THE GHOST WHO FORGOT HALLOWEEN: Who Knew Ghost School Would Be So Boring?

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
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 2 (00:26):
A man us Seal.

Speaker 4 (00:36):
Present Suspense.

Speaker 5 (00:41):
I am the Whistler.

Speaker 6 (00:43):
Welcome Weirdos. I'm Darren Marler, and this is retro radio
Old Time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
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 7 (01:30):
The CBS Radio Mystery Theater Presents. Come in. Welcome.

Speaker 8 (01:53):
I'm e. G.

Speaker 7 (01:54):
Marshall. It's a little game many people play on a
trainer of us. You look at a complete stranger seated
across the aisle. Your mind begins to speculate who is
he or she, and you go through the standard answers
rich person, poor person, beggar person, sief, doctor, lawyer, indian chief.

(02:16):
It's a harmless diversion, and it passes a time. But
is it possible to look at someone's face and say
murderer and be right? You were in on the plan
to kill mister Rogers.

Speaker 9 (02:31):
I didn't know mister rot.

Speaker 7 (02:33):
You're arranged to meet with him so he could be
set up for the murder.

Speaker 9 (02:36):
That isn't true.

Speaker 7 (02:37):
Then what were you doing at the railway station in
a dangerous neighborhood at midnight?

Speaker 9 (02:41):
I can't tell you. Please don't ask me again. I
can't tell you.

Speaker 7 (02:53):
Our mystery drama, A Quiet Evening at Home was written
especially for the Mystery Theater by Sam Dan and stars
Tammy Grimes. It is sponsored in part by Buick Motor
Division and True Value Hardware Stores. I'll be back shortly
with that one. Alicia Merriwether, or as she is listed

(03:23):
in the Society columns, missus Albert Emmons Merrowether, the third,
is having breakfast in her luxurious penthouse apartment in an
eastern city. Her maid has the day off and her
cook is on vacation, and so missus Merrowether is quite
alone and has been compelled to brew her own coffee

(03:43):
and burn her own toast even as you and I.

Speaker 10 (03:46):
But Missus Merrowether doesn't mind.

Speaker 11 (03:49):
She's a good.

Speaker 7 (03:50):
Sport and not bad looking either as a marath. Oh,
there goes the telephone, and she will have to answer
it herself.

Speaker 9 (04:01):
Hello, my dear, Yes, oh, I was so alarmed, alarmed?
Why all the dear?

Speaker 12 (04:09):
Well, these session broke up rather late last night, and
I returned to the hotel and I telephoned you, and
the phone rang and rang without an answer.

Speaker 13 (04:19):
I couldn't imagine where you might be.

Speaker 7 (04:21):
Why was here?

Speaker 9 (04:22):
I'd gone to sleep.

Speaker 1 (04:23):
Yeah, well that's what I thought, just.

Speaker 9 (04:26):
A nice quiet evening at home.

Speaker 13 (04:28):
I do hope you aren't bored.

Speaker 9 (04:30):
Oh I loved it. How is the convention?

Speaker 7 (04:33):
Oh, it's rather a drag.

Speaker 9 (04:36):
Well, try to have a good time, darling.

Speaker 13 (04:39):
I may be compelled to remain here the rest of
the week.

Speaker 7 (04:43):
I'm sorry.

Speaker 9 (04:44):
Just be a deer and get everything done and hurry home.

Speaker 12 (04:48):
Hell, I have to say goodbye. It's time for my speech.

Speaker 9 (04:51):
I know you'll bring them shouting to their feet.

Speaker 7 (04:54):
Well, I'll get.

Speaker 8 (04:55):
Through it somehow.

Speaker 9 (04:56):
Goodbye, Darling, goodbye dearest. Yes, such a dear little man.
To night just at door, really adoring.

Speaker 13 (05:13):
Hello, dearest Alicia.

Speaker 9 (05:16):
Yes that you're darling, Alicia. Have you forgotten last night?

Speaker 10 (05:20):
Oh?

Speaker 13 (05:20):
How can I forget last night? But nac, you shouldn't
call me here?

Speaker 9 (05:24):
She den hung up.

Speaker 13 (05:26):
Oh that can be just suspicious.

Speaker 14 (05:30):
Ull.

Speaker 13 (05:30):
Fortunately she has a golf.

Speaker 9 (05:31):
Date and then you can tell me you love me.

Speaker 13 (05:34):
I love you, Alicia.

Speaker 9 (05:36):
Even a train announcer puts more passion into his voice
than that.

Speaker 12 (05:40):
I love you, darling.

Speaker 9 (05:41):
And I love you, Bruce. Oh, I love you.

Speaker 13 (05:44):
Okay, it's only ten o'clock. Is something wrong?

Speaker 9 (05:47):
Yes, it's wrong that I have to wait two whole
hours before I can see you.

Speaker 13 (05:51):
Well, those two hours will pass before you know it.

Speaker 9 (05:54):
You sound so cool, so sure of me, Darling.

Speaker 13 (05:57):
I'll see you at Marvetti's at noon.

Speaker 9 (06:00):
It's possible that we might be seen together in all vedies.

Speaker 13 (06:03):
It's possible, but it looks as if we merely are
in into each other all right sides. By this time tomorrow,
Will it matter what people think?

Speaker 7 (06:19):
Milia, sit down, I've already ordered your drink.

Speaker 10 (06:22):
And without ice. I see you remember it.

Speaker 9 (06:25):
So much to learn about you and so much to remember.

Speaker 7 (06:29):
Are you sure you want to go through with us? Yes?

Speaker 15 (06:32):
And you well, you know when you think of how
short life really is, can you waste even a moment
without the one you love?

Speaker 9 (06:39):
Have you really thought about it?

Speaker 10 (06:40):
What's the thinking about?

Speaker 9 (06:41):
She's a very wealthy woman.

Speaker 10 (06:43):
Well, you're Albert's a very wealthy man.

Speaker 9 (06:45):
You have no money of your own life.

Speaker 16 (06:47):
Neither to you.

Speaker 15 (06:48):
Yes, but are you trying to talk me out of it?

Speaker 17 (06:51):
Oh?

Speaker 9 (06:51):
No, it's just that you've become used to to the
ease the luxury of life with her.

Speaker 7 (06:57):
Well, I'll tell you what.

Speaker 15 (06:58):
You can never get used to, the knowing glances and
the self righteous smirking of people.

Speaker 7 (07:03):
Who consider you a kept man.

Speaker 18 (07:06):
Bru.

Speaker 15 (07:06):
Yeah, yeah, you marry a woman who's ten years older
and wealthy, and what's the world supposed to believe? And
it's true I married her for her money, for her position,
and for her influence.

Speaker 9 (07:19):
Surely you must have loved her a little bit.

Speaker 15 (07:22):
Well, I loved her as much as you loved Albert
Emmon's Merriweather the.

Speaker 9 (07:27):
Third I try to love Albert. I'm trying to be
a good wife to him. I just can't leave this
kind of lie. I won't any longer. Neither can I.

Speaker 15 (07:36):
Oh, Darling, it's wonderful that we found each other and
fell in love.

Speaker 9 (07:41):
And we can save each other. You won't be sorry.

Speaker 7 (07:45):
I'll be with you. How could I be sorry?

Speaker 9 (07:48):
Neither of us have any money.

Speaker 4 (07:50):
Of our own.

Speaker 15 (07:50):
Well, I have a degree in engineering. You know I
can get a job. I can even teach in high school. Man,
what's funny?

Speaker 19 (08:00):
You are, Bruce Tyler, former millionaire sportsman, teaching mathematics, and
I can see you in a ready made corduroy jacket
with leather patches on the elbows patches.

Speaker 9 (08:12):
I myself so done.

Speaker 15 (08:14):
Oh and that beautiful socialite, missus Albert Emmon's Merriweather, living
in some dusty suburb doing our own laundry.

Speaker 9 (08:21):
But I won't be missus Merriweather.

Speaker 7 (08:23):
I'll be missus Bruce Tyler. Let's finish launch here. There's
a lot to do, and we'll each take one.

Speaker 9 (08:30):
Suitcase I need at the station and catch the ten thirty.

Speaker 15 (08:33):
Well, no, that's rather late, now that I think of it.
I mean, for you to go to the station alone.

Speaker 9 (08:38):
I'm not afraid.

Speaker 1 (08:39):
Well, i'll get there early.

Speaker 9 (08:41):
You're still we could drive to New York. No, your
first instinct was right. If you took a car, it
would be her car. Let's each leave with nothing that belongs.

Speaker 7 (08:50):
To them, Darling, you won't be sorry.

Speaker 9 (08:53):
How can I be sorry? I'll have you? Will you
be sorry?

Speaker 13 (08:58):
Never?

Speaker 7 (09:00):
Is the happiest day of my life.

Speaker 9 (09:06):
Bruce, I'm sorry, I'm not Bruce. Oh excuse me?

Speaker 7 (09:12):
No, no, no, it's quite all right.

Speaker 9 (09:13):
I was expecting to meet someone.

Speaker 7 (09:16):
Here's Bruce.

Speaker 9 (09:18):
Yes, which training making the ten thirty to New York.
I think i'm a bit early.

Speaker 7 (09:24):
Well, i'm early myself.

Speaker 15 (09:26):
I'm catching a ten thirty five, and I'm going the
other way to Washington.

Speaker 9 (09:29):
It's rather deserted here in the station.

Speaker 15 (09:33):
No, and the old days, this railroad station was a busy,
bustling place at all hours.

Speaker 7 (09:39):
As you seem rather young to remember the old days.

Speaker 9 (09:42):
I remember some of them.

Speaker 7 (09:45):
So where's Bruce.

Speaker 9 (09:47):
Oh he'll be here, Oh side of him, he has
to be here.

Speaker 7 (09:53):
I don't see anybody come up the street either.

Speaker 9 (09:55):
What time is it?

Speaker 7 (09:57):
I have ten twenty five.

Speaker 9 (09:59):
He'll be here any minute.

Speaker 7 (10:00):
Sold the train.

Speaker 9 (10:02):
Are you sure it's ten twenty five?

Speaker 7 (10:04):
Well not anymore.

Speaker 15 (10:05):
In about thirty five seconds, it'll be ten twenty six something.

Speaker 9 (10:09):
No matter, he has to be here.

Speaker 7 (10:12):
He promised, Well he used the last a few minutes.

Speaker 9 (10:15):
What are you grinning at?

Speaker 7 (10:17):
I'm sorry, middle aged romance should be touching rather than humor.

Speaker 9 (10:21):
What are you talking about?

Speaker 7 (10:22):
Are you and Bruce whoever? He is running away?

Speaker 9 (10:25):
I'm sure that's not your affair.

Speaker 15 (10:26):
Of course, it's your affair somehow, And then don't ask
me why I feel that Bruce is not worthy?

Speaker 9 (10:33):
Thank you to mind your own.

Speaker 7 (10:35):
Well, here there's a train that's that time. But where
is Bruce?

Speaker 9 (10:40):
He'll be here, Bruce, or please please conductor hold the train.
Someone's coming.

Speaker 20 (10:48):
He'll be here.

Speaker 9 (10:50):
You promised he'd be here. Oh please wait, Well.

Speaker 13 (10:58):
He's not here.

Speaker 14 (11:00):
The evening doesn't have to be a total laws.

Speaker 13 (11:03):
How would you like to go to Washington?

Speaker 9 (11:05):
He isn't here.

Speaker 7 (11:06):
I can promise you an exciting weekend and you'll never forget.

Speaker 9 (11:09):
Is it a telephone?

Speaker 13 (11:10):
Look, it doesn't matter.

Speaker 9 (11:11):
The trains leaving, yes, I see one just up ahead
of booth.

Speaker 7 (11:17):
I never did like Bruce.

Speaker 5 (11:18):
Something has to happen.

Speaker 17 (11:19):
To you.

Speaker 7 (11:21):
Yeah, hurry, the Washington train will be here.

Speaker 9 (11:23):
In five minutes, sir, I am not going to Washington
with you.

Speaker 7 (11:26):
Well, you don't have to get angry. Besides, these things
happen for the best, you know.

Speaker 9 (11:31):
Please excuse me? Oh damn, sir, sir? Could you?

Speaker 7 (11:44):
How can I help?

Speaker 9 (11:46):
I don't have any change.

Speaker 15 (11:47):
You simply weren't prepared for anything. Now the next time,
do you have a dime?

Speaker 7 (11:52):
Yeah, sure of course you're here.

Speaker 9 (11:53):
Thank you.

Speaker 15 (11:57):
I wonder what I'll have to say for himself. Fella
who lots his nerve at the last minute, I'll wayser
hah hah hah uh oh, now don't tell me, I'll
bet his wife answered.

Speaker 9 (12:16):
Just so smart? Do you think you know everything?

Speaker 16 (12:18):
You know?

Speaker 15 (12:19):
Therese are familiar dramas well. We have three minutes and
thirty seconds before the Washington train gets in.

Speaker 7 (12:25):
So why don't you wait?

Speaker 8 (12:28):
Why don't you get out of here?

Speaker 7 (12:30):
Get out of here.

Speaker 9 (12:32):
That's a gun. You get a gun. You're holding a gun.

Speaker 7 (12:35):
There is going to be trouble. What are you saying
you'll have to run for it?

Speaker 9 (12:38):

Speaker 13 (12:41):
Who is that.

Speaker 9 (12:41):
He's shooting at us?

Speaker 7 (12:43):
Who quick get on the other side of the billboards
and now running towards the other end of the platform.
Why that's why? Now, if there's only one of them,
I got a chance.

Speaker 20 (12:52):
Now run, but you'll be killed?

Speaker 7 (12:54):
Does that mean you have to be killed?

Speaker 21 (12:56):
Two?

Speaker 9 (12:57):
I'm frightened.

Speaker 7 (12:58):
You don't have time for that.

Speaker 13 (13:00):
He's working his way in.

Speaker 22 (13:01):
Why does anyone want to kill you?

Speaker 7 (13:02):
Run as fast as you can down to the end
of the platform.

Speaker 9 (13:05):
That man he just stuck behind the post A short spot.

Speaker 7 (13:09):
I telling you run to the end of the platform,
down the stairs, into the streets and around the corner.

Speaker 14 (13:15):
Get going.

Speaker 9 (13:15):
I'm scared.

Speaker 23 (13:16):
Run run, Dodsy tatsy take me, Take me to a
seventeen hospital circle and hurry, hurry, please.

Speaker 13 (13:37):
Hello Bruce, Bruce. I am afraid you must have the
wrong number.

Speaker 11 (13:42):
Bruce?

Speaker 9 (13:43):
Is she standing there? Is that?

Speaker 24 (13:44):
Why?

Speaker 13 (13:45):
I'm sorry? This is no one here about that name?

Speaker 9 (13:47):
Bruce.

Speaker 25 (13:53):
I know you are right this morning, my dearness, today's yeah, yes, yes,
just sigh.

Speaker 12 (14:00):
Did you do anything last night, darling?

Speaker 9 (14:02):
Did I do anything last night?

Speaker 26 (14:06):
No?

Speaker 9 (14:07):
I just stayed at home and went to bed, just
to quiet evening at home.

Speaker 12 (14:12):
Well, dear you should get out and have some fun,
some excitement.

Speaker 9 (14:16):
That's all right, dear, I don't miss it.

Speaker 10 (14:20):
I must hang up now.

Speaker 13 (14:21):
We have a breakfast meeting.

Speaker 27 (14:24):
I'll be home all the end of the week.

Speaker 9 (14:26):
Goodbye, Albert Henrietta get the door, will you please? Damn
that's right, I gave you the time off. Just a minute.

Speaker 7 (14:40):
Yes, good morning, my detective, Lieutenant Berger homicide. Oh my credentials,
I see. May I come in, thank you?

Speaker 9 (14:54):
May I ask the purpose of this visits, lieutenant, and.

Speaker 7 (14:57):
I say, ask you to come to police headquarters.

Speaker 9 (15:00):
Police headquarters? Why?

Speaker 5 (15:02):
What for?

Speaker 7 (15:03):
There's been a murder?

Speaker 14 (15:05):
Wow?

Speaker 9 (15:07):
How does that concern me?

Speaker 7 (15:08):
Well, at the very least your material witness.

Speaker 9 (15:11):
That's impossible.

Speaker 7 (15:13):
You might even be an accessory.

Speaker 9 (15:16):
It's ridiculous.

Speaker 7 (15:17):
I'm required to tell you that anything you say may
be used against you. Material witness accessory.

Speaker 1 (15:32):
What's this?

Speaker 7 (15:34):
We were there. All she wanted to do was run
away with her lover. Evidently that can turn out to
be a hazardous pastime, and in this case, it doesn't
become very much safer in act too, which I shall
bring you in just a few moments.

Speaker 10 (16:02):
Life is filled with little surprises.

Speaker 7 (16:05):
All that Osha Merriweather wanted to do was run away
with Bruce Pennington. They would have meet at the railway
station late last night. Well, train time came, but Bruce
failed to appear. Another gentleman, however, did show up, but
he was murdered. And now a police detective is saying

(16:25):
to missus Merriweather, Missus Merriweather. At about ten thirty last night,
a man named Cleveland Rogers was shot to death at
the North Side railroad station. Yes, a cab driver named
Barney McCool was cruising about a block away. He heard
the shots, but he supposed at the time that there
were backfires for a car or a truck. And you

(16:47):
follow this well, and he saw you me, he described
you most accurately. He saw you running from the railroad station.
He got into his cab and when he heard about
the murder, naturally he reported it to the police.

Speaker 9 (17:04):
Is he sure it was me?

Speaker 7 (17:06):
The address is recorded on his trip sheet. Is anyone
else living here who resembles you?

Speaker 14 (17:12):
No?

Speaker 7 (17:13):
But do you deny you were at the railroad station?

Speaker 28 (17:17):
Well?

Speaker 7 (17:18):
Are you doing there at that hour? Did deny that?

Speaker 4 (17:22):
You know?

Speaker 7 (17:22):
Mister Rogers? Now you don't have to talk to me,
but you'll have to talk to somebody. I'd advise you
to call your attorney, my attorney. Look, Missus Merriweather, I'm
sure your husband has an attorney. Oh no, I heard
of your husband, A man like Kim, he's got to
have an attorney.

Speaker 9 (17:41):
No, I couldn't talk to him.

Speaker 7 (17:43):
All right, let's go go where. Well you think we've
been talking about the police headquarters.

Speaker 9 (17:50):
But I come to that, my husband will find out.

Speaker 7 (17:52):
I don't see how that can be avoided, but it.

Speaker 9 (17:55):
Must be avoided. It must be avoided at all costs.

Speaker 7 (17:58):
Missus Merriwether, we're dealing with.

Speaker 9 (18:00):
Murder, but I had nothing to do with it.

Speaker 7 (18:03):
What were you doing at the railway station? Now? Why
do you refuse to answer that question?

Speaker 9 (18:09):
Because because I can't.

Speaker 7 (18:12):
If you won't say why you were at the station,
we will have to conclude it's for a reason you
don't want noon. For instance, why was Cleveland Rogers at
the station a lonely place like that, especially since he
knew certain people may have been looking for him? Missus
MERIWETHERA were you the decoy?

Speaker 29 (18:37):
What are you.

Speaker 7 (18:37):
Saying Rogers had an eye for a good looking woman?
Were you the one used by the killers to lure
him to his death?

Speaker 11 (18:45):
Lure?

Speaker 9 (18:46):
Him to his death. This sounds like a like a
thing in a tabloid paper.

Speaker 7 (18:50):
I'm afraid it does.

Speaker 9 (18:52):
You're talking to me. I am the wife of mister
Albert Emmons Merriweather the Third. What would I know about
gangster's mobster's killers?

Speaker 7 (18:59):
Don't know what you're doing your spare time.

Speaker 13 (19:02):
This is monstrous.

Speaker 7 (19:03):
Yeah, yeah, murder is. And it's not just the murder itself,
which is bad enough, but the company it keeps, the
trail it leaves. The victim isn't the only one whose
life has been destroyed. If you do not explain your
presence on that platform, people will form their own conclusions.

(19:24):
But how and they will not be flattering to you?
And what would you do if the killer claims you
were in it with him and then turn state's evidence
to save his own neck.

Speaker 9 (19:36):
Please please believe me. I had nothing.

Speaker 7 (19:39):
Believe me. I'd like to believe you, but you must
meet me halfway. What were you doing there?

Speaker 30 (19:46):
Hi?

Speaker 9 (19:48):
Please leave me alone?

Speaker 7 (19:50):
Are you protecting someone?

Speaker 31 (19:52):
How did you know?

Speaker 13 (19:53):
Are you?

Speaker 9 (19:55):
I'm protecting someone and I'm also protecting myself.

Speaker 7 (19:59):
Now now you're not protecting yourself, You're destroying yourself. Now,
But there's somebody else.

Speaker 13 (20:09):
Well, you.

Speaker 7 (20:11):
We're supposed to meet someone at the station. Yeah, of course,
it's the only thing that makes sense.

Speaker 1 (20:18):
Who.

Speaker 9 (20:19):
I'm not at liberty to tell you.

Speaker 7 (20:22):
Missus Merriwether, you must tell me why?

Speaker 9 (20:24):
Why do you have to know who he is?

Speaker 7 (20:25):
Because he has to corroborate your story? Oh, yes, that's
what it comes down to. Oh, you see, Missus Merriwether.
Sooner or later, you'll have.

Speaker 1 (20:36):
To tell us his name.

Speaker 7 (20:43):
Mister Pennington, do you know Missus Alicia Merriweather. Yes, I
believe I do, al Merriweather's wife. May we speak freely
here along?

Speaker 32 (20:55):
Yes?

Speaker 15 (20:56):
And my wife's not playing golf? A deep englfer that woman?
What's this all about?

Speaker 7 (21:03):
Had you planned to leave your wife and go away
with Missus Merriwether?

Speaker 13 (21:08):
Had I planned?

Speaker 7 (21:10):
Look, don't understand why you should ask me such a question,
because I want an answer since one of.

Speaker 4 (21:16):
The police concerned in such personal matters.

Speaker 7 (21:18):
Huh, We're always involved in personal matters where murder is concerned. Murder,
According to Missus Merriwether, you and she had planned to
run away together to meet at the North Side station
and catch the ten thirty trains in New York while
she was waiting, there was another man on the platform
and he was shot to death. Huh oh oh, yes, yeah, yeah,

(21:41):
I read about it in the morning paper. Had you
planned to meet missus Merriweather at the station?

Speaker 15 (21:47):
I still don't see why the law would ask such
a question.

Speaker 7 (21:50):
If the two of you had not planned to meet there,
Missus Merriwether could be in trouble, trouble, considerable trouble, because
how could she account for her presence at the station? Oh,
you still haven't answered my question, your question. Had you
and missus Merriweather planned to meet at the station last night?

Speaker 33 (22:14):
Well?

Speaker 7 (22:15):
No, of course not, she says you did. Does she ask,
how do you account for it?

Speaker 34 (22:23):
Well?

Speaker 15 (22:24):
I can't account for it. I, on the other hand,
maybe I can.

Speaker 7 (22:30):
Is that?

Speaker 35 (22:30):
So how she uh, well, you know, she always had
kind of a crush on me, and she simply go
manic woman, and so perhaps she lit herself imagined.

Speaker 7 (22:41):
Let me get this straight here. But you're saying, is
you made no arrangements to meet Missus Merriweather at the
railway station last night? Well, of course not. Oh, this
is the first I've ever heard of it.

Speaker 9 (22:57):
It's true, It's true.

Speaker 7 (22:59):
I'm sorry as mariwell, we will see about that, Miss Mariella.

Speaker 9 (23:05):
We agreed to meet. Something happened. He must have been ill.

Speaker 7 (23:14):
Ah, I bet his wife answered, he's ill.

Speaker 9 (23:20):
That's why I couldn't meet me. He's ill.

Speaker 7 (23:22):
He appeared in pretty good shape to me, but we
we decided I wouldn't call again if I were you.
The way it looks, he's not going to answer that
phone for a long time.

Speaker 9 (23:31):
You didn't understand we're in love.

Speaker 7 (23:34):
I understand this. You're holding the bag, Okay, I believe you.
Sure you did decide to run away together. You did
decide to meet last night at the train station. But
I spoke to him just before, and he had the
look of a guy who changed his mind.

Speaker 9 (23:49):
I don't say that he said it to me. He
told you he changed his mind.

Speaker 7 (23:55):
His manner told me. The tone in his voice told me.
It's her money, isn't it. How did you know these things? Show?
I caught a glimpse of her as I was leaving,
big horse face, dame, not at all pretty like you,
no style. I can see where a guy could get
fed up with her. But at the last split second

(24:18):
he remembers why he married her in the first place
the money, but he loves me. Well, I'm sure, but
he loves the money more. Meanwhile, you're in a jam.
You can't account for your being at the railroad station.

Speaker 9 (24:34):
I told you it was to meet Bruce.

Speaker 1 (24:36):
I know you told me.

Speaker 9 (24:37):
You believe me, don't you.

Speaker 1 (24:39):
I believe you as a man. But it won't help you.

Speaker 7 (24:42):
Why not because he's going to deny that story.

Speaker 9 (24:45):
How Kenny, I'll face.

Speaker 7 (24:48):
Him out, he has to. If he admits it, she'll
throw him out in his ear so it doesn't look good. Huh,
you want to sit down.

Speaker 9 (24:57):
This is meriwethera lieutenant, and my husband is going to
find out.

Speaker 7 (25:02):
I'm sorry, what the madness?

Speaker 9 (25:05):
I see now? It was a temporary madness, the whole
thing with Bruce. But he came to his cines before
I did, That's all. And now I'm going to be
disgraced before the entire world. I'm going to be disgraced.
I'll be ruined.

Speaker 5 (25:18):
Now.

Speaker 7 (25:18):
Look, I'll try to help you as much as I can.

Speaker 9 (25:20):
Nobody can help me. I got into this myself. I'll
have to get out of it myself.

Speaker 36 (25:25):
My problem is, I'm I'm getting panicky. I have to
become I have to think this thing through logically and arriving.

Speaker 17 (25:36):
Right.

Speaker 9 (25:38):
Yes, yes, I've got it. I'll deny everything.

Speaker 37 (25:43):
What will you deny?

Speaker 9 (25:44):
I'll start right here, right now, and I'll deny everything
I ever said to you. And so therefore, if you
have come here to talk to me, you're wasting your
time and mine. I was not at the rail wast station.

Speaker 7 (25:56):
Oh come on now, missus Marowuether we have this cab driver, Yes,
he has this trip ticket.

Speaker 9 (26:01):
You've already told me about him. What else have you got?

Speaker 1 (26:04):
What else do we need?

Speaker 9 (26:05):
He says, he picked me up a block from the railway.

Speaker 7 (26:08):
Station, less than a block, and you're in a highly
agitated state? Was I? That's what he says?

Speaker 9 (26:13):
You realize it's his word against mine. Oh no, Marrow,
you can't say whatever he pleases. I'll deny it.

Speaker 14 (26:20):
I see.

Speaker 7 (26:22):
Well, explain why he should falsely identify you.

Speaker 9 (26:27):
I'm the saintest idea, isn't my problem?

Speaker 1 (26:30):
Well?

Speaker 7 (26:30):
What reason could he possibly have?

Speaker 9 (26:32):
Well, let me see, suppose I put it this way.
At one time I refused him my favors and he
wants his revenge.

Speaker 7 (26:42):
Missus Marrow, Well, please make sense.

Speaker 9 (26:45):
He identifies me?

Speaker 17 (26:46):
Does he?

Speaker 9 (26:48):
I'll identify him. Let him dad open his mouth. I'll
point to him in that courtroom. I'll recognize him as
a cab driver who picked me up some time ago
and made me an indie proposition. I laughed at him.
That's the worst thing you can do to a man.

Speaker 7 (27:04):
Now, Look, you know, and I know you're at the
station last night. I know nothing of the sort, but
you admitted it.

Speaker 9 (27:10):
Tell me you can't prove it. I'll deny everything. I'll
insist this is all some evil plot designed to destroy
me and my husband. Remember, all you have is that
unsupported word of a cab driver. I say his word
against mine. And now, sir, I bid you good morning, unless,

(27:31):
of course, you intend for me to accompany you to
police headquarters, in which case you will have to take
me there by force.

Speaker 7 (27:38):
Oh look, this isn't your style. You're basically a very
nice lady who's been caught up in an endiscretion. I
must ask you to leave now. First I must tell
you a story.

Speaker 9 (27:50):
I'm not interested.

Speaker 7 (27:51):
It's very brief. A playboy named Cleveland Rogers runs up
a very large gambling debt with an underworld organization. I've
heard that before, and they decide for a number of
reasons to kill him. You've already told them, and they
do kill him last night at the station. You are
a witness. You can't prove I was there, right, I can't.

(28:16):
The law can't.

Speaker 10 (28:17):
But the law is not your problem.

Speaker 7 (28:19):
Your problem is with the killers of Cleveland Rogers. They
know you were there, they know there's a witness, and
they know they have to kill you.

Speaker 9 (28:28):
And I know when somebody is trying to scare me.

Speaker 7 (28:32):
Let me put it to you this way, we found you. Now.
Can you be sure that the killers won't be able
to find you?

Speaker 9 (28:42):
How can they find me? They didn't even see me
from a distance, maybe, but they don't know what I
look like.

Speaker 7 (28:49):
And furthermore, yes, good lord, hey missus Merriwell, what's wrong
do you have?

Speaker 1 (28:57):
Want a glass of water?

Speaker 11 (29:00):
My suitcase?

Speaker 7 (29:02):
Your suitcase?

Speaker 9 (29:03):
I brought a suitcase, and when I ran away, I
didn't think I was so scared I forgot I had it.
I left it right there on the platform outside of
Californ Booth.

Speaker 7 (29:14):
We didn't find a suitcase on the platform.

Speaker 9 (29:18):
Then they have it, the ones who killed mister Rogers.
They have it, and it has things in it with
my name and address.

Speaker 7 (29:37):
She doesn't do things by halves, does she? And when
her plans go awry, they go all the way, don't they?
Poor Alicia Marilyn It all she wanted was some love,
some romance, a dashing husband instead of a dull one.
Is that so terrible? Who are we to judge? Well,

(30:00):
let's see how things developed in Act three. I suppose
you can blame it all on love. The fact is

(30:22):
everybody wants love. The problem is some people look for
it after they're married. Missus Alicia Merriweather, bored with an
unexciting husband, thought she could do better by running away
with someone else, with results that you were already aware of.

Speaker 9 (30:40):
He knows who I am. That man knows who I am.
Which man the man who killed mister Rogers. Then you saw,
but I heard the shot. I looked down toward the
other end of the station. He was running towards us,
a short, stocky man, a short he didn't know mister
Rogers had a gun. Mister Rogers let him get close,
and then he fired. He missed, and the man back

(31:01):
behind a post. But I saw his face. His face
was such an evil face. What do you mean evil?
You look at that face and you saw evil, You
felt evil, you knew those evil by?

Speaker 1 (31:15):
What did it look like it was?

Speaker 9 (31:18):
He had a round, small eyes, thin lips, a horrible
scar across his cheek, a scar. For a moment, a
terrible thought flashed through my mind. I was committing evil
in leaving my husband, and now I was being punished.

Speaker 7 (31:34):
Yeah, it figures, honey, call him was sweet?

Speaker 9 (31:38):
I thought he had come to punish me.

Speaker 7 (31:40):
Donald's sweet? Non as Honeycolm, some name for a hit man.

Speaker 9 (31:44):
Huh, returned Why should he want to kill me?

Speaker 7 (31:48):
Is she a witness to a murder?

Speaker 1 (31:51):
His murder?

Speaker 28 (31:52):
Who?

Speaker 9 (31:53):
Who says I'm going to testify?

Speaker 38 (31:55):
I mean?

Speaker 9 (31:55):
Is there some way I can assure him he's safe?
As far as I'm concerned?

Speaker 7 (32:00):
The look, missus Merrowether, you're becoming hysterical.

Speaker 9 (32:02):
Certainly and with good reason. Could I place an ad
in the paper to the gentleman who committed murder on
the night of April eleventh on the North Side station platform.
I will not testify against you, sign the witness.

Speaker 7 (32:16):
Let me get your glass of water.

Speaker 9 (32:17):
I can't become involved.

Speaker 7 (32:18):
I can't please control yourself.

Speaker 9 (32:20):
It's all over for me, all over if this evil
man doesn't kill me Albert will divorce me. The story
will come out, it will wound it whoa some of it?

Speaker 39 (32:31):
Yeah?

Speaker 9 (32:31):
And I deserve it? Why? Why did I ever what
did I ever seen? Bruce Pennington?

Speaker 7 (32:39):
Calm yourself, please, weakling, a coward.

Speaker 9 (32:41):
A foolish, insipid. He didn't mean a word of what
he said to me. And the last minute is true,
mat says Marroweather.

Speaker 7 (32:48):
You must try to think rationally.

Speaker 9 (32:50):
What do you suppose I'm doing?

Speaker 36 (32:52):
Yes, Albert, calm patient kindly, Oh Albert, now that it's
too late, it's how much I love.

Speaker 7 (33:02):
You, Missus Merriweather, about the murder?

Speaker 9 (33:04):
Do you realize I've ruined my life completely? Albert was
quiet too much of the time, but that's because he
was thoughtful. Bruce talked all the time, and I see
now it was the chatter of a parrot.

Speaker 10 (33:19):
Your life is in dangerous?

Speaker 9 (33:22):
What am I going to live for?

Speaker 7 (33:24):
Missus Merriweather. We have to go downtown. Why you're not
safe here. We'll have to place you under protective custody.

Speaker 9 (33:33):
This means I'm under arrest.

Speaker 7 (33:35):
It means we're going to protect you, and of course
everyone will know. Try to keep it as quiet as
we can, and I guess your husband will have to know.

Speaker 9 (33:45):
That's everybody just can't be helped. I suppose I refuse
to go with you.

Speaker 7 (33:52):
If you agree to drive downtown with me in my car,
we can do it quietly. On the other hand, if
you want to make an issue but you're asking for publicity.

Speaker 9 (34:03):
I have one hope, one slim forlorn hope, and that
is that this is a dream, a nightmare, and I'll
wake up. I'm sorry, I'm ready.

Speaker 1 (34:17):
There we go.

Speaker 9 (34:25):
Will there be reporters, No, no, not yet, not yet.

Speaker 7 (34:30):
You'll be booked, quietly booked. You see, you're a material witness.

Speaker 9 (34:35):
But I'll be under rest exactly.

Speaker 7 (34:37):
It's all kind of a gray area.

Speaker 9 (34:40):
But my connection with this it will come out.

Speaker 7 (34:44):
Yes, if we go to trial, I see, of course,
mister Merriweather, I'll have to know. Yes, I can tell
by that. Yes, it's your frightened.

Speaker 9 (34:56):
How unbelievably perceptive.

Speaker 7 (34:58):
You are attact him everything? Confess?

Speaker 29 (35:02):
Are you mad?

Speaker 16 (35:03):
No?

Speaker 2 (35:04):
No?

Speaker 7 (35:05):
If you love him and he loves you, then the
truth will only make that love stronger.

Speaker 9 (35:10):
Where did you read that, Lieutenant?

Speaker 7 (35:13):
I happened to believe it.

Speaker 9 (35:15):
Oh, lieutenant, could you stop here for a moment? In
front of that drug store. Wow, a few things I
have to pick up A huh, I won't be a minute.
Do you have a telephone booth?

Speaker 7 (35:35):
Oh?

Speaker 9 (35:35):
I see it? Ah Blue, Bruce, don't hang up. You're alone, yes,

(36:00):
not as alone as I.

Speaker 13 (36:00):
Am, Alicia. I'm sorry. The truth is I'm just I'm
just not worthy of you.

Speaker 9 (36:07):
That's true.

Speaker 13 (36:08):
I didn't have the courage to go through with us.

Speaker 9 (36:10):
I'm in trouble, Bruce. I know my life is in danger, Alicia.

Speaker 13 (36:16):
If there's anything I can do, I mean in a quiet,
discreet way.

Speaker 9 (36:20):
I just called to say goodbye, goodbye. It's enough that
I destroyed my own life. I won't ruin Alberts.

Speaker 13 (36:26):
Where are you going?

Speaker 9 (36:27):
Oh I'm supposed to go to police headquarters.

Speaker 13 (36:30):
Well you'll be safe there.

Speaker 9 (36:31):
Instead, I'll just sneak out of here the back way.
Are you go as far as my money takes me,
and hope that no one ever finds me.

Speaker 35 (36:40):
Goodbye, Bruce, Alisha, Yes, good luck?

Speaker 11 (36:45):
Thank you.

Speaker 9 (36:50):
Do you have a rear entrance? Oh? Never mind, I
see it. Taxi Are you free?

Speaker 17 (37:04):
Oh?

Speaker 9 (37:05):
Excuse me, I didn't know you had a fair insist.

Speaker 25 (37:08):
It's don't make a sound real cool. You're off right here,
get in and sit down. A man on the platform
that's got curly.

Speaker 9 (37:19):
You're the man who? That's right, I'm the man who.

Speaker 29 (37:24):
I'm always the man who.

Speaker 9 (37:27):
Where are you taking me?

Speaker 14 (37:28):
You hear that curly?

Speaker 25 (37:30):
She wants to know where I'm taking What are you
going to do with me? And that's one of those things,
one of which things. Why do you use euphemism?

Speaker 7 (37:40):
I beg your pardon?

Speaker 9 (37:41):
Why did you come out and say what you mean?
Why don't you admit you're going to kill me?

Speaker 7 (37:45):
Most people, you know, they don't like to hear the
real word?

Speaker 9 (37:49):
Why do you want to kill me?

Speaker 7 (37:50):
I don't want to kill you. I have to kill you.

Speaker 38 (37:53):
Why you know why?

Speaker 9 (37:55):
Because I can identify you as the murderer of Cleveland Rogers.
I tell you early, this is a dame that lays.

Speaker 40 (38:01):
It right in there.

Speaker 9 (38:02):
Suppose I promise you I won't do that?

Speaker 41 (38:05):
Yeah?

Speaker 9 (38:06):
Yes, What do you think I was doing on that
platform last night?

Speaker 14 (38:10):
I never gave it a throw and.

