July 30, 2025 • 28 mins
Chronicles the exploits of a charismatic con artist, offering a glimpse into his schemes and the moral ambiguities of his adventures. The narratives blend wit with suspense.
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Speaker 1 (00:23):
Presenting Orson Wells as The Third Man, The lives of
Harry Lyme, the fabulous stories of the immortal character originally
created in the motion picture The Third Man with zither
music by Anton Karross.
Speaker 2 (00:56):
That was the shot that killed Harry Lyme. Who are
beneath Vienna as those of you know who saw the
movie The Third Man, Yes, that was the end of
Harry Lyme, but it was not the beginning. Harry Lime
had many lines. Now I can recount all of them.
How do I know? Listen? Because my name is Harry nine.
(01:31):
I was down on my luck, way down, scraping the bottom.
A couple of deals had fallen through, and I found
myself in Paris with a lot of time on my
hands and only the price of a beer in my pocket,
and spending my time in the money at fouquets. Not
because the beer is any cheaper, it for gets it
because when you meet a nicer crasch of people, and besides,
to let you read the newspapers free. So I was
(01:53):
reading a newspaper and I came on the advertisement, one
of those classified ads in the personal column. I was
addressed to Harry Lyme, harroyline being me, I read all
of some interest. There was no signature, no address, mister
Harry Lime. It said, we'll find a business opportunity of
an extremely profitable nature in the city of Tangier. Now
I might have thought this was one of the boys
(02:14):
trying to hustle me out of Paris, are just trying
to be funny, except that the advertisement mentioned the city
of Tangier. No quite Tangier. Now, very few places in
the world I have him into, and Tangier just happened
at the time to be one of them. Also Tangier,
as everybody knows, it's called money, and I couldn't imagine
anybody wanting to send me there, right in the heart
of the free gold area, where every second address is
(02:36):
a bank and every second person's an international operators, just
just for a gag. Probably more chances in Tangier to
grab a fast buck and you'll find in the world today.
So I'm inclined to take the ad a little seriously
because it might have been a police tramped. There are
cops and countries all over the glow busy looking for me.
Some of them are just sharp enough to try to
pull me on on a quick comman like that. The
(02:59):
truth is that one of the only cities left. But
they don't happen to want me for what's known as
the questioning is the port of Tangier. And that's what
sold me. That's just one complication. My view was finished,
and with it my financial resources. How to raise the
price of the ticket?
Speaker 1 (04:10):
And now Auston Wells as Harry lyme the third man
in today's story ticket to Tangier.
Speaker 2 (04:23):
While I was brooding about how to raise the price
of the ticket to Tangier, my eye happened to wander
down a personal column of the newspaper. A little below
the advertisement addressed to me was this gentleman traveling to
Tangier a visit to the desk at the port at
the Lancaster Hotel on Rudeberry will repay any businessman planning
(04:43):
a visit to Tangier who could whistle a certain hum. Well,
of course that didn't have to be Harry Lime at it.
Here's a song I'm fond of one of them whistling
for years as I knew about me might know about
that song anyway, What could I lose? Went over to
the hotel, approached bone. Good afternoon, Good afternoon, Monsieur now
(05:04):
what can I do for your life? Don't quite know
that you can do anything? You have to read the
parents edition of the Herald Tribune, No, Mossieu. I prefer
to follow the news in my own language.
Speaker 1 (05:13):
But we have copies of the paper you mentioned.
Speaker 2 (05:16):
No, no, no, no, thanks, I've seen it.
Speaker 3 (05:17):
Perhaps Monsieur is calling for someone in the hotel, one
of the guests.
Speaker 2 (05:21):
Whom shall I am, Harry Lime. Perhaps I should have
asked you first who it is you are coming to see.
Now that I couldn't tell you, just tell me this.
Do you like to whistle?
Speaker 1 (05:30):
I am a lover of music, monsieur, but.
Speaker 2 (05:32):
I do not whistle. No. As a young lad, however,
in the office all my school, I was considered quite
proficient on the best school. Well try this on your
best soon. Yes, of course I have something for you,
Misster live here. Thanks, thanks very much. Yes, it's addressed
(05:53):
to me all right, but that's all. It is an
envelop just my name. I wonder won't be asking too
much if I asked you to tell me who this is? Wrong?
It would be asking too much. Okay, okay, old man,
thanks anywhere. I wish I could give you something for
your trouble. But I forgot my wallet this morning, and
that's what anticipated What do you mean everything with you
had been taken care of everything, Yes, monsieur, that is
(06:15):
the world. I believe. Everything in the envelope was an
airline ticket for Tangier, fifty thousand francs in nice fresh
notes and the following letter, My dear mister Lyon. When
you arrive in Tangier, go immediately to the Elmerador Hotel,
(06:36):
where as suite as a reserve for you. After you've died,
go to a cabaret called the Kabbala. Wait there for instruction.
Oh yes, portare is anything wrong?
Speaker 1 (06:45):
Nothing is wrong with you? But he's two forty five
and your pin leaves only at.
Speaker 2 (06:49):
Dif Okay, oh man, okay, I'm on my way just
to call me a cab. What do you mean for that, monsieur?
Musine has been all about for you?
Speaker 1 (06:56):
It is waking at the door.
Speaker 2 (07:08):
It was a very present trip with a very uh,
very very attract a coach.
Speaker 4 (07:13):
To some board, and you're quite comfortable. It's about it.
Speaker 2 (07:16):
Oh yes, I'm I'm fine.
Speaker 4 (07:17):
Isn't there anything you like?
Speaker 2 (07:19):
Well? I like to know what you're doing tonight after
we last.
Speaker 4 (07:21):
I mean you wouldn't you like some more coffee or
maybe a pillow?
Speaker 2 (07:24):
I ain't know what you mean, and if you know
what I meant.
Speaker 4 (07:27):
Tangier is a very interesting city.
Speaker 5 (07:28):
First, there's the Arabs and the castpar and all that
minism out in European city. It's an international court. Of course,
there's fourteen different countries in control.
Speaker 4 (07:36):
But it's of course you know that.
Speaker 2 (07:37):
Yes, as I've heard, I guess you're.
Speaker 5 (07:40):
Making fun of I'm a business man. You've probably been
to Tangier many times.
Speaker 2 (07:44):
But ruh, let me take that up point five point.
I'm not a business man. I've never been to Tangier
and I wouldn't dream of making fun of you. Just
answer me one question.
Speaker 4 (07:53):
I go back on the return slafe at six in
the morning. Mister line and ninety speak.
