5 CREEPY OTR Dramas To Get You In The Halloween Spirit!!

Enjoy 5 Creepy and thrilling otr dramas to get you in the halloween spirit!!! 

Episode Transcript

Speaker 1 (00:02):
Have a journey into the realm of the strange to
tell a by I hope you will enjoy the chap,
that it will thrill you a little and kill you
a little. So settle back, get a good grip on
your nerves. Where are we going? You'll find out when

(00:24):
we get there.

Speaker 2 (00:32):
Listen to yourself. Revenge, revenge, revenge. Listen to her captain
or her uncle rigain. Such a young and pretty girl.
I could have driven around her mind like that, I
asked you.

Speaker 3 (00:49):
Then then then then then, yes, yes, what.

Speaker 4 (01:11):
Is it I'm looking for, mister Henry Stewart, if you please?

Speaker 2 (01:15):
Oh you mean about the advertisement.

Speaker 5 (01:17):
Yes, that's right.

Speaker 6 (01:18):
I got here as soon as I call.

Speaker 2 (01:20):
Right, that's all right. As long as you got there,
that's all a matters. Come in, come in, Oh, thank you.
Just put your suitcase down there, you'll be all.

Speaker 5 (01:29):
Right, Thank you.

Speaker 2 (01:31):
Are you come on this way?

Speaker 7 (01:33):
Thank you?

Speaker 2 (01:38):
Just step in here, Miss Malone, Ellen Malone, miss of course,
Miss Malone. Now then you'll have a chair, please, thank you.
Here we are now, then, Miss Malone. To be perfectly
frank with you, I wasn't quite expecting you today.

Speaker 6 (01:56):
Oh I'm truly sorry, mister Stewart. But you see, I
the wrong.

Speaker 8 (02:00):
Train of that.

Speaker 6 (02:02):
Well, I had the hardest time finding the house.

Speaker 2 (02:04):
I do hope you're forgiving, boss. Of course, don't give
it another thought. Promptness may be a virtue, but we
all can't be virtuous, now can we. Now, then, don't
share an answer to my advertisement.

Speaker 9 (02:17):
Yes, sir, you wrote no wishes of word.

Speaker 2 (02:19):
You're the young lady from from Queensville. Is Queensville? You
have my letter with you? Oh yes, sir, right here sad,
Oh yes, Now then your friends know you came here.

Speaker 6 (02:34):
Of course, there's no one very much interested in this you.

Speaker 2 (02:38):
Oh oh, come now, a pretty young girl like you.
No young bulls and so on so on, So there's
no one.

Speaker 6 (02:45):
I mean, so you can depend on me to give
all my attention to my work.

Speaker 2 (02:49):
Very commendable, very commendable. Indeed, my work is, I wrote
you as entirely confidential. My philanthropies are to a great extent,
entirely sub rosa, no flush, no feallures, you understand, I mean,
Oh yes, sir. As my secretary, my affairs will be
entirely in your hands. My checking account, my financials and
chow John entirely in your care. I understand it's quite

(03:11):
a responsibility, and you're quite a young woman. And as
I wrote to the bank.

Speaker 6 (03:16):
Oh, yes, sir, I understand the bond. I brought the
money for it, three hundred dollars. I got it right here, sir.

Speaker 2 (03:22):
Oh fine, fine, that's very business.

Speaker 10 (03:24):
Right.

Speaker 2 (03:24):
Indeed, I'll give you a receipt and there will you be,
mister Stewart, yes my pen Oh oh yes, here we
are my money.

Speaker 6 (03:34):
Will I get it back in the bank anytime I
leave your employees, I mean when you want me to.

Speaker 2 (03:40):
Oh, I guess, of course, of course. Now then we
are received of miss Nelle Malone Ella. Of course. Ella.
Memory isn't quite what it used to be. That's why
I need a good secretary.

Speaker 6 (03:53):
I'm very good at remembering things.

Speaker 2 (03:55):
Oh you are well now then, yeah, yes, this receipt
is in good order, received of miss Ella alone, three
hundred dollars to be deposited with the merchants banks shouldn't
be bond and to be returned to said Ellen alone
upon request. That's my signature, and I'm sure that'll do

(04:15):
very well, sir. Now then you have got my receipt.

Speaker 7 (04:22):
But I, oh, I beg your pardon.

Speaker 2 (04:25):
Not at all, not at all.

Speaker 5 (04:28):
Here I am.

Speaker 2 (04:29):
Oh, well, I understand the excitement of your trip, Mistewart.

Speaker 6 (04:33):
You see I had it already in an envelope. Now
if you're all.

Speaker 2 (04:37):
No, no, not at all, not at all. Bank can
do that when I send it to them in the morning. Now,
just put your purse down there, and I'll show you
to your new home. Yes, ways, go right up these stairs.

Speaker 9 (04:47):
Yes, oh, yes, you find.

Speaker 2 (04:53):
I have quite a place here, three stories high, in
every inch of it my own design, rather dark. Oh
so careful, now, careful, I'm all right. Mustn't hurt yourself hardly.
The way to start a new job. Now there here
we are. Not a nice room for you, very nice.

(05:16):
Fact to the matter is you can choose any room
on this floor.

Speaker 9 (05:18):
But mister Stewart, your daughter's daughters, yes, won't they object?

Speaker 2 (05:23):
You said, yes, yes, my daughters. I did write you
about them, didn't die?

Speaker 9 (05:29):
Yes you did.

Speaker 2 (05:30):
Well, Never mind about them. They're upstairs studying. Now right here,
I said, yes, take this room at least for the night.
Whatever you say, mister, nice, isn't it.