Speaker 9 (38:11):
I was running away from my husband with will I
jo But the man didn't show up.

Speaker 7 (38:17):
He's a chump.

Speaker 9 (38:18):
Then you came along and killed mister Rogers. If I
identify you then I'll have to answer.

Speaker 25 (38:23):
A certain question, namely, what were you doing on the
station that hour of the may exactly?

Speaker 9 (38:30):
And it would be better for me if that question
never came up. I'm married to a very conservative man.

Speaker 7 (38:37):
I see the diagram.

Speaker 9 (38:39):
So I will give you my word that I will
never testify against you, and that should solve the problem.

Speaker 25 (38:46):
Yeah, it should, by a long It won't. Why not
in the first place. If I'm like you were, I
know you'll never testify against me, and I only better
unsure things.

Speaker 9 (39:01):
But it's against my own interest to identify you. I
would never endanger my manager.

Speaker 7 (39:06):
I know you're safe.

Speaker 25 (39:07):
I mean it, you think you mean it, But you
can't beat the way you were raised, which was straight.
Sooner or lady, your conscience is gonna start the body.
You're gonna have.

Speaker 40 (39:20):
To do the right thing.

Speaker 25 (39:23):
You can't fight the way you're made, and you're gonna
suffer plenty too. So look, believe me what I'm gonna do.
It's gonna be the best for the both of us.

Speaker 7 (39:35):
Hey, Curley, it's a cops con back of us. Step
on it.

Speaker 25 (39:39):
He's gaining on us. Let me bust out the rare window.
See if I can stop him.

Speaker 14 (39:47):
I'm not jump up the road.

Speaker 9 (39:48):
You can't shoot back at us.

Speaker 14 (39:50):
They'll be scared.

Speaker 25 (39:51):
The dame that made everything twice put me back him
with the next shot.

Speaker 9 (39:58):
But go on me, you go, no I arm you go,
you kill me anyhow? Now you're crazy day you behind
the wheel, you curly. I've got this gun pointed at
your head and I think you better slow down. That's it,

(40:20):
a pul go on.

Speaker 7 (40:22):
Pull on to the side, missus marwella, okay.

Speaker 9 (40:31):
Here, please take this gun. I think I'm gonna.

Speaker 7 (40:36):
Think it was self defense. So you're in the clare.

Speaker 9 (40:46):
But well, I get my name in the papers.

Speaker 7 (40:50):
We decided for your own safety to keep you out
of it. The papers will say he was killed in
a high speed chase. So missus Mariwuella, I think you're
a thank.

Speaker 9 (41:01):
You, lieutenant, Thank you for everything.

Speaker 20 (41:05):
You never did.

Speaker 9 (41:05):
Tell me how you happen to come along at the
right time.

Speaker 7 (41:10):
There was nothing to it, And I watched you come
out of the phone booth and head for the rear exits.
I drove around the block just as the cab was
pulling away from the curb.

Speaker 9 (41:21):
Oh I am, I guess this is goodbye?

Speaker 7 (41:26):
Yes, goodbye missus Mariuella Alicia, my dear Albert, you're back, Yes,
says I've had enough for the convention.

Speaker 9 (41:36):
Oh, Albert, may I present Lieutenant Burger la Police.

Speaker 7 (41:43):
Yes, yes, I'm selling tickets for the police Department dance.

Speaker 12 (41:47):
Well let's buy some.

Speaker 9 (41:48):
By all means I already have.

Speaker 7 (41:50):
Oh, thank you so much, and good night, No no bother,
I can let myself out.

Speaker 25 (41:57):
You know, when I heard he as a police officer,
for a moment, I was afraid something might have happened, Albert, Darling,
what could possibly happen?

Speaker 11 (42:11):
Tell me?

Speaker 7 (42:12):
How did you spend your time tonight?

Speaker 39 (42:15):
Oh?

Speaker 9 (42:16):
It was just another quiet evening at home.

Speaker 7 (42:29):
As Alicia learned her lesson. I don't know, does anyone
ever really learn a lesson?

Speaker 10 (42:37):
You think she'll be happy with Albert now?

Speaker 5 (42:40):
Or will she have her head.

Speaker 7 (42:42):
Turned by the next handsome guy who happens along?

Speaker 10 (42:46):
Another thought? Albert? Was he really at a convention?

Speaker 1 (42:54):
Who can tell?

Speaker 7 (42:57):
All I know is I'll be back before you have
a chance to miss me. There's a moral to our story,

(43:18):
and that is it may be good to be born intelligent,
but it's better to be born lucky. Good looks will
probably take a lady further than mere virtue. Consider most
of the ladies who have made it in this world
as a rule, were they homely and virtuous or lucky

(43:44):
and beautiful? Well homely or handsome, intelligent, virtuous or fortunate
or whatever? You are all welcome to assemble with us
here uh. Our cast included Tammy Grimes, Robert Dryden, Leon

(44:06):
Janney and Earl Hammond. The entire production was under the
direction of Hymond Brown. And now a preview of our

(44:27):
next tale. And if you want to join me, join me,
just remember one thing's done this' stay forward till I
give you the nod. We never saw each other anytime anywhere.

(44:51):
There never was a knight, moon up or moon down
that I don't ache for you, Rainbone. Why did you
leave me behind? Yes, yes, missus Moonlight, I know, I
know she's gone. Time for you and me to take
the little sleep. The big one is not scheduled for

(45:14):
us yet. The future is still ordain. I wonder what
it holds. Radio Mystery Theater were sponsored in part by
True Value Hardware Stores and Buick Motor Division. Missus E. G.
Marshall inviting you to return to our mystery theater for
another adventure in the macabre. Until next time, pleasant dream.

Speaker 4 (46:09):
This is the House of Mystery. This is Roger Elliott,

(46:31):
otherwise known as the Mystery Man, welcoming you to another
storytelling session. Here at the House of this where the

(46:56):
night of Halloween when ghosts and gods and screams and
way beware, the night of Halloween and the witches.

Speaker 5 (47:07):
Fine.

Speaker 4 (47:13):
Yes, yes, Next Wednesday, October thirty first is Halloween. But
here at the House of Mystery, we're celebrating Halloween today.

Speaker 13 (47:23):
Now, for the benefit of.

Speaker 4 (47:24):
Our radio listeners, I think I should describe how our
meeting room is decorated. Ruth and Marilyn and a few
of the other girls spend all morning fixing it up
for our Halloween party. There are black witches on broomsticks
riding across the ceiling, the skeletons dancing along the walls,
a great big spooky owl perched on top of my bookcase,

(47:46):
and a tremendous jack O lantern hanging from the light
fixture in the center of the room. Yes, yes, it
looks like we're going to have quite a party. Oh what, incidentally, Rufe,
what's that big bowl of water on the paper a
bob for apples.

Speaker 42 (48:01):
You know, you put some apples in the water, and
then you seek your face in the bowl and try
to pick up.

Speaker 43 (48:05):
An apple with your teeth.

Speaker 4 (48:06):
And the one who picks up an apple gets it
is that it?

Speaker 43 (48:09):
Yes, But then most of the time while you get into.

Speaker 4 (48:11):
Wet face, at least Johnny, you'll get his face washed famelessly.
Did your mother take that wonderful Halloween cake on the
table roofs?

Speaker 44 (48:22):
Yes, and it has fortunes inner fortune.

Speaker 42 (48:25):
Yes, there's a key and the ring, and a penny,
a button, a symbol, and a lot of other things
they tried into the cake. And when we cut it
later and we give everybody a piece of it, and
whatever they get in their piece, tell their what happens
if I get the ring, Well, that means you're going
to get married. Oh what does a penny means?

Speaker 44 (48:45):
It means you're going to be rich.

Speaker 42 (48:46):
For I was a mist of all the fortunes here,
I copied them out of the Halloween books.

Speaker 4 (48:55):
Well, we should have a lot of fun with that cake. Hey,
what's in that box on the table?

Speaker 45 (49:00):
Oh?

Speaker 43 (49:01):
I forgot there's some toast rooms and my money made.

Speaker 4 (49:07):
Johnny, you've got a memory about as long as I please, Whisper.
Don't you remember last Saturday, who's telling us about some
wonderful cookies her mother makes out of post toasting?

Speaker 43 (49:18):
Oh yeah, the recipes on the side of.

Speaker 4 (49:20):
The that's right, they're called toast roons. Have the wonderful roof.

Speaker 42 (49:27):
There are three different times, mister man, some with lemon flavor,
and the sun with tape, and the sun with not.

Speaker 1 (49:35):
May I have one?

Speaker 21 (49:37):
Thank you?

Speaker 44 (49:38):
Shall if you had better?

Speaker 4 (49:41):
Johnny's tongue will drop right out of his money. Tastes
as wonderful as they love. I'm sorry we can't pass
through toastal roons to everyone who's listening in, because they
are really delicious. I'll about it, Johnny.

Speaker 9 (50:03):
Kenny.

Speaker 4 (50:04):
Are they very hard to make?

Speaker 30 (50:05):
Ruth?

Speaker 42 (50:06):
You know, they're very easy. You just follow the recipe
on the side panel the post. Anyone can make them.

Speaker 7 (50:12):
Did you hear that?

Speaker 4 (50:13):
All you House of Mystery radio listeners, Ruth says, the
toaster runs are easy to make. All you do is
all of the simple recipe on the side panel of
the post Toasty's box, and they really are delicious, crisp
and crunchy and toasty brown, just like post toasted themselves
and Johnny.

Speaker 21 (50:33):
Hit the nail on the head. They're really better than candy.

Speaker 4 (50:36):
I'm sure mother would be glad to make you a
batch of toaster runs, especially since they don't take any
sugar at all. Well, maybe you can even make them yourself,
if it's that easy.

Speaker 44 (50:45):
And if you got any left sords? Do what I mean, Specs,
you're the ones with.

Speaker 4 (50:50):
Well, why should any of the girls send you toaster runs? Johnny,
you refuse to send that girl in Massachusetts your picture?

Speaker 44 (50:56):
Well, he tells me some toast runs?

Speaker 46 (50:59):
Maybe?

Speaker 43 (50:59):
Anyway, did you play?

Speaker 4 (51:02):
I don't make any bargains. If you want past ruins,
you asked your mother to make them for it?

Speaker 43 (51:06):
Would you like another?

Speaker 4 (51:09):
I certainly would thank you.

Speaker 43 (51:11):
Well, how about you, Yank is as like as well
as man?

Speaker 20 (51:17):
Yes, Richard, I was thinking that since you was sort
of celebrating Halloween here at the House of Mystery today,
you might be able to tell us how Halloween started.

Speaker 43 (51:26):
I tried to look it up in the encyclopedia last night.

Speaker 4 (51:28):
I couldn't find very much about it.

Speaker 44 (51:30):
It just said that Halloween was originally called All Souls Days, that's.

Speaker 4 (51:35):
Right, and then it became all Saints' Day and finally
All Hallow's Day. A hello, you see, is a saint.
The word Halloween was originally hallow, even meaning the eve
of or night of all Hallow's Day.

Speaker 44 (51:50):
Well, why are all the fooksposed to come out on Halloween?

Speaker 4 (51:54):
Well, that goes a long way back, Johnny, when people
worshiped the sun because it gave heat and made things
grow out of the ground. But then along about the
middle of October each year, the sun lost some of
its heat and the living things in the ground began
to wither and die. And the superstitious people of the
day believed that ghosts and goblins and witches were making

(52:17):
this happen, and so they locked themselves in their houses
until these supposedly lost souls. The ghosts and goblins withered
the grass and the leaves, and then returned to the
shades of darkness for another year. They didn't know much
about the changes of seasons, and they blamed the evil
spirits for bringing winter. In fact, that's one of the

(52:37):
reasons we celebrate Mayday on the first of May every year.
It's the day when the good spirits supposedly come out
and start things growing again. And of course, we know
that it's the heat of the sun that rarely start
things growing, but centuries ago they didn't, and so now
all over the world all Hallows Day and Halloween are
celebrated in pretty much the same way. Well, do you

(53:01):
know why everyone cuts faces and pumpkins and puts candles
in them?

Speaker 7 (53:05):
Does that mean?

Speaker 21 (53:06):
And it's something?

Speaker 4 (53:07):
Well, Richard, there are a number of explanations as to
how the use of Jack o Lander started. The Irish
version is that a very stingy man named Jack was
barred from heaven because of his stinginess, and because he
played tricks on the devil, he was barred from hell too,
and so he found himself a lost soul. On Halloween. Well,

(53:27):
one night he went into a field, hallowed out a pumpkin,
cut some holes in it, and put a candle inside.
And from then on he wandered the earth, carrying his
lantern to light the way, and he came to be
known as Jack of the Lantern or Jack o Lander.
I believe that the custom of having huge bonfires on
Halloween began in Scotland. The fires were supposed to burn

(53:51):
the witches. Egle spirit I tell you.

Speaker 43 (53:53):
The kids have a fire on our block every Halloween.

Speaker 44 (53:56):
But then the fire come for lot Halloween.

Speaker 4 (53:59):
Fires are dangerous things, especially in the city. You really
don't need a fire to celebrate Halloween. There are so
many other things you can do.

Speaker 42 (54:08):
Some of the boys being doorbells and mike everyone up
with Well, that's pretty harmless fun, but fires can sometimes
be serious.

Speaker 4 (54:16):
I think the best way to celebrate Halloween is with
a party, like we're having play games and have good
things to eat, and maybe even tell a ghost story.

Speaker 44 (54:24):
Are you going to tell us a ghost strife? Really?

Speaker 4 (54:27):
What's a real ghost story?

Speaker 7 (54:29):
Johnny?

Speaker 4 (54:30):
By ghost?

Speaker 43 (54:32):
I know that ghost But yet Kelly just kind of
make believe on a kind of Halloween.

Speaker 4 (54:37):
Sure, we can makeing believe is sometimes a lot of fun. Now,
let's see a real ghost story, some spooky Well I
know one, it's not really spooky, or maybe it is.
It's called the ghost to Forgot Halloween.

Speaker 16 (54:57):
Do you like to hear it?

Speaker 17 (54:58):
Oh?

Speaker 4 (54:58):
Shure, Yeah, all right. Now, Johnny, you pulled down the shade,
and Richard you light the candle and the Jack o'
lantern so we can have the right ghostly atmosphere. He's
a match, Richard. Be careful, that's fine. Now for the

(55:20):
story of the ghost who forgot Halloween. Wilbur kennisaw Smith

(55:42):
was a ghost. He was named Wilbur after his great grandfather,
a very famous old ghost who unfortunately was floating through
the darkness one night when he got his sheet caught
in a windmill, and that was the ender. He was
named Kennys Or after his uncle, who sad to say,

(56:03):
died of ghostly pneumonia while haunting an explorer at the
North Pole. And he was named Smith because that was
his father's name. Now, Wilbur, for the most part, was
a happy, easygoing little ghost. His father and mother loved
him dearly and were certain he'd grow up to be
a very successful acquisition. But Wilbur had won dad help.

(56:28):
He was always falling asleep. Yes, Wilbur was always tired.

(56:57):
He was tired at school, and he was tired at
play and worried his father and mother very much. Mother
Ghost thought it was because he was a growing i
mean ghost, and that as he grew older he wouldn't
be tired anymore. But Wilbur seemed to grow more tired
every day. Now, Wilbur went to school just like all
boys and girls do, except the being a ghost. He

(57:18):
went to school of Night, and instead of learning reading
and writing, he learned moaning and groaning. And instead of
addition and subtraction, he learned appearing and disappearing. There are
lots of other things too, sheet clapping and chain rattling,

(57:41):
and plain and fancy haunting and floating on air and
everything a ghost should know to be a really good ghost.
But Wilbur's trouble was that he didn't pay attention in school.
And the reason he didn't pay attention was that he
was always sleepy. His teacher's name was miss Pool, and
sometimes she became very angry with him one night in

(58:05):
the classroom.

Speaker 47 (58:07):
And now, class, I'm going to test you in moaning
and groaning, Wilburtkennistar Smith.

Speaker 44 (58:16):
Wilburgh, Canista Smith Wilber don't you hear me?

Speaker 24 (58:23):
Oh?

Speaker 44 (58:23):
Yes, this is your final test in moaning and groaning. Wilbur.
Go ahead, moan for me. Uh oh, that Wilbur is
a yawn, not a mone Now moans and good heaven.

(58:51):
Is that what you call a mode? Why I wouldn't
even fighting a caterpillar, let alone a human being.

Speaker 43 (58:56):
Now listen to me.

Speaker 44 (58:58):
This is a mode?

Speaker 48 (59:08):
Are you trying.

Speaker 44 (59:10):
I said, you try, Wilbur, You're smart, You're a pass
at me.

Speaker 4 (59:23):
Yes, Wilbur was fast asleep, floating over his desk. Well,
Miss School didn't know what to do with Wilbur. She
spoke to the principal of the school, mister Rattlebones, and
he called wilburin for a little talk.

Speaker 11 (59:39):
What she means to be the trouble, Wilburg.

Speaker 44 (59:43):
Oh trouble.

Speaker 49 (59:45):
Why don't you get enough sleep in the daytime? Is
that why you can't stay a wick at night like
every other goes?

Speaker 44 (59:54):
I sleep all day, But I hear.

Speaker 32 (01:00:00):
Where Miss Book tells me she can't possibly promote you
unless you do.

Speaker 4 (01:00:04):
Better than class.

Speaker 44 (01:00:05):
And here it is only two nights before.

Speaker 49 (01:00:08):
Halloween's promotion night. You don't want to be left back,
do you, No, mister You want to go out into
the world and hard people, don't you.

Speaker 4 (01:00:22):
Yes, Well, you certainly don't.

Speaker 32 (01:00:28):
Seem to be trying very hard, you know, will I
was your father's teacher when he went to the school.

Speaker 4 (01:00:36):
Really was a wonderful pupil. I remember when he took
his final test in appearing and disappearing. I remember that
very well. Your father Wilver disappeared and he didn't come
back for twos when he's tired. No, not at all.

(01:01:06):
Why when he was young he could move.

Speaker 21 (01:01:12):
For days without stopping. I wish I will write.

Speaker 32 (01:01:18):
My no reason why you can be with I'm going
to have a talk with your teacher, Miss Spook.

Speaker 4 (01:01:28):
And maybe I can get her to agree.

Speaker 50 (01:01:30):
The deep you bashfor haunting tests had been cheered for
bost cheers. Oh thank you lesterdam about.

Speaker 32 (01:01:43):
Remember you must pass the haunting test.

Speaker 4 (01:01:48):
No pupil in this school can be promoted a Mexican
haunt because if a ghost can haunt, you might just
as well.

Speaker 28 (01:01:59):
Be a human needs.

Speaker 4 (01:02:10):
Wilbur was all excited when he got home to school
that night. He told his mother and father about the
haunting test on Halloween and how was he passed? He promoted.
They were so happy and so proud. Wilbur's father promised
to let him use his oldest, rustiest set of change
to clim and Wilbur's mother said she'd make him a

(01:02:30):
brand new sheet out of boosting white material. And Wilbur's
old uncle, Henry, who had given up on him because
the night there was sad for his RHEUMATISTMS, offered to
lend Wilburt two of his died up bones.

Speaker 50 (01:02:44):
That you never knew nothing less if she could depre
I love in daylight other than human del Wilbert as
the raton of the dry abode.

Speaker 4 (01:02:56):
And so Wilbur was all equipped to pass his Halloween
hunt with high honors. An old rusty tune and planks horror,
a brand new sheet back to the winds, and bones
so dry they made you shiver when they wrapple. What
more could any ghost pass? Wilbur was actually quoating on

(01:03:18):
air now he couldn't help and be promot who following
night at Ghosts School, this spook gave the Class I instruction.

Speaker 44 (01:03:32):
Tomorrow, as you undoubtedly know, is all hollows day, and
tomorrow night is Halloween, the.

Speaker 47 (01:03:40):
One night in the year when ghosts and goblins are
permitted to roam the earth. As it is only proper,
we are holding our final examinations tomorrow night, the night
of Halloween. You will find your assignment posted on the
bulletin board. Please note them carefully as you float out

(01:04:00):
at the clock. Now we will have some practice in
moaning and grow Wilbur.

Speaker 44 (01:04:06):
Are you paying attention?

Speaker 21 (01:04:08):
Yes?

Speaker 13 (01:04:10):
All right?

Speaker 28 (01:04:11):
Then?

Speaker 44 (01:04:12):
All together now moaned.

Speaker 2 (01:04:20):
Road.

Speaker 14 (01:04:24):
Moaned row.

Speaker 4 (01:04:33):
It was almost dawn when Wilbur floated home from the
last night at school before the final examination. He went
in there immediately slept like a laugh, and awoke bright
and late that same day, just as darkness was creeping
over the country's line. He remembered, as he pulled his
brand juice sheet over his head that his assignment was

(01:04:55):
to hold a little graveyard down by the railroad tracks,
and the witching hour a midnight frightened many human beings
who happened to commands. He washed his face with evening mists,
brushed his teeth with ectoplasm ate, a big, huge bowl
of ghost toasters with invisible milk, and was ready to leave.

(01:05:16):
By that time it was quite dark, a perfect night
for haunting. Wilbur's mother and father floated down as far
as the hollow with him, then they disappeared. Wilbur was
left all alone. He drifted through the valley until he
came to the tiny graveyard he was supposed to haunt. There,

(01:05:37):
he scurried around among the gravestones and markers, groaning and moaning,
and clanking his chains and flapping his sheep and rattling
his old uncle Henry's bones. Why haunting wasn't hard at all,
there was nothing to it. In fact, it was great fun.
Wilber floated over the graveyard, wheeling and dipping, making believe

(01:06:00):
he was a ghostly airplane. Suddenly he stopped short in
mid air. Two huge green eyes were staring at him
out of the darkness. The next moment he heard a
sound that said shivers up his spines. Again he heard

(01:06:20):
the strange, frightening sound. Wilbur turned pale as a human,
and he would have floated out of that gray dart
as fast as he could hit his father's rusty old chain,
having suddenly caught an a headstone. And it was lucky
for Wilbur that he did, for the next moment, the
huge green eyes blinked and the weird voice came out

(01:06:44):
of the darkness.

Speaker 30 (01:06:46):
Oh a.

Speaker 51 (01:06:54):
On Halloween, oohoooo and laughing deep down in his feathers.

Speaker 4 (01:07:05):
The old hotel flew off the limb of the tree
on which he'd been sitting and vanished. Poor wilburth crembling
like a leaf, loosened, the rusty old chain picked up
his uncle Henry's bones. He dropt in his fright and
with a deep sigh, settled himself on top of a large,

(01:07:27):
flat graystone and draped his sheet around. He'd suddenly become
very tired. He looked up at the sky. Now the
stars were winking and blinking, and there was a quarter
moon that looked like a silver water lemon ride. All
was quiet, peaceful, So quiet and peaceful, in fact, that

(01:07:48):
Wilburg completely forgot it was Halloween that he was supposed
to be taking his final examination. Oh my, that wil
be Yonny is wild, and he's fallen asleep, the last asleep,

(01:08:10):
almost two hours before midnight, with most of his haunting
left undone. What will happen now? Well, in a little while,

(01:08:32):
the old houtowl returned to his perch on the limb
of the tree. He looked about for Wilbur and discovered
him asleep on the gravestone. Now he was a wise
old owl, as owls usually are, and he knew that
the last thing a ghost should do is fall asleep
on Halloween. So he hooted and hooted until he was
almost blue in the beak. But Wilburd didn't wake up.

(01:08:57):
In fact, Wilbur didn't wake up for a long time,
not until a rooster on a nearby farm started to crow.
Then he sat up with a jerk. He blinked three times.
It was five o'clock in the morning, and dawn was
beginning to light the sky in the east. And there,

(01:09:17):
seated on the iron picket fence surrounding the tiny graveyard
were his mother, his father, all the other ghosts and goblins,
and worst of all, Miss Spook his teacher. Wilbur tried

(01:09:40):
hard to hold back his tears. He hadn't meant forget Halloween.
He hadn't meant to fall asleep. He trembled as his
teacher got off the picket fence and flowed over.

Speaker 44 (01:09:54):
Well, Wilvers, what have you to say for yourself?

Speaker 7 (01:10:00):
Sid wop?

Speaker 44 (01:10:02):
Is that all I waper?

Speaker 20 (01:10:07):
We're all.

Speaker 44 (01:10:12):
That seems to be your trouble brother. You are always
so tired. We've got to teach you electing.

Speaker 47 (01:10:21):
Any ghost to forget Halloween and falls asleep in the
middle of haunting must be taught elected.

Speaker 44 (01:10:29):
Let me have your sheep, mar my sheep, Yes, your sheet,
thank you. Oh, I'm cold as sitting in my goal
and too bad. You will just have to get used
to it from now on. You're not going to be

(01:10:50):
allowed to wear a sheep, you will have to walk
around in your bones until you prove to me that
you have learned how to haunt without calling please, and
until that time you will not be promoted.

Speaker 4 (01:11:20):
And so boys and girls and grown ups too, this
coming Halloween, if you should happen to see a sleepy
little girls walking around in his bare bones, remember that
it's Wilbur, Wilbur Tennis or Smith. He's looking for someone
to haunt so that he can be promoted and get
his sheep back. So if you do meet Wilbur, be

(01:11:41):
kind to him and let him haunt you, won't you?
And in Katy should yawn right in the middle of
the haunting, tickle him in the ribs to keep him awake,
so that this Halloween Wilbur can be promoted. Please let
me hunt you. And that's the story of the ghost

(01:12:12):
forgot Halloween.

Speaker 44 (01:12:17):
That's not the kind of ghost story on that.

Speaker 1 (01:12:19):
Didn't you like it?

Speaker 4 (01:12:20):
Johnny?

Speaker 42 (01:12:21):
Oh yeah, it was all right, But oh I think
it was wonderful Johnny, to come with you?

Speaker 43 (01:12:27):
Is you always want creepy things?

Speaker 44 (01:12:29):
How long is you? Remember?

Speaker 30 (01:12:30):
Well?

Speaker 43 (01:12:30):
But from now on and if I need him, I
will let him hut.

Speaker 4 (01:12:35):
I'm sorry if I disappointed you, Johnny.

Speaker 44 (01:12:37):
Oh no, it was all right.

Speaker 43 (01:12:39):
One part maybe laugh.

Speaker 47 (01:12:41):
What was that the part where you said that Rolburt
had a great big ball of ghost toasty with invisible.

Speaker 21 (01:12:49):
You wouldn't like that, would you, Johnny?

Speaker 2 (01:12:51):
No?

Speaker 44 (01:12:51):
Sorry, Robert can have his ghost tocy.

Speaker 43 (01:12:54):
I'll take real honesty, goodness post tossy with a kind.

Speaker 44 (01:12:57):
Of milk you can see.

Speaker 21 (01:13:00):
Don't hear that?

Speaker 4 (01:13:00):
I blame you, Johnny. As a matter of fact, like Wilbur,
post toastings are so bubbly light they almost do float.

Speaker 43 (01:13:08):
You have a try get post stealthiness.

Speaker 42 (01:13:11):
No, I haven't have a good wonderful I am with
the nails lots of time.

Speaker 4 (01:13:18):
Yes, Richard, my friend's mother says that hot cereals are
better for you than cold cereals in the wintertime. Is
that true? Not as tall. It isn't the external heat
of the food that counts. It's the amount of heat
that food produces once it gets inside your body. For instance,
a glass of cold milk produces much more body heat

(01:13:38):
or food energy than a cup of boiling hot water.
Hump around the north pole. The estimals, they've all went
along on cold rubber and seal fat because it produces
a great deal of body heat.

Speaker 43 (01:13:51):
Carbohydrates produce body heat, don't they?

Speaker 4 (01:13:53):
That's right, Richard. Certain elements in food are called carbohydrates,
heat and energy producing element. The sugar is one of them,
and starch is another, all of which you get in
post toasty. So you tell your friend's mother that we'll
match post toasties up against any other breakfast cereal hot,
cold and lukewarm for energy and for goodness, winter, summer, spring,

(01:14:16):
a fall, and with all that post toasty taste, so
good always Chris, always toasty, brown, always bubbly, light, never
soggy or mushy or lumbers. Right, Johnny, you gets what.

Speaker 44 (01:14:32):
Turkey they cost?

Speaker 36 (01:14:34):
Now?

Speaker 44 (01:14:35):
How about it duck for apple?

Speaker 4 (01:14:37):
I'm afraid we're not going to have time for that
while we're still on the air, because I want to
tell you something about next week's mystery store.

Speaker 43 (01:14:44):
Tell even cut the Halloween cake and.

Speaker 4 (01:14:47):
Get do you want the fortune of the cake?

Speaker 16 (01:14:50):
Johnny?

Speaker 4 (01:14:51):
Confess?

Speaker 40 (01:14:51):
Well?

Speaker 43 (01:14:52):
Hi, clean?

Speaker 4 (01:14:54):
All right, Ruth. Suppose you cut Johnny's feet so we
can have his fortune cold and incidentally wrap himself up
around the case. Well, I tell you about next week's story.
It was on the stage of a supposedly haunted theater
that the ghost of a great hamlet was supposed to
walk hand in hand with death. The solution of the

(01:15:18):
mystery escaped me until I well, until I realized that
the only positive answer was the most obvious one of all.
Next week, I'd like to see if you can guess,
as I had to, the natural explanation of the seemingly
supernatural phenomenon in the story I call Death Takes the Stage. Well, Johnny,

(01:15:41):
you find your fortune yet.

Speaker 44 (01:15:44):
There has no fortune?

Speaker 1 (01:15:47):
Yeah, yeah, what is it?

Speaker 44 (01:15:55):
Watune?

Speaker 4 (01:15:56):
I'm sure someday you'll get married, Johnnie. Well, we won't
worry about it now. I see our times up. Anyways,
we meet again next week, of course, at the same time,
and for our radio listeners the same station.

Speaker 44 (01:16:10):
My wife gotty toast rooms.

Speaker 43 (01:16:11):
They want to get rid of.

Speaker 4 (01:16:13):
Me, Johnny. How can you ask for toast rooms with
a mouthful of cake? I give up. Remember to be
with us next Saturday to hear Death Takes the State.
I'll be waiting for you at the House of Mystery.

(01:16:45):
This is Roger Elliott. You're a mystery man. Saying goodbye
until next Saturday at this same time, and reminding you
that post toasted is a good side too. This is
the mutual broadcasting system.

Speaker 52 (01:17:19):
There are few of us who have not, at one
time or another, had the sensation of reliving and experience,
which is actually.

Speaker 1 (01:17:25):
New to us.

Speaker 52 (01:17:26):
Indeed, so common as this phenomenon that among psychologists it
has acquired a technical name. But there is on record
one case of a man who actually was familiar with
a world that was new and strange.

Speaker 53 (01:17:42):
It was business that took George Lawton to England in
the spring of nineteen fourteen, but after he had spent
a few days in London, he succumbed to the temptation
to visit his friend Paul Dixby, who.

Speaker 33 (01:17:52):
Made his home in the historic Old Town of York.

Speaker 53 (01:17:56):
Lawton had never visited York before, and so almost as
soon as you are Bixby insisted on taking him for
a long walk. He wanted most of all to show
him the famous cathedral known as the Minsta.

Speaker 41 (01:18:08):
We are not terribly far from it now. I know
you'll want to see it, George. You probably know it
by the name of Saint Paul's Cathedral.

Speaker 16 (01:18:16):
Is that how they refer to it?

Speaker 41 (01:18:17):
In the States, I say, George, do they refer to
it as Saint Paul's in the States?

Speaker 33 (01:18:24):
George, Poor, I'm sorry.

Speaker 21 (01:18:26):
I guess I wasn't listening.

Speaker 29 (01:18:27):
What's the matter with you, old boy?

Speaker 21 (01:18:29):
You seem so well, so distracted. It's a crazy things,
the feeling I have, as if everything around here were familiar.
I could swear I've been here before. I'm absolutely sure
I know this town.

Speaker 7 (01:18:42):
Why I could find my way from one end of
it to the other.

Speaker 41 (01:18:46):
Don't be absurd, George. You couldn't find your way from
here to the Minster. There are all sorts of twists
and turns before we get there.

Speaker 53 (01:18:53):
Well, I won't get lost, watch me. And with that,
George Lawton started off ahead of his friend. So quickly
did he move, and with such absolute certainty that Dixby
found it difficult to keep.

Speaker 21 (01:19:04):
Pace with him.

Speaker 53 (01:19:05):
Down winding streets he went, and through crooked alleys, and
when at last he came to a halt, he was
standing at the old west door of the Minster, and
Bixby coming up to him, breathless from exertion, gashed by.

Speaker 21 (01:19:17):
Tat that's a meeting, How on.

Speaker 11 (01:19:19):
Earth did you manage to do it?

Speaker 1 (01:19:20):
But Lawton was not paying very close attention to his friend.

Speaker 53 (01:19:23):
His eyes were fixed on a corner a half block
down the street, a corner occupied only by a vacant lot.

Speaker 52 (01:19:30):
Whatever happened to the inn Bixby, the one that used
to be on that corner down there never.

Speaker 41 (01:19:35):
Wasn't in there, at least not the dark had recall.

Speaker 33 (01:19:39):
But there must have been some time or other, I
remember it distinctly.

Speaker 53 (01:19:44):
Later that afternoon, the two men sat in the dusty
corner of the public library, huddled over an old map
of the city. With eager fingers, they located the Church
of Saint Paul's, and then he followed the line of
the street westward to the nearest corner, and there they
found a legend written in very small script.

Speaker 10 (01:20:05):
Sight of the Golden Ox, famous old.

Speaker 21 (01:20:09):
Inn, destroyed by fire in.

Speaker 1 (01:20:11):
Sixteen twenty eight.

Speaker 53 (01:20:15):
And so George Lawson, who had never been to York before,
found that he not only knew his way around the streets,
but that he even remembered a building which had not
been there for almost three hundred years. Is it absurd
to suggest that this was actually his second visit to York,
That in some former life he may even.

Speaker 28 (01:20:32):
Have been a residence of the ancient city.

Speaker 53 (01:20:35):
Perhaps it seems absurd, and yet one other explanation can
be offered for this baffling mystery.

Speaker 28 (01:20:41):
A mystery incredible but true.

Speaker 54 (01:20:59):
Lipton Soups present in a sanctum, mystery.

Speaker 33 (01:21:21):
Good evening.

Speaker 54 (01:21:22):
Friends will be in a sanctum, all waiting to go
through the squeaking do.

Speaker 33 (01:21:29):
What a long line?

Speaker 54 (01:21:31):
But everybody's here tonight. The line reaches right to the
edge of the gray.

Speaker 33 (01:21:39):
Been waiting long? What seven days and seven nights? Did?

Speaker 14 (01:21:46):
Yeah?

Speaker 33 (01:21:46):
You should have not.

Speaker 54 (01:21:48):
I can always slip the latch string out and you
could hang around properly.

Speaker 55 (01:21:54):
Why, mister host, people don't need a light string to
do that. Didn't you know that all our listeners hang
on your every word?

Speaker 8 (01:22:02):
Oh?

Speaker 54 (01:22:03):
Yes, Mary, there's no better place than in a sanctum
for people to get the news or the news.

Speaker 55 (01:22:10):
As a matter of fact, we have some good news
for our listeners right now.

Speaker 9 (01:22:15):
Folks.

Speaker 55 (01:22:16):
There's a new delight waiting for you when you try
Lipton tea. How many of you may have been drinking
tea for years, but until you taste Lipton's, you just
don't know the full pleasure of tea at its delicious
best Lypton you see has brisk flavor. In fact, brisk
is the very word the tea experts themselves use to
describe Lipton's spirited, full bodied flavor. Unlike ordinary, dull tasting teas,

(01:22:42):
Lipton's is never flat, but always hearty and satisfying. Lipton
Tea gives you more contentment than every cup, so do
try it soon. It's tea at its tastiest, Lipton Tea
with that grand brisk flavor.

Speaker 33 (01:23:09):
And now for tonight's story.

Speaker 54 (01:23:12):
It's an original radio play written especially for the Unner
Sanctum by Hank Warner, call Strands of Death and starring
Santa Sortega in the role of Henry.

Speaker 33 (01:23:27):
Do you love your wife?

Speaker 54 (01:23:29):
Do you enjoy buying her a handsome fur piece, perfume,
Joel's or nylons?

Speaker 33 (01:23:37):
Do you wonder secretly what you would do if.

Speaker 54 (01:23:40):
The finery you bought her was used by her to
win another man so that you could leave you. Oh,
you can't act a ken you well, this is the
story of one man who can meek mild Henry Turner.

Speaker 17 (01:24:00):
I should have known at once that morning in the office,
when Judson was reading the newspaper aloud that something was wrong.

Speaker 7 (01:24:08):
The unidentified body of a young woman strangled with a
brand new pair of nylons was found last night identified yeah,
in the hallway of a rooming house at seventy.

Speaker 28 (01:24:19):
Two Beach Streetfied.

Speaker 7 (01:24:21):
Near the body, which was fully clothed, police found a
handbag containing a sales slip from the Silvertone hosery company.

Speaker 17 (01:24:28):
Incredible police, a loss to always carried identification judge account keys,
lice to discover and a second pair of nylons. But
if it wasn't Hevin, No, No, of course it was Eln.

Speaker 7 (01:24:42):
Well that's a pretty piece of news.

Speaker 21 (01:24:44):
A turner.

Speaker 53 (01:24:45):
By the way, you bought some nylons for your wife
the other day, didn't.

Speaker 17 (01:24:49):
You see what the matter?

Speaker 1 (01:24:51):
You're sick?

Speaker 17 (01:24:53):
Was sick Johnson wanted to know. I wonder what his
face would have looked like. I told him right there
that the police were wrong, that the body could be identified,
and it was Helen, my wife. I went to the police.

(01:25:16):
The body was at the.

Speaker 5 (01:25:16):
Morgue this way, sir, hey it is that's steady.

Speaker 17 (01:25:26):
No, No, it's not, missus Denney, it's not Helen.

Speaker 33 (01:25:33):
I know how you feel the shock of relief.

Speaker 17 (01:25:38):
But it wasn't relief. I walked from the morgue to
our apartment. My brain was pounding with a question. I
hated the face. It isn't your wife, Who is it?