Speaker 2 (07:57):
You haven't answered the questions. Besides, my name isn't mister.
Speaker 4 (07:59):
Lion Uh, that's what it says on the money.
Speaker 2 (08:01):
Her name is Harry. Cause then to a night club
attends you called the Kabbala. Oh, yes, I have you
have one?
Speaker 4 (08:09):
So I have have you?
Speaker 2 (08:11):
There's a nice night club ressed in town. That's good.
Glad you like it. I've reserved the table for.
Speaker 4 (08:16):
Its Okay, fastening the safety, don't but coming in.
Speaker 2 (08:36):
You know something walking. You're one of the few girls
outside of Havanna I ever danced with. Who knows anything
at all about the rumor?
Speaker 4 (08:44):
I learned it in Havana.
Speaker 2 (08:45):
That almost explains it. What do you mean on the Okay,
you learned to dance in Havana, and so there's lots
of other people. Okay, you're a hostess on an airline.
You're very good looking, and there're lots of good looking
hostesses to dance the rumor, but they don't dance that well,
and none of them the that's beautiful. Ah. I don't
know what I mean by almost, but really, you know
(09:06):
you're almost too good to be true.
Speaker 4 (09:08):
No, I'm not so good.
Speaker 2 (09:10):
That's good.
Speaker 4 (09:11):
You don't even know my name?
Speaker 2 (09:12):
Yes I do. I have a sign on the door
of the cockpit the plane that says Captain T. R. Stevenson,
co Pilot J. O'Brady, air Hoss P. Spence. So that's
your name is in peaceman? May I call you pee?
Speaker 4 (09:25):
He is Paul Patson?
Speaker 2 (09:26):
Okay, what's thatttle for?
Speaker 4 (09:27):
That?
Speaker 2 (09:27):
Who says I'm a champagne? Ought to be cold. Nothing.
Speaker 4 (09:30):
It's altay closer here.
Speaker 5 (09:31):
Why don't we forget the champagne and take.
Speaker 4 (09:33):
A walk outside.
Speaker 2 (09:34):
I wonder if I'm just pay the check it's been
taking care of. What do you mean the check has
been saying I'm a Carol bir We we got that
that you're my guess. Remember besides, I'm the mail in
the body, and I have my pride.
Speaker 5 (09:47):
I'm sorry, it's all taken care of.
Speaker 3 (09:50):
Come on.
Speaker 2 (09:52):
Nights on the day, night night night, Uh, curtsy, I'm
gonna take something back.
Speaker 4 (10:02):
What's that?
Speaker 2 (10:03):
Hid? One little word?
Speaker 4 (10:05):
What's the word almost? I don't understand you, but.
Speaker 2 (10:09):
I used to describing you, but it doesn't fit. The
word almost. It never be a pride to you. Whatever
you are, and that's what you are completely. You couldn't
be almost anything.
Speaker 4 (10:19):
You're wrong, Harry.
Speaker 5 (10:20):
Almost is just a word for me, among other things.
I'm almost prey rich.
Speaker 2 (10:26):
It must be. If you treat all your boyfriends.
Speaker 4 (10:28):
To champagne, you're a special case.
Speaker 2 (10:30):
We won't argue about that at that time. I'm a
special case. But once an airline know it's just get
paid enough to treat your boyfriends to champagne. Even the
special cases like me. You know that he doesn't make sense,
you just saying you're rich.
Speaker 4 (10:42):
I said, I'm almost rich.
Speaker 2 (10:44):
Oh, then you wants to be almost stupid. What do
you mean but I was almost rich, I wouldn't be
working for my living at all. I wouldn't be found
on an airplane as I wanted to get someplace.
Speaker 5 (10:52):
I said I was almost rich, honey, And that's what
I meant. I doesn't mean I was little money or
enough money means I have to work for my living.
I took this job to pay the renting, also because
it brings me twice a week of Tangier.
Speaker 2 (11:04):
What do you like about Tangier? A lot of international
lawyers and private banks, with streets full of American caris
and grimy characters and night shift. Not very beautiful as
I can see. That's the kind of Switzerland with error.
Speaker 4 (11:18):
No, but it is beautiful, Henry. If you know the
right places. Let's be sure you tactics.
Speaker 5 (11:23):
You know the Villa Mughetti A yes, that means a
great palace from the hill.
Speaker 2 (11:29):
I know as Well's good.
Speaker 5 (11:30):
Get in, Harry. I'm going to show you how beautiful
Tangier it can be.
Speaker 2 (11:41):
The cam twisted and turned its torturous way through the
native court, and then pretty soon we were out in
the country. They were climbing steadily. I noticed in passing
beautiful villas, homes of rich expatriots who've come to live
in this strange little international settlement of Tangier, where you
don't even have to register with your consulates and nobody
pays any income taxes at all. I think I neglected
(12:11):
to mention that Patsy was beautiful, and if I did
believe me, I was understating a situation. She had gray
eyes and that clear, proudery gold hair that makes you
think of the actious as angel wings. I don't know
a lot of girls, but none of them I've ever
laid eyes on would have given Patsy a worried moment.
They may be better looking airplane hostesses, but if there are,
(12:33):
they're working for airlines on another planet. As we climbed
up the moon bright hills of a Tangier, I forgot
completely the strange business which had brought me there, the
advertisement in the paper, the airline ticket, and all the
rest of them. I didn't care why I'd been sent
for the Tangier. I didn't care who've done it? Of
(12:57):
what he wanted from me?
Speaker 6 (12:58):
A dogs, He knew you do it very well.
Speaker 4 (13:02):
But they've come to have this tradition.
Speaker 2 (13:03):
Yeah, so we have. Anyway, the cats stopped. When did
that happen?
Speaker 4 (13:08):
About five minutes ago?
Speaker 2 (13:10):
Where are we?
Speaker 4 (13:11):
Well, there's the day below.
Speaker 2 (13:12):
It's all they're pretty. It looks too with all the lights.
Speaker 4 (13:14):
And me, no, not not now? How please, a very impatient.
Speaker 6 (13:21):
Let's get up. Why it's nas it's nicely in the house.
Don't have enormous.
Speaker 2 (13:26):
Please anyways to try a private mansion unless you're sure
would be welcome here?
Speaker 4 (13:31):
You take the key? The key you mean, that's what
I mean.
Speaker 5 (13:34):
You're my guest, my guest all alone, gentlemen traveling to Tangier.