Speaker 6 (05:45):
I've never had such a large room, if you've got
one a little small.

Speaker 2 (05:49):
On the contrary, my dear miss Malone, you will find
this one small enough. I have a little too small, Yes,
indeed entirely too small.

Speaker 11 (05:55):
But mister Stewart.

Speaker 5 (05:58):
Locking, why did you did your wand you lock the door?

Speaker 8 (06:05):
Missus Stewart, you shut me in here?

Speaker 11 (06:10):
Please please answer me.

Speaker 5 (06:13):
Please let me out of here, Please let me out
of here.

Speaker 9 (06:26):
Yes, yes, miss nor there's.

Speaker 2 (06:28):
No doubt in my mind at all if you're the
very person I want to employ as my housekeeper.

Speaker 11 (06:32):
And they glad to hear that.

Speaker 2 (06:34):
Of course, the matter of being a housekeeper, the places
art as mine, calls for definite qualities. Well, certainly can't
ask more than that.

Speaker 11 (06:43):
No, indeed, your wife, maybe she'd like.

Speaker 2 (06:46):
To talk to me my wife. Oh yes, of course
I wrote you about my wife, didn't I? Well, my
wife is out shopping. As soon as she returns, you
will meet her. I'm sure she'll find your recommendations as satisfaction. Traus,
I did make me very heavy.

Speaker 11 (07:02):
I've always wanted to work in.

Speaker 4 (07:03):
A fine hard Now about money or any telling you
want opinion that it's all right.

Speaker 11 (07:10):
I just want a chance to show you how good
I can do.

Speaker 2 (07:12):
Your work recommendable, indeed, very commendable. But we must agree
on a salary. I am a sort of man who
has respect for money and expect a similar respect in others. Yes,
and speaking of money, you'll be wanting to open a
new bank account. I suppose, thank you. Yes, it's my
principle that everyone employed by me should have a savings account.
Bill's character. I open an account for you in the morning.

(07:34):
You can transfer you at the bank accounts you have
back in your hometown up to my bank convenience.

Speaker 10 (07:38):
You know.

Speaker 11 (07:39):
Oh no, I haven't got that. I haven't any money
in the bank, bank homework.

Speaker 8 (07:43):
I took it all out.

Speaker 2 (07:44):
Oh, it wasn't much anywhere.

Speaker 8 (07:46):
I was left to father insurance money.

Speaker 2 (07:48):
After my mother died. Oh yes, yes, we're not in
supposingly we all your things here and we'll go look over.

Speaker 5 (07:56):
The house and very nice.

Speaker 2 (07:58):
Yeah, that's the listening.

Speaker 11 (08:01):
I'd be glad to be working in such a big house.

Speaker 2 (08:04):
I just say, oh, yes, yes, quite an establishment here.
Designed it all myself, I right hard. Oh yes, yes,
I'm certain you will down by downing stage. I'll show
you everything downstairs first. Oh yes, yes, yes, everything modern
and everything convenient, high wide basement. Hey, I'll watch yourself

(08:30):
it's just.

Speaker 9 (08:30):
A little dark down here this time of day.

Speaker 11 (08:33):
Oh it is a big basement, all right, could hang
up plenty of versing down here.

Speaker 2 (08:37):
Oh yes, yes, indeed.

Speaker 5 (08:38):
Now, if you'll just come this way, you know, are
you building something down here?

Speaker 2 (08:42):
Building? Always if the need always building, always changing, always removing. Changing,
can change my hobby, always changing.

Speaker 11 (08:48):
Things hard to keep clean.

Speaker 9 (08:50):
Now, and I don't worry about that.

Speaker 2 (08:51):
Everything will be cleaned up in short order. The bags
of sand and concrete, concrete mixer, everything will be out
of the way. Won't bother you at all, not at all.

Speaker 6 (08:58):
I'll say you're making more.

Speaker 2 (09:02):
Old wish, Yes, indeed, with nice clean concrete floors. Yeah,
look at this one.

Speaker 8 (09:11):
Kind of god.

Speaker 2 (09:12):
Come on, come on, you're closer all my own work.
You see the floor is still wet. I like concrete,
don't you, mh It Yes, covers everything. You know how
deep that concrete is? Three feet deep, this man, and
three feet deep, and I just poured it an hour

(09:32):
before you honored me with your presence. Three feet That
will make a mighty thick slab of stone. Want it missnowed?
Thick enough to cover you? Ah? Yes, indeed, just to
the point of the jaw is still a most effective soporific.

(09:54):
You're quite a light woman, my dear miss Nord. Up
you go, and then you go fastown. What an unusual bed?
You lie anglish, not sinking down and down and down,
and the concrete will harden, and I, I guess I

(10:19):
would have to get myself a new housekeeper.

Speaker 12 (10:31):
Babies and gentlemen, let's lean back now and relax for
a moment. Let's take time out from tonight's amazing lights
out story, the story of a strange, mysterious mansion and
the one woman who entered those doors.

Speaker 2 (10:44):
Was never seen alive.

Speaker 12 (10:45):
Again, let's turn during this brief and emission or much
more everyday situation, and.

Speaker 2 (10:55):
Now back to our.

Speaker 12 (10:56):
Lights out story of murder Castle.

Speaker 13 (11:11):
Mm hmmm, hello, hello, Hello, is.

Speaker 2 (11:22):
This the employment agent? This isn't it the stewards, the
head of stewards. I'm interested in employing the nurse for
my child, someone preferably unattached, who can live here with
my wife myself. No, no, no, just send me their names,
addresses and references. So long now I'll send you a
check for the services.