Speaker 21 (01:25:53):
If you didn't kill your wife.

Speaker 1 (01:25:54):
Who did you care?

Speaker 7 (01:25:56):
I didn't know.

Speaker 1 (01:25:57):
I didn't know.

Speaker 46 (01:26:00):
Uh.

Speaker 17 (01:26:05):
I got to the apartment, very exhausted questions and answered.
My footkicked a telegram that had been slipped under the door.
I tore it open. It was from my wife, from Helen.

(01:26:26):
Telegram was like a hand tearing the black curtain from
my mind's eye.

Speaker 5 (01:26:31):
Could at last recall what had happened. But I had done.

Speaker 17 (01:26:38):
Why I had killed a strange woman. Thinking it was
Helen swirled across my brain like a crazy picture. The
night I came home after a hard day. Hello, baby, gosh,
I'm dad. Anything special for dinner? I could stand a

(01:27:01):
good meal right now?

Speaker 9 (01:27:01):
What do you expect me to do? Slave over a
hot stove for it?

Speaker 8 (01:27:05):
Allen?

Speaker 11 (01:27:05):
Please?

Speaker 1 (01:27:06):
I'm sorry.

Speaker 33 (01:27:07):
I'll enjoy whatever you've got.

Speaker 56 (01:27:08):
Maybe you will well, I'm sick of potato salad and
cold cuts.

Speaker 9 (01:27:13):
Oh well that's all.

Speaker 20 (01:27:14):
You ever say?

Speaker 5 (01:27:15):
Oh well, look, darling, I'm tired.

Speaker 10 (01:27:18):
Let's not argue.

Speaker 33 (01:27:19):
Please, After all things could be worse.

Speaker 29 (01:27:23):
You get your permanence, new dresses all the time, shoes
hats why you're the best dressed woman in the crowd.

Speaker 9 (01:27:29):
I suppose you'd like me to wear rags.

Speaker 33 (01:27:30):
Oh that's where you're wrong. Baby.

Speaker 29 (01:27:34):
You're a good looker and you need pretty clothes, and
you can have all my money.

Speaker 33 (01:27:37):
Come buy happy, let's have a kiss.

Speaker 16 (01:27:41):
Huh.

Speaker 9 (01:27:42):
Oh, I guess you're good to me, Henry.

Speaker 7 (01:27:46):
I see it.

Speaker 23 (01:27:48):
Well, I was really upset about I suppose is that
I haven't got.

Speaker 7 (01:27:51):
A single pair of nylons to wear with a new dress.

Speaker 9 (01:27:53):
I got today, new dress?

Speaker 36 (01:27:56):
Lovely?

Speaker 57 (01:27:57):
You like it black?

Speaker 20 (01:27:59):
I'm wearing it tonight.

Speaker 14 (01:28:01):
Would look lovely with.

Speaker 9 (01:28:02):
Real sheer nylons tonight. Oh, I didn't tell you. Girls
are having a bridge over at Margie's. I won't stay long,
do you mind, Henry, I'm not very hungry.

Speaker 57 (01:28:14):
I'll slip into the dress if you.

Speaker 7 (01:28:16):
Don't mind grab a head.

Speaker 29 (01:28:20):
DAYA sounds very good tonight my compliments, mister Smith, Darling.

Speaker 33 (01:28:26):
Say that is stunning?

Speaker 50 (01:28:29):
Like it?

Speaker 14 (01:28:30):
And A.

Speaker 29 (01:28:33):
Yeah, you certainly should be wearing n islands with that dress, yes, siree.

Speaker 1 (01:28:38):
Oh well, oh.

Speaker 7 (01:28:39):
Well, would you mind, darling?

Speaker 17 (01:28:41):
I uh, bought a cotton of cigarettes in my briefcase
in the hall. Please.

Speaker 44 (01:28:46):
Oh yeah, I.

Speaker 31 (01:28:46):
Better take a pack, wasn't it.

Speaker 5 (01:28:50):
Henry Nilan?

Speaker 9 (01:28:53):
Oh you beast teasing me like this.

Speaker 44 (01:28:57):
Oh they're lovely.

Speaker 16 (01:28:59):
I think nothing of it.

Speaker 29 (01:29:00):
Any time you want nylines, just call on me.

Speaker 9 (01:29:02):
Where did you have much trouble, ma'am?

Speaker 1 (01:29:04):
Did you say trouble?

Speaker 16 (01:29:06):
Nothing at all?

Speaker 29 (01:29:06):
I just stood in line for three hours at the
silver tone shop. Of course it rained for about two hours,
but after all, Nihlis.

Speaker 20 (01:29:15):
Handry, you're wonderful.

Speaker 43 (01:29:17):
Oh I'm crazy about him.

Speaker 58 (01:29:18):
I put them right on.

Speaker 9 (01:29:19):
Oh, Margine, the girls.

Speaker 7 (01:29:21):
Will eat the heart salt if you'll permit my saying.

Speaker 1 (01:29:24):
So, ma'am, you sure have a pretty pair of legs.

Speaker 28 (01:29:27):
I don't believe, will you.

Speaker 22 (01:29:28):
Yeah, you'll be back as soon as I can.

Speaker 14 (01:29:30):
Bye.

Speaker 17 (01:29:39):
I start around, listening to the radio and reading the paper,
waiting for Helen to come back.

Speaker 39 (01:29:49):
Hello, Oh, Henry, Helen there?

Speaker 29 (01:29:52):
Oh hello, Marget didn't she Oh she went out about
two hours ago.

Speaker 17 (01:30:02):
Why oh, just.

Speaker 43 (01:30:05):
Tell her Silverton's got some nylons.

Speaker 17 (01:30:08):
I'll tell her.

Speaker 33 (01:30:09):
How's your Bridge party?

Speaker 13 (01:30:11):
Bridge party?

Speaker 2 (01:30:13):
Well that's tomorrow night.

Speaker 13 (01:30:14):
Are you sure?

Speaker 17 (01:30:15):
In reminder, please, I will Marge all right, good night
Bridge party tomorrow night, Marge. Is I tried to sleep,

(01:30:40):
I couldn't. I rolled around from side to side. Think
you think you wondering? It was no use. I got
out of bed, I paced the floor. I didn't dare

(01:31:01):
called Dotti's h darling, Helen, where are you?

Speaker 44 (01:31:10):
Lake Placid?

Speaker 59 (01:31:12):
Prime?

Speaker 43 (01:31:13):
Billy shot on a plane, just.

Speaker 14 (01:31:15):
Like that, just Donna huffing me.

Speaker 17 (01:31:19):
What do you expect to get home.

Speaker 43 (01:31:21):
A couple of days?

Speaker 20 (01:31:23):
Billy wants taking some skins?

Speaker 5 (01:31:27):
Oh?

Speaker 20 (01:31:29):
Oh, Henry, helly, don't you hear me?

Speaker 43 (01:31:34):
H must have hung up on me, Billy?

Speaker 60 (01:31:48):
How I managed to get dressed and shaved?

Speaker 17 (01:31:50):
I don't recall. I don't know how long I walk
the streets. My briefcase was in my hand. Must have
a looted from one account to another, because my sales
book shows that I took orders some of my Prime's
new carpeting that day.

Speaker 13 (01:32:06):
These things I.

Speaker 29 (01:32:07):
Don't recall at all, but the line, the nylon line, the.

Speaker 17 (01:32:14):
Strange that I shouldn't remember getting on it. All I
know is that suddenly I found myself a part of it.

Speaker 7 (01:32:23):
How long I've been online?

Speaker 60 (01:32:24):
I don't recall.

Speaker 29 (01:32:26):
I told myself I had no business being on this line.
I should have been not getting orders, but I felt
chained to the line, waiting for the store to open. Finally,
the line started moving. I asked for the same size
and shade I bought for Helene.

Speaker 28 (01:32:46):
And I saw leaving the store.

Speaker 7 (01:32:48):
I worked after Helen.

Speaker 17 (01:32:51):
Yes, oh, I thought you were Helen.

Speaker 4 (01:32:56):
Yes, I.

Speaker 17 (01:32:58):
Hope you'll excuse me.

Speaker 9 (01:33:00):
Did you get some nylons?

Speaker 17 (01:33:02):
Yes?

Speaker 55 (01:33:03):
Sometimes I wonder whether it's worth of trouble just for
one tare so exhausting.

Speaker 33 (01:33:09):
I could stand a cocktail.

Speaker 45 (01:33:12):
Why are you looking at me like that?

Speaker 17 (01:33:15):
Where shall we have it? Helen?

Speaker 9 (01:33:18):
There you go again, Helen.

Speaker 17 (01:33:21):
He should have Helen on your mind.

Speaker 9 (01:33:22):
Call me Louise.

Speaker 17 (01:33:31):
We've had the cocktails and then dinner. And I walked
her home in the hallway, this.

Speaker 30 (01:33:40):
Whole light seems to be out all the time.

Speaker 45 (01:33:43):
Oh, it's been a lovely evening.

Speaker 11 (01:33:47):
You really need those nylons.

Speaker 17 (01:33:50):
I reached over to kisser. She turned her head, swung
it back to me. I put my arms around her waist,
kissed her neck.

Speaker 9 (01:34:00):
What's Helen got that I haven't got?

Speaker 17 (01:34:04):
I got them for you, Helen? What rosy dawn so
smooth and soft they are. They look glovely against your
pretty white skin.

Speaker 7 (01:34:20):
Tickling my name, What do you look glovely around your
pretty white throat?

Speaker 61 (01:34:33):
I got them for you, Helen, just for you, Bye, Helen.

Speaker 54 (01:34:58):
Well, that's what happens in a dark hallway when a
girl in box on them.

Speaker 33 (01:35:05):
Shall we say, sheer folly?

Speaker 55 (01:35:09):
Oh, mister host to think there probably were people who
would have helped Louise just inside that doorway, but.

Speaker 33 (01:35:15):
They couldn't hear her.

Speaker 7 (01:35:17):
Mary.

Speaker 54 (01:35:18):
Eylon stockings aren't like chains. They don't rattle when they're
wrapped round someone's throat.

Speaker 55 (01:35:24):
Well, at that hour of the night, folks aren't expecting
murders on their doorsteps.

Speaker 13 (01:35:30):
The family was.

Speaker 55 (01:35:30):
Probably out in the kitchen having a last minute snack
before bedtime. Perhaps the radio was on and they were
all listening to the latest news headlines. Meanwhile, mother would
be fixing up a plate of sandwiches and brewing up
a pot of Lipton tea. For Lipton tea would surely
be part of the picture. Served with a late evening snack,

(01:35:51):
it gives a happy ending to the day, and because
it's so relaxing and enjoyable, A piping hot cup of
Lipton's adds extra delight to any meal. Why waste time
just thinking about it? Why not get a package of
lipton Tea tomorrow and treat yourself to its mellow, full
bodied flavor. Remember, Lipton's gives you brisk flavor.

Speaker 54 (01:36:26):
Wonder whether Henry's realized his sheer recklessness.

Speaker 33 (01:36:32):
Pretty thin, isn't it.

Speaker 54 (01:36:34):
Poor fellow has just strangled Louise, a nilancholy baby, if
ever there was one, under the impression he was killing
his wife, Helen. Let's see what else he has to
say about the telegram he just got from his dear,
dear wife.

Speaker 17 (01:36:52):
The telegram on Helen, my shaking hands convinced me of
the horrible truth. It wasn't Tellan I had murdered. The
telegram was dated which I had strangled the unidentified woman.

Speaker 20 (01:37:03):
Please don't be too angry with me. It is for
the best.

Speaker 13 (01:37:07):
I've decided to marry Billy as soon as we can
get divorced.

Speaker 9 (01:37:11):
I'll be home in a couple of days to pick
up my clothes.

Speaker 13 (01:37:15):
Please don't be too unhappy.

Speaker 17 (01:37:22):
Please don't be too unhappy. I wasn't. It was beyond
that I would never be unhappy again or happy. I
felt only one desire, kill Helen. I passed a night

(01:37:49):
on Lyne again. Next day, walk by, I was drawn
back to him. I joined the line. I didn't move
fast enough. I felt a slight bump from the hide.
I turned.

Speaker 9 (01:38:03):
I'm sorry, Helen, you must be a mistake.

Speaker 17 (01:38:08):
I'm sorry.

Speaker 9 (01:38:15):
We got him just in time.

Speaker 56 (01:38:16):
They're closing sold off, which my husband would stand in line.
Oh dear, starting to rain, Can I drop you off
my cards around the corner.

Speaker 17 (01:38:34):
We drove a bit into the country. She was nice,
just bored. We pulled into a side road.

Speaker 9 (01:38:45):
He was out of tom so much.

Speaker 17 (01:38:48):
My arm was around her shoulder. She snuggled against me,
the same heady perfume Helen's perfume. My free hand reached
the bag with an eyeland.

Speaker 56 (01:39:01):
Thanks to they hung around her like a necklace, both
cents and twisted.

Speaker 29 (01:39:23):
I knew Swiner or later they'd get me, but I
couldn't help it. All I knew was that I had
to kill Helen. I knew I would have to kill
anyone who reminded me of Helen until until Helen herself
was fun.

Speaker 7 (01:39:43):
Yes, Commissioner, we've got all the men. Odd, Yes, I'm
assigning keating to it. I'll keep you informed. Goodbye kidding, Yes,
come please.

Speaker 21 (01:39:59):
Commissioner again.

Speaker 7 (01:40:00):
We've gotta do something, and do it fast. City's going crazy.
It's only an idea, but it may work now you
know the details. Both women wore the same size stocking,
same shade, Both use the same perfume, same size clothes,
both pretty, same colored.

Speaker 33 (01:40:15):
Hair, eyes or yours?

Speaker 9 (01:40:18):
Want me to dye my hair right now?

Speaker 7 (01:40:21):
Those nylons, both pears, and the extra pairs found on
the women came from the Silver Tone shop on Madison Avenue.
What about a fur coat?

Speaker 33 (01:40:28):
I take your pick of the two with a property click.

Speaker 9 (01:40:31):
You may lay low for a while with a panic on.

Speaker 33 (01:40:34):
We'll have to take our chances on that.

Speaker 7 (01:40:36):
But if this is the work of a madman and
it looks like it'll try it again, I'll drop everything.
We'll arrange to have you hang around the counter. The
shade is rosy dawn, size nine and a half fifty
one gage.

Speaker 9 (01:40:47):
There'd be more than one man asking for that. It's
the vogue right now, you know.

Speaker 33 (01:40:50):
Yeah, we'll have to take our chances.

Speaker 62 (01:41:00):
Seartick up your mind, mister.

Speaker 29 (01:41:02):
The top of people waiting for I.

Speaker 16 (01:41:05):
Beg your pardon I was just looking over there.

Speaker 29 (01:41:08):
I thought I recognize someone sight in shade. Please Rosie
Dawn nine and a half fifty one.

Speaker 9 (01:41:16):
Engage sit down there. I'll get him Smosy Dawn nine
and a rosy doing nine and a half fifty one.

Speaker 17 (01:41:24):
Thank you?

Speaker 9 (01:41:25):
Would you mind stepping up this way?

Speaker 29 (01:41:26):
Ma'am?

Speaker 9 (01:41:27):
This is the last box that gentleman wants a pair too,
Not at all. Oh, I beg your pardon, Helen. You
must be mistaken.

Speaker 17 (01:41:36):
Oh sorry, he looks so much like how much?

Speaker 9 (01:41:39):
Please donas sixty fund.

Speaker 17 (01:41:44):
I'm sorry to keep staring at you.

Speaker 9 (01:41:47):
You still think I'm Helen.

Speaker 17 (01:41:50):
You could be well careful. Left him taking a cap
to fifty person. Third avenue.

Speaker 57 (01:41:57):
I don't mind.

Speaker 9 (01:41:59):
I live down there.

Speaker 7 (01:42:00):
Second, stop driving to you?

Speaker 13 (01:42:11):
What are you looking at?

Speaker 17 (01:42:12):
The cab in front of the house.

Speaker 7 (01:42:13):
A woman getting out.

Speaker 17 (01:42:14):
My wife Helen's be coming for a clothes with those bags. Hey,
why Kevy keep the change. I'll just sit here until
she goes in.

Speaker 9 (01:42:22):
So Habbi wanted to play while wifey was away?

Speaker 1 (01:42:26):
What's that?

Speaker 18 (01:42:27):
Oh?

Speaker 17 (01:42:28):
I'm sorry, I need these Nihlons now for my wife. Oh, driver,
take the lady down a second avenue, then come back
to me in about fifteen minutes.

Speaker 7 (01:42:36):
What's he address, lady.

Speaker 9 (01:42:38):
I'll be getting out here too as soon as he
goes into the building.

Speaker 13 (01:42:50):
Who's there?

Speaker 20 (01:42:54):
Anybody there?

Speaker 30 (01:42:58):
Got you?

Speaker 14 (01:42:58):
Henry?

Speaker 17 (01:43:00):
Yes, darling, it's me.

Speaker 14 (01:43:05):
It scared me.

Speaker 17 (01:43:07):
I scared you, mild, meek, adoring Henry, your husband scared.

Speaker 50 (01:43:17):
You.

Speaker 9 (01:43:18):
Don't talk like that, Henry. I explained everything in my wire.
You got it, didn't you?

Speaker 1 (01:43:23):
You were?

Speaker 17 (01:43:25):
Yes, my darling, made everything clear, very clear, cold in
the wind and the rain, standing in line, prowess and
dollars for nylons.

Speaker 5 (01:43:40):
Oh, my darling, don't come here.

Speaker 44 (01:43:42):
You stay away from me.

Speaker 5 (01:43:43):
Alarm Dolly.

Speaker 17 (01:43:46):
I've brought you some nylons.

Speaker 9 (01:43:49):
Look really, I really don't need him.

Speaker 44 (01:43:54):
I got plenty h but.

Speaker 63 (01:43:59):
You won't need any more after Please, I need any more.

Speaker 17 (01:44:18):
I could hear trying to revive Helene. There's no use.
She committed to lay and she bent over me. Someone
in want strength I had. I grabbed her legs stripped
because I had hit the gun dropped.

Speaker 1 (01:44:35):
I grabbed it. Better not sit in that chair.

Speaker 9 (01:44:40):
It was a nylon murderer, aren't.

Speaker 7 (01:44:42):
You Yes, you're a detective.

Speaker 17 (01:44:46):
Pretty smile.

Speaker 11 (01:44:49):
What are you going to do?

Speaker 17 (01:44:50):
Strange. I wanted to kill you when I saw you
in the store.

Speaker 9 (01:44:56):
It's uh, lieutenant kicking.

Speaker 17 (01:44:59):
Oh oh, the telling is gone.

Speaker 8 (01:45:04):
Hi, I.

Speaker 17 (01:45:07):
Feel at peace. I don't want to kill anyone.

Speaker 9 (01:45:13):
I know how you feel, Henry.

Speaker 17 (01:45:17):
I love.

Speaker 15 (01:45:20):
You.

Speaker 17 (01:45:20):
Believe that. Don't you sure?

Speaker 32 (01:45:25):
She was no good?

Speaker 17 (01:45:28):
Get up?

Speaker 24 (01:45:30):
What for?

Speaker 13 (01:45:31):
Get up?

Speaker 3 (01:45:32):
I said?

Speaker 17 (01:45:35):
I walk over to that closet. Go on, open the door.
I'll turn around. Don't try anything or I'll have to shoot.

Speaker 14 (01:45:49):
Walk in.

Speaker 17 (01:45:52):
I'm sorry, so sorry this katy.

Speaker 8 (01:46:01):
Ah.

Speaker 17 (01:46:03):
They can come and get you, both of you.

Speaker 33 (01:46:13):
Kating kidding?

Speaker 9 (01:46:15):
You are right, nasty bump.

Speaker 44 (01:46:22):
Did he get away?

Speaker 9 (01:46:23):
He was bleeding pretty badly.

Speaker 7 (01:46:25):
Now the blood leads into the bedroom. They're a crazy fool.
He's hanged himself with nylons.

Speaker 14 (01:46:37):
Crazy.

Speaker 33 (01:46:39):
I wonder cut him down, Brady.

Speaker 17 (01:46:45):
Ah too late, inspector.

Speaker 1 (01:46:49):
There's a note on the floor.

Speaker 33 (01:46:50):
That's it, miss Keating. We'll understand, do you little.

Speaker 17 (01:47:03):
Yes, the specter, I do.

Speaker 39 (01:47:15):
Now.

Speaker 33 (01:47:15):
Wasn't that a wasteful cup?

Speaker 54 (01:47:19):
Imagine cutting poor Henry down ruined a perfectly good pair
of nylons.

Speaker 33 (01:47:26):
You should have untied the know well, one way or another.

Speaker 54 (01:47:30):
It goes to prove that when you've got a case
of nylons, You've got your hands full. As for poor Henry,
one way or another, he faces a long stretch.

Speaker 55 (01:47:41):
Well, there's one good thing about it, mister host. With
Henry dead, ladies can stand in nylon lines once again
without being afraid.

Speaker 54 (01:47:49):
Yes, Mary, tomorrow is another and a happier day for
the ladies.

Speaker 55 (01:47:53):
Oh but it needn't be just for the ladies, mister host,
Tomorrow can be a red letter day for their families too,
that is, if they remember to put Lipton Tea on
tomorrow's grocery order tonight. How about that, friends, jot it
down right now, so you'll surely remember. You'll be doing
yourself and your family a good turn because you'll all

(01:48:14):
love Grand Lipton Tea. Everybody does, because Lipton's has such
delightful brisk flavor, because it's so satisfying and zestful. Don't
let another day go by without trying it, William Tomorrow,
be sure it's Lipton Tea you ask for and Lipton's
you get, because Lipton Tea has that wonderful brisk flavor.

Speaker 54 (01:48:47):
And now, friends, before I bid you a fun farewell,
I must tell you about the wife of a friend
of mine who smokes Nylon's cigarettes. Yes, it burns her up.
She has to roll her own, but she sure gets
a run for her money. Oh, by the way, this
month's in a Sanctum mystery novel is The Lying Lady

(01:49:10):
by Robert Finnegan. And next week, the makers of Lipton
Tea and Lipton Soups bring you another inner sanctum story
directed by Hyman Brown, starring Victor Moore, the famous Hollywood
and Broadway star. It's called Murders in the Mall, a
scalp raising, toe tingling story about a little man and

(01:49:33):
a big knife and girls. Lots of girls, but most
of them will be no good to anybody because they
end up dead. Until next week then, and our special
star Victim Moore, good night.

Speaker 55 (01:49:49):
Pleasant for tomorrow's lunch, See now, why not serve creamed
salmon with peas and lead off with a soup that's
souper wonderful Lipton's Noodle Soup. You've never tasted better fresh

(01:50:11):
cooked chickeny goodness in your life than you get in
homemade tasting Lipton's Noodle soup.

Speaker 9 (01:50:16):
Now that I can promise you.

Speaker 55 (01:50:18):
It's easy to prepare too, and costs less yet makes
lots more than ordinary canned soups. So why not get
a supply tomorrow of Lipton's Noodle soup and tune in
next week for another Inner Sanctum mystery.

Speaker 1 (01:50:33):
This is CBS, the Columbia Broadcasting System.

Speaker 64 (01:51:05):
Every door has a key. There's a key to every situation.
Behind every unopened door.

Speaker 39 (01:51:15):
There is a mystery, and the opening of this door
introduces us to another.

Speaker 40 (01:51:21):
In the series.

Speaker 49 (01:51:22):
The key.

Speaker 39 (01:51:26):
Verry, I want to talk to you, look all for
you serious about something?

Speaker 17 (01:51:32):
What is it?

Speaker 22 (01:51:33):
Would you mind taking your nose out of those papers
for a minute looking at me?

Speaker 29 (01:51:38):
Sorry, darling, I've just got into a well and knotty
problem and you know how it is.

Speaker 22 (01:51:42):
Yes, I know how it is, only too well.

Speaker 29 (01:51:44):
That's the great thing about you, Vivian. You understand that's
a fortunate man who have married you. Being married with
siders can be quite a strain unless the wife sets
out to understand.

Speaker 7 (01:51:53):
Yes.

Speaker 29 (01:51:54):
Anyway, I won't have to neglect you much longer once
I get over this problem.

Speaker 39 (01:51:58):
The experiment will be underwake my paper is what I
that's the matter with you? Why did you brush them off?

Speaker 44 (01:52:04):
The disc?

Speaker 5 (01:52:04):
Like?

Speaker 1 (01:52:05):
What are you doing?

Speaker 24 (01:52:05):
That long last I can't understand anymore.

Speaker 22 (01:52:08):
I'm sick of your papers, your problems, and your experiments,
and most of all, I'm sick of you. For the
last year. This marriage you talked about has been a plase. Well,
I just want you to know I've made up my
mind what to do. You can marry your work.

Speaker 39 (01:52:22):
I want a divorce, a divorce, but Viviana, I don't follow.

Speaker 22 (01:52:52):
You shouldn't have any difficulty following it. I'm always having
it impressed on me that you're such a clever man someone.
If you're intelligence, well, you should follow a simple thing easily.
I don't want to be.

Speaker 44 (01:53:05):
Your wife any longer.

Speaker 3 (01:53:06):
Why.

Speaker 44 (01:53:06):
I mean, of course you wouldn't.

Speaker 22 (01:53:09):
You'd spared me one thought in the last year. I'd
be amazed.

Speaker 31 (01:53:12):
What's happened in the last twelve months.

Speaker 22 (01:53:14):
You've left home at six in the morning, You've come
back at eight or nine at night, you've had dinner
alone in a year in your study, and you've worked
till midnight on your infernal equations and diagrams. Then you've
fallen into bed exhausted. That's happened seven nights a week
for fifty two weeks.

Speaker 14 (01:53:30):
And I won't stand it.

Speaker 22 (01:53:31):
Anymore. I can't stand it.

Speaker 39 (01:53:33):
Well, I'm sorry. I didn't realize it was getting it.

Speaker 65 (01:53:35):
Down, wuting me down.

Speaker 7 (01:53:36):
I'm down so low now.

Speaker 22 (01:53:39):
Oh, it's impossible, no wonder to be expected to live
the sort of married life.

Speaker 46 (01:53:43):
You make me.

Speaker 7 (01:53:44):
Well.

Speaker 29 (01:53:44):
I know I've been dreadfully busy, honey, and maybe it
has seemed as though I've been over I want.

Speaker 22 (01:53:49):
You to come to the Laggers with me first thing
in the morning. I won't ask for any more than
my freedom. I don't want a settlement. I just want
the opportunity to start again with some other one who
knows how to teet to white.

Speaker 29 (01:54:02):
But you don't realize the only reason I've been working
so hard it is for our future. Once I finish
this thing, we'll never have to worry about money or
security again.

Speaker 22 (01:54:11):
Swear is my only concern being money and security?

Speaker 39 (01:54:14):
Well, it's my main concern.

Speaker 1 (01:54:15):
I want to give you a good life.

Speaker 29 (01:54:17):
I'd been working hard to see you'll have everything you
want if this experiment comes off, and I know it will. Why,
I'll have every chance in the world of getting the
no dout, And once I have that, there'll be no
looking back.

Speaker 39 (01:54:29):
We'll be able to buy the house you've always.

Speaker 1 (01:54:31):
Dreamed about the car.

Speaker 29 (01:54:33):
You'll be able to walk into a Fifth Avenue store
and buy whatever clothes take your face.

Speaker 22 (01:54:37):
All I've ever wanted from you is a little attention
from a face.

Speaker 39 (01:54:40):
You've had that well, I mean I haven't ignored you completely.
Think I haven't. And well you must realize I don't
slave away because I like it.

Speaker 7 (01:54:50):
It's for you.

Speaker 22 (01:54:51):
Shut up, I tell you I've had enough. I'll be
ready to go to the lawyer at ten tomorrow.

Speaker 64 (01:55:07):
Now listen, Well, won't you both have just one more
try compromise?

Speaker 16 (01:55:14):
Are you you Barry? Give away this night?

Speaker 1 (01:55:16):
Work and Vivian.

Speaker 22 (01:55:18):
I don't need any more advice, thank you Allan.

Speaker 31 (01:55:20):
I've made up my mind.

Speaker 45 (01:55:21):
What's the best course.

Speaker 22 (01:55:23):
And if you don't want to handle the kids, well
you don't need to say so.

Speaker 16 (01:55:26):
We'll handle a thing if I have to, Vivian. But
I don't like it.

Speaker 39 (01:55:30):
I don't like it at all, Sean.

Speaker 45 (01:55:31):
No one likes divorce.

Speaker 22 (01:55:33):
The most unpleasant medseness sometimes the best for.

Speaker 16 (01:55:39):
Well, you've been married, what is it five years?

Speaker 11 (01:55:43):
Now?

Speaker 16 (01:55:44):
Six?

Speaker 39 (01:55:45):
Nearly six?

Speaker 16 (01:55:47):
Well? Now you were happy enough until a few months ago,
won't you?

Speaker 28 (01:55:51):
I was happy right up?

Speaker 39 (01:55:52):
Until last night, when Vivian told me.

Speaker 64 (01:55:54):
Yes, well, now listen, don't you think then that all
this is it's too premature.

Speaker 39 (01:55:58):
I don't want a divorce, Vivian.

Speaker 1 (01:56:00):
Those I love her.

Speaker 16 (01:56:01):
Must we go through all this again, Vivian.

Speaker 64 (01:56:04):
I don't usually ask questions like this, but as you
are friends of mine, well I'm going to stick my neck.

Speaker 17 (01:56:10):
Guy.

Speaker 16 (01:56:12):
Is there well, some other man already.

Speaker 22 (01:56:16):
Not that it's any business if yours, Adam. But no,
there isn't any.

Speaker 45 (01:56:20):
Of the man.

Speaker 33 (01:56:22):
I see.

Speaker 21 (01:56:23):
You've just completely lost your love for Barry.

Speaker 39 (01:56:27):
That should be quite clear as sure you you.

Speaker 21 (01:56:30):
Couldn't have loved him very much in the first place.

Speaker 64 (01:56:32):
Then if a few months well dissatisfaction can make you want.

Speaker 22 (01:56:36):
A divorce, you know my reason for wanting it. We've
been over them half a dozen times already, and I'm
not going over them anymore.

Speaker 64 (01:56:44):
Oh, of course, the judge has to decide whether divorce
will be granted. You know, if Barry didn't want to
let you go, he explained things to the cause he's
explained them to me, you could be ordered to try again.

Speaker 22 (01:56:55):
Any judge tries that, I'll dessert Barry so we can
do it this well, a little longer.

Speaker 29 (01:57:00):
Still need to divorce you for desertion. You know, if
he wanted to, it can keep you married to him
for the rest of your life. If you're determined to go, Vivian,
I won't stop you. I've never wanted anything more than
your happiness in life, and if this is the only
way to give.

Speaker 22 (01:57:13):
It to you, when can we get a hearing?

Speaker 17 (01:57:19):
Oh?

Speaker 1 (01:57:19):
Well, in a week or so.

Speaker 16 (01:57:21):
I guess I'll make out the papers.

Speaker 31 (01:57:24):
Thank you, Ellen, I've made here.

Speaker 5 (01:57:38):
Thank you.

Speaker 31 (01:57:40):
I I think I'll have mine in the kitchen.

Speaker 22 (01:57:46):
Very I want you to know I'm grateful you don't
you don't want to cause any trouble.

Speaker 31 (01:57:55):
Thank you for making things easy.

Speaker 29 (01:57:57):
There's still time to careful action, Vivin the I can
bring Alan and tell him not to apply. It still
be at the office. He probably wouldn't have got on
the job straight away. It's only two hours ago that
we should.

Speaker 24 (01:58:08):
I could say yes, go ahead, but it wouldn't be
any use.

Speaker 22 (01:58:13):
You might be able to make a go of it
if we try again.

Speaker 39 (01:58:16):
But oh, I couldn't have court you could I do
anything you want.

Speaker 22 (01:58:19):
When you suddenly realize you'll have his dead, nothing can
divite it.

Speaker 45 (01:58:25):
I suppose this whole thing is my fault.

Speaker 22 (01:58:27):
When it's all boiled down, I hadn't enough strength of
character or something. It will be far better than these
things as they are. I guess we should never have
married anyway. There's no kids. One good thing. You'll find

(01:58:50):
a woman.

Speaker 5 (01:58:51):
Who who'd be right for you.

Speaker 22 (01:58:56):
I'll find the right man.

Speaker 5 (01:59:00):
Never marry again. There's only one person I want.

Speaker 22 (01:59:04):
Very young.

Speaker 24 (01:59:06):
I'm desperately sorry. I I guess I'll go pack my things, move.

Speaker 38 (01:59:18):
That.

Speaker 22 (01:59:20):
Oh this is your house, okay, very.

Speaker 26 (01:59:27):
I'm going over to the art. How things going, Frank, Oh.

Speaker 17 (01:59:51):
Here you are.

Speaker 29 (01:59:52):
I was wondering when you'd get in cheaf a message
that God said you'd been about eleven I got delayed.

Speaker 16 (01:59:57):
Huh something, Yes, sorry to hear it.

Speaker 1 (02:00:04):
Anything I can do, no, thank you.

Speaker 28 (02:00:08):
Really, anything does come up and I can help.

Speaker 17 (02:00:11):
Just let me know.

Speaker 5 (02:00:12):
Thanks, but that won't happen.

Speaker 1 (02:00:16):
Hey, you're married, don't you, Frank?

Speaker 16 (02:00:18):
Uh huh?

Speaker 5 (02:00:19):
Four years?

Speaker 39 (02:00:20):
You and your wife quite happy.

Speaker 29 (02:00:21):
Sure, she mind all the late hours.

Speaker 1 (02:00:24):
Your keep. Sometimes she gets a bit snaky, but that's
only natural, and she soon gets sober.

Speaker 4 (02:00:32):
She knows I just got an eye on the.

Speaker 28 (02:00:33):
Future, and she understands what I'm doing.

Speaker 29 (02:00:36):
Why you can tell you why if you won't be
doing any more night work from now on. HM, there's
no reason why I work should kill two marriages. But
oh my wife is divorcing me through this. I won't
let you run the same risk, cheaper.

Speaker 4 (02:00:58):
I guess it doesn't mean much, but I'm sorry to hear.

Speaker 28 (02:01:02):
So wh am, I.

Speaker 29 (02:01:04):
Switch on more power with your frank. I'm going to
add the big twelve mixture now right, Jesus Pauah, stay
there and they want more, and keep your fingers crossed.
We get over this tricky bit where home and drive.

Speaker 26 (02:01:21):
Here goes.

Speaker 21 (02:01:25):
Cut back the.

Speaker 26 (02:01:26):
Power, cut it back and bed a mistake.

Speaker 40 (02:02:02):
Wait for me, will you?

Speaker 7 (02:02:11):
I can only stay a minute.

Speaker 21 (02:02:12):
I'll let to get back to the lab and say
what equipment has left.

Speaker 9 (02:02:15):
I couldn't get here sooner as you ran.

Speaker 22 (02:02:17):
Think I had the devil's on job getting tabb Where
is Where is that?

Speaker 4 (02:02:21):
They've just taken them away?

Speaker 29 (02:02:23):
Oh you must have passed the ambulance and only left
them in to the general hospital.

Speaker 28 (02:02:29):
They couldn't do n up in here, I'm afraid.

Speaker 1 (02:02:32):
So I was lucky.

Speaker 39 (02:02:35):
I was standing well out of the way when.

Speaker 21 (02:02:36):
The thing exploded. He got the post force in it.

Speaker 44 (02:02:39):
Well will you do?

Speaker 14 (02:02:42):
Doctor's here?

Speaker 16 (02:02:43):
I'm pretty hopeful.

Speaker 7 (02:02:44):
So when he's still in one piece, this.

Speaker 45 (02:02:47):
Piece, I'll go straight over to the generals.

Speaker 39 (02:02:50):
Okay, I'll let to get back down before the fire.

Speaker 17 (02:02:53):
Of supper.

Speaker 9 (02:03:01):
The general Hospital as quickly as you can get there.

Speaker 5 (02:03:20):
Who is it?

Speaker 24 (02:03:23):
Have you?

Speaker 5 (02:03:25):
I was wondering if you'd come over.

Speaker 65 (02:03:27):
I've been waiting all afternoon.

Speaker 22 (02:03:29):
They wouldn't let me see your tune.

Speaker 66 (02:03:31):
Now is there anyone else in the room? No, Why,
I've got something to tell you. It's better if we're
alone while you hear it.

Speaker 11 (02:03:44):
What is it?

Speaker 5 (02:03:46):
Of course you may know already if the doctor says
anything to you.

Speaker 24 (02:03:52):
No, I I couldn't let anything out of him.

Speaker 66 (02:03:56):
Well, they've let me know what I can expect. It's
only fair that you should know too. First start. I'll
never be able to see again. Oh, they can operate,
but the chances of success is so close to NOL.

Speaker 5 (02:04:16):
They're not worth bothering about.

Speaker 66 (02:04:19):
And uh as a second thing, I won't be out
of this hospital for at least eighteen months, maybe in
two years, probably much longer.

Speaker 67 (02:04:29):
Oh that are.

Speaker 40 (02:04:32):
If and when I do get.

Speaker 5 (02:04:33):
Out I'll still be rather than a mess.

Speaker 17 (02:04:36):
So so that you.

Speaker 66 (02:04:40):
Now that that's over. I want the divorce as much
as you. Things like this sometimes change a person's mind.
I mean, you could have started to think along different
lines now, but I'm thinking on different lines too.

Speaker 5 (02:04:58):
Now a woman could be saddled with what's left of me.

Speaker 66 (02:05:02):
I hope the divorce will go through as we both wanted.
And I don't want you to come here again, Vivian, goodbye,
good luck. I hope it makes a good life for
yourself somewhere else.

Speaker 16 (02:05:30):
Well, Barry, I think it's feeling.

Speaker 7 (02:05:33):
I feel all right.

Speaker 5 (02:05:34):
How are things with you? Alan?

Speaker 50 (02:05:37):
So so?

Speaker 7 (02:05:38):
Huh?

Speaker 5 (02:05:39):
And he knews about the divorce.

Speaker 64 (02:05:42):
Yes, yes, that's one of the things I came to
tell you about. The nice eye was given him this morning.
The absolute will be available in uh in six months.