Speaker 4 (13:40):
Visit to the best. But what do you whistle? The
tune didn't say how do you know about it?
Speaker 5 (13:44):
I had a friend once who told me how fund
you've always been in that?
Speaker 2 (13:47):
I mean, how do you know about the ad in
the paper?
Speaker 4 (13:49):
I ought to know.
Speaker 2 (13:50):
I paid for it and my friend take it.
Speaker 4 (13:53):
I got a.
Speaker 5 (13:53):
Reduction from the airline. Come in, Harry, here's a flashlight.
I've got something to show you.
Speaker 3 (14:18):
Arson Welles returns in just a moment as the third
man ow orson wells. As the third man continues with
(15:06):
today's story, Ticket to Tangier.
Speaker 2 (15:17):
I followed Patsy into the house. It's a huge place,
full of heavy chandeliers and pompous furniture, most of which
are pretty spooky looking because they're covered with dust cloths.
Obviously the place I hadn't been lived in for many months.
But who was it who had lived here? Who was
it that built this unlikely palace on a hill overlooking
(15:38):
the harbor of Tangier and Buffalo? Why had I been
brought here? Just? Who was p Smith? Air hosters? And
what did you expect me to do about it? We
made a tour of several chambers before I even started
to get any answers.
Speaker 4 (15:55):
This way hadn't.
Speaker 2 (15:57):
Where are we now?
Speaker 4 (15:58):
Which used to be a ballroom? Close the curtains, then
we'll turn on the lights.
Speaker 5 (16:02):
Okay, you show that type shuttle run.
Speaker 4 (16:07):
We don't want the police to come and start asking questions.
Speaker 2 (16:09):
You can say that again, honey, What are the cops
got to do with you?
Speaker 4 (16:14):
Nothing yet, I'll tell on the switch. See that m I.
Speaker 2 (16:20):
See a piano, about thirty guilt chairs, a big rolled
up carpet already splendid and ground with which particular item
on 'em? I supposed to admire a carpet. I'm not
a cornis, Uf says. So if you brought me here
to get an appraise a lamafid, we're both wasting our
time thing about carpets.
Speaker 4 (16:38):
Do you know about heroine?
Speaker 2 (16:41):
Yes, halloin is a drug. It is nasty and habit
for me. And did say it was controlled by international law?
Speaker 4 (16:50):
Well, I'm telling me more.
Speaker 2 (16:51):
I don't know any more about heroin I do anything
to speak of. I don't use drugs, miss.
Speaker 4 (16:56):
Smith, but you sell them.
Speaker 2 (16:58):
I just told you that the sale of heroin it's
controlled by law. You suggest, I'm suggesting.
Speaker 5 (17:03):
That there isn't much you don't know about breaking the law,
any law but.
Speaker 2 (17:08):
A point three. I won't try to deny that my
knowledge of the subject isn't fairly extensive.
Speaker 5 (17:12):
Why do you think I sent for you?
Speaker 4 (17:13):
Why do you think I brought you here? You're harry line,
don't you. I'll stop kidding for a minute and let's
get down to.
Speaker 2 (17:19):
The first of all. I you better answer a few questions,
missus P. Smith. That's maybe I'm I'm the curious type.
I like the facts before I take on a job,
all of them. First of all, what's your racket?
Speaker 4 (17:30):
I haven't any racket.
Speaker 5 (17:31):
I'm an Airline's why because it's a good job.
Speaker 2 (17:34):
Yes, because the run takes you to Tangier? Am I right?
Speaker 4 (17:36):
That's partly right? Yes? But listen, what's your real name?
Speaker 2 (17:40):
What's it to you? We'll pray it my way, sweet,
I don't. We aren't playing it at all. Must need
me awful bad to take all this trouble to look
me up and move me. If you need me, are
going to cooperate and start off with your real name
and go on from there.
Speaker 5 (17:52):
Did you ever hear of a man named mcghetty.
Speaker 2 (17:55):
Gay Rico Getty. Yes, that's that's the name of this place.
Is familiar Rica once in must say all the time.
He comes it blind, if he comes from Crossic. Isn't
it right?
Speaker 4 (18:04):
He's dead? Yes? I was his wife.
Speaker 2 (18:08):
Oh, I'm sorry.
Speaker 4 (18:09):
This need to be sorry for me. I killed Rico.
Speaker 6 (18:12):
Myself, and I'm sorry for Rico. He wasn't a nice man, No, I.
Speaker 2 (18:17):
Guess he wasn't. I remember now I once saw him blind,
a man with a broken wine grass, right, Rico wasn't
a very nice man, but he was a careless.
Speaker 4 (18:25):
How do you mean careless?
Speaker 2 (18:26):
But he's wise anyway, man has to watch himself when
he starts playing with wives sometimes little loaded.
Speaker 4 (18:32):
Why don't you stop kidding just for a minute.
Speaker 2 (18:34):
What am I supposed to do? After all, only so
many alternatives. I can make a joke about what you
just told me. I congratulate you, or I hand you
to the cops. And now I think it's better if
we treat it as a joke.
Speaker 5 (18:44):
So this is the notorious Harry Lyon, the man no
country can.
Speaker 4 (18:48):
Hold, and who stops at nothing. You know what, I
think you're actually shocked.
Speaker 2 (18:52):
Maybe I'm not Harry Lime at all. After all, an
awful lot of people can whistle that song and it
quad love Bote. The original Harry Lime not a fact simile.
He doesn't like murder missus mcghetty. You say stops at nothing,
or believe you me, he starts at that? He it's
meercy be it's silly, and see there's no profit in it. Besides,
(19:14):
Harry Lyn's mother always told him not to go around
killing people. She said it wasn't me.
Speaker 5 (19:18):
You don't know the facts in the case, Hetty, I
was justified. Don't have to take my words.
Speaker 2 (19:21):
I guess I were at that and now this is mucghetto.
If you don't mind, why if you've brought me all
the way to Africa at this empty house, you said
there's a lot of heroin in that rub Do I
take your word for that.
Speaker 4 (19:29):
You don't have to. You can look for yourself.
Speaker 2 (19:30):
I told you before, Annie, I don't know anything about dope.
Speaker 1 (19:32):
You know people who do.
Speaker 5 (19:33):
Don't choose people in Paris, in London.
Speaker 2 (19:35):
And New York, not intimately, but you.
Speaker 5 (19:37):
Know how the drug traffic works. I don't there something
new for Rico, some kind of big hole. You must
have had a partner, because he wouldn't have known how
to dispose of it. It wasn't his line at all.