Speaker 9 (11:42):
My address is four twenty four East seventies.

Speaker 2 (11:46):
Yes, that's right. Just the names and addresses. Yeah, said,
I'll send you a check. Goodbye.

Speaker 14 (11:53):
Oh yes, yes, I'll be there.

Speaker 2 (11:54):
I'll be there, I'll be there.

Speaker 13 (12:00):
Yes, yes, what it is?

Speaker 5 (12:03):
Did it in?

Speaker 2 (12:04):
Oh yes, yes, yes, indeed, won't you come in? I'm
mister Steve Wider. Thank you your answering in regard to
word caerial position you wrote your letter. Oh yes, yes, yes,
indeed I wrote you. Step in here, please, thank you.
Now you sit there, I'll sit here, we'll get better acquainted.

(12:26):
Put your suitcase down there and place. Sorry now and then,
I'm afraid I didn't quite get your name, Ray, very.

Speaker 7 (12:32):
Ray, you wrote me.

Speaker 2 (12:34):
Oh yes, of course I remember you distinct. Now then
you have my letter to you, just to sort of
refresh my memory on the circumstance. I don't you know.

Speaker 7 (12:42):
Oh well, I'm sorry I didn't do it with me.

Speaker 2 (12:46):
Oh well, then suppose you tell me there's more about
yourself and it always happened. But don't follow see off
the train. I spose it's the way I wrote you.

Speaker 9 (12:56):
Right, I'm quite alone.

Speaker 2 (12:58):
Oh yes, But first is the matter of the sure
dey bond I wrote you?

Speaker 10 (13:04):
Up?

Speaker 2 (13:04):
I didn't I yere?

Speaker 14 (13:06):
She did? Yes, I.

Speaker 6 (13:10):
Was wondering here have you had let me take the jay?

Speaker 2 (13:14):
Why? As?

Speaker 6 (13:15):
I want to know why you asked that question? What
happened to them after you hire them? Tell me what
happened to them?

Speaker 2 (13:21):
Tell a woman, just who are you? My name is?
Let him alone, Malone? Let him alone.

Speaker 6 (13:28):
My sister Ella came here a month ago about a job,
and I want to.

Speaker 7 (13:31):
Know where she is.

Speaker 2 (13:31):
Do you hear me?

Speaker 7 (13:32):
I want to know where she is.

Speaker 2 (13:34):
I don't think I quite know what you're talking about.

Speaker 14 (13:36):
Why do you lie to me?

Speaker 7 (13:37):
Why did you lie to me?

Speaker 11 (13:38):
She was here?

Speaker 2 (13:39):
She was then? What makes you so sure a letter
you wrote it? The first one?

Speaker 7 (13:43):
I waited a whole month, and then I came here, and.

Speaker 9 (13:45):
As soon as I saw you, I thought something was wrong.

Speaker 6 (13:48):
And now I know there is my sister Ella.

Speaker 8 (13:50):
Where is she?

Speaker 2 (13:51):
You've got to tell me. What if I tell you
a game that I don't know what you're talking about,
I'll go to the police.

Speaker 6 (13:58):
They'll make you tell the truth.

Speaker 7 (14:00):
She came there, I know she did.

Speaker 2 (14:03):
You why because you're being a very foolish young lady,
very foolish. Indeed, there's no need to get excited, of
course your sister here. I'm very happy to she's here. Yes,
I'm very happy to don't take me to her? Can
you take me to her?

Speaker 5 (14:20):
Right?

Speaker 2 (14:20):
All right, No need to get excited, of course, I'll
take you to her. I intend to do all along.
I was just having a little joke with you.

Speaker 9 (14:29):
Of course.

Speaker 2 (14:30):
Now then come right along with me, Come right along
with me, a long sheet right up here with me.

Speaker 11 (14:42):
Why didn't she write?

Speaker 5 (14:43):
Why didn't she tell me?

Speaker 2 (14:45):
I done this?

Speaker 15 (14:46):
Hall?

Speaker 2 (14:46):
And you can ask her that for yourself. This isn't,
My dear young lady, you have easy, the most suspicious
mind of anyone I've ever met. Why, I'm quite a
helpless old man. And you always have recourse, as you
put it to the priest. Oh yeah, right in that room,
I'll go right in all right. It's knock, knock on

(15:09):
the door, and show open it for you.

Speaker 6 (15:12):
Ella, teller, it's Betty letting and daring.

Speaker 2 (15:16):
It's Betty.

Speaker 5 (15:18):
No, hella, please, it's.

Speaker 9 (15:21):
Very very well now you certainly you can't be sleeping.

Speaker 3 (15:25):
Open the door.

Speaker 11 (15:26):
Please open the doors.

Speaker 2 (15:27):
Like all right, No reason to get excited.

Speaker 16 (15:29):
Quickly opened the door, quickly, yella, it's Betty.

Speaker 2 (15:35):
Hellow what oh now then, my dear Betty we understand
each other clearly, don't we? Yella? Nothing like a complete understanding, now,

(15:57):
is there? Oh, it wasn't so difficult. I shut the door,
sealed it, and nature took care of the rest. Ella did.
She died quite easily, much easier than otherose. Why I mean,
why do I do it? It's a very simple explanation,
young woman. This is my business. Yeah, here's my business.

(16:20):
Some men make their fortunes in stock, some bombs, some
in business. And this is my business.

Speaker 5 (16:26):
Why why?

Speaker 14 (16:27):
Why?

