to me, blackmailed, money, revenge.
It's so plain, so simple.

Speaker 18 (04:13:46):
I see what you mean, probably for me?

Speaker 49 (04:13:51):
Hello?

Speaker 21 (04:13:53):
What?

Speaker 9 (04:13:54):
Yes?

Speaker 1 (04:13:54):
Is here?

Speaker 33 (04:13:55):
Thanks?

Speaker 18 (04:13:56):
Hello? Oh hosping em what you blundering fools? How what?

Speaker 4 (04:14:04):
How long?

Speaker 21 (04:14:05):
Well?

Speaker 18 (04:14:05):
I'll get there assass as I can. Goodbye?

Speaker 37 (04:14:07):
Why now?

Speaker 18 (04:14:07):
The lead of a RONI escaped from the hospital, got
a close and skipped out. Get past everybody. Come on,
we go to the hospital and see what we can
find out about it.

Speaker 33 (04:14:14):
You go ahead.

Speaker 87 (04:14:14):
I'm going somewhere around where. Maybe it's just a hunch,
but I think I can find it. I'll check with
you later, Okay, but stay out of trouble. I'll certainly
try to Reagan.

Speaker 33 (04:14:23):
Same to you.

Speaker 49 (04:14:36):
You can't keep me here, Reagan, I've told you all
I know.

Speaker 18 (04:14:40):
My career is getting yourself out of a murder, James,
more important than your career. Paying the count one hundred
thousand dollars doesn't make you look too good.

Speaker 49 (04:14:49):
I paid him to keep my name out of the
messy scandal.

Speaker 18 (04:14:52):
Prinsive people you've been running around with. Oh all right, Mike,
I guess they don't have to introduce you to do what's.

Speaker 33 (04:15:01):
She doing here?

Speaker 49 (04:15:01):
I'm not any happier about it than you are. You
did your best to get me nixed into this, didn't you.

Speaker 33 (04:15:06):
What happens to you don't mean a thing to me, baby,
just so long as it's bad after what you did
to me and the kid.

Speaker 49 (04:15:12):
I that was as maut your fault as mine. Ken.
I tried to help Little Molly ever since I got
back to America. I can do things far if you
don't want your money.

Speaker 33 (04:15:20):
She thinks you're dead, and that's dandy.

Speaker 12 (04:15:23):
But Mike was so wrong.

Speaker 49 (04:15:25):
One of the reasons I paid off the counts to
protect my name for Little Molly's take.

Speaker 33 (04:15:30):
And they pay you for that kind of acting in
the movies. Boy is it bad of it?

Speaker 18 (04:15:35):
And Mike, the murder took place in your bar and
the gun was found in the ventilator shaft. Nobody else
have access to that ventilator.

Speaker 33 (04:15:45):
Oh just as easy to get into that air shaft
from the top as the bottom.

Speaker 30 (04:15:48):
Mike.

Speaker 18 (04:15:49):
I'm asking you a straight question, and you better give
me a straight answer. Well, Selene de VRONI ever in
your club with the Count?

Speaker 33 (04:15:58):
She was there, but not with the cow. I didn't
know who she was. Who was she with? Andy came
in and sat in the booth talking. I didn't pay
much attention because Andy's always got some doll on the string.

Speaker 18 (04:16:08):
I see money here. What did Andy know about this
blackmail business?

Speaker 13 (04:16:13):
Well?

Speaker 49 (04:16:14):
Everything, I guess. I called him in when the Count
threatened me. Andy was my go between to see that
it was handled so there wouldn't be any publicity your
go between?

Speaker 18 (04:16:23):
You mean you gave him the money?

Speaker 49 (04:16:25):
Yes, he hadled everything.

Speaker 18 (04:16:27):
And why the date to meet the Count in Mike's
club wasn't that after the money had been paid?

Speaker 49 (04:16:32):
Yes, I didn't know the club was Mike's as soon
as I found out.

Speaker 18 (04:16:36):
I guess why I see the Count at all? After
you'd paid him?