Speaker 2 (19:47):
Isn't mind either, Honie, I keep telling you that. How
do you know it's so valuab You told.
Speaker 5 (19:51):
Me I've been keeping it here in the house for
months now. This airline job I have is perfect for
smuggling and stuff. But I don't know who to take
it to. I don't know what towns for the best price.
I don't know the names of the agents. Rico kept
me away from that kind of thing. All I can
remember was hearing him talk about you.
Speaker 4 (20:05):
You've got to help me, Harry.
Speaker 2 (20:07):
How about the police.
Speaker 5 (20:08):
They don't know it's here, so if they even know
about the houses, at least there isn't anything against him
in Tangis.
Speaker 2 (20:13):
I know about you, But you killed him then, Jared.
The cops still about that.
Speaker 4 (20:16):
They don't suspect me. There's no reason why they should.
I had a good alibi. I was leaving. You did
that someday so you can blackmail me? No thanks, Harry.
Speaker 5 (20:25):
Let's keep our relationship on a nice, clean business level.
Speaker 2 (20:30):
Now, that's the way I like to give you a talk.
Who are you to talk about that level that I'm
gonna get here now? I think it would be easier
all around if you and mister lyons two hundred in
the air. That's too high. Just fold the level right.
It's a very efficient gun. I'm holding not a good mouth.
Speaker 5 (20:47):
How did you get in?
Speaker 2 (20:49):
I hate to tell you, madam, we'll get it.
Speaker 4 (20:50):
This nation is so banal.
Speaker 2 (20:53):
Through the door you left it open? Now? Then where's
the heaven? Just a minute? Yes, mister lion, and you
seem to know my name is here, but I'm afraid
you have the advantage. It doesn't matter. I was, we say,
a business associate of this with those ladies' husbands. Okay,
don't tell me. Let me guess you began an Indo China.
You said three years in a penal colony of Brazil.
(21:14):
He used to call you the doctor. Am I right?
I have a doctor's dip, Doctor Bessie, that's your name.
What's the detective you would make? You have a good memory,
doctor Bessie, and I'm a professional collector of information. You
will find the heroine and the piano in the piano.
This is probably a trick, mister Lime.
Speaker 4 (21:32):
Suppose you go to the piano and extract.
Speaker 2 (21:34):
The heroine it, and don't be silly, old man. It
would be very simple for me to extract a revolver
from the piano, and I think it'll be unpresent for
both of us. If there was any shooting, you must
be policed in the neighborhood. I'd much prefer you to
find your dope and leave quietly. I'm a peace loving man.
Very well, I look for myself.
Speaker 7 (21:53):
I'm keeping my eye on your line. No, I'm wait
a minute, there's nothing here.
Speaker 2 (21:59):
If you have your hand, Bessie.
Speaker 5 (22:00):
I'm warning you out shoot if you.
Speaker 2 (22:06):
Well, well quickly mystay. Congratulations change, He said he was
a good shot.
Speaker 5 (22:12):
Must have been boasting, should have kept his eyes on
both of us, and nobody could do that.
Speaker 2 (22:15):
He said, I wouldn't know, missus mcgeddy. I haven't ast
Jimmy looks we have any plans? Yes, you get out
of that funny, That's just what I was going to suggest.
Speaker 4 (22:22):
Take ahead of it. You got it just as it
is in the run.
Speaker 2 (22:24):
Oh thanks. I have a bad back and I hate
to stoop over. Why don't we just leave it where
it is?
Speaker 4 (22:28):
Let the cops find it. Give up a hundred thousand
dollars worth of dough.
Speaker 2 (22:30):
You crazy, crazy enough to argue with you as long
as you're holding that gun, Patsy.
Speaker 4 (22:35):
But what's that?
Speaker 2 (22:37):
Oh? What do you think it is?
Speaker 4 (22:39):
The police?
Speaker 2 (22:40):
Either that or it's New Year's Eve? Dolstar lights on?
Speaker 4 (22:42):
Right?
Speaker 2 (22:44):
Okay, and now much better. You've got darkness and I've
got the gun.
Speaker 4 (22:50):
Give it back to me.
Speaker 2 (22:51):
You're too impulsive for firearms, missus mcgeeddy. I'm keeping the gun.
Speaker 4 (22:55):
The cops.
Speaker 7 (22:56):
Cops.
Speaker 2 (22:57):
Your husband does a nice big house. But it's getting
a bit over crowded. You don't mind the suggestion. I
think we better scram just two feet ahead of me,
Missus mugett in or try anything funny. Your seat sell
sass who's coming in. We made our way out through
(23:22):
the garden. The cops were all over the place, and
after a while it was clear that our ownly hope
was in separating. Patty, Patty, you'll go through the shrubbery.
Speaker 8 (23:29):
CA's straight on down the field. You get to town,
you can is it?
Speaker 2 (23:32):
Just keep going down the road.
Speaker 7 (23:33):
I'll make all right.
Speaker 2 (23:35):
Heroine, there isn't any heroine in this story, Missus mcghetty.
Just a hero that's a Joe Curney.
Speaker 8 (23:41):
We're gonna laugh at it later when you catch your
plane to that car.
Speaker 1 (24:07):
Harry Line returns in just a moment, and all Harry lyon.
Speaker 2 (24:52):
Of course they got her. I took her off the
plane on the return around to Paris. Somebody tipped off
the police about that murder, which might call the wages
of line. It's another joke that you don't have to
laugh at it. I'll do the laughing. You see, what
Pantsy didn't know was that I had picked up the
rug in the darkness and hid it under a bush
just outside the window. I came back later and corrected it.
(25:13):
Of course, the word was out about Rico's big consignment,
and didn't have any trouble getting a good price in
mar Sell the next week. But honestly, I don't approve
of drugs. That's why I threw the original stuff into
the bay of Tangier and delivered to the gangsters several
nicely wrapped packages of confectionersh sugar. I tell me to
get the habit for sugar too, but my conscience is
(25:33):
clear all except for one thing that that little prayer
rug it was wrapped in. I know it didn't belong
to me that it looked very nice here in front
of the t table, don't you think so? Will you
have no kerleavel with your tea? And how much sugar?
This is the very best brand, you know, I've syndicate
a desperate gangster's paid me fifty thousand dollars for only
seven packages of the same quality.
Speaker 7 (26:07):
Internet and.
Speaker 9 (26:25):
In brist In in in.
Speaker 2 (27:00):
And it.