Speaker 2 (16:27):
Why is any business conducted profit? Idea? And I've made
quite a need for the profit olders, and a very
safe one too. Yes, and you're the very first to
come wandering about looking for one of my customers, the first,
and I assure you the last. Oh yes, thirty women
that have come in my front door, thirty one, including
you and Ella. Come on along now to you or

(16:50):
about him, you'll find it most instructive. Yes, indeed, now
about the daughter. Don't hold my arm, he's color as
they twist and turn.

Speaker 14 (16:57):
Oh, yes, it's best I hold your arm.

Speaker 2 (16:59):
Get lost easier around this house, my most interesting house.
You're taking me? Yes, there were thirty before you. Most
interesting array.

Speaker 9 (17:08):
I used to read the wand edge in small town papers,
and then.

Speaker 2 (17:10):
I'd write letters, Oh, most interesting letters. I needed the
secretary of housekeeper, nurse, excellent salary and your accommodation.

Speaker 10 (17:17):
I knew this.

Speaker 2 (17:18):
It happens, indeed, and they b all their worldly bloggings
with them, jedry and suitcase little here? Who's there? Why
should it be most properable now in this room? For example? No,
perhaps it would be better not to the one in
here came to be my housekeeper, or you see how
long it was? Who well, no matter, she came to
the housekeeper, and after she went into a retirement in

(17:42):
that room, I found in her suitcase such interesting bond.
Why I tell you my ice fairly pop right my head?
Oh yes, it's the uncertainty that makes my little business
so very fascinating. Casey will nourish, Go downands way out
down here. Don't make me to do alone difficult. Most
women is a pools anxious to believe what they want

(18:04):
to believe. Your life, and you gave them death. You're
the smart one. That's why I'm even borrowing, showing you
my work I never did the others, and showing you
around won't do harm if you won't be talking long.
The women die now in this room, Well let me
show you.

Speaker 14 (18:20):
No, let me no plea.

Speaker 17 (18:23):
No really, there's no.

Speaker 2 (18:25):
Reason for exciting, just an empty room. That's what she
thought when she went in here. Then I pressed this
button so and the floor flocked open as she stood
on it, and down she went, down, down, down in
the water. A bit of rhyme I did. Oh yes,

(18:46):
I tried out so many different ways of giving them.
If you wonder why they'll never find me out, I'll
tell you why. Because I'm much too smart for all
of them. Oh, not perfect crimes, no, nothing invandile, but
just cleverness and choosing the women I do my business with,
and an equal travelness, and doing away with some lurs
and duds. Well, then, because I telling you, oh well, yes, yes, yes,

(19:07):
why did you never get me.

Speaker 14 (19:10):
My head?

Speaker 2 (19:10):
No corpus dilector? And if there is one no evidence
of violence, that's the secret. You're very frightened, pair of
quick fire. There's no course DILECTI to that I can
tell you. Not when you bury them in a slab
of concrete. Ah, that's the secret. I could only have
been with you and how this room. Let me show you.
I I think this will be gor my dear. See

(19:31):
the door here, tight hair tights. Indeed, I'll open it.
The room amazing side, isn't it. No doors, no windows
could have helped you. Ellen. Now I'll shut you up
inside the room, and then I'll closed the door and
press this button here like this. You hear that's just one?

(19:52):
You hear that? I mean, I mean, I guess what
he's plumping out of my hair? You hear me pumping air? Absolutely? Yes,
that's clever, isn't it?

Speaker 3 (20:03):
You believe?

Speaker 2 (20:03):
And soon there'll be nothing there to breathe, and then
you will die. And if the police do find your body,
no mocker violence, nothing but asphyxiation, the most mysterious death,
they'll say. In time, they decide it's all quite natural. Embolism,
heart attack. Oh, they'll think up a fan's name to
clear their files. And did they always do?

Speaker 11 (20:19):
It is right for him, deliver the first off of
the bob.

Speaker 2 (20:23):
Now, my dear, I think you'd better step inside quickly.

Speaker 14 (20:26):
Now, so right and throws the door, and go about
my other work quickly. I'll tell you wait, wait, wait
for what I want to give you something.

Speaker 2 (20:31):
What you give me that doesn't belong to me? Already? Gun,
get in there, get in that room. Gun. You had
a gun in your person all the time, and I
got it for the man who tell it. Get in there.

Speaker 14 (20:45):
No, no, no, what did you get in there?

Speaker 5 (20:47):
Out?

Speaker 7 (20:48):
Get in there?

Speaker 9 (20:49):
No, don't get don't I'm a no harmless man.

Speaker 3 (20:51):
I was only pulling.

Speaker 16 (20:52):
I wouldn't hurt you for the world.

Speaker 6 (20:58):
No right to redam, isn't it?

Speaker 14 (21:03):
He said?

Speaker 2 (21:04):
The princes from her?

Speaker 18 (21:07):
Let me.

Speaker 5 (21:10):
The part you turning all.

Speaker 2 (21:12):
Listen to it.

Speaker 6 (21:13):
It's killing him the way he kills you.

Speaker 2 (21:15):
It's right to.

Speaker 6 (21:15):
Revenge, your revenge, right to revenge, right to revenge, right
to reason like reason, like revenge than reason.

Speaker 2 (21:27):
H Yeah, it's going out.

Speaker 14 (21:32):
Yeah, shut up that moor out there, hear me, Shut
up that motor.

Speaker 10 (21:39):
Put me out.

Speaker 2 (21:40):
The heir coming it out.

Speaker 14 (21:43):
It's the pipe you're going out.