Speaker 49 (04:16:39):
Andy said? The Count insisted don and he he wanted
to talk to me.

Speaker 18 (04:16:43):
I guess Reagan speaking, Yeah, Runian where fine, I'll be
out right away, goodbye.

Speaker 2 (04:16:52):
Now.

Speaker 18 (04:16:52):
What looks like a lean de Verroney's bottled up. He
was seen going into a cheap apartment house. We have
the place surrounded by police.

Speaker 30 (04:16:59):
Come on.

Speaker 3 (04:17:13):
Third floor.

Speaker 33 (04:17:15):
I hope she's here. You stay behind me, Monica. Maybe
some shooting on this hall. I wish it wasn't so
dark here, and I'm glad it is.

Speaker 25 (04:17:23):
Come back here your phone trying to run out of it?

Speaker 9 (04:17:25):
Will you?

Speaker 3 (04:17:26):
I'll show you who to get smart.

Speaker 15 (04:17:27):
With mors Is it Andrew?

Speaker 11 (04:17:29):
And who has the money?

Speaker 2 (04:17:32):
Oh?

Speaker 18 (04:17:32):
No, you, this doesn't come on Mike hair locked.

Speaker 3 (04:17:37):
I might have known.

Speaker 18 (04:17:40):
Andy put on that gun.

Speaker 33 (04:17:44):
Take a look at the girl, Mike, you got it
just as we broke in hair It's covered with blood. Yeah,
she's dead. You shoot to kill, don't you? Andy? She
was double crossing me. I was getting the money back
for your Micah, but Regan had to shoot me in
the hand. Now, isn't that just Dandy?

Speaker 18 (04:17:59):
You were getting the money back for Monica.

Speaker 33 (04:18:01):
That's real touch, that's true.

Speaker 87 (04:18:04):
I discovered Helen to Baroni murdered the count to get
Monica's money for herself.

Speaker 18 (04:18:08):
So now you decided to murder Monica yourself. Andy had
it all figured out that gun in the ventilator shaft,
only he forgot one thing fingerprints right. The gun had
been let down from the hotel airshaft. Then Andy poked
around the ventilator grill and gut it, adjusted the point
toward the third barstool. The only prints on the gun

(04:18:28):
were Andy's. When you weren't there, Monica, he decided to
make it look like somebody was trying to get him.
He knew the gun would go off and there was
nothing he could do about it.

Speaker 33 (04:18:38):
You think I'd let a bullet come that close to me?

Speaker 7 (04:18:40):
I know it.

Speaker 18 (04:18:41):
The fingerprints sewed it up, but I ain't gave you
your head to let you trip yourself up.

Speaker 49 (04:18:46):
It could have been Andy who gave Helene a sleeping pill.

Speaker 33 (04:18:49):
And the poison that killed the count. Oh, it was
a cinch.

Speaker 87 (04:18:53):
I went up to pay the cont money Monica gave
me instead. I told him she wanted to pay it
in person. I told him about a new cut hell
I could make for me. I didn't like it very well,
thought it tasted funny, But the gun I still don't.

Speaker 33 (04:19:07):
He had to get you to keep on hundred thousand dollars,
and he thought he could put the blame on me.

Speaker 18 (04:19:11):
But your timing was bad, and you didn't expect the
cops to show up till after the gun went off.
Everything it did depended on time, but the poison acted
on the Count quicker than you expected, and Monica didn't
stay for the date with the Count.

Speaker 87 (04:19:26):
I'd still have been all right if Helene hadn't crossed
me up. I'd have had plenty of time to get away.

Speaker 18 (04:19:30):
Time. Well, you'll have time enough from now on, but
it won't be time to kill.

Speaker 21 (04:20:06):
No no.

Speaker 23 (04:20:36):
Again, no.

Speaker 17 (04:20:52):
No no no no no no no no no no
no no no no no no no no no no
no no no no no no no no.

Speaker 30 (04:20:56):
No no no no no no no no.

Speaker 61 (04:21:30):
In the dream, you are falling lost in the listening
distance as dark locks in nightfall.