Speaker 5 (02:05:52):
I see. Well, I'm glad she went through with it.

Speaker 16 (02:05:58):
Yes, yes, well it's she She did have a change
of mind, you know, Yes, I.

Speaker 39 (02:06:04):
Somehow thought she might anyway. She did what I wanted,
So that's the main thing.

Speaker 5 (02:06:10):
How is she.

Speaker 64 (02:06:13):
Well, she's she's not very well. What as a matter
of fact, she she's just become a neighbor of yours.
Happened an hour ago?

Speaker 5 (02:06:21):
What happened?

Speaker 30 (02:06:22):
What do you mean?

Speaker 64 (02:06:23):
She got a cab from my office and it was
a crack. Unfortunately, it's it's it's more shocked than anything,
as far as.

Speaker 1 (02:06:30):
I can make out.

Speaker 64 (02:06:32):
Although she did suffer some injuries, but from what I heard,
it doesn't seem to be very serious.

Speaker 66 (02:06:40):
Oh, how gostly, But I don't want her coming here, Ellen,
tell her when you see her again, when she's well again,
she mustn't come here to see me.

Speaker 1 (02:06:50):
Wow, of course if you say something, But why not.

Speaker 5 (02:06:54):
I just don't want her anywhere near me, that's all.

Speaker 14 (02:06:58):
Yeah.

Speaker 10 (02:06:59):
She still love her a lot, don't you.

Speaker 66 (02:07:02):
I love him more than anything in this world. But
if he stays away from it won't seem so bad.
Give him my regards to tell her. I hope she's
outing about against him.

Speaker 5 (02:07:16):
Yeah, sure, sure, Marry, I'll do that.

Speaker 44 (02:07:35):
Good morning.

Speaker 45 (02:07:38):
Who you your new nurse?

Speaker 30 (02:07:41):
Nurse Facster's been detailed to other duties, and I've been
promoted and looking after you. Oh it's quite a promotion too.
I've never had anyone as important as you to look
after her.

Speaker 5 (02:07:52):
What's your name?

Speaker 45 (02:07:54):
Jane Brandt?

Speaker 29 (02:07:55):
Very well, mess Brandt. Welcome to the dreariest room in
the hospital.

Speaker 5 (02:08:00):
I I'd like to say you'll have a present.

Speaker 66 (02:08:02):
Time working here, but I'm afraid you won't. I think
Paul Baxter nearly went out of a mind trying to
look after me.

Speaker 45 (02:08:09):
Oh well, I have a little surprise for you. She
was furious at being.

Speaker 5 (02:08:15):
Moved to tell, uh, how do you look? U?

Speaker 31 (02:08:21):
Pardon?

Speaker 66 (02:08:22):
You will have to describe yourself to me. I know
Baxter was a a pretty smart number. Are you in
the same category.

Speaker 45 (02:08:32):
I don't really know. I'm five feet six, slim, dark hair.

Speaker 5 (02:08:37):
Uh short or long short? Oh that's a pity.

Speaker 39 (02:08:40):
I like long hair and my wife had long dup Anyway,
then that doesn't matter.

Speaker 28 (02:08:46):
What else?

Speaker 30 (02:08:47):
M Brown eyes, silly nose, a mouse that I think's
too big. I mean, well, that's about the end of it.

Speaker 5 (02:08:56):
M you sound quite human. You may stay.

Speaker 7 (02:09:00):
Thank you.

Speaker 21 (02:09:01):
Will you be staying with me for very long?

Speaker 45 (02:09:05):
I don't know that depends.

Speaker 7 (02:09:09):
Well, we'll see.

Speaker 45 (02:09:11):
Speaking metaphorically, how much would you give to see you again?

Speaker 5 (02:09:17):
I don't care for that question.

Speaker 30 (02:09:19):
I'm sorry, but I had a reason for asking it.
I've just been told they're going to perform another operation.

Speaker 66 (02:09:25):
What Over the last six months, there have been three operations,
none of them successful.

Speaker 39 (02:09:32):
They were right when they told me a long time
ago that I wouldn't see again.

Speaker 45 (02:09:35):
They seem to have changed their minds. What so, harky?

Speaker 30 (02:09:39):
Sure, the English surgeon is in New York. He came
here for a holiday, but he's been asked to see
what he can do for you. I understand by current
estimates he's the best eye man in the world.

Speaker 13 (02:09:50):
Sure, but he.

Speaker 7 (02:09:51):
Would cost a fortune. I couldn't afford him.

Speaker 45 (02:09:56):
But perhaps perhaps I'm telling you too much. You ever
heard all this?

Speaker 30 (02:10:01):
I expect I'll tell you soon, And when they do,
if they haven't see the act, surprised, don't get on
you've heard?

Speaker 5 (02:10:08):
Do you know any more?

Speaker 39 (02:10:10):
Well, tell me, tell me everything you can.

Speaker 17 (02:10:13):
I want to know.

Speaker 44 (02:10:15):
Well.

Speaker 30 (02:10:17):
The only other thing I heard is that the people
who worked with you have a fund going. I understand
will be enough in it by the end of the
month to get doctor Lewis Martin for you.

Speaker 66 (02:10:28):
Lewis Martin's the best plastic surgeon in the country.

Speaker 45 (02:10:31):
That's what they say.

Speaker 5 (02:10:32):
This is fantastic.

Speaker 7 (02:10:34):
Why should they do this for me?

Speaker 30 (02:10:37):
It seems there are people around who like you very much.
Who admire you for what you are and what you've done.
Now they want to do something for you.

Speaker 39 (02:10:48):
It's well, of course, it's wonderful, but hard to believe.

Speaker 45 (02:10:55):
A lot of people believe in you, professor. They want
to see you well again. They'll make sure you'll get
back to where you were before.

Speaker 30 (02:11:15):
There's not much more in the paper. They just seems
to be filling up the columns with a lot of
nonsense these days. Do you want to hear why Hollywood's
reigning movie queen?

Speaker 7 (02:11:25):
It's yogat for breast.

Speaker 45 (02:11:27):
No, thank you, and that concludes this latest news bulletin.

Speaker 5 (02:11:34):
Thanks for reading a paper to me again, Jane.

Speaker 45 (02:11:39):
I wonder how many papers I've read you since I've
been on duty here.

Speaker 5 (02:11:42):
It seems like thousands.

Speaker 2 (02:11:44):
You know.

Speaker 30 (02:11:45):
I think i'll miss it when I can't read anymore
to you when the time comes, if you can read
them for yourself again.

Speaker 5 (02:11:52):
You're so certain this last operation sure we'll do will
be a success.

Speaker 45 (02:11:55):
Of course, sure, certain obbits or the rest of us.

Speaker 1 (02:11:59):
Should be too.

Speaker 39 (02:12:01):
To see again, that'll be quite a day when these
bandages are taken off.

Speaker 45 (02:12:07):
It'll be a great day.

Speaker 30 (02:12:10):
You was so much to look forward to now the
plastic surgery of success. The eye operation undoubtedly the same.

Speaker 17 (02:12:18):
Uh huh.

Speaker 5 (02:12:19):
I'll be able to see and move about in the
world of my own. Mm.

Speaker 45 (02:12:24):
Why do you see of your own?

Speaker 5 (02:12:30):
It's just the way it'll be.

Speaker 45 (02:12:33):
Do you still want to see her again? You're ex wife?

Speaker 66 (02:12:39):
Uh no, No, I don't want to see her. I
I really couldn't stand up to that. But do I
still love her?

Speaker 7 (02:12:49):
If you'd ask me that?

Speaker 5 (02:12:51):
Oh, I'm sorry, Jane, I'm burbling on.

Speaker 66 (02:12:55):
If this one in operation turns out alright, I'll get
back to my work. I guess if I go about
it in the right way, I can make that take
the place of everything in time.

Speaker 39 (02:13:19):
Are you ready to professor, Yes, sir Hud, I'm ready.

Speaker 64 (02:13:25):
When the bandages are removed, hurting your eyes slowly, there's
not to worry about.

Speaker 16 (02:13:30):
You'll see nurse remove the bandages.

Speaker 1 (02:13:36):
Use hard.

Speaker 5 (02:13:41):
Yes, what's the matter? Chane too nervous?

Speaker 45 (02:13:47):
I'm sorry, I guess I am.

Speaker 1 (02:13:51):
You'll be calm.

Speaker 66 (02:13:55):
I'll find out when you've given me an acquate description
of yourself.

Speaker 1 (02:13:59):
Change.

Speaker 39 (02:14:01):
Yes, how long does this unwinding go on?

Speaker 1 (02:14:10):
There?

Speaker 68 (02:14:13):
You can open your eyes now? Give me, forgive me
ever ticken you like this berry that it was the
only way I.

Speaker 11 (02:14:23):
Could do it.

Speaker 30 (02:14:24):
You wouldn't have accepted my realization that I made a
dreadful mistake asking you for a divorce.

Speaker 45 (02:14:29):
I canceled the application as soon as I left this room.

Speaker 30 (02:14:33):
When that first day you were brought here, I went
to Alan's office and told him not to apply for
a hearing.

Speaker 1 (02:14:37):
We're still married.

Speaker 69 (02:14:38):
Yes, you understand.

Speaker 45 (02:14:42):
We all had to deceive you, Oh.

Speaker 13 (02:14:46):
Vivian.

Speaker 45 (02:14:47):
It was easy to carry out the deception that car accident.

Speaker 30 (02:14:53):
Something happened to my vocal chords. My voice changed and
I had to work at something.

Speaker 45 (02:14:59):
So as I was a nurse before you married me.

Speaker 5 (02:15:04):
I wish you'd totally I wish you.

Speaker 45 (02:15:07):
If we told you you would have ordered me out,
thinking you were doing the kindest thing for me. No,
this was the only way it could be handled.

Speaker 70 (02:15:21):
I was another fool, but I think I paid for
it now. The dreadful suspense of waiting and wondering whether
you can get over this has been a ghastly punishment.
But now we can start again, Darling, I do love you.
There'll be no moral mistakes, only a time.

Speaker 45 (02:15:44):
Making up for everything we've missed.

Speaker 39 (02:15:57):
A closing door finishes the story.

Speaker 14 (02:16:00):
MHM.

Speaker 71 (02:16:01):
Next week another key will open another door to another story, mister.
Romance or adventure all start when a.

Speaker 14 (02:16:12):
Door is unlocked by.

Speaker 1 (02:16:16):
The key.

Speaker 72 (02:16:29):
The National Broadcasting Company presents Lights Out, a summer revival
of the famous series which many of our listeners will remember.
Tonight's story, the eighth and the last in this series
is called the signal.

Speaker 7 (02:16:45):
Lights Out, Everybody.

Speaker 67 (02:16:58):
This is the Witch, the hour when dogs howl and
evil is let loose on the sleeping world.

Speaker 5 (02:17:13):
To sit in the dark now and listened.

Speaker 17 (02:17:16):
To Lights Out.

Speaker 21 (02:17:33):
Hello below there.

Speaker 1 (02:17:38):
I was calling to a man who stood beside a
railroad track at the bottom of a deep and rocky ravine.
One would have thought that, considering the nature of the ground,
he would have looked up to where I was standing,
But instead he turned and looked down the railroad line.
I called again, Hello, below there. Because the terrible glare

(02:18:00):
of the setting sun was in my eyes, I put
my left arm across my face and waved to him
with my right. He looked up, and I saw in
his face an expression of intense horror. He regarded me fixedly,
without moving. I shouted, is there a path by which

(02:18:21):
I can come down and speak to you. He continued
to stare at me. Gradually the expression of horror seemed
to pass from his face, leaving it a gray, empty mask.
When he spoke, his voice seemed to come from a grave.
I do you wish to speak to me?

Speaker 21 (02:18:41):
No reason?

Speaker 73 (02:18:43):
Does want to talk?

Speaker 12 (02:18:45):
You have no reason?

Speaker 21 (02:18:47):
At least call on your way.

Speaker 1 (02:18:48):
Well I do have a reason.

Speaker 21 (02:18:52):
Let me come down and talk to you.

Speaker 1 (02:18:56):
He motioned with his little rolled up flag to a
narrow path about two hundred yards distance, which descended the
rocky wall of the ravine. I carefully made my way
down it. A ravine was extremely deep and unusually precipitate.
The man's post the bottom was in his solitary and
dismal place as I'd ever seen. I could see the

(02:19:17):
railroad tracks running into a dark, gloomy tunnel at one
end of it. So little sunlight ever found its weight
to the spot that it had an earthy, headly smell,
and so much cold wind rushed through that it struck
chill into me as though I'd left the mortal world. Hello,

(02:19:38):
I'm I'm afraid I'm intruding. Well i'd better explain you. See,
I'm a reporter for the London Times. You know the Times, Yes,
I know the Times. I'm a new man. I was
assigned to do a series of stories on people who
work at little known occupations in the city. And strolling

(02:19:58):
along seeing you down here, I thought, well, I thought,
here is a story.

Speaker 11 (02:20:03):
And that's the reason that brought you down here.

Speaker 1 (02:20:07):
Yes, sir, perhaps i'd better ask you a few questions,
saidn't I? For instance, how far down are we? I've
never seen anything quite like this before.

Speaker 11 (02:20:18):
Fifty two feet?

Speaker 1 (02:20:19):
Is that considered deep for railroad cutting? Deepest in the country?
Fifty two feet? And how long is the tunnel?

Speaker 11 (02:20:28):
Three quarters of a mine?

Speaker 1 (02:20:30):
I see? And that red signal light in front of
the tunnel is that part of your job? I mean?
Do you have to see that? It stays lighted all
the time, don't you know?

Speaker 38 (02:20:41):
And it is?

Speaker 1 (02:20:43):
Don't I know? It is? Look, you've been staring at
me ever since, well ever since I called to you,
staring as though I were something to be afraid of.
I'm just a newspaper reporter, that's all.

Speaker 11 (02:20:58):
I thought.

Speaker 1 (02:20:59):
I'd seen you before, seen me? But where there by
that signal light? But I have never been here before.
It's the part of London I've never visited. No, you
may be sure, then trips I may, Yes, I'm sure.

(02:21:20):
I may I beg your pardon for being so unfriendly.
It's just that, well, I made a mistake.

Speaker 33 (02:21:30):
That's all right.

Speaker 1 (02:21:32):
I shouldn't have come down, I suppose. After I saw
this unusual ravine in the tunnel and your job down here,
I felt I had to come down and talk to you.

Speaker 11 (02:21:41):
I think I'm glad you did. I have very little company.
This is a world here different from other men's worlds.

Speaker 1 (02:21:49):
I can believe that. May I ask quite exactly is
the nature of your job? I mean, besides keeping the
signal light burning and flagging the trains, what.

Speaker 50 (02:21:59):
Do you have?

Speaker 11 (02:22:00):
I do not very much. I operate the telegraph in
my hots over there. Turn this iron handle now and then.
That's all.

Speaker 1 (02:22:08):
And you're down here all the time.

Speaker 8 (02:22:10):
Yes.

Speaker 1 (02:22:11):
Don't you ever get a chance to take a few
minutes off and get up there and top in the sunlight?

Speaker 11 (02:22:16):
Very seldom. I don't leave the telegraph by the way.
I have a fire in my signal house. Wouldn't you
like to come in and warm yourself?

Speaker 1 (02:22:24):
Indeed, I wouldn't This wind cuts right? Through me.

Speaker 11 (02:22:30):
We'll hurry along.

Speaker 4 (02:22:39):
There.

Speaker 11 (02:22:40):
This will be better. Yes, I'll just put a little
more wood on the fire, pok it down.

Speaker 1 (02:22:48):
How do you stand that wind? I'm about frozen.

Speaker 11 (02:22:52):
I've been here eight or nine years, maybe ten. I'm
used to the wind. It never changes here. Take this
chair close to the fire.

Speaker 1 (02:23:02):
Thank you? Tell me? Don't you ever feel cut off
from the world, almost as though you were marooned and
isolated down here?

Speaker 7 (02:23:12):
Yes?

Speaker 39 (02:23:13):
I do.

Speaker 11 (02:23:15):
This is a world in itself. Down here. It's as
wide as the tunnel is and as high. Those are
the boundaries of my world. For one hour, sometimes less,
the sunlight falls into it, and at night I see
the bright stars as other men do. But that is

(02:23:36):
all our two worlds hold in common.

Speaker 1 (02:23:38):
But why did you ever take such a job?

Speaker 11 (02:23:41):
Because I, oh, excuse me, a missing shutment six fifteen
rocks Burrow ten minutes late, received me Ridge. All's well?

Speaker 1 (02:24:05):
And do you know, after talking to you, I feel
as though I've at last met with a completely contented man.

Speaker 11 (02:24:12):
I believe I used to be so at one time,
but now I'm worried, worried about what I don't know.
It's difficult to explain. Perhaps I can help you. I've
been thinking of that. I've been wondering.

Speaker 1 (02:24:34):
Tell me, I've got to tell someone, And yet.

Speaker 11 (02:24:38):
It gives me some time to think it over, say
until tomorrow night.

Speaker 1 (02:24:41):
Perhaps then you mean you'd like me to come back.

Speaker 11 (02:24:45):
Yes, if it wouldn't be too much trouble, I'll.

Speaker 1 (02:24:48):
Be here about the same time. But why not?

Speaker 40 (02:24:52):
Now?

Speaker 1 (02:24:53):
Why can't you tell me now?

Speaker 11 (02:24:54):
I want to think it over in my mind first,
I want to be sure. Meanwhile, let me light your
way to the path. Oh, yes, of course, they don't
forget your pad and pixels.

Speaker 1 (02:25:07):
Thank you. Oh dark, isn't it? Yes, be careful.

Speaker 11 (02:25:16):
Everything gets damp and slippery down here at this time
of the night.

Speaker 1 (02:25:22):
I didn't think fifty two feet would make such a
difference in the atmosphere. There's the path, And.

Speaker 11 (02:25:29):
Let me ask one favor of you. Yes, when you
reach the top, don't call out very well. And tomorrow
when you come, don't call out. Tell me what made
you cry out hello below there tonight?

Speaker 1 (02:25:46):
I don't know. Did I cry something to that effect?

Speaker 11 (02:25:49):
Not to that effect? Those were the very words I
know them?

Speaker 1 (02:25:53):
Will I suppose I said them because because I saw
you below.

Speaker 11 (02:25:58):
When your left ten to cross your face and your
right arm raised. The sunset was.

Speaker 8 (02:26:03):
In my eyes.

Speaker 11 (02:26:05):
That was the only reason.

Speaker 1 (02:26:11):
What other reason could I possibly have?

Speaker 11 (02:26:13):
You had no feeling that the words and gesture were
conveyed to you in any supernatural way, No, of course not.
I see well, good night. Then I'll see you tomorrow night.

Speaker 1 (02:26:33):
Yes, yes, tomorrow night. That night I slept poorly, or
rather I didn't sleep, because the man's face was constantly

(02:26:56):
before me, and there was something in the eyes of fear,
a wordland crying, agony of spirit that fevered my own
brain and wouldn't let me rest. All night long. I
watched the face, and behind it was the sun going
down in flames beyond the ravine, and a figure which
I recognized as myself, one arm shading the eyes, the
other waving and standing in the ravine and shouting hello

(02:27:19):
below there. In the morning, my landlady awakened me. She
said I'd been crying out in my sleep all night.
Throughout that day, I worked with one eye on the clock,
counting the hours until my appointment with the signal man.
At last it came. The sun was going down again.
As I made my way down the path into the

(02:27:41):
dank and unwhirly ravine. He was waiting for me at
the bottom with his white light. I didn't call to you.

Speaker 38 (02:27:50):
It's as you ask.

Speaker 11 (02:27:51):
I'm glad you didn't. I was waiting for you. Come along,
we'll go into the hut and talk.

Speaker 1 (02:27:56):
It's warm there. Good.

Speaker 11 (02:27:58):
I'm glad you came. At times during the day I
feared you wouldn't I promised you. Yes, I've made up
my mind to tell you the story, the whole thing.
Sit down, thank you. But before I too, tell me,

(02:28:21):
do you believe that I am in my right mind?

Speaker 1 (02:28:26):
Yes? Yes, I believe.

Speaker 11 (02:28:28):
Then all right, do you remember yesterday evening the fact
that I took you for someone else? Yes, that's what's
troubling me, the mistaking me. No, there's someone else I
took you for.

Speaker 1 (02:28:45):
Who is he? I don't know who. Does he look
like me?

Speaker 11 (02:28:50):
I don't know. I've never seen his face. You see,
the left arm is across the face always, and the
right arm is waved violently this way. It's as though
he were trying to signal me, for.

Speaker 1 (02:29:03):
God's sake, clear the way. Where do you see him?

Speaker 11 (02:29:08):
H I may as well start at the beginning. One
moonlight night About a year ago, I was sitting here
when I heard a voice cry out, twas just as
you called last evening. I jumped up and looked out
of the door and saw this, this someone else standing

(02:29:34):
by the red light near the tunnel, waving just as
you did last night.

Speaker 1 (02:29:39):
One arm across the face, the other waving towards you. Yes.

Speaker 11 (02:29:41):
The voice seemed hoarse with shouting, and it cried, look out,
look out, and then again hallo below there, look out.
I caught up my lamp, turned it on and ran
taught this figure what's wrong? I said, what's happened? Didn't speak,
stood just outside the blackness of the tunnel. I advanced

(02:30:04):
close upon it that I wondered, AT's keeping the arms
across the eyes. I ran right up to it and
had my hand outstretched to pull the arm away. When
twas gone gone where I don't know. I ran on
into the tunnel five hundred yards maybe. I stopped and
held my lamp over my head, and all I saw

(02:30:27):
were the wet stains trickling down the walls. I ran
out faster than I ran in, searched the area with
my light, and then came back here and then called
Burnham and said the alarm had been given anything wrong?
They answered, all's well, disregard alarm message.

Speaker 1 (02:30:45):
Well don't you suppose you could have imagined seeing Yes.

Speaker 11 (02:30:48):
But you forget I also heard him.

Speaker 1 (02:30:53):
Yes, But listen to the wind whistling through the tunnel.
It sounds almost human at times. It's possible to lenine issue.
Haven't heard the wrist.

Speaker 11 (02:31:03):
Within six hours after they appear in six hours, mind you?
The two forty chain came through the tunnel, slowed down
and stopped. The engineers tinkled me and I hurried up
to the care.

Speaker 14 (02:31:20):
What's the matter.

Speaker 1 (02:31:21):
No, no one did the conductor's signal for a stop?

Speaker 11 (02:31:24):
Everything all right?

Speaker 1 (02:31:24):
Yeah, yes, just got the all clear signal that.

Speaker 11 (02:31:27):
Comes to conductor.

Speaker 1 (02:31:28):
Now, hello, what's wrong back there? Why did you pull
the card for an accident?

Speaker 21 (02:31:34):
Where's the stigmament around here?

Speaker 1 (02:31:35):
That's me? You have a sack nearby?

Speaker 11 (02:31:37):
I told her there.

Speaker 14 (02:31:38):
Now, what happened?

Speaker 17 (02:31:38):
Man?

Speaker 1 (02:31:38):
A woman was killed?

Speaker 10 (02:31:40):
Killed Now.

Speaker 21 (02:31:40):
She was passing between the coaches.

Speaker 74 (02:31:42):
I suppose she slip was caught between the coupling, but.

Speaker 1 (02:31:44):
Nobody seems to know, sir. She was crushed horribly. On
account of the other passengers.

Speaker 21 (02:31:49):
We've got to get the body off.

Speaker 11 (02:31:50):
Have them take her to my shack. One morning, just
as day was breaking, I looked toward the red signal
light and saw him again.

Speaker 1 (02:32:02):
Did he cry out this time?

Speaker 64 (02:32:04):
No?

Speaker 1 (02:32:04):
He was silent.

Speaker 11 (02:32:05):
Did he waiver his arm, yes, the right one, the
left as usual, as across his eyes he seemed to
be pointing down into the tunnel. He leaned against the
shaft of the light, like a like a statue over
a grave. Did anything happen, any accident? Anything?

Speaker 7 (02:32:21):
And not?

Speaker 11 (02:32:21):
Immediately he was there? I saw him, Then he was gone.
I waited for the hours to pass, and when six
hours went by and nothing had happened, I began to
feel relieved. By nightfall, I had almost forgotten it and

(02:32:42):
was able to read quite calmly. As the hours passed.
I was sitting here, reading the door open when I
heard the train. It was the Midnight Express from Brighton.
I recognized the whistle. I coult out my flag step
to the door. I could hear them for miles beyond
the tunnel entrance. I listened to the wheels filling the

(02:33:05):
night with their driving, pounding rhythmic beat, and I thought
of the people on the train, retired, worn out, picnickers
and weekenders returning from writing. It made me feel responsible
for them, so I was their guardian and keeper. I
listened to the rhythmic beat to the wheels the train
was nearing the tunnel mouth. I listened to the regular,

(02:33:28):
powerful beat at them, and then suddenly I realized that
they weren't regular. There was no rhythm, only the terrible,
raging cry of a machine that has suddenly broken through
its own power and is heading for destruction. It was

(02:34:03):
the worst wreck on the line. They brought the dead
and dying in here. They laid them at the place
where he stood waving to me at edry morning. And
this was the second accident. After you've seen him, Yes,
and the thing that is worrying me now he came

(02:34:26):
back again a week ago. Ever since, he's been there
now and again by fits and starts.

Speaker 1 (02:34:33):
Standing by the less.

Speaker 11 (02:34:34):
What is he seeming to do? The left arm is
over the face, the right arm is waving. He seems
to be trying to say, for God's sake, clare the wave.
Can't believe it. I have no peace or rest from it.
It calls to me for many minutes together in a
frightful manner.

Speaker 14 (02:34:50):
Below there.

Speaker 7 (02:34:51):
Look old look out.

Speaker 11 (02:34:53):
It stands waving for me. Have you seen it tonight?

Speaker 52 (02:34:56):
No?

Speaker 11 (02:34:58):
Not yet.

Speaker 1 (02:34:59):
Will you come to the door with me and look
for it now? Yeah, yes I will.

Speaker 50 (02:35:19):
Do you see it?

Speaker 1 (02:35:22):
No, it's not there, then let's go back. It wasn't
there now, but it may be there a moment from now.
What troubles me is what does this spect to mean?
What is the danger?

Speaker 11 (02:35:43):
Where is the danger? There is danger overhanging somewhere on
this line. Some dreadful calamity is about to happen. It's
not to be doubted this third time, after what has
gone before.

Speaker 36 (02:35:55):
But what can I do?

Speaker 1 (02:35:57):
Nothing that I can see?

Speaker 11 (02:35:58):
If I telegraph danger, I can give no reason for it.
I should get into trouble and do no, And then
he could They would think I was mad. I would
wire danger, take care, and they would answer what danger where?
And I would have to wire back don't know, but
for God's sake, take care, and they would of course
discharge me. What else could he do? Yes, I see

(02:36:20):
when it first stood under that light, why didn't it
tell me she is going to die? Let them keep
her at home? When it came the second time, why
didn't it tell me how the accident could have been
averted if it came on those occasions only to show
me that its warnings were true.

Speaker 1 (02:36:40):
Why doesn't it warn me plainly now?

Speaker 11 (02:36:43):
Why doesn't it tell me what is going to happen
so that I can change it.

Speaker 1 (02:36:46):
Listen, there's nothing you can do. Or rather, you're doing
the only thing that any sane, normal person would do,
and that's nothing. The important thing is to keep your
balance now. Won't get worked up to the point that
if you need to act later, you won't be able to.

Speaker 11 (02:37:06):
Eh, you're right, of course, you're right. You're doing your.

Speaker 1 (02:37:11):
Job as well as it's humanly possible to do. You're
not responsible for the future. You're responsible only for the present.
What happens at this switch. Now, You've got to look
at it that way.

Speaker 11 (02:37:24):
I know, I know only I can't forget that something
is going to happen.

Speaker 1 (02:37:31):
I don't doubt that. But if you keep your eyes
open at all times, you may be able to prevent it.
I pray to God. I may. It's easy to say,
but try not to think about it too much.

Speaker 11 (02:37:44):
I try. But it's the responsibility that crushes me. Because
of this spect because of this knowledge of things that
will happen along this line. I am responsible for every child,
every mother, every person that rides upon it.

Speaker 1 (02:38:02):
I know that something is going to happen.

Speaker 75 (02:38:05):
I ought to want them, but I don't know how
to warn them when they die. If they die, their
death's areround my shouldest.

Speaker 1 (02:38:16):
Look. Would you like me to spend the rest of
the night with you? Perhaps it would help keep your
mind off things?

Speaker 52 (02:38:22):
No?

Speaker 11 (02:38:23):
No, no, thank you?

Speaker 1 (02:38:24):
I all right.

Speaker 11 (02:38:25):
You don't know what a blessing it's been just to
be able to tell you the whole story.

Speaker 1 (02:38:30):
Would you like me to come back tomorrow night what
you might No, and.

Speaker 11 (02:38:34):
When you write your story about me, about this job.
If you could tell the whole story, everything, everything I've
told you, it would help lift this awful responsibility from
my shouldest. People would know then that they might think
me mad, but they would know, and the weight would

(02:38:55):
be from my spirit.

Speaker 1 (02:38:57):
Yes, I'll write that story tomorrow everything you needn't be
afraid that I'll skip anything. I'll bring it along with
me and show it to you before I turn it in.
It would mean so much.

Speaker 8 (02:39:07):
Yes.

Speaker 1 (02:39:08):
Now I think it's best.

Speaker 50 (02:39:11):
That I go.

Speaker 11 (02:39:13):
Good night then and you will come back to morrow. Yes,
can you find the pile easily?

Speaker 21 (02:39:23):
I'm beginning to know it about heart now, good night.

Speaker 1 (02:39:38):
I went to bed immediately after returning to my lodgings.
If I had slept unsoundly the night before, I slept little,
if any, of this night. There were the same dreams,
the man's face, his eyes with their deep inner secret
and pain, and in the background, the sun going down
over the ravine, and the figure no longer my own,
with one arm across the eyes, and the other waving

(02:40:00):
toward me, crying in.

Speaker 11 (02:40:01):
A low moan, Clear the way, Clear the way.

Speaker 1 (02:40:12):
In the morning, when I came to work, I felt tired,
almost feverish. I could hardly wait until sundown, when I
would again visit the signal man. I wanted to show
him the stories I'd written it. At last, the hands
of the clock pointed at six thirty, and I left
the office in my way to the ravine. About half
an hour later, I arrived at the top of the cutting.

(02:40:32):
I glanced down, and there, close at the mouth of
the tunnel, I saw a man, his left arm across
his eyes, passionately waving his right arm. That the nameless
horror that oppressed me passed in a moment, for I
saw that this man was a man, indeed, and that
there was a little group of other men standing at
a short distance to whom he seemed to be rehearsing

(02:40:54):
the gesture he made, with an irresistible sense that something
was wrong with a self reproachful fear that pigle mischief
had come of my leaving the man there alone in
his state of nine the night before. I descended the
rocky path with all the feet I could make him,
and ran up to the crowd. What's the matter here? Signal?
Man kills when just a little while ago? Not the

(02:41:17):
man belonging to this post.

Speaker 28 (02:41:18):
I not the man.

Speaker 74 (02:41:20):
I know you will recognize him, sir, if you are
a friend to him.

Speaker 1 (02:41:24):
The body is over here.

Speaker 74 (02:41:31):
There you see. Oh how did it happen? He was
cut down by the engine, said, just as he was
lighting that red lamp. No man on the line knew
his work better, But somehow he wasn't clear of the
outer rail. He had the lamp in his hand ready
to light it. As the engine came out of the tunnel.
His back was torlet and she cut him down. Here's

(02:41:55):
the engineer, now, Tom, show him how it happened?

Speaker 1 (02:41:58):
Yes, how did it happen? I'm a reporter from the time.

Speaker 29 (02:42:02):
Well, sir, coming around the curve in the tunnel, I
saw him at the end.

Speaker 50 (02:42:06):
There was no time to check the speed, but I.

Speaker 1 (02:42:08):
Always knew him to be very careful. Only this time
he didn't seem to pay any attention to the whistle.
I finally shut it.

Speaker 76 (02:42:17):
Off when we were running down on him, and called
out to him, what did you say?

Speaker 1 (02:42:21):
I shouted, hello, below there, for God's sake, fail a way, yes, sir,
that I shouted. Oh, it was a terrible thing, sir.

Speaker 76 (02:42:32):
I never left off calling to him. Finally, I put
my left arm across the eyes so that I wouldn't
have to see, and I waved this arm to the last.

Speaker 1 (02:42:44):
But it was no use, sir, No use, no use.

(02:43:08):
I walked away. I was trembling so that it took
all my efforts to climb the rocky path to the
top of the ravine. I knew the sun was going
down in flames behind me, but I dared not look.
I hurried back to my desk at the office and
began writing the tragic end of the story, sir, Yes, boy,

(02:43:35):
is your copy ready?

Speaker 11 (02:43:36):
Sir?

Speaker 1 (02:43:37):
In just a moment. Please hurry, sir. Papa goes to press.
In a half hour, I'll have it ready. Come back
in a few minutes, all right, sir, This then, is
the story as it was told to me, and as
I saw it. I'll make no judgment of it, no deductions.

(02:44:03):
It happened. I know it happened, that is all, except
I bear with me the memory of a humble man,
lonely and isolated from this world of ours, one who
bore the responsibility for his fellow men so strongly on

(02:44:24):
his conscience that he died from it. For I am
convinced that that alone is what brought him to this end,
not the train, which was merely an instrument of fate.
Sign Charles Dickens. All right, you can turn them on.

Speaker 14 (02:44:58):
Now.

Speaker 72 (02:45:00):
You have just heard the eighth and the last in
the summer series of Lights Out to Night's Story Charles
Dickens The Signalman was adapted for radio by Frederick J.

Speaker 10 (02:45:10):
Lipp.

Speaker 72 (02:45:11):
Starring in the role of Charles Dickens was Nelson Olmstead.
The Signalman was played by Herb Butterfield. Others in the
cast included Boris apland Nathan Davis and Jess Pule, and
now it's time to turn the lights out for the summer.
We've enjoyed bringing you these shows. And if we've managed
to send a few shows up and down your spine, well.

Speaker 1 (02:45:31):
That's what we set out to do.

Speaker 72 (02:45:33):
Beginning next week at this time, be sure to hear
the new Judy Canova show, which returns to the air.
You'll have the time of your life, so be sure
to listen. Lights Out was produced and directed by Albert Cruz.
This is NBC, the National Broadcasting Company.

Speaker 77 (02:45:54):
LUX presents Hollywood, Leave about this Company, the Makers, and
Luck's Toilet Soap Bring you the Lux Radio Theater starring Raymeland,
Ruth Roman, and Frank Lovejoy. In Strangers on a Train,

(02:46:18):
Ladies and Gentlemen, your producer, mister William Keeling greetings from Hollywood,
Ladies and gentlemen. Travel by train, ship, or plane usually
puts us in the mood to be kind to strangers.
A question which would ordinarily receive a courteous but unencouraging
answer is almost welcomed when we find ourselves in strange

(02:46:41):
surroundings without the security of friendly conversation. It's a commendable custom,
but at times may lead to unexpected and terrifying complications,
as our stars tonight are about to portray Raymeland and
Frank Lovejoy, who are the Strangers on a Train, and
Ruth Roman.

Speaker 28 (02:46:58):
Who recreates her star.

Speaker 77 (02:47:01):
Not only was this Warner Brother's picture directed by that
noted master of suspense, Alfred Hitchcock, but one of the
major roles was played by his daughter, Patricia Hitchcock. And
we're happy that Patricia could appear tonight in her original
part in Strangers on a Train. I'm sure there are
no strangers in our audience to the improving qualities of
Lux toilet soap as a beauty care, because Lux facials

(02:47:25):
are the daily companions of lovely ladies who know they
can depend on Lux soap for the complexion care that
leaves their skin lovelier. Here is Strangers on a Train,
starring Raymond and as Guy Haynes, Ruth Roman as Anne Morton,
and Frank Lovejoy as Bruno Anthony, with Patricia Hitchcock as Barbara.

(02:47:57):
A few moments ago, a northbound train left Washington, DC.
Among the passengers settling down in the club car are
two young men.

Speaker 40 (02:48:07):
I beg your pardon, m oh, I hate to interrupt
your reading, but aren't you guy Haynes.

Speaker 28 (02:48:12):
That's right.

Speaker 40 (02:48:13):
I'm quite a tennis fan. I saw your match last
season in South Orange against Faraday.

Speaker 28 (02:48:17):
Oh, it was one of my lucky days.

Speaker 40 (02:48:20):
I certainly admire people who do things. By the way,
my name is Anthony Bruno. Anthony, how do you do?
I guess you want to get back to your book.

Speaker 7 (02:48:28):
You go ahead and read.

Speaker 28 (02:48:29):
Thanks.

Speaker 40 (02:48:31):
You know, it must be pretty exciting to be so important.
What tennis player isn't so important? Oh, but people who
do things are important. I mean I never seem to
do anything. I suppose you're going to Southampton for.

Speaker 28 (02:48:44):
The doubleson you certain you read the sport page, don't you.

Speaker 40 (02:48:47):
I wish I could be there to watch you, but
I've got to be back in Washington tomorrow. Cigarette. No,
not no, thanks, you don't happen to have a match. Yeah, oh, oh, lighter,
thank you by that's elegance and grave too.

Speaker 5 (02:49:04):
From A to G.

Speaker 40 (02:49:06):
I bet I can guess who A is. And Han Morton,
I'll wait a minute, quit it's simple. See sometimes I
turn the sports page and look at the society section.
The pictures too. She's very beautiful Senator Morton's daughter.

Speaker 28 (02:49:20):
You're quite a reader, mister Anthony.

Speaker 38 (02:49:22):
Yes I am.

Speaker 40 (02:49:23):
You ask me anything, I've got the answer, even about
people I don't even know, like who would like to
marry whom when his wife gets a divorce.

Speaker 28 (02:49:34):
Maybe you read too much.

Speaker 40 (02:49:36):
Well, there I go again. I meet somebody I like
and admire and I say the wrong thing.

Speaker 28 (02:49:40):
I'll forget it. I guess I'm just a little jittery.