Speaker 2 (21:46):
Can't reach the pipe. Shut it off there, shut it
off'll kill me, kill me already? Shut it off? Are
you anything the thing you want? Show a bedroom.

Speaker 14 (22:05):
I can't die, old star.

Speaker 17 (22:10):
The walls down.

Speaker 2 (22:13):
Let me out of here. Let's got the way here, yeah,
let me on, well my.

Speaker 19 (22:24):
Here here.

Speaker 2 (22:28):
Combs breaking globe, mimal my eyes where.

Speaker 9 (22:36):
Leading?

Speaker 10 (22:38):
Yeah? Yeah?

Speaker 5 (22:41):
What's there?

Speaker 20 (22:44):
Yeah?

Speaker 2 (22:51):
Venge things, things, readings, revenge, revenge.

Speaker 21 (22:57):
Here listen to our captain of her game. Such a
young pretty girl. What could have driven her out of
her mind crazy like that?

Speaker 12 (23:22):
Well, mister Blur, and I suppose they all died.

Speaker 2 (23:26):
Happily ever after you put things so sweetly, mister.

Speaker 22 (23:32):
The dark corners of the human mind or the deepest
dark I believe of anything in the universe.

Speaker 2 (23:38):
Now, what is this about? Is not the Russian island
up above Japan?

Speaker 22 (23:44):
Yes, But our story concerns itself only about the Sakalin
her Schlan, which was used as an an execution ground.
And well it was a sort of a macabre education
ground and a devil's island against the enemies.

Speaker 2 (23:58):
Of the t Sar. It's a strange story.

Speaker 22 (24:01):
Of man's inhumanity to man in one of the strangest
places this.

Speaker 2 (24:05):
World has ever known. But be with us again as
usual next week.

Speaker 23 (24:14):
And now another tale, well calculated to keep you in.

Speaker 10 (24:22):
Suspense.

Speaker 17 (24:24):
Do you believe in ghosts?

Speaker 10 (24:26):
No?

Speaker 17 (24:27):
Well, then how about poltergeists?

Speaker 24 (24:30):
You know, all those noisy, mischievous spirits that wrap on
the walls and move the furniture rattle.

Speaker 17 (24:35):
The windows generally make a scary nuisance of themselves.

Speaker 24 (24:39):
Do you believe in them? I mean, of course not,
Peter do I. And yet now and then we hear reports,
reports from people of honesty integrity about strange, unexplainable manifestations
that have sent them screaming with terror into the night.
In a moment act one of Bells, starring Rosemary Rice

(25:03):
and Bill Lipton, and written especially for Suspends by Jack Bundy.

Speaker 17 (25:16):
Hi, Honey, I'm all list home.

Speaker 16 (25:19):
Well it won't be for long because listen, listen, Henry,
listen to what that blasted elevated practically tearing for our
living room, every couple of minutes.

Speaker 17 (25:27):
All day, all night, all week, all year. We listen
to it right on, que too, So help me, Lucy.
Oh what's the use, honey?

Speaker 16 (25:36):
Seriously, if we have to live in this place much longer,
I swear I'll go completely off my not.

Speaker 4 (25:40):
I know exactly what you mean. I felt that way myself.
But from now on, mister Fielding, my dear, my darling,
mister Fielding, it won't be necessary, are you kidding?

Speaker 16 (25:50):
I've never talked to so many real estate agents, plowed
through so many classified ads in my life.

Speaker 17 (25:54):
And what's it got me, Darling?

Speaker 5 (25:55):
It's got your mey and listen to me.

Speaker 4 (25:57):
I've told you more than once that I'm psychic, and
now I know that I am.

Speaker 17 (26:01):
Oh please, honey, not that again. How about some dinner.

Speaker 5 (26:04):
But it's true, and now I know it is. Now
I can prove it.

Speaker 16 (26:08):
You mean that so called guardian angel of yours has
found us a nice, quiet, little home in the country
that we can afford.

Speaker 4 (26:15):
That's exactly what I mean, because listen, Henry, listen very carefully.

Speaker 16 (26:18):
Now, Lucy, I've told you a thousand times you can't
seriously believe all that psychic stuff and all that junk
about a guardian angel.

Speaker 4 (26:25):
It's not junk. My guardian angel looks after me, and
I'm sure of it now you are, Yes, I am looked.
Look at this newspaper. You see it isn't the Herald
Examiner at all. It's the Sentinel.

Speaker 16 (26:37):
You mean, because you picked up the wrong newspaper by
mistake that makes you psychic.

Speaker 5 (26:41):
It wasn't any mistake.

Speaker 4 (26:42):
A few minutes ago, as I was leaving a supermarket
for some strange reason. I can't explain that there was something, something,
some strange feeling, some influence or something that just made
me reach out and grab this particular paper me, Henry,
I couldn't help myself.

Speaker 17 (27:02):
Say, your psychic? How about some dinners?

Speaker 4 (27:04):
Well, I am I must be, because look look here
on the real estate page.

Speaker 17 (27:08):
Honey, I've read them all.

Speaker 5 (27:10):
Henry, not this one. Will you listen?

Speaker 4 (27:12):
Small six room colonial cottage with an easy driving distance
of bell manor development.

Speaker 16 (27:20):
Oh no, you know, done well. We can never afford
a section like that bell Miner yet.

Speaker 5 (27:24):
Will you please listen?

Speaker 4 (27:25):
Excellent condition, bank inspected, fully insured, two bedrooms, one back.

Speaker 17 (27:30):
And have they dared to put in the price?

Speaker 18 (27:32):
Wait?