Speaker 19 (04:21:51):
Good evening tonight. You're all invited to join a special club,
but perhaps we'd better warn you that you may feel
inclined to terminate your membership at any time. The play,
a first for this medium by award winning novelist tim
Wynn Jones, is called The Thinking Room.

Speaker 30 (04:22:28):
Change.

Speaker 3 (04:22:38):
You try that again, and I'm.

Speaker 12 (04:22:40):
Not what's got into you?

Speaker 28 (04:22:45):
You?

Speaker 12 (04:22:45):
Ungrateful tongue.

Speaker 1 (04:22:49):
You ought to be, drive to be alive, hear me?

Speaker 12 (04:22:52):
Good daydreaming stink stink, stink.

Speaker 17 (04:23:01):
Again.

Speaker 20 (04:23:04):
It's it's time for sure, Miss your trip.

Speaker 23 (04:23:41):
What aren't you going to wait for the next week?

Speaker 30 (04:23:44):
What do you want?

Speaker 20 (04:23:47):
What do you want?

Speaker 89 (04:23:49):
You some kind of social worker. I got enough to
hear with social workers. No a cop, right, I don't
think got cops to dress up like ruggies? Old clothes man,
you don't fool me.

Speaker 23 (04:24:02):
Hold on now, hold on?

Speaker 20 (04:24:05):
You were going to kill yourself? Whyn't you?

Speaker 17 (04:24:09):
What's it to you?

Speaker 20 (04:24:11):
Let's just say I'm concerned about suicide. Oh, I get it.

Speaker 89 (04:24:17):
Here's some kind of preacher makes You're gonna tell me
I know how you feel when you don't see you.

Speaker 63 (04:24:26):
I suppose you could say, and something of an evangelist.

Speaker 3 (04:24:31):
Yes, but not quite what you expect. In fact, I
was on my way to a meeting here to come,
but claim of me it's starting? We better it says
I'm interested?

Speaker 7 (04:24:48):
What kind of meaning? Okay, where you're going across time?

Speaker 20 (04:24:58):
Collection me?

Speaker 3 (04:25:00):
Tell me I should be glad to be alive. That
kind of junk? You can forget it? Hey, why should
I fall you anyway?

Speaker 1 (04:25:08):
Give me one good reason.

Speaker 20 (04:25:11):
You're a thing.

Speaker 74 (04:25:13):
You've got nothing to lose.

Speaker 20 (04:25:29):
Hey, wait up, have you tried different one?

Speaker 17 (04:25:34):
You mean?

Speaker 21 (04:25:36):
Oh?

Speaker 17 (04:25:36):
Yeah?

Speaker 20 (04:25:38):
Got even bring us olf to say I can.

Speaker 17 (04:25:41):
I'll do it all right. Once I almost jumped off
the school gym.

Speaker 1 (04:25:46):
Whoop.

Speaker 17 (04:25:48):
Another time I've almost done it with a razor one.

Speaker 1 (04:25:51):
Of these days.

Speaker 19 (04:25:52):
Sleeping pills are less painful from what I hear. Oh,
sleeping pills are from girls. What's your name? Stewart? But
everybody calls me stink.

Speaker 20 (04:26:07):
I'm Drum. That's what everyone calls me, Drum.

Speaker 50 (04:26:43):
Go ahead, do it?

Speaker 12 (04:26:45):
See if I care.

Speaker 29 (04:26:51):
Not that.

Speaker 17 (04:26:54):
I just hear things in my head.

Speaker 20 (04:26:56):
That's all.

Speaker 17 (04:27:00):
There ain't no me.

Speaker 3 (04:27:02):
You're gonna kill me.

Speaker 17 (04:27:04):
You can lose me down here. I don't even know
where I am anymore.

Speaker 63 (04:27:10):
You'd be surprised. I've taken you in a huge circle.
We're still in the heart of town, only deep in
its heart.

Speaker 19 (04:27:20):
You will find your way out, all right, And I
dare say you will find your own way back.