Speaker 40 (02:49:43):
Oh, there's a culler for that. A waiter, Scotch and
plain water. Please, a pair of doubles. That's the only
kind of doubles I play.

Speaker 28 (02:49:53):
I'm afraid you have to bring both of them.

Speaker 40 (02:49:54):
And I can do it. When's the wedding?

Speaker 24 (02:49:58):
What?

Speaker 14 (02:49:59):
Oh?

Speaker 40 (02:49:59):
You ann the wedding? Who was in the papers?

Speaker 28 (02:50:02):
Well it shouldn't have been unless they've legalized. Big of me.

Speaker 40 (02:50:07):
It's wonderful, you know, having your company all the way
to New York. As a matter of fact, I'm getting
off at Metcalf, Medcalf. Who want to stop at Medcare?

Speaker 28 (02:50:16):
It's my hometown. Oh oh, I get it.

Speaker 40 (02:50:20):
A little chat with your wife about the divorce. Well
here's lock, mister Haynes. Drink up, then We'll have lunch
sent to my compartment.

Speaker 28 (02:50:27):
Thanks very much. But I think I'll go to the
dining car.

Speaker 40 (02:50:29):
Oh that's filled up. There's no seats for about twenty minutes.

Speaker 28 (02:50:33):
How about lunch in my compartment.

Speaker 40 (02:50:35):
Oh, I wouldn't think of that. Come along, mister Haynes.
You know this is a real pleasure and all told.
I went to three different colleges. I got kicked out
each time drinking and gambling. Not like you one guy.

Speaker 28 (02:50:58):
All right, So I'm a bum who said you were?

Speaker 40 (02:51:01):
Or my father? He hates me with all the money
he's got. He thinks I owed a bunch of time
clocks somewhere and worked my way up selling pain or something. Well,
I think I hate him too. I tell you I
get so sore at him sometimes I want to kill him.
You know, I don't think you know what you wanted. Well,
I want to do something and everything. You know, I've

(02:51:25):
got a theory you should do everything before you die.
Have you ever driven a car blind folded at one
hundred and fifty miles an hour?

Speaker 32 (02:51:33):
No?

Speaker 40 (02:51:34):
Well I did flew a jet playing too. Man, what
a thrill. Almost blew the sawdust out of my head.

Speaker 28 (02:51:41):
Say, what are you trying to prove well, I'm not
like you. Guy.

Speaker 40 (02:51:46):
You're lucky and you're smart. First of all, you're a
wonderful tennis player. On top of that, you've got a
swell job assistant to a United States senator. And on
top of that, you're going to marry the boss's daughter.
Makes a nice shortcut to a career, doesn't it. Marrying
the senator's daughter's got nothing.

Speaker 4 (02:52:05):
To do with it.

Speaker 40 (02:52:07):
Oh, I take it easy, guy, I'm your friend. Remember,
I like you. I do anything for you.

Speaker 28 (02:52:13):
I could be stopping soon and I've got to change trains.

Speaker 40 (02:52:16):
Yes, it's right, medcalv What did you say her name
was your wife's Miriam? Miriam? I suppose she played around
a lot. Huh, skip it, Bruno. Okay, say I want
to hear one of my ideas for a perfect murder.

Speaker 78 (02:52:34):
Murder Okay, I maybe old fashioned, but I thought it
was still against the law.

Speaker 28 (02:52:39):
Well, what's a life of two?

Speaker 40 (02:52:40):
You know, some people are better off dead, someone like
your wife and my father, for instance.

Speaker 28 (02:52:47):
Now let's say that you'd like to get rid of
your wife. You know you've got quite a sense of
you have a brewer. No, no, no, no, no, seriously.

Speaker 40 (02:52:55):
Let's say that you had a very good reason to
want her dead, but you'd be afraid to kill her,
and you know why you'd be caught? What would trip
you up the motor? Now here's my idea.

Speaker 28 (02:53:06):
I'm afraid I don't have time to listen.

Speaker 40 (02:53:08):
Oh, it's so simple to two fellows meet accidentally, like
you and me here on the train. No connection between
them at all. I never even saw each other before.
But now each one has somebody that he'd like to
get rid of, so they they swap murders, swap murders.
Each fellow does the other fellow's murder. There's nothing to
connect them. Each one has murdered a total stranger, like

(02:53:32):
you do my murder and I do yours.

Speaker 28 (02:53:34):
You're coming into my station.

Speaker 40 (02:53:35):
For example, your wife and my father, Chris Cross. What
as we do talk the same language, don't we?

Speaker 28 (02:53:45):
Thanks for the lunch, Bruno.

Speaker 40 (02:53:46):
I'm glad you enjoyed it. I think my theory is okay.
A guy you like it?

Speaker 28 (02:53:50):
Sure, sure got some great ideas. Nice meeting you.

Speaker 40 (02:53:54):
Good luck at Southampton, guy, bet I got some great Oh, guy,
you're a lighter. You forgot what your cigarette ladder? Huh
from E to Genie. I'll send it to him sometimes. Yes,
I must send it to him.

Speaker 57 (02:54:20):
I hope you don't mind meeting you in the park.

Speaker 28 (02:54:23):
Guy, No, Miriam, no, this is fine.

Speaker 57 (02:54:25):
I couldn't very well meet you in the store, could I?
I arrange to take my lunch hour later?

Speaker 28 (02:54:31):
You're looking well, Miriam?

Speaker 20 (02:54:33):
So are you?

Speaker 57 (02:54:34):
You got a nice ten playing tennis with all your
rich friends.

Speaker 28 (02:54:38):
When can we see your lawyer?

Speaker 24 (02:54:39):
What?

Speaker 57 (02:54:40):
You a hurry guy? You know, I think you're handsomer
than ever.

Speaker 78 (02:54:44):
I think it's pretty late to start flirting with a
discarded husband. Now let's see your lawyer and get this
over with it.

Speaker 57 (02:54:50):
If you bring the money, lawyers are expenses in this
envelope here. Thanks. You know, if I'd have known that
you'd start doing so well, I wouldn't have run out
on What.

Speaker 28 (02:55:01):
Are you trying to say? Miriam?

Speaker 57 (02:55:02):
I got a big surprise for you. I'm not getting
a divorce.

Speaker 28 (02:55:06):
What is what you've wanted? That's all you've been hopping
about for more than a year.

Speaker 57 (02:55:09):
It's a woman's privilege to change your mind. Now I
can buy some pretty clothes. I wouldn't want you to
be ashamed of me.

Speaker 28 (02:55:16):
In Washington, what's that supposed to mean?

Speaker 57 (02:55:18):
I look so mad.

Speaker 7 (02:55:19):
Guy.

Speaker 57 (02:55:20):
You always smile when you have your picture taken for
the newspapers, especially when Anne Morton's.

Speaker 20 (02:55:25):
Hanging on me.

Speaker 28 (02:55:25):
Let's not talk about Anne Morton.

Speaker 57 (02:55:27):
Well, you can throw all your little dreams about her
right in the ash can and make a real pretty story.
Wouldn't that the senator's daughter all involved with a married man.

Speaker 28 (02:55:37):
What's happened, Miriam? Your boyfriend run out on you?

Speaker 57 (02:55:40):
No man runs out on me, guy, not even you.

Speaker 28 (02:55:43):
Just get one thing straight. I never want to see
or hear of you again.

Speaker 57 (02:55:47):
I could be very pathetic in a courtroom. Guy, the
poor deserted little wife better think it over, honey.

Speaker 28 (02:55:53):
I'm warning you, Miriam, either we go ahead with a.

Speaker 57 (02:55:55):
Divorce or I wish I had time to listen to you, guy,
but I've got to get back to work. I'll see
in Washington in two weeks.

Speaker 28 (02:56:10):
Hello, Hello, Abra, I have your party now, sir?

Speaker 20 (02:56:13):
Go ahead?

Speaker 4 (02:56:14):
Please?

Speaker 20 (02:56:15):
Hello guy?

Speaker 39 (02:56:16):
Is that you?

Speaker 28 (02:56:17):
And hello darling?

Speaker 2 (02:56:19):
Where are you?

Speaker 28 (02:56:20):
I'm in Metcalf.

Speaker 20 (02:56:21):
Then you've seen Miriam.

Speaker 26 (02:56:23):
Guy.

Speaker 20 (02:56:23):
Did everything go all right?

Speaker 15 (02:56:25):
No?

Speaker 28 (02:56:26):
Everything went all wrong. She doesn't want the divorce.

Speaker 64 (02:56:29):
Guy.

Speaker 20 (02:56:29):
It's unbelievable. I mean, after all these months, but what
did she say?

Speaker 78 (02:56:33):
Does it make any difference what she said? Oh, I'm sorry,
and it's just that I.

Speaker 28 (02:56:39):
Feel I know how you feel.

Speaker 20 (02:56:41):
But you sound so savage.

Speaker 78 (02:56:42):
Guy, I'd like to break her neck. I'd like to
break her foul, useless little neck that I know. I
suppose I'd try to see her again, but I've got
to get to Southampton. My train will be here in
a moment.

Speaker 20 (02:56:56):
Then write me, Please write me.

Speaker 28 (02:56:58):
Sure, I'll ride on the train and don't Sorry, Darling.

Speaker 20 (02:57:00):
We've waited this long. We can wait a little longer.

Speaker 28 (02:57:03):
I don't know what I'd do without you.

Speaker 4 (02:57:05):
I love you, guy.

Speaker 28 (02:57:06):
I've got to rush tore. My train's coming. I see
you on first Yeah, sure.

Speaker 20 (02:57:10):
Good luck, Darling.

Speaker 40 (02:57:21):
Hello guy, this is Bruno. How are you guy?

Speaker 2 (02:57:24):
Who would you say this?

Speaker 40 (02:57:26):
Bruno? Bruno Anley? Don't you remember on the train?

Speaker 13 (02:57:29):
Oh?

Speaker 40 (02:57:31):
Oh yes, I would have called you sooner, but the
operator had a little trouble finding you in Southampton.

Speaker 2 (02:57:35):
Look, would you mind telling me why you were phoning?

Speaker 77 (02:57:37):
Oh?

Speaker 40 (02:57:38):
The match is going guy, I don't play until the morning.
Oh a guy, about your visit in Metcalf, Are you
getting a divorce.

Speaker 28 (02:57:45):
Oh no, wait a minute, Brun, she won't give it
to you.

Speaker 40 (02:57:47):
Ride Miriam won't give you a divorce. No, she double
crossed you. You're gonna see her again.

Speaker 2 (02:57:53):
Now, Look, Bruno, why don't you I.

Speaker 40 (02:57:55):
Told you I liked you, guy, I'm your friend. Should
never forget that. You just marry him to me?

Speaker 2 (02:58:01):

Speaker 40 (02:58:02):
You'll find out, guy. Just be patient, that's all you,
Just be patient.

Speaker 28 (02:58:06):
I don't care what Bruno was doing.

Speaker 2 (02:58:07):
I said I wanted to talk to him out.

Speaker 40 (02:58:09):
If you're talking about me, father, I had to call
a friend of mine long distance.

Speaker 79 (02:58:12):
Really, Charles, must you always take this tone with brute?

Speaker 40 (02:58:15):
Oh it's all right, mother, I'm used to his tone
by now.

Speaker 80 (02:58:18):
You can wipe that injured look off your face right now.
You were out last night, weren't you.

Speaker 40 (02:58:22):
Well, I'm a big boy, father, I go out at
night all the time. We had another accident.

Speaker 80 (02:58:25):
You hit another car, Charles, really, now it's hit and
run driving and you knew about it.

Speaker 28 (02:58:30):
All the time.

Speaker 57 (02:58:30):
But dear, it was a parked car, no one was
in it.

Speaker 28 (02:58:34):
Why don't you tell that to the police.

Speaker 57 (02:58:36):
Well, they won't do anything to Bruno.

Speaker 28 (02:58:38):
This was the last time.

Speaker 80 (02:58:39):
Unss, so help me.

Speaker 28 (02:58:40):
I'll never lift a finger for him again.

Speaker 40 (02:58:42):
It's all right, Mother, No, not dear. You know I
can't stand to see you crying there Anything else you
want to say to me? Father? Yes, get out of
my sight. Get out of my sight before I I'll
be back tomorrow.

Speaker 20 (02:58:54):
Mother, and Bruno, where are you going?

Speaker 17 (02:58:55):
Oh?

Speaker 40 (02:58:56):
Just a little trip? Mother? Is something for a friend
of mine.

Speaker 57 (02:58:58):
Oh, you just don't underst stand him. Charles, You just
don't understand him.

Speaker 80 (02:59:03):
What's he going to do next? Tell me what's he going.

Speaker 40 (02:59:05):
To do next?

Speaker 14 (02:59:06):
Nothing? Nothing at all.

Speaker 38 (02:59:08):
It's not normal.

Speaker 28 (02:59:09):
It's the last thing I do.

Speaker 80 (02:59:10):
I'm going to have that boy taken care of, if necessary,
put under restraint.

Speaker 20 (02:59:14):
I'll never permit it.

Speaker 11 (02:59:15):
Never.

Speaker 5 (02:59:16):
Never.

Speaker 28 (02:59:16):
It can't go on, Uness.

Speaker 80 (02:59:18):
Things like this just can't go on.

Speaker 28 (02:59:29):
Guy over here, Guy, Well, hello, Bruno, that's right, guy,
How are you? What are you doing here at this
time of night?

Speaker 40 (02:59:39):
Has waiting for you to get back to Washington. I
thought of meeting it at the station, but then I
figured this might be better here in front of your apartment.

Speaker 33 (02:59:46):
Now.

Speaker 28 (02:59:47):
Look, it's one o'clock in the morning on.

Speaker 40 (02:59:48):
The same very pleased to see me.

Speaker 28 (02:59:50):
Would you mind telling me what this is all about?

Speaker 17 (02:59:53):
Oh?

Speaker 40 (02:59:53):
I just come back from Metcalf. Guy, I brought you
a little present, Saint's pair of glasses. You didn't tell
me that Miriam wore glasses. You've seen Miriam. Oh it
was very quick, guy, She wasn't hurting any way. It
was all over no time.

Speaker 28 (03:00:09):
What are you trying to tell me?

Speaker 17 (03:00:10):
Huh?

Speaker 40 (03:00:11):
I knew you'd be surprised. Nothing for us to worry
about either. Nobody saw me, only Miriam. I was very careful, guy.
Even when I dropped your cigarette lighter, I went right
back and picked it up.

Speaker 28 (03:00:22):
Cigarette light? Why you maniac?

Speaker 21 (03:00:26):
Guy?

Speaker 40 (03:00:26):
We planted it on the train together. You wanted it.
You remember where are you going?

Speaker 28 (03:00:31):
Where do you think I'm going? I don't believe you,
but I'm going to call the police. Justice say, oh
you can't.

Speaker 17 (03:00:36):
Guy.

Speaker 40 (03:00:36):
We both be arrested for murder just as much in
it as I am. We planned it together, criss crossed.

Speaker 28 (03:00:42):
Are you crazy? Fooled? Do you think you can get
away with that?

Speaker 14 (03:00:45):
Oh?

Speaker 40 (03:00:45):
Come now, guy, Why should I go to Metcalf to
kill a total stranger unless it was part of the
plan and you were in on it. You're the one
who benefits. Guy, I didn't even know the girl. But
you go to the police now, you'll just be turning
yourself in as an excess. You see, you had the motive,
You crazy fool out.

Speaker 28 (03:01:04):
You must be tired.

Speaker 1 (03:01:05):
I know I am.

Speaker 40 (03:01:06):
I've got a strenuous evening. I gotta talk to you
about my father. I've done my part, now you'll do yours.
Shut up, we have to arrange things. Get away from
me before I Oh, guy, you're not yourself. Now, when
you think things over, you'll see that. I'm right tomorrow weekn.

Speaker 28 (03:01:21):
I don't know you. I never saw you before, and
I never wanted to see you again.

Speaker 40 (03:01:25):
You're a lighter, guy, the one that Anne gave you.
You left it on the train. Don't you even miss it?

Speaker 28 (03:01:33):
Give it to me, Bruno, give me that lighter.

Speaker 40 (03:01:35):
I don't have it, guy, that is, I don't have
it with me. Well, as I said, we can arrange
you anything more on that.

Speaker 28 (03:01:53):
Hello. And oh, I'm sorry, darling, but I just got in.
I'm all right, but you sound upset? Anything wrong? All right, darling? Yes,
I'll come over right away.

Speaker 20 (03:02:16):
Thanks for coming over, darling.

Speaker 28 (03:02:19):
And what is it you're trembling.

Speaker 20 (03:02:22):
I wonder if you know how much I love you.
Come along, guy, Father and Barbara, they're waiting in the library.

Speaker 28 (03:02:29):
Thought we might be a lone guy, but An insisted,
and so did Baba.

Speaker 20 (03:02:33):
Now, really, Daddy, if I'm going to be guys sister,
and now the least I can do is stay.

Speaker 81 (03:02:36):
Down and keep quiet. Guy, we we wouldn't have called
you at this hour if it weren't important. It's about
your wife, Miriam.

Speaker 28 (03:02:46):
What about it?

Speaker 14 (03:02:46):
Sir.

Speaker 81 (03:02:47):
I'm sorry to be the one to tell you she's
been killed.

Speaker 28 (03:02:50):
Guy, murdered.

Speaker 20 (03:02:52):
Please have been trying to locate you everywhere.

Speaker 28 (03:02:54):
You are to call headquarters in Metcalf. Miriam murdered tonight about.

Speaker 20 (03:03:01):
She was strangled.

Speaker 77 (03:03:13):
In a few moments. We'll return with that two of
strangers on a train. But now here's our Hollywood reporter
Libby Collins with the lux movie news of the week.

Speaker 18 (03:03:21):
The big news here John is the premiere of Metro
Golden Mayer's technicolor production of Cuovadis. Most every celebrity in
Hollywood was.

Speaker 77 (03:03:29):
There, Paul Hollywood is still talking about it, and everyone.

Speaker 18 (03:03:31):
Thought Robert Taylor as magnificent as Marcus the Pagan Roman Warrior.
His love scenes with Debora Carr playing Ledger the gentle
Christian hostage provide some of the most compelling drama ever
seen on the screen, and.

Speaker 77 (03:03:44):
Leo Ginn as Petronius turns in a terrific performance.

Speaker 18 (03:03:48):
Every moment of Cuovadis is really epic drama. The chariot
races at the Colisseum, the spectacular burning of Rome, the
martyred Christians at the mad tyrant Nero orders.

Speaker 20 (03:03:58):
Thrown to the lions.

Speaker 77 (03:04:00):
Understand that Metro Golden Mayor built an entire city outside.

Speaker 20 (03:04:02):
Of Rome for the picture and spent two years filming it.

Speaker 77 (03:04:06):
Lovely, Deborah cars costumed are certainly gorgeous, just right for
her exciting kind of beauty. Her milk white skin against
her copper colored hair is something.

Speaker 20 (03:04:15):
Well John, Debraka's complexion is something special. It truly lucks lovely.

Speaker 77 (03:04:21):
Yes, when you see a lovely complexion like hers, you
realize why screen stars are devoted to the gentle protecting
care of lux toilet soap.

Speaker 20 (03:04:29):
They know it's easy to be Luck's lovely.

Speaker 18 (03:04:31):
John Daily, Luck's beauty facials do wonders for the skin
really make it softer and.

Speaker 77 (03:04:37):
SMOOTHI Lux soap has active lather that ensures gentle thorough cleansing.

Speaker 18 (03:04:42):
Yes, you simply cream the rich lather wellion, rinse with
warm water, and follow with a coal splash. Then pat
dry with a soft towel. This simple care does wonders
leave skin fresh as a flower.

Speaker 77 (03:04:55):
Yes, there's a reason why Lux is Hollywood's own beauty soap.
You haven't tried it? Why not start your active leather
facials tomorrow b Lux Lovely like nine out of ten
screen stars who use fragrant white Lux toilets soap. Now,
our producer mister William Keeley act two of Strangers on
a Train starring Raymond and As Guy Haynes, Frank Lovejoy

(03:05:19):
as Bruno Antony, and Ruth Roman as Anne Morton. Twenty
minutes ago, on a street corner, Guy Haynes listened to
Bruno Anthony tell an incredible story of how he had

(03:05:40):
murdered Guy's wife, and now in Senator Morton's home, Guy
learns that Bruno's fantastic report is completely true.

Speaker 81 (03:05:50):
It happened in an amusement park. Guy, some sort of
lover's lane.

Speaker 28 (03:05:53):
I believe terrible.

Speaker 20 (03:05:55):
Apparently she'd gone there with some other people. Two of
the young men found read it was done by someone else.
They don't even have a suspect, guy, except you, probably.

Speaker 28 (03:06:04):
I wish you'd keep quiet, But the police will.

Speaker 46 (03:06:06):
Say the guy wanted to marry him out of the
way so he.

Speaker 20 (03:06:08):
Could marry it.

Speaker 28 (03:06:09):
She's right, Senator, But if you have an.

Speaker 20 (03:06:10):
Alibi, you have nothing to worry about. You can't tell
them where you were at about nine o'clock tonight.

Speaker 28 (03:06:15):
Well, I was on my way here. I was on
the train. Well, there you are.

Speaker 20 (03:06:19):
Who saw you? Did you speak to anyone? You need
a witness?

Speaker 28 (03:06:23):
Yes, yes, I did speak to someone. He was the
only other passenger in the club car.

Speaker 20 (03:06:27):
Someone you know.

Speaker 78 (03:06:29):
No, No, he said his name was Collier or Collins
or something. Said he was a professor of Delaware Tech.
He'd been drinking, drinking. Yeah, I had been to some meeting,
had a couple of drinks.

Speaker 20 (03:06:38):
But he was on the train, he saw you. Then
everything's all wrong. You'll still have to answer some questions.

Speaker 28 (03:06:43):
It's a dreadful business, dreadful, poor unfortunate girl.

Speaker 20 (03:06:47):
Miriam was rotten.

Speaker 28 (03:06:48):
She was a human being.

Speaker 20 (03:06:49):
Father, it's getting latent. Guy looks so tired, of course. Well,
you two now you can be married right away. Think
of it. You're free.

Speaker 81 (03:06:57):
You won't forget to phone the Metcalf police guy, Captain.

Speaker 28 (03:07:00):
Turtley, Yes, sir, good night Santa Da, Good night Barbara.

Speaker 20 (03:07:04):
I still think it'd be wonderful to have a man
love you so much he'd kill for you. You know,
I kept saying, over and over again. I was being silly, guy.
But there was one horrible moment tonight when the news
came through. I kept remembering what you said on the
phone for Metcalf after you'd seen her, that I could
break her neck. No, no, don't even say it. Forget
you ever seen. And there was something even more terrifying

(03:07:27):
than the murder itself, the horrible thought.

Speaker 82 (03:07:29):
That if you had anything to do with it, with
anything to do with it, we'd have to be separated,
perhaps forever.

Speaker 20 (03:07:34):
I couldn't stand that, guy, I couldn't bear it.

Speaker 28 (03:07:38):
And and you don't think that I am.

Speaker 20 (03:07:41):
No darling, No, of course not. Just hold me, guy,
just hold me.

Speaker 28 (03:07:57):
I'm Captain Turley, mister Haynes. It's good of you to
come down here quickly. I'm just as anxious as you are. Captain.

Speaker 14 (03:08:02):
Well, we've managed to locate the gentleman you spoke with
on the train. Well, Professor, this is mister Haynes.

Speaker 83 (03:08:08):
Well, I can't tell you how foolish I feel, Captain,
I really don't remember meeting this gentleman. You don't remember,
but you just a moment has Unfortunately I remember very
little on my trip.

Speaker 28 (03:08:20):
You see, we we had a little celebration. I'm not
a drinking man, and well, just one or two drinks.

Speaker 78 (03:08:26):
But we were sitting opposite each other. You were going
over some speech you made about calculus, mathematics or something.

Speaker 28 (03:08:32):
I'm very sorry, mister Haynes. I certainly must have been celebrating.
If you'll wait outside, Professor, yes, yes, of course. Is
it so important whether he remembers me or not? Surely?
The important thing is that I've been able to name
a man who was on the train with me. You've
been able to find him. Isn't that proof of where
I was last night?

Speaker 14 (03:08:50):
Yes, i'd say you were in the clear, but there
is a little more checking I'd like to do. But
if I'm in the clear, take it easy, mister Haynes.
You're free to go back to Washington right now.

Speaker 28 (03:08:58):
Thank you, Captain.

Speaker 20 (03:09:08):
Then the police verified his alibi father and said he
could go.

Speaker 78 (03:09:12):
Isn't that about it, dear, except that when an alibi
is full of scotch it casts.

Speaker 28 (03:09:17):
A little doubt. Then the professor was boy, he didn't
remember me, but.

Speaker 20 (03:09:20):
He knew you were on the train. Wasn't that enough
to prove that that's where you were?

Speaker 28 (03:09:24):
I wish I knew for sure.

Speaker 81 (03:09:25):
I mean, oh, everything's all right and the police are
just being thorough.

Speaker 11 (03:09:29):
What's your next move? Guy?

Speaker 78 (03:09:31):
Whatever it is that police will know about it. Take
a look out the window, my guardian angel, Why guy,
you being tailed as Detective Leslie Hennessy? He worked sixteen
hours a day. Someone named Hammond takes over for the
next eight. As a matter of fact, Hennessy seems like
a pretty nice fellow.

Speaker 81 (03:09:49):
For your own peace of mind, guy, perhaps, well perhaps
if you worked here at the house for the next
few days, well, it would be less embarrassing for it.

Speaker 78 (03:09:58):
It would be less embarrassing for you, sir. If I
resigned as your assistant.

Speaker 28 (03:10:01):
That's ridiculous.

Speaker 20 (03:10:03):
Besides, don't you have to play in the tennis tournament.

Speaker 81 (03:10:05):
I'm withdrawing, But wouldn't it look awkward if you suddenly
canceled all your plan.

Speaker 20 (03:10:10):
Father's right, Guy, You've got to go honest though nothing
had happened. Escorted by mister Hennessy, I beg your pardon.
What is it Bessie telephone with mister Haynes. Miss They
say it's urgent. Oh you can take it right there.

Speaker 28 (03:10:21):
Oh oh yeah, Hello, Hello, guy, this is Brno.

Speaker 2 (03:10:28):
I was hoping you'd call me before I had.

Speaker 20 (03:10:32):
What's the matter?

Speaker 28 (03:10:33):
Must have been some mistake It wasn't for me.

Speaker 20 (03:10:43):
I'm learning more and more things about you, guy. I
never dreamed you were so interested in painting.

Speaker 28 (03:10:48):
And I feel a very warm attachment for this art
gallery for the first time all week, we've actually been
alone for an hour.

Speaker 82 (03:10:55):
By the way, where's Hennessy waiting out front? Hadn't we
better be leaving Boso?

Speaker 78 (03:11:01):
I wonder if we'll ever Guy, have him and a
guy come on, we'll find Hennessy.

Speaker 28 (03:11:07):
And get a cab.

Speaker 20 (03:11:08):
But that man he's calling you go, oh excuse me.

Speaker 28 (03:11:11):
Then I'll see what he wants.

Speaker 40 (03:11:19):
To have to follow you here? Guy, will you stop
pestering me and never even answered my notes? For the
last time, Bruno, we're spoiling everything. You're making me come
out in the open. Why didn't you call me?

Speaker 28 (03:11:29):
My father's leaving for Flower the next week.

Speaker 40 (03:11:31):
There's not much time the detective outside. You'll see us together,
isn't that Anne Morton that you're with? Slight improvement over Miriam?

Speaker 28 (03:11:40):
Hey, guy, I'm telling you to stay away from me.

Speaker 13 (03:11:50):
Who is he?

Speaker 78 (03:11:51):
Guy?

Speaker 28 (03:11:51):
Just some tennis fan? Never saw him before?

Speaker 20 (03:11:54):
That's funny, funny. I mean I saw him yesterday where
he was at the tennis club watching your practice. Oh
he was sitting with mister and missus D'Arville. He must
be very amusing. He had them in stitches most.

Speaker 38 (03:12:07):
Of the time.

Speaker 28 (03:12:08):
Who were the Dovells.

Speaker 20 (03:12:09):
Oh he's connected with the French embassy. You'll meet them
tomorrow night, darling. They'll be at the party.

Speaker 28 (03:12:14):
Oh yeah, yes, the party. And do you really think
I should be there?

Speaker 20 (03:12:19):
But I thought we settled that, dear, of course you
should be there. He's watching us.

Speaker 84 (03:12:24):
Guy, that man come along here, let's go home. Who
is he, Barbara, That young frenchman with the davene.

Speaker 20 (03:12:39):
Oh he's not French, daddy. They just introduced me to him.
His name's Anthony Bruno.

Speaker 57 (03:12:43):
Anthony.

Speaker 20 (03:12:44):
Does he look interesting?

Speaker 28 (03:12:45):
Why is he looking at you?

Speaker 20 (03:12:47):
He not so loud. He's coming over here. Oh, oh,
this is my father, mister Anthony.

Speaker 40 (03:12:51):
I'm delighted to meet you, Senator.

Speaker 3 (03:12:54):
How do you do.

Speaker 40 (03:12:55):
Oh, it's a wonderful party, sir. You know sometime i'd
like to talk to you about my idea harnessing the
life force. It'll make atomic power look like the horse
and buggy. Well, I'm sure I'm already developing my faculty
for seeing millions of miles Salada. Can you imagine being
able to smell a flower on the planet Mars. I'd
like to have lunch with you someday soon, Sara, and
tell you more about it. I'll see you later, want

(03:13:16):
I that'll be fine later. Yes, I still don't remember
inviting that young man.

Speaker 20 (03:13:23):
I told you, Daddy, the Daveyos just brought him along.

Speaker 81 (03:13:26):
Just a minute, Barbara, where are your glasses?

Speaker 20 (03:13:29):
But my glasses?

Speaker 81 (03:13:30):
You're supposed to wear glasses, Barbara.

Speaker 20 (03:13:32):
Oh, but Daddy, even at party.

Speaker 81 (03:13:34):
Not another word, Get your glasses and put them up.

Speaker 20 (03:13:44):
I'm so concerned about guy. If the Daveyos brought him, well,
what difference does it make.

Speaker 28 (03:13:49):
He shouldn't be here.

Speaker 20 (03:13:50):
But you said you don't even know him.

Speaker 28 (03:13:52):
But I just don't like his looks. I don't like
the way he's been staring at Barbara.

Speaker 20 (03:13:56):
Well, I'm not so sure I blame him. Barbara's very cute,
especially when you raise glasses. Besides, he seems to be
talking to Judge Donahue right now.

Speaker 28 (03:14:05):
Judge Donahue.

Speaker 20 (03:14:06):
Now come on, let's go to dinner.

Speaker 40 (03:14:17):
There's something else that I want to ask you, Judge Donahill,
After you've sentenced a man of the chair, isn't it
difficult to go out and meet your dinner after that? Really,
young man?

Speaker 81 (03:14:27):
Well, when a murder has been convicted, he must be sentenced.
But he's sentenced to death, he must be executed.

Speaker 40 (03:14:32):
Oh, quite impersonal, hasn't it. Besides, it doesn't happen every day,
So fuel murder as a card.

Speaker 81 (03:14:39):
If you don't mind, I believe I'm being paged.

Speaker 9 (03:14:42):
Mister Anthony.

Speaker 20 (03:14:43):
You seem very interested in the subject of murder.

Speaker 40 (03:14:46):
Well, no more than anyone else, madam, No more than
you for instance me.

Speaker 14 (03:14:52):
No, I'm not interested in murder.

Speaker 40 (03:14:54):
Oh, come now, everyone's interested. Surely are not going to
tell me there hasn't been a time that you didn't
want to dispose of somehow good hippos. No, you mean
to tell me there wasn't a tiny moment when you
were made very angry?

Speaker 28 (03:15:09):
What did you say?

Speaker 32 (03:15:11):
Well?

Speaker 57 (03:15:11):
There you are?

Speaker 40 (03:15:12):
Say, there you are. You've decided to commit a murder?
How would you plan to do it?

Speaker 14 (03:15:17):
Oh?

Speaker 20 (03:15:18):
I didn't get your name, Missus Cunningham.

Speaker 40 (03:15:20):
Well, Missus Cunningham, how are you doing?

Speaker 28 (03:15:23):
Well?

Speaker 20 (03:15:24):
I suppose i'd have to get a gun from somewhere.

Speaker 40 (03:15:26):
Oh no, Missus Cunningham, Bang bang, bang all over the
place and blood everywhere.

Speaker 20 (03:15:32):
Well, what's your idea, mister Anthony?

Speaker 40 (03:15:35):
Well, I have the best way and the best tools
my two hands, simple, silent, and it's quick.

Speaker 28 (03:15:41):
Why are you cool?

Speaker 20 (03:15:45):
You must be very strong, mister Anthony.

Speaker 40 (03:15:48):
I'll let me show you what I mean. You don't
mind if I borrow your neck for a moment?

Speaker 32 (03:15:52):
Do you know.

Speaker 14 (03:15:54):
That's so silly?

Speaker 20 (03:15:56):
Very well? Go ahead?

Speaker 40 (03:15:59):
Are you watch what I'm doing? When I nod my head,
you'll just try to cry out yes, I'll bet you
won't be able to make a soun. I'm ready all
right now, just wait till I nod my head.

Speaker 20 (03:16:27):
She'll be all right. Father, missus Anderson's with her and
judged Donahue they're up in the bedroom.

Speaker 81 (03:16:31):
But Missus Cunningham, what happened? How could you have choked?

Speaker 17 (03:16:35):
Well?

Speaker 20 (03:16:35):
I don't know for sure. Missus Anderson thinks they were
playing some sort of game. And when Bessie screamed, he
he fainted?

Speaker 14 (03:16:41):
Where is he?

Speaker 81 (03:16:42):
And where's the end?

Speaker 20 (03:16:43):
Guy took him into the study.

Speaker 81 (03:16:44):
Then tell Guy to get him out of here as
soon as he can. This is a nice item for
the gossips. Well, I better get back to the games.

Speaker 20 (03:16:56):
And Barbara, what's the matter?

Speaker 46 (03:17:00):
Was awful?

Speaker 20 (03:17:00):
I saw him? What was he trying to do? To
where you saw him? I was standing in the doorway.
His hands were on her throat, but he kept staring
at me and he was strangling me.

Speaker 4 (03:17:15):
What do you mean?

Speaker 20 (03:17:17):
He went in a sort of a trance. Oh, it
was horrible. He thought he was murdering me.

Speaker 9 (03:17:24):
But why I had?

Speaker 28 (03:17:26):
Why me?

Speaker 20 (03:17:27):
You'll be silly, dear, you're upset as ault. Now go
find father.

Speaker 40 (03:17:38):
What happened?

Speaker 17 (03:17:39):
Guy?

Speaker 40 (03:17:40):
I fainted?

Speaker 28 (03:17:41):
Didn't I started getting so dizzy? You mad, crazy maniac?
You ought to be locked up. Will you get out
of here now and let me alone?

Speaker 40 (03:17:50):
But Guy, I like you.

Speaker 28 (03:17:53):
Now I've got to talk about my father.

Speaker 40 (03:17:55):
You promised to.

Speaker 28 (03:17:59):
You should ha done that, guy, you shouldn't have hit me.
Maybe that'll like a little sense into you. If you
have a car here, Yes, it's outside, it's down the block.
Come on, we got the back way.

Speaker 68 (03:18:14):
Guy.

Speaker 28 (03:18:15):
Did he leave, Anne?

Speaker 20 (03:18:17):
I didn't mean to startle you, dear, he has left?

Speaker 1 (03:18:20):
Yes?

Speaker 28 (03:18:21):
And why'd you come out here?

Speaker 20 (03:18:23):
I had to talk to you yesterday at the ODT Gallery.
That wasn't the first time you met Bruno, was it?

Speaker 28 (03:18:28):
What makes you say that?

Speaker 20 (03:18:29):
I don't know?

Speaker 14 (03:18:31):
Guy?

Speaker 20 (03:18:32):
What did Miriam look like?

Speaker 28 (03:18:34):
But I I've told you.

Speaker 20 (03:18:36):
I want you to tell me again.

Speaker 5 (03:18:38):
Well?

Speaker 28 (03:18:39):
She she was dark, not too tall, sort of pretty.

Speaker 20 (03:18:44):
What else?

Speaker 28 (03:18:45):
What else is there?

Speaker 20 (03:18:46):
She wore glasses, didn't she?

Speaker 14 (03:18:47):
Yes?

Speaker 20 (03:18:48):
Barbara wears glasses too. And Barbara looks something like Miriam,
doesn't she doesn't she?

Speaker 28 (03:18:53):
No, no, no, not at all.

Speaker 20 (03:18:56):
How did you get him to do it?

Speaker 29 (03:18:57):
Guy?

Speaker 28 (03:18:58):
Get him to do it?

Speaker 20 (03:19:00):
He killed Miriam? Didn't he tell me? Didn't he?

Speaker 1 (03:19:03):
Yes?

Speaker 78 (03:19:05):
Yes, he's a maniac. I met him on the train
going to Metcalf. He had some crazy scheme of but
exchanging murders. If I do his murder, he'd do mine.

Speaker 20 (03:19:13):
What do you mean your murder.

Speaker 28 (03:19:14):
Well, he'd read about me in the papers. He knew
about Miriam, about you.

Speaker 20 (03:19:17):
He must have known he was talking nonsense, but he wasn't.

Speaker 28 (03:19:21):
And now a lunatic wants me to kill his Father's
too fantastic.

Speaker 20 (03:19:26):
You've known about Miriam all this time? Yes, why don't
you call the police.

Speaker 28 (03:19:30):
And have them say what you did? How did you
get him to do it?

Speaker 20 (03:19:34):
If we could only talk to father or someone about.

Speaker 28 (03:19:37):
Him, it's no good.

Speaker 7 (03:19:38):
Ann.

Speaker 28 (03:19:39):
I can't drag anyone else into this guy.

Speaker 20 (03:19:41):
What are we going to do?

Speaker 28 (03:19:42):
I don't know.