Speaker 4 (27:33):
Large living room with stone fireplace, built on garage, full
half acre plot, ideal for young couple anxious to get
away from the noise and dirt.

Speaker 17 (27:42):
Of the city.

Speaker 5 (27:43):
And if this isn't just exactly what we've.

Speaker 7 (27:45):
Been looking for, sure, sure it is.

Speaker 16 (27:47):
But the rental on a place like that, it'd be
about it. I'd say three hundred.

Speaker 4 (27:50):
Henry, that's just it. The rental is one hundred and
fifteen dollars a month.

Speaker 17 (27:55):
Oh, now you are look for yourself.

Speaker 4 (27:57):
See one hundred and fifteen dollars a month.

Speaker 17 (28:00):
I can't believe it. But that's what it says in
black and white.

Speaker 4 (28:03):
Oh, Henry, it's a dream come true, and all.

Speaker 5 (28:07):
Because of my guardian Angel and.

Speaker 4 (28:09):
That strange, unexplainable feelings.

Speaker 16 (28:11):
Well, there's something wrong with it, let's face it, Lucy.
There must be a rental like that for a place
like that in this day and age.

Speaker 5 (28:17):
Well, at least we're going to look into it, aren't we, honey.
But we have to.

Speaker 4 (28:22):
I mean, because of the way we found out about it,
the way that that's something I can't explain forced me
to buy this paper to find this particular.

Speaker 17 (28:31):
As by your good old guardian Angel.

Speaker 5 (28:33):
Oh, please, dear, don't kid me about it.

Speaker 17 (28:34):
Okay, Okay, we'll look into it. We've got to lose
who's the agent.

Speaker 4 (28:40):
Oh, let's see his name is, Oh, here's Strickler, Orville Strickler.

Speaker 17 (28:45):
I'll call him first thing in the mind.

Speaker 16 (28:46):
Thank you.

Speaker 17 (28:47):
If there isn't something wrong with it.

Speaker 16 (28:49):
Well, honey, maybe I'll give in and admit that you
are psychic.

Speaker 17 (29:03):
In just a moment, the second act of.

Speaker 4 (29:09):
Suspense, and these pictures, Henry, Oh, isn't it beautif gorgeous?

Speaker 16 (29:26):
Huh, Lucy, it looks real nice. But when were these
pictures taken, mister Strickler, only a couple of days ago.
Mister Fielding took myself as soon as we got the
place for a listing. It's no wonder we've had so
many calls on it already, and.

Speaker 5 (29:39):
We certainly can't argue with this bank report on it.

Speaker 17 (29:42):
That's right, Miss Fielding. The bank wouldn't dare to lie
about the place. I still don't understand this low rental.
Can you explain it?

Speaker 14 (29:48):
Well, of course it isn't in bell manor it's two
or three miles out, real country, farm country.

Speaker 5 (29:54):
Hmm, that's what I like about it.

Speaker 14 (29:56):
But it has gas and water and electricity already to use.
And well, of course the telephones, the old fashioned kind.

Speaker 17 (30:03):
I mean you have to call the operator.

Speaker 5 (30:05):
Who cares, Darling?

Speaker 8 (30:07):
This is it?

Speaker 17 (30:08):
Yep, yeah, I guess it is.

Speaker 5 (30:11):
Thanks darling. And now do you believe?

Speaker 10 (30:14):
Sure?

Speaker 17 (30:15):
Sure? Anything you say?

Speaker 16 (30:16):
Believe what, Miss Fielding, Mister Strickli the main No attention,
mister Strickland. My wife's a bit superstitious thing. She's psychic,
is all, think nothing of it?

Speaker 2 (30:25):
Psychic?

Speaker 5 (30:25):
Did you say, what's the matter, mister Strickland.

Speaker 14 (30:29):
Oh, nothing like your husband says nothing at all. It's
just the last folks in the house. Well, you know
how it is. The noises some folks aren't quite used
to out there in the country, like the tree branches
hitting on the roof when the wind blows. And well,
let me tell you, young ones something. Yes, I just
want you to know that I stand back of every

(30:51):
deal I make. So you take along both copies of
this lease, and when you've seen the house make sure
it's right for you, then you can mail my copy
back me.

Speaker 5 (31:00):
Oh, I'm sure that isn't one bit necessary.

Speaker 8 (31:02):
Though.

Speaker 16 (31:03):
That's just about as fair a proposition as we could
ask for, mister Strickler. Now, if you let me have
the keys, Yes, sir, here you are, Thanks and good luck.

Speaker 4 (31:20):
Phew, honey, I never realized we'd had so many things
in that stuffy little apartment.

Speaker 16 (31:27):
Yes, we'll have to try to fill up this place. Now,
where do you want this chair?

Speaker 18 (31:31):
You sign?

Speaker 17 (31:31):
Are over there near the fireplace?

Speaker 8 (31:33):
Oh?

Speaker 25 (31:34):
Anywhere?

Speaker 16 (31:35):
Okay, then I'll put it right here and put it
to use.

Speaker 18 (31:40):
H I will still have to buy things from one.

Speaker 16 (31:43):
Whole bedroom, though, I guess, and I'm bring their sleeping
bags bast time we get.

Speaker 17 (31:48):
All this stuff set will be glad it's all we have?

Speaker 5 (31:50):
Are you lazy?

Speaker 4 (31:51):
Bomb?

Speaker 5 (31:51):
They're still an awful lot of unpacking to do.

Speaker 17 (31:54):
Oh hum, Just let me relax for a minute. H
Some of those furniture was pretty healthy to push around.