Speaker 20 (04:27:26):
The next time.

Speaker 17 (04:27:28):
Who says there will be next time? Listen, we're here
wherever we are.

Speaker 1 (04:27:48):
Who just like that?

Speaker 90 (04:27:53):
You can't, hey, Drum, When we were beginning to wonder,
I don't see and you.

Speaker 63 (04:27:59):
Recruit he Oh, Charlie Stink, But this is Charlie, Charlie dresser,
Charlie Stink.

Speaker 3 (04:28:05):
Her welcome stink.

Speaker 55 (04:28:07):
I'm gonna say that word and nut he decided it.

Speaker 90 (04:28:09):
Louise, Look what drum dragged in live jest kidding, stink, stink.

Speaker 37 (04:28:14):
This is Louise cass Hi.

Speaker 20 (04:28:15):
Hi, nice to make you hello.

Speaker 63 (04:28:18):
Well, i'd better get things underway, Charlie.

Speaker 60 (04:28:20):
Perhaps you could sure thing leave them to us.

Speaker 20 (04:28:23):
There's the stop.

Speaker 12 (04:28:24):
Daydreaming steak, Well, nervous. I was my first time.

Speaker 50 (04:28:30):
Yeah, I guess I've never seen it in Heavenly Oh,
look at those chandeliers.

Speaker 12 (04:28:36):
Years and years ago. It was the most prestigious beer
in town.

Speaker 55 (04:28:40):
Havelova danced the Dying Swan and Melbour sang Butterfly and
Ellen Terry. She stood right up there at center stage
where the podium is as Lady Macbeth.

Speaker 12 (04:28:49):
It's been forgotten for years. Now boarded up, it's perfect
for us. Look at those curtains, stak their velvet.

Speaker 1 (04:28:56):
The drums making his way up to the stage. Hey,
you don't need a drink boy over here.

Speaker 20 (04:29:02):
It's just for the toasting. The real food comes later.
The toast.

Speaker 3 (04:29:05):
Yeah, it's a you know the thing we all.

Speaker 17 (04:29:07):
Oh, thanks for the night, jeeves.

Speaker 20 (04:29:10):
We will begin the meeting in the usual way.

Speaker 3 (04:29:14):
The toast good, isn't it Well?

Speaker 63 (04:29:19):
I see some new faces and a lot of old faces.
Welcome one and all to the Suicide Club. What our
seminar topics for this evening have been posted in the
usual place, and since there are no reports to be
made at this time, I suggest we retire to the
more convivial surroundings of the North Lounge. Fire is lit

(04:29:42):
there and a table laid something there for everyone.

Speaker 1 (04:29:48):
Still no result flaming.

Speaker 12 (04:29:49):
Oh, now, don't you start to fret?

Speaker 20 (04:29:51):
What committee?

Speaker 21 (04:29:52):
I knew this was happening, possibly at Christmas?

Speaker 12 (04:29:55):
Even now, Charlie, you're not making much of an impression.

Speaker 17 (04:29:59):
What's going on?

Speaker 12 (04:30:00):
Oh you don't mind, Charlie. He's high on commitment, but
low wantation.

Speaker 20 (04:30:04):
Give me a break.

Speaker 22 (04:30:05):
Hey, what about you kid? When you made up your
mind you want to go?

Speaker 1 (04:30:08):
You want to go right?

Speaker 90 (04:30:10):
Well, Sworda, yeah, I'm not quite sure. Like louis here, Well,
you've come to the right place. It's convinced me. Some
of the seminars are great and the food is out
of this world.

Speaker 17 (04:30:22):
What's a seminar?

Speaker 7 (04:30:26):
You?

Speaker 21 (04:30:35):
You?

Speaker 7 (04:30:47):
What did I tell you?

Speaker 12 (04:30:48):
Isn't it great?

Speaker 29 (04:30:50):
Oh?

Speaker 91 (04:30:50):
I love these funny little black sausages.

Speaker 17 (04:30:53):
I've never seen so much food, A taste of lemon,
try some thanks. What's the seminar?