Speaker 78 (03:19:44):
I don't know, Bruno, Bruno, this is guy. I've decided

(03:20:08):
to do what you want about your father. Yes, I
want to get it over with, detective. Oh, don't worry
about Hennessy. There's a way out across the roof here
to the next apartment. Does anyone know you've come home?
Then you better go out again and stay out until
after daylight. I'll be there in forty minutes.

Speaker 77 (03:20:39):
Before we return with Act three of Strangers on a Train,
I'm going to introduce my guest for the night. She's
very special, a blue eyed blonde who's to be congratulated
on playing the leading role. In the very first picture
she's made. And when I tell you her name, you'll
know she sings, she dances like a dream. Here she
is Miss Aileen Stanley.

Speaker 62 (03:20:58):
Junior name for my aunt Aileen Stanley, who starred in
so many Broadway musical comedies.

Speaker 13 (03:21:04):
I only hope that.

Speaker 28 (03:21:05):
You'll live up to the Aileen Stanley name. You've certainly
made a fine star.

Speaker 11 (03:21:09):
Well.

Speaker 62 (03:21:09):
I have Warner Brothers to thank for the opportunity and
for casting the opposite a star like Gordon McCrae.

Speaker 77 (03:21:14):
We'll all be watching for you, Aileen. Aren't you sorry
you won't be in New York on Thursday for the
world premiere of Warner brothers new.

Speaker 62 (03:21:21):
Musical, Oh you mean I'll See You in My Dream?

Speaker 28 (03:21:25):
That's it.

Speaker 77 (03:21:25):
That song is the title of their new picture, portraying
the story of the famous songwriter Gus Kahn. The cast
has Danny Thomas playing Kahn, Frank Lovejoy is his collaborator
Walter Donaldson, and Doris Day is his wife.

Speaker 1 (03:21:38):
Grace.

Speaker 77 (03:21:38):
Kahn sings his wonderful songs, making Whoopy Pretty Baby, Nobody's Sweetheart, and.

Speaker 62 (03:21:43):
There's something more to make I'll See You in My
Dream As a picture to watch for that's Patrice Wymore's dancing.
Patricia is lovely as the dancing star of a Ziegfield
musical that features con songs.

Speaker 77 (03:21:54):
Patrice Wymore is always someone to see. She has that fresh,
lux lovely look.

Speaker 62 (03:21:59):
Yes, lux girl all right. In fact, Patrese tells me
that after day of strenuous dancing rehearsals, she really appreciates
her Luck's beauty bath. And I certainly agree. It's the
most refreshing pickup.

Speaker 7 (03:22:11):
I know.

Speaker 77 (03:22:12):
Yes, a daily Luck beauty bath is Hollywood's way to
all over loveliness. Lux active lather makes your daily bath
a real beauty bath. It leaves skin so soft and smooth.
The delicate lux fragrance really clings, makes you sure of skin.

Speaker 28 (03:22:27):
That's sweet.

Speaker 77 (03:22:28):
Thank you Aileen Stanley Junior for coming here tonight. Now
here's a suggestion for lovely women everywhere. Tomorrow, get this
generous satin smooth bathcake. You'll delight in the creamy, rich
lather abundant even in hardest water. It leaves your skin
really fresh. Luck's lovely all over. Nine out of ten

(03:22:49):
screen stars use fragrant white lux toilet soap. We pause
now for station identification. This is the CBS Radio network.

(03:23:20):
The curtain rises on Act three of Strangers on a
Train starring Raymond and as Guy Haynes, Ruth Roman as
Anne Morton, and Frank Lovejoy as Bruno. Antony to Guy Haynes,

(03:23:41):
there is only one way out now. In the quiet
of the night, Guy has entered the Anthony home with
the key in the map of the house that Bruno
sent him. Guy has no trouble finding mister Anthony's bedroom.

Speaker 28 (03:24:01):
Mister Antony, mister Antony, don't be alarmed. I must talk
to you about your son, about Bruno.

Speaker 40 (03:24:08):
Mister Antony, wouldn't you feel more at home with a
light arm, Guy, Bruna, my father isn't home. I was
about to tell you that over the phone, but you
made such a sudden decision. I wondered why. And I
thought your father'd be interested to know he has a
lunatic son. And you have no intention of going ahead
with our little arrangement.

Speaker 28 (03:24:29):
I never had, Bruno. Look, you're terribly sick.

Speaker 78 (03:24:35):
I don't know much about these things, but why don't
you go where you can get some kind of treatment,
not only for your own sake?

Speaker 28 (03:24:40):
But you can't go on causing more.

Speaker 40 (03:24:43):
And I don't like to be double crossed. Guy, I
have a murder on my conscience. I killed your wife.

Speaker 28 (03:24:50):
But it's not just my murder.

Speaker 40 (03:24:51):
It's yours too, isn't it.

Speaker 28 (03:24:54):
I guess it's no use trying to talk to you, Bruno.
I'll leave.

Speaker 40 (03:24:58):
Yes, that man from the police who supposed to be
watching you, you mustn't let him get suspicious.

Speaker 28 (03:25:03):
Guy, you can put that gun away, Bruno.

Speaker 40 (03:25:05):
Ho, don't worry. I'm not going to shoot your guy
might disturb my mother. I'm a very clever fellow. I'll
think of something much better than that.

Speaker 28 (03:25:16):
Good night guy.

Speaker 20 (03:25:25):
Hello, Hello, I'd like to speak to missus Anthony. Please
Bruno Anthony's mother.

Speaker 57 (03:25:32):
This is Bruno's mother.

Speaker 20 (03:25:33):
I'm Anne Morton, missus Anthony, Senator Morton's daughter.

Speaker 79 (03:25:37):
Oh, Miss Morton, good morning.

Speaker 20 (03:25:39):
How nice of you to call. I'd like to see you,
missus Anthony, just as quickly as possible. Why that would
be lovely?

Speaker 57 (03:25:45):
Do come over do thank you.

Speaker 82 (03:25:47):
I'll leave right away, And no one knows i'd come here,
missus Anthony, but I simply had to tell you.

Speaker 9 (03:26:02):
Oh, Miss Morton.

Speaker 79 (03:26:03):
Really, I know Bruno has been in some very awkward scrapes,
but nothing so ridiculous as a murder.

Speaker 20 (03:26:09):
But you have to make him do something about this.
Don't you see that just one word from him would
get guy out of a dreadful situation?

Speaker 79 (03:26:15):
But how can you take this seriously? It's just some
practical joke. Dear Bruno is so terribly irresponsible. Oh, he
gets into all sorts of escapades.

Speaker 20 (03:26:24):
But you don't seem to understand your son's responsible for
a woman's death.

Speaker 57 (03:26:29):
Did Bruno tell you this?

Speaker 1 (03:26:32):
Oh?

Speaker 20 (03:26:32):
No, of course, Well there you are.

Speaker 79 (03:26:35):
Well now, it was very nice of you to call
miss Morton.

Speaker 57 (03:26:38):
Do come and see us again.

Speaker 44 (03:26:39):
Sometime, won't you?

Speaker 40 (03:26:42):
My fraid mother wasn't very much help, was she.

Speaker 20 (03:26:44):
If you don't mind, I think I better leave.

Speaker 40 (03:26:46):
Mother hasn't been too well for some time. She's a
little well, how shall I say it, she's confused. You know,
I am very upset with Guy. He shouldn't have sent you.

Speaker 20 (03:26:57):
Guy doesn't know I'm here, mister Anthony.

Speaker 40 (03:26:58):
He's at the tennis club, isn't he? He will be Yes,
he's playing Reynolds this afternoon. It's a very important match.
He must be very desperate to try to involve me,
try to involve you. Well, I've been protecting guy ever
since he told me how much he hated his wife.
Do you know, Miss Morton, that guy tried to get
me to go back to that amusement park some night

(03:27:19):
after dark and look for his cigarette lighter.

Speaker 20 (03:27:22):
What's a cigarette lighter got to do?

Speaker 40 (03:27:23):
Why he dropped it there right after he well after
that night, you see, all the police are waiting for
is one piece of evidence to convict guy for the murder.
I can't tell you how worried about he stopped this morning.
I do sympathize with you, but I just couldn't do
what he asks. Why that would make me an accessor.

Speaker 20 (03:27:55):
Then I left his house and came straight into the club.

Speaker 28 (03:27:57):
Guy, you shouldn't have gone there, Dolling.

Speaker 20 (03:27:59):
Brune told me, if the police ever found your lighted there,
that's all they need, something to prove you were there
when she was murdered.

Speaker 78 (03:28:04):
Bruno has my light. I know you told me that
liar about my wanting him to get it back. That
means he's going back to Metcalf, back to the amusement park.
He's going to drop it there somewhere where they'll find it.

Speaker 20 (03:28:17):
Oh guy, I wanted so to help, but I'm afraid
all I did is make things worse, he.

Speaker 28 (03:28:20):
Said last night you'd think of something. Well, give him credit,
he certainly has.

Speaker 20 (03:28:25):
Well, you've got to get to Metcalf before he does.
You haven't time to play. You better tell them now.

Speaker 78 (03:28:30):
No, if I try to avoid this match, Hennessy's bound
to get suspicious. I have him out of his sight
all day.

Speaker 40 (03:28:35):
Then i'll go there's a training and you'll stay right here.

Speaker 28 (03:28:38):
I'll try to give Hennessy the slip right after the match.

Speaker 20 (03:28:40):
But Darling, that'll be too late.

Speaker 78 (03:28:42):
Didn't Bruno say I wanted him to go there some
night after dark? Yes, well, he won't expose himself in daylight.
If I can finish off this match, I'll still have
time already.

Speaker 28 (03:28:51):
Guy, you go on in a few minutes. I'd right
out there. I'll look in. Here's what you better do.
Get hold of Bob just to see.

Speaker 20 (03:29:16):
Isn't he wonderful?

Speaker 57 (03:29:17):
Mister Hennessy?

Speaker 1 (03:29:18):
Uh oh, how are you, bobra?

Speaker 44 (03:29:20):
Oh?

Speaker 28 (03:29:20):
This here's mister Hammond, mister Hammond.

Speaker 1 (03:29:22):
This here's the senator's other daughter.

Speaker 20 (03:29:24):
Oh yes, I've seen mister Hammond outside the house. He's
a detective too. You and he take turns don't you.

Speaker 1 (03:29:30):
Yeah, something like that.

Speaker 46 (03:29:31):
But if he's your relief man, why would the two
of you be.

Speaker 28 (03:29:33):
Here to get Look you're a nice kid, Barbara. Now
watch him hit the little ball and don't ask him
any questions.

Speaker 20 (03:29:39):
Oh, I've got it all arranged.

Speaker 46 (03:29:46):
An The cat's outside waiting to take guy to the station.

Speaker 20 (03:29:50):
I gave him ten dollars. But what about those two
to take they're still over there any of the dressing rooms,
waiting for guy to finish the match. Gosh, I've never
seen a guy play so fast in my life. When
he's got to get on that train, Barbara, Now once again,
as soon as the match is over, Guy's going to
run out through the clubhouse. Just do your best of
delay those detectives from coming after him. All guy will
need is a few seconds. Just leave it to me,

(03:30:11):
and oh, I'm real good at getting in people's way.

Speaker 85 (03:30:21):
Looks like we're out of luck. Hammond Hans beat us
Steward by about two minutes. The guy says he bought
a ticket to Metcalf.

Speaker 21 (03:30:26):
Well, what are we waiting for?

Speaker 28 (03:30:28):
The train just pulled out.

Speaker 1 (03:30:29):
We can still have him flag it down.

Speaker 85 (03:30:30):
Relax, let him go to Metcalf. Will phone Captain Turley
and let them take over that end. That nutty little
Dame Barbara is a nice kid. Maybe it was an
accident pushing you in the fish pond. Just one thing
that puzzles me. What's hanes big rush to get the metcalf?

Speaker 28 (03:30:45):
What's he going back for? Come on, Hennessey, that's phone turning.

Speaker 40 (03:30:55):
Hey, awful tea.

Speaker 14 (03:30:56):
I get them while there hot in their fresh roost
of day, kimballs.

Speaker 40 (03:31:00):
What time does it get dark around here?

Speaker 14 (03:31:02):
What's the hurry?

Speaker 3 (03:31:03):
Jack?

Speaker 81 (03:31:04):
Hey, y'all folks so straight roasted me?

Speaker 40 (03:31:06):
What time does it get dark?

Speaker 28 (03:31:07):
I saw hill out? But how allroud you find out?

Speaker 40 (03:31:11):
Get them right here?

Speaker 21 (03:31:11):
Bo so roasted?

Speaker 86 (03:31:14):
If sure doing business down at this end of the park,
they oh day night? Ever since that girl got murdered,
people want to see the scene of the crime.

Speaker 40 (03:31:23):
Oh well, why did it happen right over there?

Speaker 14 (03:31:28):
Then?

Speaker 86 (03:31:28):
Picnic ground across the lagoon lover is clean? Yes, sir,
they sure have been cleaning up.

Speaker 40 (03:31:35):
I don't think it's a very nice way to make money.

Speaker 86 (03:31:37):
These folks gotta eat too, ain't they? Or a while
less smooters wouldn't go near.

Speaker 40 (03:31:41):
The place you're afraid. I don't know what a smoocher is.

Speaker 86 (03:31:44):
Okay, so I ain't educated. Wait a minute, you see
if you got a match? No, well you got a lighter.
Keep pulling with that lighter in your hand.

Speaker 40 (03:31:53):
Oh it's just a here, buy yourself a box of matches.

Speaker 28 (03:31:59):
Carry place is full of parry to.

Speaker 17 (03:32:11):
Hello.

Speaker 40 (03:32:11):
This is Sergeant Adams.

Speaker 38 (03:32:12):
I'm throwing from the station. Is put Captain Chelly on
the phone.

Speaker 40 (03:32:17):
And just got off the train, Sarry. He took a cab.

Speaker 28 (03:32:19):
He told the driver to take him to the amusement park.

Speaker 2 (03:32:21):
All right, pick up your men and go to the park.
I'll take a group from here.

Speaker 28 (03:32:23):
We'll be waiting for him. That's all Adam's. Hello, Bruno,
I've been looking all over for you.

Speaker 40 (03:32:38):
Shouldn't have come here, guy, This could be very dangerous
for you.

Speaker 28 (03:32:43):
It'll be more dangerous. But left you here alone, wouldn't it, Bruno?

Speaker 40 (03:32:46):
But this is where it happened, guy, This is really
where it happened. They try to make people believe it
happened in the concessions. They figure it'll make more money
that way.

Speaker 78 (03:32:54):
I came after my cigarette ladder. I want better lighter, Bruno.
I'll be foolish guy, you're just proving theory for them.
Murderer returning to the scene of his Give it to me.

Speaker 28 (03:33:03):
Give it to me before I I've got the man
you want right here. He's stop him, stopping me to
get away.

Speaker 73 (03:33:10):
Make him paying someone else shout he's getting away. I
can't let him get away. This is my captain Turley
the rolly Coaster. They ran Todd the Rolly Coast. All right,
just watch a fire. There are tominate people here. Keep
those people back, all right.

Speaker 40 (03:33:32):
One we want.

Speaker 28 (03:33:32):
It's the other one, the one who ran.

Speaker 2 (03:33:34):
What are you men of?

Speaker 28 (03:33:34):
Din't hate?

Speaker 11 (03:33:35):
I remembered him.

Speaker 4 (03:33:36):
I seen him.

Speaker 81 (03:33:36):
Hear that night when the girl was killed. Two young
fellows were with her, and this one he kept following.

Speaker 28 (03:33:40):
He kept brooking at her.

Speaker 81 (03:33:41):
I remember, real playing, you realize what you're saying. All right,
we're talking to him before I asked him for a match.

Speaker 86 (03:33:46):
It's the same one, all right, cholemen's around the area
over here, Captain the rolly Coaster.

Speaker 2 (03:33:50):
They're under the Rolly coaster, under the track.

Speaker 55 (03:33:52):
What shut it off?

Speaker 28 (03:33:53):
Turn off the roller coast, turn it all.

Speaker 2 (03:33:55):
It's close down, Oh tan it off?

Speaker 44 (03:33:57):
He get the one was running away trying the squitch
and keep the gate.

Speaker 28 (03:34:00):
That's one way of keeping us out of let the
track of being repaired.

Speaker 80 (03:34:02):
When most costs them down the scuttle all over the place.

Speaker 38 (03:34:04):
All right, find the bait switch and.

Speaker 28 (03:34:05):
Turn it off.

Speaker 40 (03:34:11):
Wait, stay where you are, guy, don't come any closer.

Speaker 28 (03:34:19):
Well you're run to now, Bruno. They're all around here,
the police, Bruno.

Speaker 40 (03:34:23):
He won't get me, not alive. I've got a gun.

Speaker 38 (03:34:25):
That's not for you.

Speaker 28 (03:34:26):
Bruno. You're much too clever to use a gun.

Speaker 14 (03:34:29):
I'll kill you, and then I'll kill myself. I'll kill
you first, and that you better start talking. Haynes, what's
this all about?

Speaker 78 (03:34:46):
Walley? He had my cigarette ladder. He came back here
tonight to plant it. Depend the whole thing on me
cigarette lighter. Let me talk to him, please, all right,
take it easy now over here.

Speaker 28 (03:34:57):
He's in a pretty bad way up. Can't you lift
that stuff off him? I went to everything we can
until the crane commers.

Speaker 40 (03:35:03):
Well, guy, who is that with you?

Speaker 28 (03:35:07):
This is Captain Turley, Bruno. Police, Oh they got you
at last.

Speaker 40 (03:35:11):
A guy.

Speaker 28 (03:35:12):
Tell him, Bruno, tell him you have my lighter and.

Speaker 40 (03:35:15):
I haven't got a guy will still be over there
where you dropped it that night he dropped at him.
I'm sorry, guy, I want to help you. I don't
know what I can do.

Speaker 28 (03:35:27):
Captain Turley, May I go through his pockets? Oh of
course you're can't. Besides, he says he hasn't got it.

Speaker 87 (03:35:31):
But if he dies before, here's no more. This man's dead,
Captain his hand, he's got something in his hands. See
what it is, Mac, It's a lighter, Captain, a cigarette lighter.

Speaker 14 (03:35:44):
Heh Let me see that from A to G, from
end to guy. It looks like you were right, Haines.
And I better keep this for a while. How about
staying in town overnight. I imagine there's a lot you
may want to tell me, Yes, I imagine there is. Captain,
May I use a telephone?

Speaker 28 (03:36:01):
Shall go ahead?

Speaker 86 (03:36:02):
There's one up near the entrance.

Speaker 28 (03:36:04):
Okay, who was he? Mister?

Speaker 14 (03:36:07):
That guy?

Speaker 28 (03:36:08):
His name was Bruno Anthony, a very clever fellow.

Speaker 20 (03:36:18):
Oh yes, guy, yes, Darling, Well of course i'll be there.
I'll leave right away, Father Barbara. It was guy. He's
safe and he's free.

Speaker 28 (03:36:41):
Guy, Yes, Dan.

Speaker 20 (03:36:42):
That man across the alley, he keeps looking at you.

Speaker 40 (03:36:45):
Oh he's a minister.

Speaker 20 (03:36:47):
I didn't know you knew any ministers.

Speaker 81 (03:36:49):
I beg your pardon, but aren't you Guy Haynes.

Speaker 28 (03:36:52):
I'm sorry, sir, but when I was a very little boy,
my mother warned me never speak to strangers on a train.

Speaker 77 (03:37:09):
We want you to meet our stars in person, and
mister Keeley will tell you about next week's show in
the meantime. Here's a tip from lovely Marino Harrah, with
her shining dark hair and flawless white skin. Marine is
a real Irish beauty, she says, Yes, indeed, I'm a
lux girl. I've found regular Lux care does wonders for
my complexion, makes it softer, smoother, really lovelier. Why don't

(03:37:33):
you take Marino Harrah's advice. Here's all you do. Simply
work Lux Soap's rich active lather well in. The lather's
so creamy it agrees with delicate skin. Then rinse with
warm water splash of coal right away. Your skin looks fresher, prettier.
So try Hollywood's own beauty soap tomorrow.

Speaker 28 (03:37:53):
You'll find it's easy to be lux lovely. Nine out
of ten screen stars are lux curls.

Speaker 14 (03:38:00):
Now.

Speaker 28 (03:38:00):
Here's mister Keeley with our stars and.

Speaker 77 (03:38:02):
We call them back for another bow, Ray miland Frank
Lovejoy and Ruth Roman Ray, what have you been doing since.

Speaker 28 (03:38:09):
We work together on our latest picture?

Speaker 78 (03:38:11):
Well, I liked it so well as Wallace that I've
just finished a Cagney production. They're called bugles in the afternoons.

Speaker 40 (03:38:16):
In the afternoon, I thought bugles were for early morning.

Speaker 78 (03:38:18):
Well, Frank stories about the US cavaries continuing fights for
the Indians, which caused a great deal of bugle blowing
back in eighteen seventies.

Speaker 77 (03:38:26):
How about how about you, Ruth? What part of the
Warner Brothers cast you in recently?

Speaker 57 (03:38:30):
A rather unusual role?

Speaker 20 (03:38:32):
I could playing myself, and so does Frank love Joy.
The picture is called.

Speaker 77 (03:38:35):
Starlift, oh, of course, based on the actual trips Hollywood
stars make to the air base where the boys take
off for Korea.

Speaker 40 (03:38:42):
Yes, that's right. We play two of the stars who
go to the base to entertain the boys.

Speaker 20 (03:38:46):
They really should have called it the Luck Star Lift
Bill because the actresses who go in the Star Lift
are naturally Lucks.

Speaker 40 (03:38:51):
Girls, including yourself.

Speaker 20 (03:38:53):
Of course is Ray certainly I'm a Lucks girl. It's
my favorite beauty care, you know.

Speaker 77 (03:38:57):
By a happy coincidence, Ray is just about the leave
on a star lift of his own all the way
to Alaska to entertain our troops for the holiday.

Speaker 28 (03:39:04):
Well as the privilege to do so. Bill, the only trouble,
Liz Worth, you're expecting a lux girl won't be. I'm
a bit of a disappointment when.

Speaker 40 (03:39:10):
You would be the may Ram. But remember the boys
a star for entertainment, they'll really appreciate you.

Speaker 20 (03:39:16):
And speaking of entertainment, how about next week's show, Oh.

Speaker 77 (03:39:20):
It'll be great entertainment Ruth starring on our one of
our most popular comedians, a fellow who also spends a
great deal of his time entertaining the armed forces, Bob Hope,
and as his co star, Glamorous Marilyn Maxwell. We will
present them in the paramount picture laugh Riot the Lemon
Drop Kid.

Speaker 28 (03:39:38):
I hate to miss that one.

Speaker 77 (03:39:39):
Bill, good night, good night, good night, and don't talk
to any strangers.

Speaker 18 (03:39:44):
How would you like double aware from every pair of
stockings you own? Then take this tip from the people
who make them. Always wash nylons in locks. Yes, over
ninety percent of the makers of stockings recommend Lucks. Why
because the Lucks makes stockings last twice as long. Strange
tests prove it no other soap, no SuDS of any

(03:40:06):
kind can make stockings last longer. And what's more, new
locks enriched with color freshener keeps colors clearer, makes stockings
look sheerer than ever. It's the stocking care. Famous Hollywood
screen stars insist on for their own glamorous nylons. Get
a big box of new locks with color freshner tomorrow.
Give your stockings, all your lovely washables that bright as

(03:40:30):
new lock's luck.

Speaker 29 (03:40:53):
In a whirl of time, man speed, He lives of
the universe when many adventures beyond this spith.

Speaker 7 (03:41:04):
He is in the.

Speaker 29 (03:41:07):
Oh well, where a strange perces.

Speaker 1 (03:41:09):
Are brought into play.

Speaker 7 (03:41:12):
When a man attempts to.

Speaker 1 (03:41:13):
Misuse these pores, he.

Speaker 8 (03:41:16):
Is sometimes destroy This is my.

Speaker 69 (03:41:38):
The Farias Network presents in special performance Macabre The Night Story,
The House and the Garden.

Speaker 29 (03:42:03):
Our story concerns a medieval castle in the south of
France and the strange events that befell its inhabitants.

Speaker 21 (03:42:11):
About the turn of the century, its owner, Count Jacques.

Speaker 38 (03:42:13):
De Marigni, died.

Speaker 29 (03:42:15):
His son and heir, an American art dealer, moved to
France to become the master of his father's estate.

Speaker 69 (03:42:21):
One rain sweat night. A few years later, a black
caped figure strained against the storm toward a towering gray
structure looming defiantly above the barren countryside.

Speaker 1 (03:42:33):
It raced across a drawbridge into the courtyard.

Speaker 69 (03:42:35):
Like some giant bat, closing in on its victim.

Speaker 29 (03:42:40):
A moment later, the figure pounded.

Speaker 69 (03:42:41):
Wildly on the massive main entrance of the ancient castle, and.

Speaker 29 (03:42:45):
Was admitted by a small, hunched servant, who led the
visitor into the library before a roaring fire.

Speaker 69 (03:42:53):
The man stood patiently, drying himself. Presently he noticed the
gaunt features of something else watching him from a darkened port.
For a moment the two were motionless. Then the visitor
took a step forward, and as good.

Speaker 29 (03:43:11):
Evening was here, I have inspect the Bordeaux, the Prefecture
of Police. I am here in answer to the urgent
summons of Count Jacques de Moroni. Perhaps you'll be kind
enough to inform him that I am here.

Speaker 21 (03:43:23):
Speak up, man, you cannot stand there on the shadows
all evening.

Speaker 14 (03:43:28):
Good?

Speaker 29 (03:43:29):
That is better step over here by the fire, please,
good lord man, you have the look of death.

Speaker 4 (03:43:38):
What is the matter?

Speaker 21 (03:43:39):
Take me to your matter at once? Where is Count?

Speaker 29 (03:43:42):
I have the count do Maddy, you my god, you
can inspector.

Speaker 21 (03:43:47):
Inspect the Bordeau at your disposal, sir.

Speaker 29 (03:43:49):
Now will you explain these rather strange circumstances. Yes, in
a moment, Monto. Did you call master of two glasses
of brandy but brandy, sir?

Speaker 1 (03:44:01):
Yes, brandy.

Speaker 21 (03:44:03):
Brandy is in the cellar, sir, so well. The wine
from the kitchen will do. Line from the kitchen, thank you, sir.
Wine from the kitchen.

Speaker 29 (03:44:14):
Your servant is frightened, monsieur, please be seated by the
fire inspector.

Speaker 1 (03:44:18):
You're drenched, Thank you very much.

Speaker 21 (03:44:20):
A terrible night.

Speaker 29 (03:44:21):
Yes, the carriage hardly made the trip of the mountain
road with the horses barking at the lightning, and I did.

Speaker 21 (03:44:26):
Not expect to drive at all. My apologies for summoning
you on such a.

Speaker 29 (03:44:30):
Night and so isolated the spot a patient could die
before a doctor could possibly reach him.

Speaker 21 (03:44:35):
The wine master, O, thank you, Manto.

Speaker 29 (03:44:37):
That will be all a moment, if you please. Although
the wine is fine, brandy would have been better. Why
did you not go to the cellar for it?

Speaker 72 (03:44:47):
Go to this cellar.

Speaker 29 (03:44:48):
That will be all, Manto. You may help in the
kitchen tonight, yes, Master, thank your master.

Speaker 14 (03:44:54):
Well is wrong here?

Speaker 1 (03:44:55):
Monsieur?

Speaker 21 (03:44:56):
What about this cellar he seems to be afraid of.

Speaker 29 (03:44:59):
It's a long story, inspected, beginning with the house in
the garden.

Speaker 21 (03:45:03):
The house in the garden.

Speaker 29 (03:45:06):
Yes, continue, please, I sent for you because our alives
here at the castle are in danger.

Speaker 21 (03:45:13):
Oh who threatens you? I am not certain.

Speaker 29 (03:45:17):
Have you received notes or visitors who might lead you
to believe that someone wants to kill you?

Speaker 70 (03:45:22):
No?

Speaker 21 (03:45:23):
I suppose I'm not making much sense, I must agree, monsieur,
you are not.

Speaker 29 (03:45:27):
Will you hear me out, my dear count, I am
a busy man. Perhaps you should have called a doctor instead. No,
there may be a death here tonight, you will, But listen,
I can explain very well. At any rate that wine
was tasting my glass, I haven't touched, perhaps.

Speaker 21 (03:45:46):
Only a sip or two.

Speaker 1 (03:45:48):
I am not a drinking man, you know, of course not.

Speaker 21 (03:45:51):
I'll have Manto bring us a bottle. A very good Now,
tell me about the ouse sinde the garden.

Speaker 29 (03:45:59):
A little over a years ago my father died left
me this estate of over a million francs. Provision was
that I must occupy the castle and remain here to
retain pedal. I have lived in America since childhood, since
my mother left my father when I was an infant.
It was difficult, but I pulled up stakes and moved
to France. And then I met an American student in Paris,

(03:46:19):
Yvette Palmer.

Speaker 1 (03:46:20):
We fell in love.

Speaker 29 (03:46:21):
It was later that I learned she had another suitor,
the Duke de Bastelle. She couldn't decide which of us
to marry. The Duke became an enemy and threatened my life.
Why did you not go to the police, But they
have believed me any more than now.

Speaker 21 (03:46:36):
A good point, monsieur.

Speaker 29 (03:46:39):
A fine wine, huh, yes, Sir Montau.

Speaker 21 (03:46:42):
Just as if or two? Perhaps a a gless. I
am not a drinking man, you.

Speaker 29 (03:46:46):
Know, Yes, Sir Monteau, A bottle of port, yes, master,
go on with your story. Well, one night there was
a ball here in the ball room, I was dancing
with Yvette that everyone.

Speaker 1 (03:46:58):
Seemed to be here.

Speaker 44 (03:47:01):
Now, Jacques, but guess who just rid.

Speaker 1 (03:47:04):
Nothing matters to light except you and me.

Speaker 9 (03:47:07):
It's our friend, the Duke.

Speaker 29 (03:47:09):
I don't recall sending him an impetition.

Speaker 48 (03:47:11):
Oh he Jesus Jack, he's coming over.

Speaker 21 (03:47:14):
Come on. It's no sense and having trouble on the
dance floor.

Speaker 4 (03:47:16):
That is in pretty pictualize.

Speaker 21 (03:47:18):
It's not too in love.

Speaker 48 (03:47:19):
Please don't make a scene.

Speaker 21 (03:47:21):
Are you not leading everyone to believe I have blessed you?

Speaker 1 (03:47:24):
Keep your own voice down.

Speaker 21 (03:47:25):
You've made a choice of light event. So it was
the faunt that billy man you don't want and have
none like me, A man who could give you everything.

Speaker 7 (03:47:33):
Bad man, that's not true.

Speaker 29 (03:47:34):
But Mary, a check book at a place, suit of clothes.

Speaker 21 (03:47:37):
That is all you are getting. It won't be a man.

Speaker 29 (03:47:40):
Uh oh, here it goes thirty years of gentlemanly upbringing.

Speaker 9 (03:47:44):
You said that, my friend, you don't lie, I kill you.

Speaker 29 (03:47:49):
Maybe a difference of opinion about that.

Speaker 2 (03:47:51):
Madley to me, if you've been coming up off.

Speaker 21 (03:47:54):
Your fault is the life away?

Speaker 65 (03:47:56):
Fool's stop with this.

Speaker 13 (03:48:01):
Will you kill me?

Speaker 21 (03:48:03):
You'll never live to marry. I have a better plan
to settle at differences anyway.

Speaker 1 (03:48:14):
Your cat but the knife away, and I.

Speaker 9 (03:48:18):
Might you act like to spoil children.

Speaker 48 (03:48:20):
You're disgraced in front of all your friends.

Speaker 21 (03:48:22):
Very well, let us go into the other.

Speaker 1 (03:48:27):
You know you cut my neck.

Speaker 20 (03:48:29):
It's bleeding.

Speaker 29 (03:48:31):
You made the mistake of getting me excited.

Speaker 48 (03:48:38):
Take my handkerchief that will stop the blood.

Speaker 1 (03:48:41):
Oh, I don't think you were bluffing.

Speaker 21 (03:48:42):
I would have killed you.

Speaker 1 (03:48:45):
Oh what what is this plan of yours?

Speaker 21 (03:48:47):
A wager?

Speaker 1 (03:48:49):
A wager? Yes from what stakes?

Speaker 14 (03:48:51):
One?

Speaker 21 (03:48:52):
After your foot chat?

Speaker 5 (03:48:53):
What?

Speaker 21 (03:48:54):
I didn't think I hit you that hard?

Speaker 20 (03:48:55):
What is the wager?

Speaker 49 (03:48:57):
Did it?

Speaker 29 (03:48:57):
To stonehouse in the garden, the one used for storage
a wedger? I can span ten years alone in this
house without once coming out, seeing or talking with anyone.
What it's like a prison? No windows at all, only
a door and a narrow slid at the roof or air.
Stone walls are six feet thick.

Speaker 21 (03:49:17):
Make it comfortable for me.

Speaker 29 (03:49:19):
Get a servant to lower foot twy once a day
through the slit in the city. All I ask is
that you send me anything I want to read. I
will leave nuts to that effect in the empty foot twys,
which can be lifted out after I have eaten.

Speaker 1 (03:49:31):
And if you remain four ten years.

Speaker 69 (03:49:33):
I collect after your fortune one more thing, though, if
that should wait until the wedger is over before choosing
between us, it will be fair then, as I will
have as great a virtune as you suppose.

Speaker 1 (03:49:47):
You leave before the time is up, I lose it.

Speaker 4 (03:49:51):
You are free.

Speaker 21 (03:49:53):
Now to make it legal, we will have a lawyer.

Speaker 29 (03:49:56):
Draw up contracts, be first to violate agreement forfets the.

Speaker 48 (03:50:01):
But you say that, you mean we won't see you
again for ten years and.

Speaker 21 (03:50:05):
You must not contact me. Perhaps I will be more
effective to you when.

Speaker 1 (03:50:10):
I am well, what if I refuse to do this,
then I will kill you. I see very well, it's
a deal.

Speaker 29 (03:50:21):
But remember we'll all be bound strictly by the contract exactly,
and we're not mina honor. And that's the story behind
the house in the garden. The Duke de Lastelle has
been there ever since.

Speaker 21 (03:50:37):
Incredible is here? When does he get out?

Speaker 1 (03:50:41):
The ten years will be up at midnight day after tomorrow.

Speaker 21 (03:50:44):
As the Duke kept his bag and to the.

Speaker 29 (03:50:46):
Letter onto lawers the food tray once a day, and
we hear nothing from him at all.

Speaker 21 (03:50:51):
So then why have you summoned the police? Is that
monsieur my wife?

Speaker 9 (03:50:55):
Inspector, yes, I'm not interrupting.

Speaker 29 (03:50:59):
I must talk to you certainly, and Inspector Bordeaux, the Countess,
I do mariined, how do do?

Speaker 64 (03:51:04):
It?

Speaker 1 (03:51:05):
Is my pleasure? Madame Yvette. Did you say we were
married five years ago?

Speaker 33 (03:51:09):
I see, she did not.

Speaker 48 (03:51:11):
Wait, darling, we can't use the east wing tonight?

Speaker 1 (03:51:14):
Oh why not?

Speaker 48 (03:51:16):
The seller and servants won't go near them.

Speaker 21 (03:51:18):
Shock. What will we do as something happened?

Speaker 1 (03:51:21):
Countess?

Speaker 48 (03:51:22):
Yes, please tell in shock?

Speaker 29 (03:51:23):
There have been two deaths in his many nights. A
gardener in the cellar two nights ago, and I made
last evening in the east wing.

Speaker 21 (03:51:30):
How did they die?

Speaker 29 (03:51:32):
Apparently natural tests. Both elderly bodies were taken down to
a village. Doctor said he could find nothing suspicious.

Speaker 21 (03:51:38):
Did you expect to find anything suspicious?

Speaker 9 (03:51:41):
Well, you see he expected.

Speaker 13 (03:51:43):
There is more.

Speaker 29 (03:51:44):
Two deaths and two nights under natural conditions, probably coincidence.

Speaker 21 (03:51:49):
Nothing else. Again, why have you called the police?

Speaker 1 (03:51:52):
The drums drums?

Speaker 24 (03:51:54):
We heard them.

Speaker 48 (03:51:55):
Before the gardener died, and again last night before we
found Suzette.

Speaker 28 (03:51:59):
What men of drum?

Speaker 21 (03:52:00):
The kind you might hear in a jungle. Someone is
playing the game with you?

Speaker 1 (03:52:05):
Who he got Manto?

Speaker 21 (03:52:07):
And a does another?

Speaker 1 (03:52:07):
Trusted servants live here with me? There's no one else
except the duke in the house.

Speaker 28 (03:52:12):
In the garden.

Speaker 29 (03:52:12):
Pardon me, Master, here is why about? Yes, Manto put
it by the inspector. Please, yes, Master, I do not
mean to hear I must tell you, servants, do not
think Duke's still out there?

Speaker 21 (03:52:25):
What the last three days? Do not touch food on trade,
chase come back full.

Speaker 29 (03:52:30):
Perhaps the man is here, Servants think he find out
Miss if at Mary count. Maybe he escaped kill everyone
with voodoo drums, voodoo. One of the provisions was that
he be allowed to read anything he desired. For the
past few years, he's requested books on high and low magic, sorcery, witchcraft.

Speaker 1 (03:52:47):
In the mine.

Speaker 21 (03:52:48):
So, and when did you first hear these drums?

Speaker 29 (03:52:52):
Two nights ago. We had just gone to bed when
they began to beat. Did you make an attempt to
locate them?

Speaker 48 (03:52:58):
No, Inspector, we thought one of the was playing on them.

Speaker 29 (03:53:01):
They found a gardener in the summer the next morning.

Speaker 21 (03:53:03):
Servants very frightened. It is easy enough to clear this up.

Speaker 1 (03:53:08):
Give me the key.

Speaker 21 (03:53:08):
I will open house in the garden. No, not until
midnight the day after tomorrow. But it's important to know
if the Duke is in there.

Speaker 29 (03:53:14):
The contract state, so I will lose my entire fortune
if I do that.