Speaker 5 (32:00):
Well, I still think the mover should have stayed to help.

Speaker 15 (32:03):
Say.

Speaker 4 (32:03):
Did you hear one of them say they moved the
last family in and out of here? Those men were
certainly anxious to get away once they'd unloaded that truck.

Speaker 17 (32:12):
I wonder why, Well, so they want to get back
before the star broke.

Speaker 16 (32:17):
I'm afraid of our back country roads, I guess, Henry.

Speaker 4 (32:20):
How do you think these drapes will look here? On, Henry,
come on help me?

Speaker 17 (32:26):
Hm hm eh huh oh oh. I'll be right with you.
As soon as I finished this cigarette.

Speaker 5 (32:30):
You'd better.

Speaker 17 (32:33):
Listen to that rain out there. Isn't that soothing?

Speaker 18 (32:36):
You know?

Speaker 4 (32:36):
I just knew this was going to be it for us, Henry,
after buying that other newspaper that way, for no reason
at all except that weird, strange feeling that.

Speaker 17 (32:45):
I had, Yeah, yeah, a regular miracle.

Speaker 26 (32:48):
You know.

Speaker 4 (32:48):
I didn't tell you this, but I was out in
this section with an agent just last week. And do
you know the lowest rental we could find two.

Speaker 17 (32:55):
Hundred and a quarter. I was out here too.

Speaker 4 (32:58):
Two hundred and fifty nearly as nice as this.

Speaker 16 (33:01):
Yeah, that sweet old Guardian angel you're always talking about
must be working.

Speaker 14 (33:05):
Over to Henry.

Speaker 17 (33:06):
Don't joke about it, Okay, then prove it. Here's your
chance to prove it, Lucy.

Speaker 16 (33:10):
Call in some friendly polter guys to help me move
the rest of this furniture.

Speaker 4 (33:15):
Huh oh, Now, stop at you, lazy bob, but you
are a nice lady.

Speaker 16 (33:20):
Best there is. Listen that lovely rain out there and
the thunder nothing ominous, menacing or frightening. Well, I should
hope not just nice and peaceful. No, I guess land
up this way and stand a bit of rain too.
The crop's a lot of good.

Speaker 5 (33:36):
Crops, did you say?

Speaker 17 (33:38):
Uh oh?

Speaker 4 (33:38):
Now, look, little city boy, don't try to sound like
a farmer just because there's a little plot of land
around us. And will you please get up out of
that chair and help Henry?

Speaker 16 (33:49):
Whoa sure, sure, sweetie, you don't have to hit me
over the head with a thunderbolt.

Speaker 4 (33:55):
Oh that was a close one out here in the country,
all alone this way I'm alone.

Speaker 16 (34:00):
Did you say, Oh, how about that? We barely move
in here, somebody calls us up on the pe I'm
to think of it. He didn't tell us the phone
was all hooked up.

Speaker 17 (34:08):
Where is it?

Speaker 5 (34:09):
Oh, I'm glad it is hooked up.

Speaker 4 (34:10):
Now we can call up some of our friends and
have them come out and see us.

Speaker 5 (34:14):
I wonder who it is here?

Speaker 17 (34:15):
It is under this crap here?

Speaker 4 (34:17):
Now, Hello, but don't bite anybody up here just yet.
Not so we're said, okay.

Speaker 17 (34:23):
Don't worry. Hello, Hello, what's going on here?

Speaker 4 (34:30):
Who is it?

Speaker 11 (34:30):
Henry?

Speaker 17 (34:32):
Do you wish I?

Speaker 23 (34:33):
Hello?

Speaker 2 (34:36):
Hello?

Speaker 19 (34:37):
Number? Please?

Speaker 5 (34:38):
What I said?

Speaker 19 (34:40):
Number? Please?

Speaker 5 (34:40):
Well?

Speaker 17 (34:41):
Yeah, yeah, I know you did, but listen, didn't you
just ring here?

Speaker 9 (34:44):
No?

Speaker 19 (34:44):
I did not, sir?

Speaker 17 (34:45):
Are you sure about that?

Speaker 8 (34:47):
Of course?

Speaker 19 (34:47):
I am sir.

Speaker 17 (34:49):
Oh, okay, I'm sorry. It's funny.

Speaker 5 (34:53):
Who was it Henry?

Speaker 14 (34:55):
Hello?

Speaker 2 (34:55):
Boddy?

Speaker 10 (34:55):
Nothing.

Speaker 16 (34:56):
I guess you must have wrung us by mistake.

Speaker 4 (34:59):
Oh now, will you give me a hand with these drapes?

Speaker 8 (35:02):
Please?

Speaker 17 (35:03):
Yeah?

Speaker 16 (35:03):
Sure, be glad to pull everything this time. I hope
there's somebody on the line. Hello, Hello, just a minute,
what is this?

Speaker 10 (35:14):
Hello? Hello?

Speaker 18 (35:18):
Number?

Speaker 17 (35:19):
Please number? Please listen? This phone just rang again.

Speaker 19 (35:22):
You must be mistaken, sir. I didn't ring you.

Speaker 17 (35:24):
Well, somebody did. Operator. My wife and I both heard it.

Speaker 19 (35:26):
Well, there's no call for you on the switchboard, sir.

Speaker 17 (35:29):
And why did you ring?

Speaker 5 (35:30):
I did not ring.

Speaker 17 (35:31):
Now, I don't tell me. Okay, okay, Henry.

Speaker 5 (35:36):
There was nobody there again?