Speaker 1 (04:31:02):
Well, just take a look around you.

Speaker 91 (04:31:06):
Everybody's got their problems or doubts, even me. I'm a
pragmatic kind of guy. I want to make sure the
family's gonna be okay after I'm gone. Now, Drum brought
in this insurance specialist who's got all the answers.

Speaker 55 (04:31:17):
You see, it's such a big step. I find that
I absolutely need the lectures. Tonight, Doctor Cardliostro is continuing
his series on famous suicide.

Speaker 12 (04:31:26):
He's so inspired.

Speaker 16 (04:31:27):
Ah, they got everything, stink, sing songs, you name it,
going down to the money river, just to throw my
body in and.

Speaker 1 (04:31:36):
Get you thinking in the right way.

Speaker 55 (04:31:38):
Are you from a religious background? We have a defrocked
priest here who can justify the ultimate sacrifice, as he
calls it, using proof from the Bible itself.

Speaker 17 (04:31:48):
I still don't.

Speaker 1 (04:31:50):
And it's damn convincing too.

Speaker 20 (04:31:51):
Hey, listen to that.

Speaker 1 (04:31:53):
Love those sing songs?

Speaker 60 (04:31:55):
Catch you later?

Speaker 12 (04:31:56):
Fine, what's a better one? If I don't see you later?
On you next week?

Speaker 17 (04:32:02):
Bye bye.

Speaker 20 (04:32:06):
The shore? Something for everyone, he stink. Oh my mister,
are you enjoying your songs?

Speaker 17 (04:32:16):
I'm a little confused. But the food is good and
ain't poison?

Speaker 15 (04:32:22):
Is it?

Speaker 20 (04:32:23):
Stink? Stink? You've gotta trust us of all people.

Speaker 17 (04:32:27):
Why what's going on?

Speaker 20 (04:32:29):
You haven't guessed? You call it the suicide club.

Speaker 92 (04:32:33):
Everybody looks like they're having an okay time to me,
and I can't figure it out.

Speaker 26 (04:32:38):
Seminars sing songs, a toast to no one who we toasted.

Speaker 20 (04:32:43):
Come with me. I think I know what you need
most of.

Speaker 84 (04:32:47):
All behind the.

Speaker 17 (04:33:01):
Outside.

Speaker 20 (04:33:05):
You need to be alone to think things out. That's
just it, you see.

Speaker 17 (04:33:10):
I got these voices, Yes, I remember with me all
the time. Sometimes they scream at me.

Speaker 12 (04:33:19):
I can't think so good.

Speaker 20 (04:33:21):
But here we are.

Speaker 17 (04:33:24):
What do you think?

Speaker 20 (04:33:27):
What's to think?

Speaker 17 (04:33:29):
Don't look like much nice carpets. You gonna lock me in? Sorry,
mister drum.

Speaker 20 (04:33:38):
Here test the door.

Speaker 21 (04:33:44):
What is this place?

Speaker 19 (04:33:46):
I call it the frontistry? What the front histry? But
you may call it simply the thinking room. Whatever you
call it, it's all always the same and thinking room.

Speaker 17 (04:34:06):
What do I do? There's just this, a little desk
in one chair. There's nothing.

Speaker 20 (04:34:17):
Mister drum, He's gone.

Speaker 57 (04:34:22):
Jeez, I don't believe.

Speaker 17 (04:34:24):
It, mister I's gone.

Speaker 20 (04:34:33):
The voices.

Speaker 92 (04:34:35):
They're gone too. Oh wow, the thinking room. So what
have I got to think about? Suicide?

Speaker 17 (04:34:46):
That's what it's all about, isn't it. That's what they're
up to, every one of them. What do you think,
every one of them?

Speaker 20 (04:34:55):
That's what I think they're afraid. Just it's like.

Speaker 1 (04:35:02):
I don't believe it.

Speaker 17 (04:35:04):
I don't believe it.

Speaker 83 (04:35:06):
I can hear myself think, hey, I found it again,

(04:35:47):
just like Drum said.