Speaker 1 (03:53:17):
We just wait, and you sent for guards to.

Speaker 21 (03:53:19):
Protect us, protect you from what monsieur voodoo drums. Inspector
Bordeau would be the laughing stock of out France.

Speaker 29 (03:53:26):
No, my dear count and Countess, you have made a
childish wager. What an equally childish you do, and now
you are allowing your nerves to play fanciful tricks on you.

Speaker 21 (03:53:35):
I cannot help you, My coats, you.

Speaker 48 (03:53:37):
Play the road back may be washed out, Inspector. It's
a terrible night.

Speaker 21 (03:53:41):
Indeed, yes, yes, it is a bed night.

Speaker 1 (03:53:43):
You are welcome to stay the night.

Speaker 48 (03:53:45):
There really is something wrong here. Maybe you can find it.

Speaker 29 (03:53:48):
If drums come again, servants leave, I think, inspect to
Have you tried our grape wine, a stock we've had
in heres?

Speaker 1 (03:53:57):
Ah, the wine?

Speaker 21 (03:53:58):
Indeed, yes, put me up just for the night. Perhaps
this does bear some looking into.

Speaker 29 (03:54:04):
Fine Two bottles of grape manto.

Speaker 21 (03:54:06):
Two bottles of grape good monto. Mind you only a
sip or two, perhaps a glass. Remember I am not
a drinking man.

Speaker 29 (03:54:14):
Quite before remaining, Inspector, let us retire now to the
safety of our rooms. I know that you recognize the
danger here. If the drums beat again, tonight.

Speaker 65 (03:54:24):
M trans shock recap transit.

Speaker 5 (03:54:54):
What you say.

Speaker 1 (03:54:58):
Coming from the hall.

Speaker 25 (03:55:00):
Hurry, let's go clop there, Please go see who's.

Speaker 50 (03:55:09):
The door.

Speaker 1 (03:55:13):
There's something outside in the hall.

Speaker 14 (03:55:17):
Watch it.

Speaker 21 (03:55:24):
Come with me in textable door.

Speaker 29 (03:55:26):
Here our mid dramma went around the corner with these
we made apprehend this counterdoor be the way, inspector. You
have the laven Hey, we're almost to sleep. When I
heard the sound, you were very wise to summon me.
This is either a practical joke or a guess the
plan of murder around then?

Speaker 16 (03:55:41):
Sorry?

Speaker 21 (03:55:41):
Wait, wait, tap the street it's moving. What is behind it?

Speaker 14 (03:55:44):
And I'll call it?

Speaker 21 (03:55:45):
Our phantom is probably in there. Careful now, hurry?

Speaker 68 (03:55:55):
Did tempt this?

Speaker 28 (03:55:58):
Who is this girl?

Speaker 1 (03:55:59):
Marie? One of my wife's maids?

Speaker 14 (03:56:02):
Is she?

Speaker 1 (03:56:03):
She's gone a dreadful look of fright. But the others
like this, Yes, no signs of violence.

Speaker 21 (03:56:11):
Ay, he's getting away. I must have gone off the
west tower a hand of a ladder and hollied away.

Speaker 9 (03:56:18):
Through a start.

Speaker 21 (03:56:20):
The man could go to his death on the stay away. Yeah,
take my hand gun, thank you? His picture say anything,
I'm there yet.

Speaker 29 (03:56:27):
We're almost at the top landing and then we'll have
him corner.

Speaker 21 (03:56:30):
Be careful, just a little father, what a broken step? Hey,
I have a gun just in case he's he doesn't come.
Kind of landing her own.

Speaker 1 (03:56:46):
Has to be up here somewhere.

Speaker 21 (03:56:52):
You come out from behind that post.

Speaker 50 (03:56:55):
Now we know where you are.

Speaker 1 (03:56:57):
I have a gun.

Speaker 21 (03:56:58):
I can't see a thing away. There's something I do
right over there. Stop you, I didn't do it.

Speaker 29 (03:57:05):
Carry you raise your hand, Look out.

Speaker 38 (03:57:08):
For over wan behind you?

Speaker 1 (03:57:15):
Ros?

Speaker 8 (03:57:15):
What for devil?

Speaker 31 (03:57:18):
What reason?

Speaker 7 (03:57:20):
What do you think, inspector?

Speaker 29 (03:57:21):
I think that can be done. Here will take care
of the body of the morning. I suggest we retire
to our rooms and try to get some rest.

Speaker 9 (03:57:30):
So it's finally over.

Speaker 13 (03:57:32):
Aren't usual?

Speaker 5 (03:57:33):
I wouldn't fail to go to my goal.

Speaker 14 (03:57:35):
Why, because, my dear, you're wrong.

Speaker 21 (03:57:39):
The real killer is still a cloud.

Speaker 31 (03:58:00):
H f you awake?

Speaker 1 (03:58:08):
What time is it?

Speaker 48 (03:58:10):
Who sounds like Manto calling mister?

Speaker 21 (03:58:13):
Breakfast coming Monto?

Speaker 4 (03:58:16):
Hold on, you're right there, Good.

Speaker 21 (03:58:22):
Morning, Master, have bad news?

Speaker 17 (03:58:24):
Huh?

Speaker 1 (03:58:25):
How's that?

Speaker 21 (03:58:26):
Servants here about Marie and francois last night?

Speaker 1 (03:58:30):
All leaving?

Speaker 48 (03:58:32):
They can't leave us here all alone?

Speaker 21 (03:58:33):
We are here, they say, carsan castle, everyone died. They
not stay Mortona like woodoo drums either?

Speaker 1 (03:58:40):
Where is the inspector?

Speaker 21 (03:58:42):
You're having breakfast downstairs? Tell him we'll be right down, yes, master,
but hurry inspector plan open house in garden. Ah, they
left breakfast the cook made before she left. May I

(03:59:02):
share it with you?

Speaker 29 (03:59:03):
I'll have only coffee, please, and you with that?

Speaker 9 (03:59:06):
Yes, just coffee.

Speaker 29 (03:59:08):
Monto says, you plan to open the house in the garden.

Speaker 21 (03:59:11):
Indeed it is about time? Or do you both want
to die in your sleep? And you believe there is
someone in the castle causing this? Not necessarily?

Speaker 48 (03:59:18):
How did you know it wasn't Francois, the killer we.

Speaker 29 (03:59:21):
Were following, had already passed the tower room when we
found the dead maid.

Speaker 21 (03:59:25):
He couldn't have come back without being seen.

Speaker 29 (03:59:27):
Prancois finally before we did, afraid he would mistake him
for the murderer, he like a coward, ran up the tower.
He accidentally fell out the window. That's the servant's now gone.
Only we left, all right, Monto, inspector, And how I
have a plan. Give me one more night, One more night,
monsieur may find all of us dead in our beds.

(03:59:48):
There is a madman looses. I cannot risk it. Monto
can guard eve Ot on the castle tonight? You and
I will take up watch by the house in the garden.
What do you say I think we should leave this
place immediately.

Speaker 16 (03:59:59):
Give that.

Speaker 50 (03:59:59):
How about it?

Speaker 1 (04:00:00):
One more night?

Speaker 48 (04:00:01):
I'm frightened, But if Monte will promise not to.

Speaker 29 (04:00:04):
Leave me Montaud god countess with life, there we are now,
how about it?

Speaker 21 (04:00:09):
Well, it seems I am outvoted.

Speaker 7 (04:00:12):
Very well.

Speaker 29 (04:00:12):
Then one more night, However, I cannot guarantee you will
be alive in the morning. The stone is passed, but
the night is disagreeable.

Speaker 1 (04:00:33):
No, yes, turn off the lantern, please inspector.

Speaker 14 (04:00:36):
It's very dark there.

Speaker 28 (04:00:38):
That is better.

Speaker 1 (04:00:39):
Now, this is the house in the garden, no right.

Speaker 29 (04:00:44):
Made of stone, about thirty feet square, low windows.

Speaker 8 (04:00:47):
So you mentioned.

Speaker 21 (04:00:49):
Very quiet in there like a tomb. Eh in a way,
here's a stone dark.

Speaker 1 (04:00:55):
I have the only key. Without it, we'd have to.

Speaker 29 (04:00:57):
Blast to get in. Hasn't it open since we locked
him up?

Speaker 7 (04:01:01):
Uh huh?

Speaker 21 (04:01:02):
And that opening near the door, I'd swear his.

Speaker 29 (04:01:04):
Food trays of lord six inches by twenty four justice
slid forboding prison. If it is still a prison, I
strongly advise you to open it up for your own safety.

Speaker 1 (04:01:14):
He couldn't have escaped. Who beat the drums?

Speaker 21 (04:01:17):
They came from the castle, not here in the garden.

Speaker 29 (04:01:20):
What do you think you wouldn't accept my explanation.

Speaker 1 (04:01:23):
My dear count.

Speaker 29 (04:01:24):
Please do not expect me to believe in witchcraft, our voodoo.
This is nineteen ten, the twentieth century. Then we'll hear
the drums no more. The Duke is there, and only
that manteau remain in the castle. Right exactly, there is
no one else left to beat them, if you have
assumed correctly, I suppose we are reasonably safe.

Speaker 11 (04:01:44):
Perhaps we are.

Speaker 1 (04:01:48):
What's up the drums from the castle?

Speaker 7 (04:01:51):
That quickly me?

Speaker 1 (04:01:52):
Maybe to wait to save her?

Speaker 29 (04:02:00):
H stop shallow door dramas came from the summer, I
think so.

Speaker 21 (04:02:12):
I will go first with a lantern. There's nothing down
here except rows of wine casks.

Speaker 29 (04:02:18):
We will be at the bottom in a mumma, you
see anything only wine casks.

Speaker 1 (04:02:28):
Listen, what is dripping?

Speaker 7 (04:02:32):
Wine?

Speaker 8 (04:02:34):
Hardly?

Speaker 17 (04:02:35):
Come on?

Speaker 29 (04:02:37):
Dripping is growing louder, perhaps around this corner. Something on
the floor there, But think monto.

Speaker 21 (04:02:47):
Did uh No, I'm blowing ahead quickly. Where is the countest?

Speaker 1 (04:02:55):
Let's protect countess?

Speaker 21 (04:02:58):
Someone hit me with from a drag you into the cellar.
But where does the countess ripping? It's blood indeed or heather?

Speaker 88 (04:03:07):
Something lying on that wine cask raise the latter. It's
a woman, the countess. She's alive. Her face is turning
to her good.

Speaker 28 (04:03:21):
What it seems to their face.

Speaker 14 (04:03:27):
I didn't fuck. I don't know. I hon't really.

Speaker 21 (04:03:33):
She is dead, my friend, this will not have.

Speaker 1 (04:03:38):
I know what you couldn't stand.

Speaker 32 (04:03:48):
Let's go ahead.

Speaker 21 (04:03:50):
I advise you to count her where you're going.

Speaker 1 (04:03:56):
We'll do what he wants at last.

Speaker 21 (04:03:58):
If we open the house in my garden.

Speaker 89 (04:04:01):
Yeah, because are most unusual. This door has been locked

(04:04:29):
for years. He could not escape.

Speaker 1 (04:04:33):
That's here.

Speaker 21 (04:04:33):
I am completely baffled. I confess I do not know
who has harmed you, bun whole company. That is key, Yes, Master,
it turned other way.

Speaker 29 (04:04:44):
Right turned, ye, Spector, give us our hand with your
door swings out here we go.

Speaker 16 (04:04:54):
Now let me go first.

Speaker 1 (04:05:05):
I am armed.

Speaker 21 (04:05:06):
Bring a Lenton Monteau. Yes, inspector, what do you see?

Speaker 33 (04:05:14):
Is he there?

Speaker 21 (04:05:15):
I do not see him as yet shine the lent
armed Monteau.

Speaker 16 (04:05:20):
Well, he is not here.

Speaker 11 (04:05:23):
He has escaped.

Speaker 21 (04:05:24):
I believe I understand everything. It lasts count to know
any quickly.

Speaker 5 (04:05:29):
Where is he?

Speaker 33 (04:05:29):
Inspected?

Speaker 21 (04:05:30):
Give me time to think.

Speaker 29 (04:05:32):
He could only have escaped with the help of one person,
the man who brought his food. You accuse me, yes, No,
Monteau used your key to open the door. The Duke
escaped and planned the voodoo drum debts with the help
of Monteau, who did the actually killing.

Speaker 1 (04:05:49):
No monto, but why the Duke.

Speaker 21 (04:05:52):
Promised you a part of your fortune.

Speaker 29 (04:05:54):
They hope to frighten you into opening the house early
in order to collect your entire estate, and they have succeeded.

Speaker 21 (04:06:00):
This year you lose everything.

Speaker 29 (04:06:03):
But Duke broke his agreement first by escaping.

Speaker 21 (04:06:05):
Only after I learned Vette had not waited for marriage agreed.
Now have you not opened the door and found me here?

Speaker 1 (04:06:14):
You Duke?

Speaker 5 (04:06:16):
Did us?

Speaker 1 (04:06:18):
My dear count?

Speaker 21 (04:06:23):
Have I changed so much in ten years?

Speaker 4 (04:06:26):
You promised you not tell.

Speaker 17 (04:06:29):
I see.

Speaker 21 (04:06:30):
I intercepted your smmons for the police and mascarade des
Inspector Bordeaux.

Speaker 29 (04:06:34):
Then I persuaded you to open the house in the
garden where you found the Duke had gone.

Speaker 11 (04:06:42):
For closing.

Speaker 7 (04:06:42):
We've tried to die.

Speaker 1 (04:06:44):
No, don't close the door.

Speaker 21 (04:06:45):
We can't get out, We'll die. No, don't quick, Count.

Speaker 69 (04:07:20):
You have just heard macabre a special Far East Network presentation.
In our cast were John Bewey as Inspector Bordeaux, Walt
Shelton as the Duc de Bastelle, Shirley Ashey as Countess Evette,
William Verdier as Count Jacques de Marignier, and Airman First
Class James Connolly as Monteaux. Technical supervision by Ermann first

(04:07:45):
Class Larry Clements, special sound patterns by Air Force Sergeants
Bob Eddie and Newell Stewart. This is Air Force Sergeant
al La Page speaking Macabre was written and directed by
William Verdier.

Speaker 1 (04:08:23):
Macavdra comes to you each week at this time through
the worldwide facilities of the United States Armed Forces Radio
and Television service.

Speaker 28 (04:09:17):
S.

Speaker 38 (04:10:07):
Get this and Get it straight. Crime is a sucker's road,
and those who travel had wind up in the gut
of the prison of the grave. The Lady Tourist was
a school teacher right after Glamor, and she got it,
but only after she learned that in Hollywood the three
hours could be reading done in the dark room, writing
found in a dead man's pocket, and arithmetic that added
up to murder times two.

Speaker 90 (04:10:27):
From the pett of Raymond Chandler, outstanding ofthor of crime fiction,
comes his most famous character in the Adventures of Philip
barlow Now with Gerald Moore starred as Philip Marlowe. We
bring you tonight's transcribe story. The rust and Hickory.

Speaker 38 (04:11:06):
Was hot in my apartment, even at ten o'clock at night.
The sultry wind blowing through curtains at the far side
of the room didn't help a bit. It was the
kind of night that made me wish I was something else,
a butcher, baker, candlestick maker, or anything. After a long
hot day spent in the downtown courts of law listening
to the petty arguments of a petty lossony case, I

(04:11:26):
was tired of petty people. The paper I had picked
up on my way home wasn't helping any ten killed
in an air crash. Metal cruelty, says local songbird. I
made myself another high ball, lots of ice, easy with water,
and picked up the paper again. It was still more
of the same, sinistic killed in office on Sunset's strip siniestic.

(04:11:50):
He hit the papers before Bookie b minus picture producer,
general racketeer. Somehow, I wasn't too surprised he was on
the receiving end for a change. My drink was good
for ten more pages of equally dull reading, and I
was set for the next in line when the phone rang.

Speaker 20 (04:12:07):
Mister Philip Marlowe was the first.

Speaker 38 (04:12:09):
Attractive voice I'd heard all day, mister Marlowe, And you know,
I thought you might be fun.

Speaker 46 (04:12:15):
My name is Joan Rusting, and I'm only here in
Hollywood from Erndale, Nebraska on a vacation, and I wanted
to have some fun, you know, see.

Speaker 38 (04:12:20):
The nightclubs in the stars and.

Speaker 1 (04:12:24):
Teacher.

Speaker 38 (04:12:25):
Hey, yes, let's back up a little.

Speaker 8 (04:12:28):
Hunh.

Speaker 38 (04:12:29):
Your name is Joan Russ and you're from Ferndale, Nebraska,
which you're right, I've never heard of. Also, you're a
school teacher. That much I got with the rest about
the sights, the last part.

Speaker 46 (04:12:37):
The trouble, don't you see, they're the one and the same.
I wanted to step out nightclubs, movie stars, glamour. But
it didn't end up like that because he was shot,
and that I didn't he was showing. His name's Aubrey Nicol.
He's the man who took me out to show me
the clubs. Anyhow, after it happened, I ran, why why
the publicity? Of course, mister marlow I'd lose my job,
you see, I'm a school.

Speaker 38 (04:12:57):
Yeah you said that. Honey. Now look where are you?

Speaker 1 (04:12:58):
Joan?

Speaker 46 (04:12:59):
Did you'll approom? Hits a bar on sunset and Lastiana,
come right over high huh.

Speaker 38 (04:13:04):
Yeah, I'll come right over high. Good bye, Joan.

Speaker 46 (04:13:17):
Hey, hey, mister marlow.

Speaker 38 (04:13:20):
Yeah, but where are you?

Speaker 46 (04:13:21):
We'll be here in this book.

Speaker 38 (04:13:22):
Hurry, okay, Herry, it is Oh now tell me why
all the secrecy and you?

Speaker 46 (04:13:28):
Oh and what what are you staring at?

Speaker 15 (04:13:31):
You?

Speaker 38 (04:13:33):
I expected braids, Joan horn, rims, calico maybe not ice blue, satin,
drape plunging and yes, yes, start at the top, money
and slow this time.

Speaker 17 (04:13:45):
Huh.

Speaker 46 (04:13:46):
Well, yesterday I met this man, miss Aubrey Nichol, I mentioned,
Oh he's really nice, mister Marlowe, he's a photographer, has
a darling place.

Speaker 38 (04:13:52):
Upon a sunset sunset strip? You want that? I have
your picture taken.

Speaker 46 (04:13:57):
I wanted something, well, something glamorous. Look here what I got. Oh,
by the way, I ordered to drink for you a
Scott's drink.

Speaker 20 (04:14:05):
Here.

Speaker 46 (04:14:06):
You like Scott's drinks, don't you?

Speaker 38 (04:14:07):
Yeah, Scott's Strengths are my favorite drinks.

Speaker 28 (04:14:11):
Joan.

Speaker 9 (04:14:11):
Thanks, You're welcome.

Speaker 46 (04:14:13):
Now, isn't it wonderful?

Speaker 38 (04:14:14):
The picture I mean, I'll say it is. I'd never
say school teacher.

Speaker 46 (04:14:17):
No, that's the idea, just like a model in a
fashion magazine, isn't it. Harbert took it from inside his
photoshop while I was outside on the street looking in
his window, you know, like a smart career girl, just
strolling along the avenue. And see how he faded out
the background that way. I'm the focal center.

Speaker 38 (04:14:33):
Vocal center.

Speaker 57 (04:14:34):
Isn't it nice?

Speaker 39 (04:14:34):
Oh?

Speaker 38 (04:14:35):
Yes it is? Yeah, But look, Joan, the rest of
the story. Now, the man was shot. You don't want publicity, remember,
Oh yes.

Speaker 46 (04:14:41):
Yes, of course. Well we made a date mister Marlow
for tonight. I was to be at his place his
shot on the strip at eight, which I was. But
when I got there he was gone. Well he might
just as well have been, for all the attention he
paid to me. He had something on his mind, acted
as though he didn't even expect me. Well, I had
to mention this picture here twice before he got it
out of a dwarf for me. But then just like that,

(04:15:02):
he changed said, if I wanted glamour in nightclubs, why not?

Speaker 38 (04:15:05):
Oh, by all means, why not?

Speaker 46 (04:15:07):
And if we went to Serrahos no less, and sat
at a table with two men and a woman who
was actually Armgard Fury.

Speaker 38 (04:15:12):
Actually who armguard Fury?

Speaker 14 (04:15:14):
The darling.

Speaker 46 (04:15:15):
Don't you read the papers? Oh golly, her picture's been
in every theater section in magazine for the last six months.
Of course, she hasn't made a movie yet.

Speaker 57 (04:15:22):
But she probably.

Speaker 38 (04:15:24):
She has red hair figure lots of each.

Speaker 20 (04:15:27):
That's right.

Speaker 46 (04:15:27):
Oh, I'm so sweet to talk to. But believe it
or not, when we were in the powder room and
she couldn't find her lipstick, she used mine.

Speaker 38 (04:15:33):
Now that's really democratic. Look, Joan, there was a shooting.
You remember that. Now you were sitting at a table
with three men in this armed god the Fury.

Speaker 20 (04:15:41):
That's right.

Speaker 38 (04:15:43):
Well, go on what happened next?

Speaker 46 (04:15:45):
Well, when miss Fury and I got back to the table,
mister Lacy and his friend were gone. And then a
minute later Aubrey excused himself to make a phone call.
And then and then a waiter brought me a note
from Aubury which said I should go back to my
hotel and wait there till I heard dram him. Then
it happened.

Speaker 38 (04:16:01):
Look, Joan, if I'm gonna help you on this, you
got to tell a whole coherent story.

Speaker 46 (04:16:05):
Well, suddenly there were some shots, maybe from outside, and
people were yelling. It was terrible. I was scared to
death and I ran outside. People were crowded around someone
who was Aubrey. He was dead.

Speaker 38 (04:16:16):
What'd you do?

Speaker 14 (04:16:17):
Then?

Speaker 46 (04:16:17):
I took the first taxi I could get to my hotel,
that Beverly Chris. I started from my bungalow, but didn't
go inside because because there was.

Speaker 62 (04:16:24):
A man hanging around.

Speaker 46 (04:16:25):
I'd seen him before someplace, and I didn't like his
looks and turned away. He called for me, but he
was awful, mister marlow.

Speaker 38 (04:16:31):
Awful, looking like a frog, maybe, sloping shoulders, bulging eyes.

Speaker 46 (04:16:34):
Yes, and when mister Marlowe, how do you know what
he looked like?

Speaker 38 (04:16:38):
Promised not to tell, promised.

Speaker 46 (04:16:40):
Not to Oh, mister Marlowe, he's here, isn't.

Speaker 38 (04:16:43):
He been watching this for quite a while.

Speaker 20 (04:16:45):
Holy smokes.

Speaker 46 (04:16:46):
And I didn't get away from him. Oh, mister marlow
I had nothing to do with his shooting.

Speaker 20 (04:16:50):
What can I do?

Speaker 46 (04:16:51):
I simply can't be mixed up in this terrible business. Oh, please,
mister Marlowe, I'll pay you anything, you only get me.

Speaker 27 (04:16:56):
Out of this.

Speaker 38 (04:16:56):
Please, we'll talk about that later, Johnny. Now, look, when
we get up, keep talking and don't look away from me.
Then when we're outside and around on the taxi, stand there,
duck away from me fast and getting close to the building,
and stay there until the Frogman is gone, and head
for a hotel bungalow and wait there to hear for me.
Now you got that, Oh.

Speaker 46 (04:17:11):
Yes, but I don't understand why he's going.

Speaker 20 (04:17:13):
To leave us.

Speaker 38 (04:17:14):
You will if our little cool works come on. It
played easier than not expected, because, like a good shadow
of the Frogman, gave us a small headstart, which was
all I needed. The second Joan dotted away from me,
I moved quickly up to the first cabin line open
and slammed the red door fast, said goodbye out loud

(04:17:36):
to Joan, who was not in the back seat, then
slipped the drive of five, winked hard and practically shouted
a very far away address at him. When he lunched
in the curb. I stood there and waved him, and
it was still supposed to be Joan. Then, even as
I saw the Frogman out across the street, pile into
his own car and take off after the cab, I
walked slowly back into the bar, where I had another
Scotch drink and did some fast checking on the current

(04:17:58):
location of Aubrey Nichols, which was the Dawson Memorial Hospital.
Then I started outside for my car, after stopping Enrude
at the booth where Joan and I had been sitting
to pick up a pair of gloves and glamor portrait
my new little client had left on the seat. The
school mom had been upset.

Speaker 59 (04:18:14):
Indeed, Dozen Memorial Hospital doctor Chambers, Yes, one moment, please
go ahead, yes, sir, oh, I.

Speaker 38 (04:18:29):
Want to know the condition of a patient who was
brought in here a little while ago. Mister Aubrey Nicholl.

Speaker 59 (04:18:33):
I'm sorry, sir, We're not allowed to give out such information.
You'd have to inquire the two pretendents office.

Speaker 38 (04:18:38):
There wouldn't bother Phil Well, Detective Lieutenant Matthews. Good evening,
Good evening.

Speaker 37 (04:18:43):
Nicholas dead model. We did not get a statement from him.

Speaker 38 (04:18:46):
That's too bad. Any idea that no have you? I
didn't even know him, a client of mine, mister Smith.
That's right, it's remarkable, mister Smith. He asked me to
inquire about his condition.

Speaker 58 (04:18:59):
Uh huh, Well, it happened about an hour ago in
an alley behind Cirrhos. Aubrey Nichol was a photographer up
on the strip, but pretty much of a phony, A
big front boy strictly.

Speaker 38 (04:19:08):
That's all it was to it.

Speaker 5 (04:19:09):
Huh walk down here with me a little Oh sure, sure, we.

Speaker 58 (04:19:16):
Figure there may be some connection between this shooting and
sang Nesta's death this afternoon.

Speaker 34 (04:19:20):
Nestor also had an office on the strip.

Speaker 38 (04:19:23):
What do you figure the Talians main.

Speaker 14 (04:19:25):
Man named ham Lacy, Have you hear him?

Speaker 38 (04:19:27):
Yeah, he was one of Nesta's number one boys in
the racket, right, something like that? Of course.

Speaker 58 (04:19:32):
Officially, ham Lacy is known as the vice president of
Nesta Enterprises Incorporated, also production manager that second rate movie studio,
nest Well, anyway, Lacey, another man and Aubrey Nickel. We're
at Cyrhos tonight with a starlet named erm god Fury
and another girl we haven't been able to tag yet.

Speaker 38 (04:19:50):
Now tell mine, lieutenant. When Nesta was killed it looked
like the usual mob tactics.

Speaker 58 (04:19:55):
No, no, Nesta was beat up by fists, not sap,
not cut up with brass. Knis your death was caused
by a blow to the temple from a poker that
was standing next to a phony fireplace in which he
could have hit his head when he fell.

Speaker 38 (04:20:06):
Well, he's probably not Lacy in associates.

Speaker 1 (04:20:08):
Huh, probably not.

Speaker 37 (04:20:10):
He's got an alibi.

Speaker 8 (04:20:11):
Yeah.

Speaker 28 (04:20:12):
Besides, we already got a fair line.

Speaker 14 (04:20:13):
And who did it and why?

Speaker 58 (04:20:15):
We found a note in Nesta's pocket, signed D. Tobin,
which threatened Nesta with a beating if he didn't stay
away from the undersign's.

Speaker 37 (04:20:21):
Wife and send her back home at once. Nestor, you
may may not happen to know.

Speaker 58 (04:20:26):
I had this im god Fury or something under contract
to him, saw lots of her. So again, the two
deaths more or less tied together.

Speaker 38 (04:20:33):
Yeah, you've already talked to h Oh. By the way,
her name is erm god Fury.

Speaker 50 (04:20:37):
I know.

Speaker 37 (04:20:37):
No, No, I ain't talked to him. I figured I
wait till I knew a little more.

Speaker 58 (04:20:41):
Also, I didn't figure Nichol would die without saying anything. Well,
not your turn. We found this negative in the alley
near Nichol's body. This is a night shot of the
sunset strip and nothing more means anything to you.

Speaker 38 (04:20:54):
No, I should have look. I told you before, Lieutenant,
I never even met Nichol.

Speaker 58 (04:20:58):
Yeah, and I listened, didn't I notice? But now let's
level a bit I, Phil. Who your client is and
what he or she has to do with this is
one thing as long as we're both on the same side,
but playing dumb when it might count is quite another.
And now once more, Phil, huh the picture still zero?
Lieutenant Hannah Bright anything else?

Speaker 17 (04:21:17):
Yeah?

Speaker 37 (04:21:17):
Yeah, just to save you a little time, Phil, Yeah,
let's do im God.

Speaker 34 (04:21:21):
Fury's address for forty one West Bedford Drive, Beverly Hills.

Speaker 38 (04:21:25):
You got to call forty one West Bedfords.

Speaker 37 (04:21:26):
Now play it close.

Speaker 58 (04:21:27):
Be sure to call when you think it's time. And
if you're wondering about why all is helped from me,
try this. What you know and won't tell, plus what
I know and will tell might do the trick.

Speaker 33 (04:21:38):
Say goodbye to me, Phil, goodbye.

Speaker 38 (04:21:51):
Yes, miss Fury, my name's Philip Marlow. I must talk
to you at once about what your husband, I'm a
friend of his, nisked me to get in touch with you.
It's because of what happened this afternoon up on the strip.

Speaker 20 (04:22:02):
Well, what's wrong is is Dave here in town?

Speaker 11 (04:22:06):
Yeah?

Speaker 38 (04:22:06):
Yeah, he is, and he's in trouble. You see, the
police are after him.

Speaker 20 (04:22:09):
You said enough, huh what are you? Copper reporter?

Speaker 38 (04:22:12):
Oh no, wait a minute, Misterury, I've already told you
I'm a friend of Daves.

Speaker 20 (04:22:15):
His name happens to be Douglas.

Speaker 59 (04:22:17):
Mister Douglas Tobin, keep that in mind when you try
this next time.

Speaker 38 (04:22:21):
Good Night, I'm not so fast, baby. Mistake was mine,
but I still want to talk to you.

Speaker 17 (04:22:26):
So a lot of men.

Speaker 20 (04:22:27):
But now beat it before God, before.

Speaker 59 (04:22:31):
I forget myself.

Speaker 38 (04:22:32):
What's the trouble I'm going?

Speaker 20 (04:22:33):
Oh, no trouble, Hamilton, Darling. This gentleman was just leaving.

Speaker 59 (04:22:37):
He had the wrong address. He he made a mistake,
didn't you, mister Marlow.

Speaker 38 (04:22:43):
Yes, yes, a blunder. A thousand apologies and good night, missus. Tobin.
What it was worth it work? At the mention of
the name Tobin, Hamlcey spun around like it was built
on a pivot. In his eyes that were narrow slits
with all the come hit. The look of a cobra
has never left me as I slowly walked away from
him and passed the yellow invertibally, just driven up in

(04:23:05):
license number six nine six' nine Ex california and on
out to the. Street all of which only meant To
Lieutenant matthews was probably right about there being some connection
Between sinester's murder and the death Of Aubrey. Nickel AND
i opened the door of my car and started to
climb in under the. Wheel the voice in the night
helped not at. All if you don't do AS i,
Say i'll kill.

Speaker 80 (04:23:24):
You, okay coock it, out take it, easy all, Right
i'll close the door and turn.

Speaker 28 (04:23:28):
Around you're back to.

Speaker 38 (04:23:29):
Me, look if this is a stick up, busty he
can save us both a lot of.

Speaker 1 (04:23:32):
Time i'm not a hold up.

Speaker 91 (04:23:33):
Man now move over, there close to those.

Speaker 1 (04:23:36):
Trees go. ON i want to ask you a. Question all,
right that's far.

Speaker 2 (04:23:40):
Enough, now what have you got to do With?

Speaker 91 (04:23:43):
Helen helen Who helen tope urm Guard, fury that's what
she's known. As now what have you got to do with?

Speaker 38 (04:23:49):
Her tell, me very, little Mister. Teuburn you know WHO i,
am and so do the. Police why don't you call it?
Quits why you're still in one? Piece oh, no, no not.

Speaker 91 (04:23:59):
Quits that's what you want with all of you want
me arrested and out of the way In, jalen maybe
out of the way for. Good no, no so that
won't Be helen's smin and you're not gonna harm her careful.

Speaker 38 (04:24:08):
Toe when you're getting, excited that's, excited excited.

Speaker 14 (04:24:10):
Enough for this sco.

Speaker 90 (04:24:24):
In just a moment the second act Of Philip. Marlowe
but first a thrill a, minute high tension suspense from
the word, go dramatic excitement that builds and builds until
it explodes in a smashing. Climax That's Inner, sanctum The
Great Mystery. Show that's another of CBS's top Notch Monday night.
Programs you'll Find Inner sanctum one of the most entertaining
spots in Your monday night listening.

Speaker 27 (04:24:44):
Schedule and, Remember.

Speaker 90 (04:24:46):
Lux Radio theater is back for its fifteenth year of
great dramatic Presentations Inter sanctum And Lux Radio theater Every
Monday night over most of these SAME cbs. Stations now
with our Star Gerald, moore we return to the Second,
Actor Philip marlowe and tonight's story The rust And Hick.

Speaker 38 (04:25:03):
Ray when the whirling pinwheels of light slowed down to
being street lamps, Again Douglas tilburn had pounded shoe leather
on enough sidewalk to be safely out of. Sight but
it took a full minute of rubbing the bruise where

(04:25:24):
his pistols had glanced off my head BEFORE i finally
remember that it was a good time to Call. JOHN
i looked back at Him God fury's house, first and
saw the lights still, on the cream colored convertible still
parked in, front and all apparently quiet. Inside SO i
limped as far as the phone booth on the. CORNER
i won my client that the trick we'd pulled on
the frog wouldn't hold up, forever but INSTEAD i found

(04:25:45):
out just how far this side of forever it had. Collapsed, yeah, hello, Hello,
hey what number is?

Speaker 2 (04:25:55):
This Wells?

Speaker 1 (04:25:56):
Shamas you got the right number Of?

Speaker 8 (04:25:58):
Shamas what are you doing?

Speaker 38 (04:26:00):
There Where's john? Rusting?

Speaker 14 (04:26:01):
All the baby's? Here but she ain't much of a
move to. Talk, incidentally thanks for giving me this free, Time.

Speaker 38 (04:26:06):
Debby what are you talking about.

Speaker 14 (04:26:08):
That fast shuffle you touched? Me dibby that now you see?
Her now you don't gag with the taxi an old
shell game operator like, Me that one was the stuff
to see.

Speaker 13 (04:26:17):
Through it was a.

Speaker 1 (04:26:18):
Glass bottomed, boat all, right all?

Speaker 38 (04:26:19):
Right you get you to plumber in the. Morning but
listen to. You if anything happens to Miss, russing, now skip,
it skip, it.

Speaker 13 (04:26:23):
Dippy you're wasting your.

Speaker 8 (04:26:24):
Breath it's already HAVING i see you around so?

Speaker 92 (04:26:28):
Long, Oh Joan, john come, on, baby come, on snap
out of, me to stay away from.

Speaker 38 (04:26:42):
Me, hey get out of. Here, Yeah, marlow come, on,
honey what happened to?

Speaker 15 (04:26:50):
You?

Speaker 17 (04:26:50):
Hurt?

Speaker 46 (04:26:50):
Joan that, man the one with the gruff, boy he
forced his way in, Here.

Speaker 20 (04:26:54):
Marlow he was looking for.

Speaker 46 (04:26:55):
SOMETHING i tried to stop. HIM i was going to,
screen BUT i guess that's when you put the bite.

Speaker 38 (04:26:59):
On that's slug. Baby.

Speaker 46 (04:27:01):
Anyway he hit me, hard And i've never been treated
that way before in my own.

Speaker 38 (04:27:05):
Life you've never been buddies with murdered before. Either come,
on HOW i get up off the.

Speaker 33 (04:27:08):
Floor huh?

Speaker 40 (04:27:09):
Easy?

Speaker 38 (04:27:10):
Now he turned your place inside, out, too didn't? He
what was he, After?

Speaker 28 (04:27:15):
Jonny?

Speaker 14 (04:27:16):
OH i don't.

Speaker 46 (04:27:16):
Know he just told me to quit stalin and hand it.
OVER i didn't know what he meant to reshove. Me
then he pulled out all the books there and tore
up the.

Speaker 38 (04:27:23):
Run he was looking for something small and, flat like
A wait a, minute wait a, minute sure the cops
found a negative Near Aubrey nickel, tonight but it was.
Worthless it must have been another, one an important, one
And lacy And, froggy who no doubts his helm, bay
must think you've got it, Me, well that's.

Speaker 46 (04:27:37):
Impossible ALL i had was my, picture and WELL i
don't even have that, now BUT i do.

Speaker 38 (04:27:41):
Out of my. Can it gives me a great. Idea come, On,
adam get what's my photograph got to do with? You maybe?
Plenty you, see When aubrey printed that picture of, you
he faded out the background almost. Completely you, remember that's
a stunt and fashion photography to make a subject stand.
Out but in this, Case joe AND i figured it
was played strictly in. Reverse do you mean That aubrey
took you to WHEN i was tonight on, business big,
business and you were holding the merchandise for them all the? Way,

(04:28:05):
yeah let's take a.

Speaker 46 (04:28:06):
Look oh, mio CAN i pretty picture?

Speaker 38 (04:28:09):
Frame better listen your pretty? Head latest Way i'd believe?

Speaker 5 (04:28:12):
Me, yeah here it.

Speaker 38 (04:28:14):
Is bucks see a negative the size of a postage.
Stamp i'll bet old flash, bulbs the ten dollar. Bills
this baby's really.

Speaker 46 (04:28:21):
Loaded why, Long i'll bet that baby's loaded. Too what
are you talking about the gun in that man's hand
there behind?

Speaker 38 (04:28:28):
You oh, fine, wait wait, Easy.

Speaker 60 (04:28:31):
Marlow I'm i'm not looking for any more.

Speaker 91 (04:28:33):
TROUBLE i just want to be sure that you'll help.

Speaker 17 (04:28:35):
Me.

Speaker 1 (04:28:35):
First you're a private.

Speaker 91 (04:28:37):
DETECTIVE i searched you, before SO i Know i'm in a.
Jam it's worse THAN i. Figured the cops are after
me for.