Speaker 7 (27:23):
Think from it instant in its thin it's and it
(28:03):
doesn't able to be
Presenting Orson Wells as The Third Man, The lives of
Harry Lyme, the fabulous stories of the immortal character originally
created in the motion picture The Third Man with zither
music by Anton Karross.
Speaker 2 (00:56):
That was the shot that killed Harry Lyme. Who are
beneath Vienna as those of you know who saw the
movie The Third Man, Yes, that was the end of
Harry Lyme, but it was not the beginning. Harry Lime
had many lines. Now I can recount all of them.
How do I know? Listen? Because my name is Harry nine.
(01:31):
I was down on my luck, way down, scraping the bottom.
A couple of deals had fallen through, and I found
myself in Paris with a lot of time on my
hands and only the price of a beer in my pocket,
and spending my time in the money at fouquets. Not
because the beer is any cheaper, it for gets it
because when you meet a nicer crasch of people, and besides,
to let you read the newspapers free. So I was
(01:53):
reading a newspaper and I came on the advertisement, one
of those classified ads in the personal column. I was
addressed to Harry Lyme, harroyline being me, I read all
of some interest. There was no signature, no address, mister
Harry Lime. It said, we'll find a business opportunity of
an extremely profitable nature in the city of Tangier. Now
I might have thought this was one of the boys
(02:14):
trying to hustle me out of Paris, are just trying
to be funny, except that the advertisement mentioned the city
of Tangier. No quite Tangier. Now, very few places in
the world I have him into, and Tangier just happened
at the time to be one of them. Also Tangier,
as everybody knows, it's called money, and I couldn't imagine
anybody wanting to send me there, right in the heart
of the free gold area, where every second address is
(02:36):
a bank and every second person's an international operators, just
just for a gag. Probably more chances in Tangier to
grab a fast buck and you'll find in the world today.
So I'm inclined to take the ad a little seriously
because it might have been a police tramped. There are
cops and countries all over the glow busy looking for me.
Some of them are just sharp enough to try to
pull me on on a quick comman like that. The
(02:59):
truth is that one of the only cities left. But
they don't happen to want me for what's known as
the questioning is the port of Tangier. And that's what
sold me. That's just one complication. My view was finished,
and with it my financial resources. How to raise the
price of the ticket?
Speaker 1 (04:10):
And now Auston Wells as Harry lyme the third man
in today's story ticket to Tangier.
Speaker 2 (04:23):
While I was brooding about how to raise the price
of the ticket to Tangier, my eye happened to wander
down a personal column of the newspaper. A little below
the advertisement addressed to me was this gentleman traveling to
Tangier a visit to the desk at the port at
the Lancaster Hotel on Rudeberry will repay any businessman planning
(04:43):
a visit to Tangier who could whistle a certain hum. Well,
of course that didn't have to be Harry Lime at it.
Here's a song I'm fond of one of them whistling
for years as I knew about me might know about
that song anyway, What could I lose? Went over to
the hotel, approached bone. Good afternoon, Good afternoon, Monsieur now
(05:04):
what can I do for your life? Don't quite know
that you can do anything? You have to read the
parents edition of the Herald Tribune, No, Mossieu. I prefer
to follow the news in my own language.
Speaker 1 (05:13):
But we have copies of the paper you mentioned.
Speaker 2 (05:16):
No, no, no, no, thanks, I've seen it.
Speaker 3 (05:17):
Perhaps Monsieur is calling for someone in the hotel, one
of the guests.
Speaker 2 (05:21):
Whom shall I am, Harry Lime. Perhaps I should have
asked you first who it is you are coming to see.
Now that I couldn't tell you, just tell me this.
Do you like to whistle?
Speaker 1 (05:30):
I am a lover of music, monsieur, but.
Speaker 2 (05:32):
I do not whistle. No. As a young lad, however,
in the office all my school, I was considered quite
proficient on the best school. Well try this on your
best soon. Yes, of course I have something for you,
Misster live here. Thanks, thanks very much. Yes, it's addressed
(05:53):
to me all right, but that's all. It is an
envelop just my name. I wonder won't be asking too
much if I asked you to tell me who this is? Wrong?
It would be asking too much. Okay, okay, old man,
thanks anywhere. I wish I could give you something for
your trouble. But I forgot my wallet this morning, and
that's what anticipated What do you mean everything with you
had been taken care of everything, Yes, monsieur, that is
(06:15):
the world. I believe. Everything in the envelope was an
airline ticket for Tangier, fifty thousand francs in nice fresh
notes and the following letter, My dear mister Lyon. When
you arrive in Tangier, go immediately to the Elmerador Hotel,
(06:36):
where as suite as a reserve for you. After you've died,
go to a cabaret called the Kabbala. Wait there for instruction.
Oh yes, portare is anything wrong?
Speaker 1 (06:45):
Nothing is wrong with you? But he's two forty five
and your pin leaves only at.
Speaker 2 (06:49):
Dif Okay, oh man, okay, I'm on my way just
to call me a cab. What do you mean for that, monsieur?
Musine has been all about for you?
Speaker 1 (06:56):
It is waking at the door.
Speaker 2 (07:08):
It was a very present trip with a very uh,
very very attract a coach.
Speaker 4 (07:13):
To some board, and you're quite comfortable. It's about it.
Speaker 2 (07:16):
Oh yes, I'm I'm fine.
Speaker 4 (07:17):
Isn't there anything you like?
Speaker 2 (07:19):
Well? I like to know what you're doing tonight after
we last.
Speaker 4 (07:21):
I mean you wouldn't you like some more coffee or
maybe a pillow?
Speaker 2 (07:24):
I ain't know what you mean, and if you know
what I meant.
Speaker 4 (07:27):
Tangier is a very interesting city.
Speaker 5 (07:28):
First, there's the Arabs and the castpar and all that
minism out in European city. It's an international court. Of course,
there's fourteen different countries in control.
Speaker 4 (07:36):
But it's of course you know that.
Speaker 2 (07:37):
Yes, as I've heard, I guess you're.
Speaker 5 (07:40):
Making fun of I'm a business man. You've probably been
to Tangier many times.
Speaker 2 (07:44):
But ruh, let me take that up point five point.
I'm not a business man. I've never been to Tangier
and I wouldn't dream of making fun of you. Just
answer me one question.
Speaker 4 (07:53):
I go back on the return slafe at six in
the morning. Mister line and ninety speak.
Speaker 2 (07:57):
You haven't answered the questions. Besides, my name isn't mister.