Speaker 17 (04:35:48):
I would, just in time.

Speaker 63 (04:35:52):
Now we'll begin the meeting in the usual way, the toast.
So some of you might have heard the committee has
come to a decision at last. They have decided unanimously.
On Valentine's Day, I realized that some of you are

(04:36:15):
hanging violin red. The holiday season will be hard for you,
but you must hold on if we're to make this work.
Please talk with me or one of the counselors. We're
here to help in whatever way we can. Those of
you who are still undecided, now is the time to
get down to it. You might say that we have
a deadline for our arrangements to be made, a lot

(04:36:39):
to discuss, so I won't hold you up meeting adjourned.

Speaker 11 (04:36:50):
I you ain't nothing special nothing.

Speaker 12 (04:36:57):
Get back here.

Speaker 55 (04:37:01):
Excuse me, stak, what tell you made through the week?

Speaker 12 (04:37:09):
Hi stranger, Hey, are you all right?

Speaker 17 (04:37:12):
It's nothing. I don't know.

Speaker 12 (04:37:18):
Look at his face.

Speaker 55 (04:37:18):
He's an agony, stink, stinky.

Speaker 63 (04:37:21):
Unhealthy with Charlie Louise. He hears voices. You've got to
get him to the thinking room. He'll be all right.

Speaker 20 (04:37:33):
Let's leave him along.

Speaker 24 (04:37:35):
This is what he means.

Speaker 23 (04:37:40):
Figure out, figure out, yes, figure it all out.

Speaker 17 (04:37:54):
You can't go on like this, can you? M How

(04:38:30):
are you feeling better? Thank you?

Speaker 14 (04:38:35):
I hear these voices.

Speaker 17 (04:38:38):
Yes, I know.

Speaker 12 (04:38:40):
I didn't mean to barge in on your thoughts.

Speaker 20 (04:38:42):
That's okay.

Speaker 17 (04:38:44):
This room so quiet. You know sometimes when people say
they can hear themselves think, well, then.

Speaker 3 (04:38:54):
Here it's true.

Speaker 12 (04:38:55):
It's delous, isn't it.

Speaker 17 (04:38:56):
I have been sorting a whole lot out. Yeah, like everyone,
he was gonna kill themselves, aren't they well at.

Speaker 50 (04:39:02):
The same time on Valentine's Day? Right, isn't it amazing?
It's such a statement, and it will be beautifully orchestrated.

Speaker 17 (04:39:11):
Mark my words.

Speaker 12 (04:39:13):
Drum will see to that. The whole city just stopped
in its tracks. It gives me goosebumps just to think
about it.

Speaker 20 (04:39:20):
Aren't you scared?

Speaker 50 (04:39:21):
I'm scared, but I'll be ready. Professor Cagliostro talked about
Virginia Wolf tonight. Did you know she just filled her
dress with rocks and just walked into the sea?

Speaker 83 (04:39:31):
No?

Speaker 12 (04:39:32):
Isn't that enchanting?

Speaker 17 (04:39:34):
Or was it a river? And Charlie, he's afraid he
won't make it through Christmas?

Speaker 12 (04:39:39):
Oh, that's right here a family, what within laws and all?
But we're sort of outlaws, aren't we.

Speaker 57 (04:39:45):
Maybe it was a lake.

Speaker 12 (04:39:46):
I can't remember.

Speaker 17 (04:39:47):
He'll make it through, though, Charlie.

Speaker 12 (04:39:50):
I mean, oh, of course he will. Drum will pull
him through. We'll all go together. Does that make you
feel good?

Speaker 17 (04:39:58):
On Valentine's Day?

Speaker 20 (04:40:00):
On Valentineesday?

Speaker 23 (04:40:12):
Why don't you come already?

Speaker 12 (04:40:15):
Get back here? You win great.

Speaker 17 (04:40:21):
Yourself? You know the episode?

Speaker 57 (04:40:25):
Well what about?

Speaker 15 (04:40:29):
What do you think?

Speaker 84 (04:40:29):
Why?