Speaker 38 (04:28:44):
Murder no, KIDDING i can't understand, It. Silburn all you
got Is i'm, motive deep enough to, swimming and you've
been dropping clothes Like hansel And gretel dropped.

Speaker 91 (04:28:51):
Pebble all, right all, right BUT i didn't do it.
WELL i beat up Sign, ester, sure but well he
was going With.

Speaker 14 (04:28:56):
Helen My.

Speaker 91 (04:28:57):
HELEN i hit it everything and everybody in this phony
town because they took her away from, me even changed
her name for Her Erngard.

Speaker 17 (04:29:04):
Fury BUT i didn't Kill.

Speaker 1 (04:29:06):
NESTOR i SWEAR i. Didn't you've got to.

Speaker 38 (04:29:08):
Help, Me marlow with a thirty eight year. Fist are
you asking or?

Speaker 28 (04:29:12):
Telling?

Speaker 1 (04:29:12):
Oh i'm, asking, brother, here, here take, it take the.

Speaker 60 (04:29:14):
Gun i'm in a, fix AND i know.

Speaker 38 (04:29:16):
It, okay Hot, Ed i'm already In dutch for Hiding
matthew's key witness. Here think HOW i look keeping his
chief suspect under raps.

Speaker 27 (04:29:23):
Two.

Speaker 38 (04:29:24):
Yeah oh Maybe i'm a, sucker BUT i believe. You all, right,
wait do you and hang your? Hat the country cottage
is number.

Speaker 91 (04:29:31):
Seven it's in kind of a motel court down On,
melrose number.

Speaker 38 (04:29:34):
Seven i'll go there and stay out of, sight AND
i mean stay out of.

Speaker 1 (04:29:36):
Sight.

Speaker 3 (04:29:37):
Yeah oh, okay, Thanks, marlow Say i'm SORRY i batted
you down.

Speaker 38 (04:29:42):
Tonight that makes a lot of difference to the lump
on my. Head go, On, tolbyn beat. It, Okay i'll
keep in touch with.

Speaker 48 (04:29:46):
You where are we, Going?

Speaker 38 (04:29:48):
Marlow call a friend of. Mine we need a big
enlargement of a small negative?

Speaker 4 (04:30:09):
Chronicle phollow Laps sherman, Speaking are you?

Speaker 38 (04:30:11):
Sheremy this Is Phil? Mallow no, kidding?

Speaker 26 (04:30:14):
Jee how's?

Speaker 13 (04:30:15):
Business?

Speaker 17 (04:30:15):
Phil?

Speaker 44 (04:30:15):
Lump?

Speaker 14 (04:30:17):
Long ternal'll?

Speaker 62 (04:30:18):
See?

Speaker 8 (04:30:18):
YEAH i?

Speaker 18 (04:30:18):
Know?

Speaker 38 (04:30:18):
Now look are you? BUSY i got a job that's
right down your? Alley, sherman it's. Important what is? It,
well it's a thirty five millimeters NEGATIVE i wanted blown
up to about half as big as a. House, okay
bring it.

Speaker 17 (04:30:28):
IN i.

Speaker 38 (04:30:28):
CAN'T I i've got to check a couple of other
things at the same. Time, now look, shermy can you
meet me at The Aubrey nickel studio on The strip
in about ten? Minutes back door a? Minute, yeah how
come back off felt so we can kick it in
without attracting too much. Attention shew, Me i'll see you
in ten. MINUTES i Piled joan into the, car drove

(04:30:53):
down the, strip and once Past Nickel, studio which was,
Enough joleman posts for a picture in front of the,
place and directly across the street behind, her just AS
i knew what had to be was the neat plastic
sign reading Sign ester enterprises on the diminutive but glossy
Imitation swiss chalet Where nesta's body had been. Found we
turned double back through the alley and Found sherman bobbing
up and down like a nervous. Gopher five minutes of

(04:31:14):
not so subtle persuasion got us past the lock and
Inside aubrey's, studio where something else. Checked the walls were
practically papered with pictures of irm god fury taken from
every conceivable, angle including some that were. Not things were
beginning to make a lot of.

Speaker 46 (04:31:27):
Sense Marlow is this all right coming in? HERE i
mean it's sort of.

Speaker 38 (04:31:30):
Uninvited nose's breaking an entering.

Speaker 16 (04:31:33):
Lady you can get five years for.

Speaker 7 (04:31:35):
IT i, sure hope you know what you're.

Speaker 38 (04:31:37):
Doing, yeah this must be the dog. Room, yeah here's the, Negative,
shermy do your. Stuff what do you.

Speaker 46 (04:31:43):
Really expect to find on the?

Speaker 13 (04:31:44):
Film?

Speaker 46 (04:31:44):
Marlowe a?

Speaker 38 (04:31:45):
Murderer, Baby it's gotta go one of two, Ways Douglas
tobin for jealousy or Ham lacy for. Ambition Aubrey nickel
caught one of the two in the background when he
took your, picture and he was familiar enough with all
parties concerned over there to think he could put the
screws on. Somebody how's it, coming, shermy people get.

Speaker 14 (04:32:01):
Out in a?

Speaker 81 (04:32:02):
Minute fifteen by Twenty, okay.

Speaker 38 (04:32:04):
Yeah it's. Good there isn't a man in the. Background
i'll ead it.

Speaker 29 (04:32:07):
Better get The Sultan pepper pal because it's.

Speaker 14 (04:32:11):
Nothing but a.

Speaker 38 (04:32:11):
Car it can't, be, brother that's more than a, Car.
Shermy it's a yellow convertible that belongs to Ham. Lacy,
look you can even see the license six nine six nine.

Speaker 46 (04:32:22):
X six nine.

Speaker 20 (04:32:24):
Six, now how do you suppose what's the.

Speaker 38 (04:32:27):
Matter, MARLIN i just thought of. Something without this, picture
Both toburen And lacy are, suspects but with it we
have Proof lacy is. Implicated that Means lacey thinks he
Has toburen sitting in the perfect frame right where he wants. Him, now,
look you two get out of, here go back to the.
Paper i've got to get the tobyin fast and let him. Know, look,
baby you're no doubt terrific in the third, grade but
some things they don't even teach in. Color you're gonna
pop any, Minute So i'll take it from.

Speaker 32 (04:32:49):
Here.

Speaker 38 (04:32:49):
Huh stick with, chermy, Honey i'll call. YOU i made
it from the strip down To melrose and then east
to the cluster of dusty lean to's were bath known
as country cottages and something under ten, minutes parked down
the street and cut back through the alley on. FOOT
i got to the door Of cottage number seven with

(04:33:10):
about thirty seconds to.

Speaker 60 (04:33:11):
Spare, no, no wait a, minute, mister you got me.

Speaker 93 (04:33:14):
Wrong, NO i haven't Pal you can tell me you
didn't knock Off sinest And i'll believe.

Speaker 33 (04:33:19):
You nobody else.

Speaker 1 (04:33:19):
Will i've got you right WHERE i, want.

Speaker 93 (04:33:22):
You, know because of your note found In nesta's. Pocket
you're the jilted, boyfriend the hick from back home who
came To hollywood with murder in your heart and knocked
off the guy who stole your.

Speaker 14 (04:33:32):
Wife.

Speaker 93 (04:33:32):
Look, yeah and then you went after the cheap photographer
who gave a a.

Speaker 4 (04:33:35):
Star.

Speaker 93 (04:33:36):
Yeah and after that you knew you couldn't, escape so
you blew your brains. Up and by the TIME i leave,
here that's the way it's gonna look, tonight.

Speaker 38 (04:33:44):
Ham hand Still lacey tossing on over on the, Bed go,
on It's. Betty so you Figured aubrey was lying about
having a picture that pegged you With sinester's, killer didn't.
You you Figured aubrey saw something but had no, proof
so you shot. Him but you were, Wrong, hammy and
all the proof we need, you all.

Speaker 2 (04:34:04):
RIGHT i hit.

Speaker 46 (04:34:04):
Her she's the one who Killed. SEINESTER i tried to
tell you. THAT i followed you here to tell, you
but INSTEAD i saw her with a gun pointed at.
YOU i grabbed the first THING i, saw this broken rake,
handle AND.

Speaker 20 (04:34:14):
I hit her with.

Speaker 46 (04:34:14):
IT i hit her awfully. Hard, feel but she's. Moving
you don't think she's.

Speaker 38 (04:34:18):
Dead she's probably thinking over the big lesson you just
taught her.

Speaker 28 (04:34:23):
With that stick?

Speaker 38 (04:34:24):
There who it's the matter, Ach you know what that
rake handle is made.

Speaker 46 (04:34:29):
Of it's, hickory isn't.

Speaker 38 (04:34:31):
It what else could it possibly be but a hickory?

Speaker 34 (04:34:35):
Stick all, Right, mallow all, right nobody can hear?

Speaker 14 (04:34:48):
Us now what is?

Speaker 38 (04:34:49):
It, well it's that Miss rustin hears a, Schoolteacher, matthews
and it's imperative that we keep her name out of.

Speaker 37 (04:34:54):
This oh, well we can arrange.

Speaker 38 (04:34:56):
That oh, good you, Know. Matthews it's funny how once
that leads to. Another Ham lacy never would have gone
so far as to Kill nester on his, Own but
when he learned THAT i got it, done and he
saw an opportunity to turn the whole situation of his,
advantage he and the girl agreed the, Frames, tobin and
then go along as a.

Speaker 37 (04:35:12):
Team you, know of course that that's just your.

Speaker 58 (04:35:14):
Theory just a man all over there and be quiet
for a change While Miss rustin AND i wind this.

Speaker 50 (04:35:20):
Up.

Speaker 38 (04:35:21):
Matthews, Listen, wyatt please pulling rank, Eh phil.

Speaker 37 (04:35:27):
Now miss Rusting in solving this case just a.

Speaker 38 (04:35:30):
Minute she didn't solve the, CASE, I Miss, rustin if.

Speaker 37 (04:35:33):
You hadn't solved it didn't. Write when you, did you'd
be talking to this guy.

Speaker 34 (04:35:35):
Exclusively Vi oluigi bought from now, on.

Speaker 38 (04:35:38):
Let's, face what a corny.

Speaker 37 (04:35:39):
Pitch now tell, me Miss, rustin how did you beg God?

Speaker 46 (04:35:42):
Fury, well when we got the picture of the yellow,
CONVERTIBLE i remembered That i'd gone to the powder room
At syrhoids with missburied of fresh in her, makeup but
she couldn't find her. Lipstick she emptied her purse looking for,
it and she finally had to borrow.

Speaker 40 (04:35:53):
Mine you, know, oh, DEMOCRATIC i said, that so now
you own.

Speaker 37 (04:35:57):
It now tell, me Miss, rustin.

Speaker 11 (04:35:59):
How do you figure the lipstick?

Speaker 38 (04:36:01):
Figures it wasn't the.

Speaker 46 (04:36:02):
LIPSTICK i happened to notice among the things from a
person a keaching chain with cor keys on it and
an identification tag in the form of a little. License,
oh and.

Speaker 38 (04:36:10):
The numbers were six nine six nine. Eggs that's.

Speaker 58 (04:36:12):
Right and since Sam lacy had an alibionos keys were
In Miss fury's, bag you figured it was her who'd been.

Speaker 46 (04:36:18):
Driving it was she who'd been.

Speaker 38 (04:36:19):
Driving, yes isn't this?

Speaker 28 (04:36:20):
Revolting?

Speaker 58 (04:36:21):
Yeah she she wanted to Kill nesta because he wouldn't
turn loose of her so she could claw her way
on up to the bit of.

Speaker 37 (04:36:27):
Top and when she found him, unconscious it was.

Speaker 28 (04:36:29):
Easy how.

Speaker 38 (04:36:30):
Literary, well that's, THAT i.

Speaker 37 (04:36:32):
Guess thank you very, much Miss. RUSTIN i hope you
stay in our. Town has been Was oh what's.

Speaker 38 (04:36:39):
The, Matter, tony, baby don't?

Speaker 46 (04:36:40):
CRY i just started the most dreadful Thing i've had
a wonderful. TIME i went To Sarah, NOSA i had
a movie star on the, head AND i helped solve a.
Murder But i'll never ever be able to say one
single word about it to anybody In, Ferndale. Nebraska done it.

Speaker 38 (04:36:57):
All it took a few minutes to put on a
new touch of mascara and get the pink of her,
nose but she was smiling again when we said good
night To matthews and stood on the steps at headquarters
and looked at the glittering lights Of. Hollywood there was

(04:37:17):
still plenty of time for supper and even a dance or,
too and she wanted to. Go but, suddenly from somewhere
there was a smell of order in the, air of
dry leaves on the ground and ripe red. Apples for the.
Teacher she shook her head wistfully and spoke of an
appointment she had bright and early Next monday. Morning it's a.

Speaker 46 (04:37:36):
Very important, appointment Phil.

Speaker 38 (04:37:39):
SO i took her to a hotel say goodbye all
the way. Home for some, REASON i kept, wondering whatever
happened To skinny, McDonald the only kid in school who
could shoot a better spitball than?

Speaker 60 (04:37:52):
Mollow is it really been that long?

Speaker 90 (04:37:56):
Ago The adventures Of Philip marlowe Star Gerald moore and
are transcribed and directed By norman. McDonald script is By

(04:38:20):
meldon La Robert mitchell And Gene. Levitt the special music
is composed and conducted By Richard. Arrant be sure and
be once again next. Week When Philip marlowe.

Speaker 38 (04:38:32):
Said there was a tapestry found under a, tomb they
were all after. It the worried imported the man with
half a, face The englishman in An la, slum and
the lady wearing a green. Veil but before it was,
over none of them had, it and two of the
four were.

Speaker 90 (04:38:48):
Dead now stay tuned For, gangbusters which follows immediately over
most of these SAME cbs. Stations this Is Roy rowan.
Speaking this IS cbs The columbia broadcasting.

Speaker 14 (04:39:16):
System tired of the everyday, grind ever dream of a
life of romantic.

Speaker 8 (04:39:38):
ADVENTURE i want to get away from it. All we
offer You, escape.

Speaker 90 (04:39:50):
Designed to free you from the four walls of today
for a half hour of high.

Speaker 27 (04:39:54):
Adventure you are high on the.

Speaker 14 (04:40:09):
Frozen slopes of a great, mountain terrified and caught in a,
blizzard while the thing for which you've been hunting has
suddenly become the. Hunter and if it finds, you then
for you and your companions.

Speaker 8 (04:40:27):
There can be no.

Speaker 90 (04:40:29):
Escape so listen now As escape brings You Anthony ellis's
exciting Story The Abominable.

Speaker 14 (04:40:35):
Snowman our first bit of luck was when we hired

(04:41:03):
our shepherd, Guide, nassang that was In. Darjiling WHEN i
Told nassang what we were, after he hesitated for a,
moment and then he, said.

Speaker 3 (04:41:12):
The sybs have not come to Climb.

Speaker 8 (04:41:14):
Shomolongma oh, no we're a little late for. That it's
already been. Done the other two sibs and myself are
here for the REASON i told.

Speaker 17 (04:41:22):
You meto kungmy that's.

Speaker 3 (04:41:24):
Right the sibs always hire me to climb the mountain with,
them but never.

Speaker 38 (04:41:30):
This are you afraid of.

Speaker 27 (04:41:32):
THEM i have seen.

Speaker 38 (04:41:34):
One you've seen, One, yes many of us have seen.

Speaker 14 (04:41:38):
Them wait a, Minute, Alan, yeah what's THAT i meant
of viewing a sherper in? Here he says he's seen
one of the. Things he was, frank, h we'll not
have to get some, tobacco all, Right come on. IN
i think this is our, man all, Right, Nasang this

(04:42:00):
is Mister ferris Sad helona. Song the song was telling
me about what it's. Seen go, Ahead.

Speaker 94 (04:42:06):
Nasan it has a face that is, evil and when
it saw, me it uttered a strange cry and bounded,
away sometimes, leaping sometimes running with great.

Speaker 3 (04:42:18):
Strides it was, dusk and after a MOMENT i lost
sight of it in this.

Speaker 17 (04:42:23):
Snow where were you with The french?

Speaker 94 (04:42:26):
Expedition it was at nineteen thousand feet a Show maluma
half away from, it thirty feet perhaps thirty.

Speaker 14 (04:42:36):
Five you're sure it wasn't an?

Speaker 60 (04:42:38):
APE i am.

Speaker 3 (04:42:39):
Sure there is no ape In imaria to make such a.

Speaker 1 (04:42:42):
Track or about, bears these TWO i have been.

Speaker 3 (04:42:45):
Asked but does a bear walk always upon its hind?

Speaker 14 (04:42:50):
Legs well that's enough for, Me, Alan, yeah he'll. Do
and if you want the, Job, nasan you're.

Speaker 94 (04:42:59):
Hired you are going to try to capture A. Yeti,
yes it will be a difficult, thing BUT i will
serve with.

Speaker 14 (04:43:11):
You yeti wild, man neter kungm abominable. Snowman that's the
name the natives had for the, things And Alan, Ferris

(04:43:32):
Frank davis AND i were going to try to get.
One we've all done some, climbing but climbing was secondary.
Here expeditions since the beginning of the twentieth century had heard.

Speaker 8 (04:43:42):
Of the abominable, snowmen.

Speaker 14 (04:43:44):
Observed their, tracks and one or two white men claim
to have seen. Them great, ape, bear, monkey wild. Men
we didn't, know but we were going to find. Out
four weeks, later we were in The wrongbuk valley for

(04:44:05):
our interview at the monastery with a. Lama the journey
from our base had been, uneventful the weather was good
and our spirits were. High from the lama's wonder we
could see the great peak Of everest in the.

Speaker 17 (04:44:17):
Distance why, gentlemen do you desire to Capture Meto, Kang.

Speaker 14 (04:44:24):
Because, sir we believe it will be an invaluable aid
in our prehistoric.

Speaker 8 (04:44:27):
Research that, is if these things are in any way,
human and.

Speaker 17 (04:44:31):
For this, reason then you have formed the. Expedition, yes
you are all familiar with, Climbing yes we.

Speaker 95 (04:44:40):
Are you would need to be THE yeti move at high,
places dangerous, places so my people tell.

Speaker 17 (04:44:48):
Me, also the monsoons are arriving in a short.

Speaker 8 (04:44:52):
TIME i understand. That, then do we have your permission
to investigate in the valley and? Beyond you have my?

Speaker 17 (04:44:59):
Permission thank.

Speaker 95 (04:45:00):
Appreciate there is one, point, HOWEVER i must request that
no wild animal or being in this valley be.

Speaker 17 (04:45:08):
Shocked our religion does not allow.

Speaker 14 (04:45:11):
It well respect your, wishes. Sir now MAY i ask
you one more? Thing of, course my, son do you
believe in the existence of?

Speaker 5 (04:45:21):
Matter KANGM.

Speaker 95 (04:45:23):
I myself have never seen, them BUT i know that
they live here above the valley on The Goddess mother
of the. World it is also true that at least
five and possibly more inhabit the Upper Wrong book and its.

Speaker 17 (04:45:40):
Glaciers thank, You do you have?

Speaker 8 (04:45:44):
Porthos our guide In massan is hiring them now, THERE.

Speaker 17 (04:45:49):
I trust that he meets with good. Fortune, ah.

Speaker 14 (04:45:59):
The old man with great dignity about slightly to, us
and we were. Dismissed BUT i THOUGHT i saw the
shadow of a smile.

Speaker 8 (04:46:06):
On his lips as he turned. Away and it wasn't
long BEFORE i found out.

Speaker 14 (04:46:10):
Why nassang returned to us in our, quarters and his
face warned of bad.

Speaker 3 (04:46:15):
News, SIR i am unable to hire any.

Speaker 37 (04:46:18):
Porters why?

Speaker 96 (04:46:20):
Not they know the purpose of the. Expedition they will not.
Go why they are afraid the. Snowmen, yes they live
in peace with.

Speaker 11 (04:46:31):
Them they wish no.

Speaker 14 (04:46:32):
Trouble they are. Afraid, well all, right it'll be, rough
but we can't waste time talking them into. It the
monsoons will be coming in a couple of. Weeks it's
not the same as Climbing. Everest we will travel, light
just the four of, us set up a base and start,
hunting all right with, you? Fellows, Yeah, NASSANG.

Speaker 3 (04:46:52):
I will go with.

Speaker 14 (04:46:53):
YOU i am not. Afraid. God, well let's take a
look at the. Map will each carry a capacity. Load
we should be able to make this point below the
glacier in two.

Speaker 8 (04:47:07):
Days that's sixteen thousand Feet and.

Speaker 14 (04:47:11):
If our abominable snowmen are in the, vicinity we've got
two weeks to find them when we start.

Speaker 1 (04:47:17):
Tomorrow.

Speaker 60 (04:47:18):
Good, well that's, It, pa that's rak one? Thing or
what do the natives?

Speaker 97 (04:47:25):
Mean when they say they don't want any trouble with
the things superstition, Probably.

Speaker 94 (04:47:29):
Oh, no, sad it is not. Superstition it is because
THE yeti are. Cannibals that is why reporters are.

Speaker 14 (04:47:36):
Afraid the weather turned ugly that day we left the.
VILLAGE a Cold tibetan wind blew down from the, west

(04:47:57):
and with our heavy, packs that took us much longer
than we thought to arrive at the point just below
The Wrong Buck. Glacier we set up a camp and
made ourselves as comfortable as we. Couldn't the next morning
wasn't so. Bad there was a heavy, overcast a promise of,
snow and the peak Of everest looming over us was
shrouded in. Clouds the four of us sat in the,

(04:48:18):
tent looking at our charts and drinking hot.

Speaker 97 (04:48:20):
TEA i figured it'd be easiest if we started at
The East. Glacier it's only about three miles from, here
and where the weather as stinking as it, is we
won't run too much of a.

Speaker 60 (04:48:29):
Risk how do you, think, Po, well.

Speaker 14 (04:48:31):
That sounds all. Right what do you say we split,
up you and the, Sun alan and. Me we'll work
up on either side of the ridge, here and if
we spot any, tracks fire two.

Speaker 17 (04:48:46):
Shots.

Speaker 14 (04:48:47):
Yeah now the big thing, Though no matter, what don't
shoot at the thing if you do see. It, okay,
okay all. Right if we lose touch with each, other
we'll meet back here at. Five all, right let's get.
Going we'd left the base at six that, morning and

(04:49:16):
the going was. Rough alan was pretty well shot by
the time we got to the seventeen thousand foot. Mark
he was having a tough time, breathing and the wind
had come up, again and with it a, fine powdery
snow that blind had choked.

Speaker 5 (04:49:31):
Us, HEY.

Speaker 14 (04:49:39):
I gotta take fine all, Right i'm ove over. Here
might cut some of the. Wind oh, oh oh, Better
we might as well start back for the. Base we
couldn't see anything in this, anyhow you know right, NOW

(04:49:59):
i don't.

Speaker 1 (04:49:59):
Care how what are we doing?

Speaker 14 (04:50:00):
That this is good? Weather waiting until the monsoon?

Speaker 17 (04:50:04):
Start?

Speaker 14 (04:50:04):
No, no not?

Speaker 40 (04:50:05):
Me oh?

Speaker 11 (04:50:08):
COOL i have been so cool in all my.

Speaker 14 (04:50:11):
Life we stayed in the half shelter of an overhang
for ten, minutes and the wind was quieter and the

(04:50:31):
snow at let. UP i noticed that the tracks we'd
made coming into the shelter were gone, Now but we
didn't have any worry finding our way. BACK i figured
That frank And nassang had met pretty much the same
thing on their side of the, ridge and we'd meet
them at the. Base So alan AND i picked ourselves
up and started. Off, BOY i THOUGHT i was in

(04:50:53):
pretty good shape up.

Speaker 1 (04:50:55):
Here, Boy i'm nothing a tired.

Speaker 14 (04:51:00):
Again we'll just take it easy going. Down you haven't got,
frostfied have?

Speaker 50 (04:51:05):
You?

Speaker 49 (04:51:05):
No, no not?

Speaker 14 (04:51:07):
Yet but.

Speaker 37 (04:51:09):
What the left?

Speaker 40 (04:51:11):
There?

Speaker 14 (04:51:16):
Yeah they're not our, tracks not unless you took your
boots off on the way.

Speaker 17 (04:51:23):
Up must have just passed.

Speaker 28 (04:51:27):
By it must have seen.

Speaker 5 (04:51:29):
Us, yeah.

Speaker 38 (04:51:32):
Come, on.

Speaker 14 (04:51:35):
We were looking at a set of tracks newly made
in the fresh, snow and they'd passed so close to
our sh other that the thing must have known we were.
There they weren't the tracts of a bear or an,
ape but more like a splay, footed naked, foot the
tracks of the abominable snow.

Speaker 90 (04:51:54):
Man we will return to escape in just a, Moment
but first thirty million school children make their way back
to class this. Year there are just ten million too
many for existing school. Facilities Contact Better schools To west

(04:52:20):
forty Fifth, Street New, york nineteen for. Information on ending
this menace To america's educational, standards and now back to.

Speaker 14 (04:52:30):
Escape we began to follow the, tracks and for a,

(04:52:55):
while perhaps one hundred and fifty, yards it was, Easy
and then the thing made a left wood travel down
a deep. Slope we could see The prince clearly angling
with a side, step as share footed as a mountain,
goat except that it was walking on two. Legs his,
Way take it easy.

Speaker 11 (04:53:14):
Out and he stay?

Speaker 14 (04:53:16):
Hurt WHY i think you can't? Climb hold up ALL i?
Think and he'd dropped out of sight over the lip
of the. Crevasse we went rope. TOGETHER i got as
close AS i dared to the. Edge the low snow
crumbled away from my outstretched, body AND i looked down

(04:53:36):
into the blue black darkness, below falling away into.

Speaker 8 (04:53:39):
Nothingness he was, gone.

Speaker 14 (04:53:42):
Finished ALL i could think of was the noise he'd
made when he went, Over, surprise, angry then. Silence the
crevass might have been five hundred feet or five. Thousand
snow started to fall, again big flakes this, time and.
WET i stood up and across the gap twenty feet,

(04:54:06):
AWAY i saw the tracks of the thing continuing on
and away until they became lost in the blank whiteness
of the. Glacier it had jumped and landed still upright
on the opposite. SIDE i went back to the, base
and an hour Later frank and the song.

Speaker 8 (04:54:23):
RETURNED i told, them and we were quiet for a long.

Speaker 98 (04:54:28):
Time then, all are we going on again? Tomorrow why?
NOT i just wanted To we should go.

Speaker 3 (04:54:39):
Back it is an.

Speaker 14 (04:54:40):
OMEN i tell. You he was going too. Fast he
didn't have a chance to see the. Cravass that's not an.
Omen it's bad sense made To.

Speaker 94 (04:54:46):
Kung we cannot be.

Speaker 14 (04:54:47):
Gone we'll catch him up.

Speaker 60 (04:54:48):
With there are only three of. Us if we had
a few more, MEN.

Speaker 14 (04:54:51):
I tell, you the thing was so close that if
we'd looked up at the right, time we'd have seen.
It you Think i'm going to give up? Now next
time we'll get.

Speaker 60 (04:54:56):
It there was no chance to Get alan. Out you
think if we went.

Speaker 14 (04:55:02):
Back, listen you THINK i don't want. To he's. GONE i,
tried but he's.

Speaker 16 (04:55:05):
Gone, Okay, OKAY.

Speaker 17 (04:55:10):
I wish that winded.

Speaker 33 (04:55:11):
Letter maybe by morning.

Speaker 8 (04:55:16):
We'll try again.

Speaker 14 (04:55:17):
Tomorrow it was cold that, night and somehow colder Because
alan was. GONE i Heard frank tossing, around AND i

(04:55:39):
knew he was thinking about a body broken and, lonely
lost somewhere in a deep and dark. Place in the,
morning the three of us packed our, gear, camera, food
and there was a light pack and we started up,
again this time to a crest above the. Ridge it
was tougher and it looks and we weren't even halfway

(04:56:02):
up before we had to. Rest and AS i looked
to the, WEST i saw clouds boiling, up not white
but somber, threatening and below the valley looked, grim ugly,
Gray and then the sun was, gone and we kept
on going. Up and THEN i had a strange feeling

(04:56:24):
It there was NOTHING i could, see NOTHING i could,
hear only a sensation of being, watched, Followed wait a, minute.

Speaker 7 (04:56:34):
See?

Speaker 1 (04:56:34):
Something, NO.

Speaker 14 (04:56:37):
I have felt it to, side something following. Us, yes
it is me To kung, me how do you know?

Speaker 70 (04:56:45):
It?

Speaker 21 (04:56:45):
Again to be nothing else at the?

Speaker 14 (04:56:48):
Sight there is nothing, else said there. Is maybe it's.
Curious now don't turn a rock rank. Listen when we
got up to the, crest you two fly, down stay
in sight of the slope.

Speaker 21 (04:57:01):
Here what are you gonna?

Speaker 14 (04:57:03):
Do move around the hump and. Watch if it thinks
we're all, together it may come close enough to give
us a chance to get.

Speaker 1 (04:57:08):
It you better watch a.

Speaker 13 (04:57:10):
Step it looks.

Speaker 14 (04:57:12):
NASTY i will now come. On it took us another
fifteen minutes to get up to the, crest and Then
frank And nassang hunched down to. Rest they were in
clear view of the slope we just. DESCENDED i moved
back out of sight and made my way toward the,
hump which backed a long shelf on the north side

(04:57:32):
of the.

Speaker 8 (04:57:32):
Crest in a couple of MINUTES i lost sight of
them and of the.

Speaker 14 (04:57:36):
Slope the wind had increased and the clouds had. Spread
now who become an iron gray canopy over the. Mountain
it was getting colder. AGAIN i don't Think it took
over five minutes to reach my lookout, point and WHEN i,
DID i had a perfect view of the ground we'd.
Covered there was nothing. There the men were out of, sight.

Speaker 38 (04:58:00):
AND i waited a.

Speaker 14 (04:58:01):
Minute two.

Speaker 8 (04:58:05):
There was, nothing.

Speaker 14 (04:58:07):
And two it, came carried on the wind to, cry
and then, shots AND i scrambled back to Where i'd left,
him and WHEN i got. There WHEN i got, There
frank was lying on his, back AND i couldn't look

(04:58:30):
at what was left of his. Face there were terrible
deep rents in his, clothing and he was. Dead the
song lay huddled a few feet beyond a gun in his.
Hand so.

Speaker 17 (04:58:43):
What is?

Speaker 31 (04:58:44):
It but better cun?

Speaker 99 (04:58:46):
Me it came from behind. Us BEFORE i could pit the,
Gun it, killed it sprayed. Me it is, strong Shy,

(04:59:07):
hugh the strain of ten.

Speaker 14 (04:59:09):
Min all, RIGHT i reckon you sit up.

Speaker 30 (04:59:13):
My.

Speaker 21 (04:59:14):
Leg it struck it.

Speaker 14 (04:59:16):
Me my leg.

Speaker 94 (04:59:18):
BROKEN i shut at, it BUT i. Missed it jumped
away and who's.

Speaker 14 (04:59:26):
Gone, okay we'll have to figure out a way to
get you. Downe we were four hours from, camp and
with the song practically, helpless it could well be four
days or. NEVER i Buried frank where he was, lying
then began to work down the. Slope the song was
in great. Pain he half slid and crawled as best he.

(04:59:48):
Could that part of it wasn't too. Bad then we
were at the bottom and there was a ledge to.
Climb it took well over two hours to do, that
and we still had three miles of difficult to rain to.
Cover the stops became more, Free leave me go.

Speaker 94 (05:00:04):
Back, no my lady is. Frozen there is no feeling.
ANYMORE i shall not leave much.

Speaker 14 (05:00:12):
Longer, merefore after a, rest you'll be able to go.
On soonday night.

Speaker 3 (05:00:17):
Comes if we are both caught, here we both.

Speaker 14 (05:00:21):
Die here will be, snow much. Snow leave, me so
we're going back. Together please let.

Speaker 21 (05:00:29):
Me, Sleep let me sleep.

Speaker 28 (05:00:31):
HERE i cannot.

Speaker 14 (05:00:33):
Go you've got no. More the ridge is only about
a half mile from. There it won't be too. Bad, no, no,
now come, on, hassan come, on you're not. Going it's
like you'll be all, Right and you, SAID i, turned

(05:00:53):
and for an INSTANT i saw it outlined against the,
snow crouching of medium. Height it was covered with thick.
Hair the face was reddish and, bare a semi human,
face and it was not an. Ape the thing made
it from endous sleep and was. Gone BUT i hid.
IT i KNEW i hit.

Speaker 1 (05:01:13):
It did he did you kill? It?

Speaker 14 (05:01:16):
NO i don't think.

Speaker 1 (05:01:16):
So and it will be. Back it has tasted.

Speaker 14 (05:01:20):
Blood you must leave. Me get, Up get, up come,
up let's. Go the song that sound.

Speaker 11 (05:01:36):
Very sorry?

Speaker 3 (05:01:37):
Sad will you ask he lover to make a prayer for?

Speaker 64 (05:01:43):
Me?

Speaker 14 (05:01:43):
Sure i'm SURE i want my, song but.

Speaker 3 (05:01:46):
My pay to my wife in their, Hearing.

Speaker 1 (05:01:51):
I'm, sorry.

Speaker 8 (05:01:52):
Sad the song.

Speaker 41 (05:02:01):
The saw.

Speaker 14 (05:02:22):
And the darkness, came and with its shadows in the,
snow every hillock mound became the, thing, motionless waiting in my.
MIND i kept seeing, it its long arms, powerful in
the dreadful clause it must have. POSSESSED i carried my
gun and my gloved, hand BUT i knew THAT i

(05:02:43):
couldn't fire it UNLESS i was bare, handed and that
met my hand would freeze to the. Gun and then
SUDDENLY i felt myself. Slipping it was a short, incline
but WHEN i reached the, bottom the gun was. Gone
i'd lost. It i've got to find. It i've got

(05:03:06):
to Find AND i saw a glint of metal in
the snow ten feet, away and at the same, time above,
me at the top of the, bank the. Thing it
stood swaying a, little looking down at. ME i moved, slowly,
slowly inch my way toward the, gun and AS i drew,

(05:03:30):
CLOSER i kept my eyes looking, up but it didn't,
move only stared down at. Me AND i THOUGHT i
saw its little eyes, Glittering AND i, thought if the gun's. Frozen,
now if it's, frozen it doesn't. Fire AND i was
near a, toid near enough to tick off my, Glove
but that moment in Which i'd have to bend to

(05:03:51):
pick it, up that's when it would leap down at,
me tear my throat out. Ter AND i had the,
gun AND i pulled the trigger and then lay there, strange.

(05:04:12):
Terrifying it's blood staining the snow.

Speaker 100 (05:04:18):
And looked at, me looked at me until the sound died.
Away it was, dead but the eyes kept on.

Speaker 14 (05:04:37):
Staring it must have been the shots that loosened the
snow and ice on the ridge. ABOVE i heard the
sound AND i ran. Ran it passed me and swept

(05:05:05):
on down toward the, valley the thunder of it dying
in the.

Speaker 9 (05:05:08):
Distance and.

Speaker 14 (05:05:13):
WHEN i went, back there was nothing. There it was
buried somewhere on the tons of. SNOW i made my
way back to The Wrong book. VILLAGE i don't remember.
HOW i didn't remember anything for two weeks. After But

(05:05:39):
i'm alive And i'm not going back there. Again that's
ALL i.

Speaker 38 (05:05:48):
Know oh want to know.

Speaker 8 (05:05:54):
About The abominable Snow?

Speaker 17 (05:05:56):
Men, Yeah.

Speaker 90 (05:06:10):
Escape has brought You The Abominable, Snowman written and directed
By Anthony, ellis Starring William Conrad Is. Lane featured in
the cast Were Anthony barrett high Have, Herbach Jack, krusian
And Edgar. Barrier the special music For escape was composed
and conducted By Leith.

Speaker 27 (05:06:30):
Stephens next, week.

Speaker 14 (05:06:38):
You are a passenger of board a submarine making its
last peaceful voyage across the. Sea while unknown to, you
the captain has a plan, which if it, succeeds will
mean for you and the entire crew.

Speaker 8 (05:06:56):
A fate from which there can be.

Speaker 17 (05:07:00):
No.

Speaker 90 (05:07:01):
Escape so listen next week When escape will bring you
Maryon mosner And Francis rosenwall's exciting story the. Log you're

(05:07:29):
headed in the right. Direction the station is, right the
network is right. Too check all time pieces and then
check your local radio. Schedule let's have no slip. Ups
everybody wants to hear The Jack Benny show right from
the beginning when it returns TO Cbs radio.

Speaker 27 (05:07:46):
Tonight this Is Roy rowan. Speaking this is THE Cbs Radio.

Speaker 6 (05:08:06):
Network thanks for. Listening if you like what you, heard
be sure to subscribe so you don't miss future. Episodes

(05:08:27):
if you like the, show please share it with someone
you know who loves old time radio or the paranormal
or strange, stories true, crime, monsters or unsolved. Mysteries like you.
Do you can email me and follow me on social
media through The Weird darkness. Website weirddarkness dot com is
also where you can listen to free Audiobooks i've, narrated
get the email, newsletter visit the store for creepy and

(05:08:49):
Cool Weird darkness. Merchandise plus it's where you can find
The hope in The darkness. Page if you or someone
you know is struggling with, depression, addiction or thoughts of
harming yourself or, others you can find all of that
and more At Weird darkness dot.

Speaker 16 (05:09:03):
Com I'm.

Speaker 6 (05:09:04):
Darrenmarler thanks for joining me for tonight's retro Radio Old
Time radio in The dark

All Episodes

Episode Transcript

Popular Podcasts

Stuff You Should Know

Dateline NBC

The Joe Rogan Experience

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}THE GHOST WHO FORGOT HALLOWEEN: Who Knew Ghost School Would Be So Boring?

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Stuff You Should Know

Dateline NBC

The Joe Rogan Experience

All Episodes

THE GHOST WHO FORGOT HALLOWEEN: Who Knew Ghost School Would Be So Boring?

Stuff You Should Know