Speaker 4 (07:59):
Lion Uh, that's what it says on the money.
Speaker 2 (08:01):
Her name is Harry. Cause then to a night club
attends you called the Kabbala. Oh, yes, I have you
have one?
Speaker 4 (08:09):
So I have have you?
Speaker 2 (08:11):
There's a nice night club ressed in town. That's good.
Glad you like it. I've reserved the table for.
Speaker 4 (08:16):
Its Okay, fastening the safety, don't but coming in.
Speaker 2 (08:36):
You know something walking. You're one of the few girls
outside of Havanna I ever danced with. Who knows anything
at all about the rumor?
Speaker 4 (08:44):
I learned it in Havana.
Speaker 2 (08:45):
That almost explains it. What do you mean on the Okay,
you learned to dance in Havana, and so there's lots
of other people. Okay, you're a hostess on an airline.
You're very good looking, and there're lots of good looking
hostesses to dance the rumor, but they don't dance that well,
and none of them the that's beautiful. Ah. I don't
know what I mean by almost, but really, you know
(09:06):
you're almost too good to be true.
Speaker 4 (09:08):
No, I'm not so good.
Speaker 2 (09:10):
That's good.
Speaker 4 (09:11):
You don't even know my name?
Speaker 2 (09:12):
Yes I do. I have a sign on the door
of the cockpit the plane that says Captain T. R. Stevenson,
co Pilot J. O'Brady, air Hoss P. Spence. So that's
your name is in peaceman? May I call you pee?
Speaker 4 (09:25):
He is Paul Patson?
Speaker 2 (09:26):
Okay, what's thatttle for?
Speaker 4 (09:27):
That?
Speaker 2 (09:27):
Who says I'm a champagne? Ought to be cold. Nothing.
Speaker 4 (09:30):
It's altay closer here.
Speaker 5 (09:31):
Why don't we forget the champagne and take.
Speaker 4 (09:33):
A walk outside.
Speaker 2 (09:34):
I wonder if I'm just pay the check it's been
taking care of. What do you mean the check has
been saying I'm a Carol bir We we got that
that you're my guess. Remember besides, I'm the mail in
the body, and I have my pride.
Speaker 5 (09:47):
I'm sorry, it's all taken care of.
Speaker 3 (09:50):
Come on.
Speaker 2 (09:52):
Nights on the day, night night night, Uh, curtsy, I'm
gonna take something back.
Speaker 4 (10:02):
What's that?
Speaker 2 (10:03):
Hid? One little word?
Speaker 4 (10:05):
What's the word almost? I don't understand you, but.
Speaker 2 (10:09):
I used to describing you, but it doesn't fit. The
word almost. It never be a pride to you. Whatever
you are, and that's what you are completely. You couldn't
be almost anything.
Speaker 4 (10:19):
You're wrong, Harry.
Speaker 5 (10:20):
Almost is just a word for me, among other things.
I'm almost prey rich.
Speaker 2 (10:26):
It must be. If you treat all your boyfriends.
Speaker 4 (10:28):
To champagne, you're a special case.
Speaker 2 (10:30):
We won't argue about that at that time. I'm a
special case. But once an airline know it's just get
paid enough to treat your boyfriends to champagne. Even the
special cases like me. You know that he doesn't make sense,
you just saying you're rich.
Speaker 4 (10:42):
I said, I'm almost rich.
Speaker 2 (10:44):
Oh, then you wants to be almost stupid. What do
you mean but I was almost rich, I wouldn't be
working for my living at all. I wouldn't be found
on an airplane as I wanted to get someplace.
Speaker 5 (10:52):
I said I was almost rich, honey, And that's what
I meant. I doesn't mean I was little money or
enough money means I have to work for my living.
I took this job to pay the renting, also because
it brings me twice a week of Tangier.
Speaker 2 (11:04):
What do you like about Tangier? A lot of international
lawyers and private banks, with streets full of American caris
and grimy characters and night shift. Not very beautiful as
I can see. That's the kind of Switzerland with error.
Speaker 4 (11:18):
No, but it is beautiful, Henry. If you know the
right places. Let's be sure you tactics.
Speaker 5 (11:23):
You know the Villa Mughetti A yes, that means a
great palace from the hill.
Speaker 2 (11:29):
I know as Well's good.
Speaker 5 (11:30):
Get in, Harry. I'm going to show you how beautiful
Tangier it can be.
Speaker 2 (11:41):
The cam twisted and turned its torturous way through the
native court, and then pretty soon we were out in
the country. They were climbing steadily. I noticed in passing
beautiful villas, homes of rich expatriots who've come to live
in this strange little international settlement of Tangier, where you
don't even have to register with your consulates and nobody
pays any income taxes at all. I think I neglected
(12:11):
to mention that Patsy was beautiful, and if I did
believe me, I was understating a situation. She had gray
eyes and that clear, proudery gold hair that makes you
think of the actious as angel wings. I don't know
a lot of girls, but none of them I've ever
laid eyes on would have given Patsy a worried moment.
They may be better looking airplane hostesses, but if there are,
(12:33):
they're working for airlines on another planet. As we climbed
up the moon bright hills of a Tangier, I forgot
completely the strange business which had brought me there, the
advertisement in the paper, the airline ticket, and all the
rest of them. I didn't care why I'd been sent
for the Tangier. I didn't care who've done it? Of
(12:57):
what he wanted from me?
Speaker 6 (12:58):
A dogs, He knew you do it very well.
Speaker 4 (13:02):
But they've come to have this tradition.
Speaker 2 (13:03):
Yeah, so we have. Anyway, the cats stopped. When did
that happen?
Speaker 4 (13:08):
About five minutes ago?
Speaker 2 (13:10):
Where are we?
Speaker 4 (13:11):
Well, there's the day below.
Speaker 2 (13:12):
It's all they're pretty. It looks too with all the lights.
Speaker 4 (13:14):
And me, no, not not now? How please, a very impatient.
Speaker 6 (13:21):
Let's get up. Why it's nas it's nicely in the house.
Don't have enormous.
Speaker 2 (13:26):
Please anyways to try a private mansion unless you're sure
would be welcome here?
Speaker 4 (13:31):
You take the key? The key you mean, that's what
I mean.
Speaker 5 (13:34):
You're my guest, my guest all alone, gentlemen traveling to Tangier.
Speaker 4 (13:40):
Visit to the best. But what do you whistle? The
tune didn't say how do you know about it?