Speaker 12 (04:40:31):
What are you?

Speaker 7 (04:40:31):
He wasn't born yet?

Speaker 1 (04:40:34):
Reform?

Speaker 12 (04:40:38):
What are you?

Speaker 7 (04:40:41):
I don't have.

Speaker 21 (04:40:47):
What you gonta?

Speaker 84 (04:40:49):
Now?

Speaker 32 (04:40:49):
Bro?

Speaker 21 (04:40:50):
Like that.

Speaker 48 (04:40:52):
You're gonna do?

Speaker 23 (04:40:54):
You're gonna get out of the room right now.

Speaker 24 (04:40:56):
You know what you sty right, but you can call
it the thinking, the thinking. Figure it all out.

Speaker 20 (04:41:09):
You can't go harm like this?

Speaker 60 (04:41:12):
Can you?

Speaker 20 (04:41:15):
Whatever you call it. It's always the same.

Speaker 93 (04:41:21):
Oh, oh, congratulations Charlie, congratulations to us all.

Speaker 18 (04:41:38):
Here here here, you know.

Speaker 1 (04:41:40):
But it hadn't been for drumah.

Speaker 3 (04:41:41):
I hear my name being taken in vain.

Speaker 1 (04:41:46):
So we made it.

Speaker 30 (04:41:47):
I never thought i'd do it.

Speaker 3 (04:41:49):
It's the best of season. All that good will just
about drove me out.

Speaker 91 (04:41:54):
And then again sometimes it just made me laugh, you know,
I mean, you know the irony of it.

Speaker 17 (04:41:58):
The worst was not having a meeting on Prismas.

Speaker 12 (04:42:01):
Oh it was ghastly.

Speaker 7 (04:42:02):
I thought I'd die.

Speaker 60 (04:42:03):
I'm so proud of all of you, you know.

Speaker 1 (04:42:06):
The delay was kind of good.

Speaker 91 (04:42:08):
Not consult really helped me get my business matters straightened out.

Speaker 3 (04:42:11):
I didn't want to leave a mess behind.

Speaker 17 (04:42:13):
You know what I mean.

Speaker 55 (04:42:13):
Oh, but just think of it a jumper every station.

Speaker 12 (04:42:17):
Isn't that too much? It's so important to make a
good end. Oh, I'm gonna miss it, you know.

Speaker 26 (04:42:23):
The club.

Speaker 55 (04:42:23):
I mean, I've never been one who could share things
with other people.

Speaker 3 (04:42:26):
I'm raderie.

Speaker 20 (04:42:27):
That's what it is, the feeling of all being in
it together.

Speaker 1 (04:42:32):
The last meeting.

Speaker 91 (04:42:34):
You know, I may be a sentimental old jerk, but
I think everyone should join in the sing song tonight.

Speaker 37 (04:42:41):
Yes, I'm going to suggest.

Speaker 1 (04:42:42):
It to some of the others.

Speaker 37 (04:42:44):
One week to go, one week till what stink, till.

Speaker 83 (04:42:49):
We all commit suicide simultaneously.

Speaker 60 (04:42:55):
That's the SPA voices have been on you have a missed.

Speaker 17 (04:42:59):
It's like they know.

Speaker 12 (04:43:02):
I'm going like Virginia Wolf.

Speaker 55 (04:43:04):
Thanks Drum for getting me the faerry. I'll jump in
the middle of the harbor, and I know as I
go overboard that all the others are going.

Speaker 60 (04:43:11):
To It'll make a lot of people stop and think.

Speaker 30 (04:43:14):
All over the city, everything stopped.

Speaker 12 (04:43:17):
I realize that each of us will be lost in
the massiveness of it all.

Speaker 20 (04:43:20):
Ah, but your loss will be magnified by it.

Speaker 21 (04:43:24):
Oh.

Speaker 55 (04:43:24):
Look, all the seminars are winding down. Charlie's got everyone
to join in the seasong coming Charlie.

Speaker 12 (04:43:31):
Oh, I feel so close to everyone tonight.