Speaker 5 (13:44):
I had a friend once who told me how fund
you've always been in that?
Speaker 2 (13:47):
I mean, how do you know about the ad in
the paper?
Speaker 4 (13:49):
I ought to know.
Speaker 2 (13:50):
I paid for it and my friend take it.
Speaker 4 (13:53):
I got a.
Speaker 5 (13:53):
Reduction from the airline. Come in, Harry, here's a flashlight.
I've got something to show you.
Speaker 3 (14:18):
Arson Welles returns in just a moment as the third
man ow orson wells. As the third man continues with
(15:06):
today's story, Ticket to Tangier.
Speaker 2 (15:17):
I followed Patsy into the house. It's a huge place,
full of heavy chandeliers and pompous furniture, most of which
are pretty spooky looking because they're covered with dust cloths.
Obviously the place I hadn't been lived in for many months.
But who was it who had lived here? Who was
it that built this unlikely palace on a hill overlooking
(15:38):
the harbor of Tangier and Buffalo? Why had I been
brought here? Just? Who was p Smith? Air hosters? And
what did you expect me to do about it? We
made a tour of several chambers before I even started
to get any answers.
Speaker 4 (15:55):
This way hadn't.
Speaker 2 (15:57):
Where are we now?
Speaker 4 (15:58):
Which used to be a ballroom? Close the curtains, then
we'll turn on the lights.
Speaker 5 (16:02):
Okay, you show that type shuttle run.
Speaker 4 (16:07):
We don't want the police to come and start asking questions.
Speaker 2 (16:09):
You can say that again, honey, What are the cops
got to do with you?
Speaker 4 (16:14):
Nothing yet, I'll tell on the switch. See that m I.
Speaker 2 (16:20):
See a piano, about thirty guilt chairs, a big rolled
up carpet already splendid and ground with which particular item
on 'em? I supposed to admire a carpet. I'm not
a cornis, Uf says. So if you brought me here
to get an appraise a lamafid, we're both wasting our
time thing about carpets.
Speaker 4 (16:38):
Do you know about heroine?
Speaker 2 (16:41):
Yes, halloin is a drug. It is nasty and habit
for me. And did say it was controlled by international law?
Speaker 4 (16:50):
Well, I'm telling me more.
Speaker 2 (16:51):
I don't know any more about heroin I do anything
to speak of. I don't use drugs, miss.
Speaker 4 (16:56):
Smith, but you sell them.
Speaker 2 (16:58):
I just told you that the sale of heroin it's
controlled by law. You suggest, I'm suggesting.
Speaker 5 (17:03):
That there isn't much you don't know about breaking the law,
any law but.
Speaker 2 (17:08):
A point three. I won't try to deny that my
knowledge of the subject isn't fairly extensive.
Speaker 5 (17:12):
Why do you think I sent for you?
Speaker 4 (17:13):
Why do you think I brought you here? You're harry line,
don't you. I'll stop kidding for a minute and let's
get down to.
Speaker 2 (17:19):
The first of all. I you better answer a few questions,
missus P. Smith. That's maybe I'm I'm the curious type.
I like the facts before I take on a job,
all of them. First of all, what's your racket?
Speaker 4 (17:30):
I haven't any racket.
Speaker 5 (17:31):
I'm an Airline's why because it's a good job.
Speaker 2 (17:34):
Yes, because the run takes you to Tangier? Am I right?
Speaker 4 (17:36):
That's partly right? Yes? But listen, what's your real name?
Speaker 2 (17:40):
What's it to you? We'll pray it my way, sweet,
I don't. We aren't playing it at all. Must need
me awful bad to take all this trouble to look
me up and move me. If you need me, are
going to cooperate and start off with your real name
and go on from there.
Speaker 5 (17:52):
Did you ever hear of a man named mcghetty.
Speaker 2 (17:55):
Gay Rico Getty. Yes, that's that's the name of this place.
Is familiar Rica once in must say all the time.
He comes it blind, if he comes from Crossic. Isn't
it right?
Speaker 4 (18:04):
He's dead? Yes? I was his wife.
Speaker 2 (18:08):
Oh, I'm sorry.
Speaker 4 (18:09):
This need to be sorry for me. I killed Rico.
Speaker 6 (18:12):
Myself, and I'm sorry for Rico. He wasn't a nice man, No, I.
Speaker 2 (18:17):
Guess he wasn't. I remember now I once saw him blind,
a man with a broken wine grass, right, Rico wasn't
a very nice man, but he was a careless.
Speaker 4 (18:25):
How do you mean careless?
Speaker 2 (18:26):
But he's wise anyway, man has to watch himself when
he starts playing with wives sometimes little loaded.
Speaker 4 (18:32):
Why don't you stop kidding just for a minute.
Speaker 2 (18:34):
What am I supposed to do? After all, only so
many alternatives. I can make a joke about what you
just told me. I congratulate you, or I hand you
to the cops. And now I think it's better if
we treat it as a joke.
Speaker 5 (18:44):
So this is the notorious Harry Lyon, the man no
country can.
Speaker 4 (18:48):
Hold, and who stops at nothing. You know what, I
think you're actually shocked.
Speaker 2 (18:52):
Maybe I'm not Harry Lime at all. After all, an
awful lot of people can whistle that song and it
quad love Bote. The original Harry Lime not a fact simile.
He doesn't like murder missus mcghetty. You say stops at nothing,
or believe you me, he starts at that? He it's
meercy be it's silly, and see there's no profit in it. Besides,
(19:14):
Harry Lyn's mother always told him not to go around
killing people. She said it wasn't me.
Speaker 5 (19:18):
You don't know the facts in the case, Hetty, I
was justified. Don't have to take my words.
Speaker 2 (19:21):
I guess I were at that and now this is mucghetto.
If you don't mind, why if you've brought me all
the way to Africa at this empty house, you said
there's a lot of heroin in that rub Do I
take your word for that.
Speaker 4 (19:29):
You don't have to. You can look for yourself.
Speaker 2 (19:30):
I told you before, Annie, I don't know anything about dope.
Speaker 1 (19:32):
You know people who do.
Speaker 5 (19:33):
Don't choose people in Paris, in London.
Speaker 2 (19:35):
And New York, not intimately, but you.
Speaker 5 (19:37):
Know how the drug traffic works. I don't there something
new for Rico, some kind of big hole. You must
have had a partner, because he wouldn't have known how
to dispose of it. It wasn't his line at all.