Speaker 17 (04:43:34):
Good Bye, Louise. I don't think I'll be joining the
others anywhere.

Speaker 3 (04:43:40):
You're offten losty, No.

Speaker 12 (04:43:45):
That's not right.

Speaker 93 (04:43:46):
Break a leg.

Speaker 17 (04:43:49):
Say goodbye to Charlie. She's been nice to me. Everyone
has you never knew anyone who I liked? Well, we've
hated living till I came here. I can never bring
myself to in and.

Speaker 3 (04:44:04):
A little Well, you're one of us.

Speaker 20 (04:44:07):
Stink.

Speaker 1 (04:44:08):
You won't let us down, will you. I mean we're
counting you and who knows?

Speaker 30 (04:44:13):
Sir?

Speaker 17 (04:44:15):
What is simon?

Speaker 20 (04:44:15):
Have you got for me?

Speaker 60 (04:44:17):
We are going to immobilize the whole frigging subway system.

Speaker 20 (04:44:22):
Stink.

Speaker 3 (04:44:22):
I jumper at every station.

Speaker 20 (04:44:25):
Yeah, I heard a rush out.

Speaker 3 (04:44:27):
The city will be.

Speaker 60 (04:44:27):
Clogged with lovers rushing home with chocolates and flowers. Oh,
what a day to remember amongst the membership. The subway
stations are a prize.

Speaker 2 (04:44:37):
You know.

Speaker 60 (04:44:38):
I took a bit of enabling on my part that
I managed to convince the committee to give you the
station where we first met.

Speaker 7 (04:44:50):
That's great, thanks, mister Drum.

Speaker 17 (04:44:56):
You know I couldn't have done it without you. I
I've always wanted to, but at the last minute, the
voice has always called me back.

Speaker 2 (04:45:04):
You always the.

Speaker 92 (04:45:05):
Thinking one that changed things around me. Hearing myself think
was the answer. Mister jump, Oh.

Speaker 1 (04:45:22):
Where are your baby?

Speaker 3 (04:45:23):
Don't you got no respect?

Speaker 17 (04:45:25):
No more?

Speaker 3 (04:45:25):
Man's no use.

Speaker 17 (04:45:26):
He's beyond hell. Little room with gray furniture, walls as
white as bone, rugs as red as blood. Thanks, say goodbye.

Speaker 20 (04:45:45):
You know what you've got to do. Goodbye stick, goodbye

(04:46:13):
both do ride.

Speaker 89 (04:46:17):
Bye bye, good bye good.

Speaker 12 (04:46:48):
Charlie. Hi, how are you doing?

Speaker 13 (04:46:50):
Huh?

Speaker 20 (04:46:50):
Oh bye Louise.

Speaker 30 (04:46:52):
Actually I was thinking about that kid.

Speaker 37 (04:46:54):
Uh what's his name?

Speaker 17 (04:46:55):
Stink?

Speaker 2 (04:46:56):
Uh?

Speaker 1 (04:46:56):
Yeah, that's it.

Speaker 20 (04:46:57):
Last kid, Charlie, Louise, how are you?

Speaker 1 (04:47:00):
I dream?

Speaker 12 (04:47:01):
We were just talking about Stink.

Speaker 55 (04:47:03):
You know, it always amazes me how much it takes
to get them to actually go through with it.

Speaker 20 (04:47:08):
Well, I'm mudge in the right direction. That's what we're
here for. I better get the show on the road.

Speaker 63 (04:47:17):
Well, I see some new faces here and a lot
of old faces.

Speaker 18 (04:47:23):
So let's begin the meeting in the usual way.

Speaker 3 (04:47:28):
The toast.

Speaker 5 (04:47:51):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strained stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(04:48:13):
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 are 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

(04:48:34):
joining me for tonight's Retro Radio, Old time Radio and
the Dark

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“NIGHTMARE!” | She Woke Up From Murdering Her Husband - Or Did She?

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}“NIGHTMARE!” | She Woke Up From Murdering Her Husband - Or Did She?