Speaker 2 (19:47):
Isn't mind either, Honie, I keep telling you that. How
do you know it's so valuab You told.
Speaker 5 (19:51):
Me I've been keeping it here in the house for
months now. This airline job I have is perfect for
smuggling and stuff. But I don't know who to take
it to. I don't know what towns for the best price.
I don't know the names of the agents. Rico kept
me away from that kind of thing. All I can
remember was hearing him talk about you.
Speaker 4 (20:05):
You've got to help me, Harry.
Speaker 2 (20:07):
How about the police.
Speaker 5 (20:08):
They don't know it's here, so if they even know
about the houses, at least there isn't anything against him
in Tangis.
Speaker 2 (20:13):
I know about you, But you killed him then, Jared.
The cops still about that.
Speaker 4 (20:16):
They don't suspect me. There's no reason why they should.
I had a good alibi. I was leaving. You did
that someday so you can blackmail me? No thanks, Harry.
Speaker 5 (20:25):
Let's keep our relationship on a nice, clean business level.
Speaker 2 (20:30):
Now, that's the way I like to give you a talk.
Who are you to talk about that level that I'm
gonna get here now? I think it would be easier
all around if you and mister lyons two hundred in
the air. That's too high. Just fold the level right.
It's a very efficient gun. I'm holding not a good mouth.
Speaker 5 (20:47):
How did you get in?
Speaker 2 (20:49):
I hate to tell you, madam, we'll get it.
Speaker 4 (20:50):
This nation is so banal.
Speaker 2 (20:53):
Through the door you left it open? Now? Then where's
the heaven? Just a minute? Yes, mister lion, and you
seem to know my name is here, but I'm afraid
you have the advantage. It doesn't matter. I was, we say,
a business associate of this with those ladies' husbands. Okay,
don't tell me. Let me guess you began an Indo China.
You said three years in a penal colony of Brazil.
(21:14):
He used to call you the doctor. Am I right?
I have a doctor's dip, Doctor Bessie, that's your name.
What's the detective you would make? You have a good memory,
doctor Bessie, and I'm a professional collector of information. You
will find the heroine and the piano in the piano.
This is probably a trick, mister Lime.
Speaker 4 (21:32):
Suppose you go to the piano and extract.
Speaker 2 (21:34):
The heroine it, and don't be silly, old man. It
would be very simple for me to extract a revolver
from the piano, and I think it'll be unpresent for
both of us. If there was any shooting, you must
be policed in the neighborhood. I'd much prefer you to
find your dope and leave quietly. I'm a peace loving man.
Very well, I look for myself.
Speaker 7 (21:53):
I'm keeping my eye on your line. No, I'm wait
a minute, there's nothing here.
Speaker 2 (21:59):
If you have your hand, Bessie.
Speaker 5 (22:00):
I'm warning you out shoot if you.
Speaker 2 (22:06):
Well, well quickly mystay. Congratulations change, He said he was
a good shot.
Speaker 5 (22:12):
Must have been boasting, should have kept his eyes on
both of us, and nobody could do that.
Speaker 2 (22:15):
He said, I wouldn't know, missus mcgeddy. I haven't ast
Jimmy looks we have any plans? Yes, you get out
of that funny, That's just what I was going to suggest.
Speaker 4 (22:22):
Take ahead of it. You got it just as it
is in the run.
Speaker 2 (22:24):
Oh thanks. I have a bad back and I hate
to stoop over. Why don't we just leave it where
it is?
Speaker 4 (22:28):
Let the cops find it. Give up a hundred thousand
dollars worth of dough.
Speaker 2 (22:30):
You crazy, crazy enough to argue with you as long
as you're holding that gun, Patsy.
Speaker 4 (22:35):
But what's that?
Speaker 2 (22:37):
Oh? What do you think it is?
Speaker 4 (22:39):
The police?
Speaker 2 (22:40):
Either that or it's New Year's Eve? Dolstar lights on?
Speaker 4 (22:42):
Right?
Speaker 2 (22:44):
Okay, and now much better. You've got darkness and I've
got the gun.
Speaker 4 (22:50):
Give it back to me.
Speaker 2 (22:51):
You're too impulsive for firearms, missus mcgeeddy. I'm keeping the gun.
Speaker 4 (22:55):
The cops.
Speaker 7 (22:56):
Cops.
Speaker 2 (22:57):
Your husband does a nice big house. But it's getting
a bit over crowded. You don't mind the suggestion. I
think we better scram just two feet ahead of me,
Missus mugett in or try anything funny. Your seat sell
sass who's coming in. We made our way out through
(23:22):
the garden. The cops were all over the place, and
after a while it was clear that our ownly hope
was in separating. Patty, Patty, you'll go through the shrubbery.
Speaker 8 (23:29):
CA's straight on down the field. You get to town,
you can is it?
Speaker 2 (23:32):
Just keep going down the road.
Speaker 7 (23:33):
I'll make all right.
Speaker 2 (23:35):
Heroine, there isn't any heroine in this story, Missus mcghetty.
Just a hero that's a Joe Curney.
Speaker 8 (23:41):
We're gonna laugh at it later when you catch your
plane to that car.
Speaker 1 (24:07):
Harry Line returns in just a moment, and all Harry lyon.
Speaker 2 (24:52):
Of course they got her. I took her off the
plane on the return around to Paris. Somebody tipped off
the police about that murder, which might call the wages
of line. It's another joke that you don't have to
laugh at it. I'll do the laughing. You see, what
Pantsy didn't know was that I had picked up the
rug in the darkness and hid it under a bush
just outside the window. I came back later and corrected it.
(25:13):
Of course, the word was out about Rico's big consignment,
and didn't have any trouble getting a good price in
mar Sell the next week. But honestly, I don't approve
of drugs. That's why I threw the original stuff into
the bay of Tangier and delivered to the gangsters several
nicely wrapped packages of confectionersh sugar. I tell me to
get the habit for sugar too, but my conscience is
(25:33):
clear all except for one thing that that little prayer
rug it was wrapped in. I know it didn't belong
to me that it looked very nice here in front
of the t table, don't you think so? Will you
have no kerleavel with your tea? And how much sugar?
This is the very best brand, you know, I've syndicate
a desperate gangster's paid me fifty thousand dollars for only
seven packages of the same quality.
Speaker 7 (26:07):
Internet and.
Speaker 9 (26:25):
In brist In in in.
Speaker 2 (27:00):
And it.
Speaker 7 (27:23):
Think from it instant in its thin it's and it
(28:03):
doesn't able to be
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