Speaker 16 (35:37):
Was there nobody but the operator and those funny little
she claims she didn't ring.

Speaker 5 (35:43):
That's very funny.

Speaker 17 (35:45):
Yeah, funny, Only it isn't this time.

Speaker 5 (35:47):
Hello?

Speaker 17 (35:49):
All right, all right, let's have it watch the gag.

Speaker 5 (35:51):
Hello, Hello.

Speaker 19 (35:55):
Number.

Speaker 16 (35:55):
Please Now look, operator, don't tell me I didn't ring
the phone.

Speaker 17 (35:58):
This time, Henry.

Speaker 19 (36:00):
I'm sorry, but I did not, sir.

Speaker 16 (36:01):
Well, i'm sorry too, but you must have. I tell
you this phone rang. It rang before too. In spite
of what you say.

Speaker 17 (36:05):
Now, let's cut out this foolishness.

Speaker 19 (36:07):
I am very sorry, sir, but you must be mistaken.

Speaker 2 (36:10):
What do you mean?

Speaker 17 (36:10):
What are you talking about?

Speaker 19 (36:12):
It could only have been wrung through this switchboard. I'm
on duty alone here and I did not ring it.
Oh No, And now if you would excuse me, I
have another call to hand.

Speaker 5 (36:19):
Noh.

Speaker 16 (36:20):
I have to say, is that somebody around here and
it isn't me as a cock eyed? Hello, some of
the guns? She can hang up on me? Just what
does she thinks she's up to?

Speaker 4 (36:29):
Wait, Henry, losing your temper won't help.

Speaker 16 (36:31):
Now wait a minute, Hello, operator.

Speaker 19 (36:36):
Get get out?

Speaker 14 (36:38):
What what?

Speaker 2 (36:39):
Get out?

Speaker 19 (36:40):
Get out?

Speaker 17 (36:41):
Wait?

Speaker 10 (36:41):
Now?

Speaker 17 (36:42):
Wait what is this?

Speaker 16 (36:44):
Get out?

Speaker 19 (36:44):
Get out?

Speaker 17 (36:45):
Get out? Operator?

Speaker 19 (36:47):
Get up, Get up.

Speaker 8 (36:50):
Get up, let up?

Speaker 17 (36:57):
No, this is crazy.

Speaker 5 (37:00):
What is Henry?

Speaker 8 (37:02):
What is it?

Speaker 5 (37:02):
Tell me?

Speaker 17 (37:04):
Sure, I'll tell you it's a crazy gag or something. Well,
I've had enough of it. I'm carrying out his own.
We'll have no more of that nonsense, tyling.

Speaker 5 (37:14):
I've never seen you this way. What's the matter?

Speaker 14 (37:16):
Nothing?

Speaker 17 (37:16):
Not now the chord broken off. It won't happen again,
because it can't happen again. No, no is right?

Speaker 5 (37:28):
Tell me what is what happened on the telephone? How
could it ring after?

Speaker 27 (37:34):
You couldn't? It's impossible, So it didn't. We we were
hearing things.

Speaker 5 (37:45):
Oh no, Henry, you know that isn't so.

Speaker 17 (37:48):
Yes, yes, it has to be. You know what I
know it.

Speaker 16 (37:50):
No, we just we only now, Lucy, we only thought
we heard it ring again. That anything else simply doesn't
make sense.

Speaker 4 (38:00):
And you were hearing something on that phone before. Weren't
you weren't you, Henry?

Speaker 17 (38:06):
All right, yes, yes, I was hearing something.

Speaker 16 (38:11):
A lot of laughing, chattering, screwy, a lot of little
tiny and a woman's voice. Only well, don't you see
it was only some practical joker. It had to be No, No, Henry,
I'm afraid, no, no one else. Could it be some
of your supernatural spirit friends? I suppose yes, Oh, Lucy, Lucy,
don't be ridiculous.

Speaker 17 (38:32):
No, no, the whole thing's ridiculous.

Speaker 10 (38:33):
Not only ridiculous.

Speaker 5 (38:34):
No, Henry, you said, a woman's all this work, the.

Speaker 17 (38:36):
Excitement of getting here, that's all it is.

Speaker 5 (38:37):
You said, a woman's voice, Henry.

Speaker 16 (38:39):
Forget it, Just forget it, Lucy, It's just that we're excited.

Speaker 10 (38:46):
I'll listen.

Speaker 16 (38:48):
You go out, make a pot of coffee. We'll sit
down and relax and be real calm about this. We'll
sit down, we'll calmly. Don't you see we're overwrought, we're
over worked with all this moving seeing, well, the excitement,
that's all it is.

Speaker 5 (39:06):
Wish to heaven, I could believe it.

Speaker 17 (39:07):
Has to tell you, it's the only possible explanation there
can be for it. Lucy, just Oh, it's all right.
It's a door bell.

Speaker 5 (39:22):
Okay, can we please don't answer it?

Speaker 17 (39:24):
Where's a bell?

Speaker 16 (39:25):
It makes some sense for a change, what if it
just take it easy now?

Speaker 17 (39:31):
Yeah, huh, Henry.

Speaker 5 (39:34):
Henry, please here.

Speaker 10 (39:39):
It was.

Speaker 17 (39:41):
There was no one there.

Speaker 11 (39:44):
Are you sure?

Speaker 16 (39:45):
Yes, yes, I'm sure. I'm absolutely sure there was no
one there, Henry.

Speaker 5 (39:49):
Don'd you see what this means?

Speaker 26 (39:50):
Then?

Speaker 8 (39:51):
It's this house?

Speaker 17 (39:53):
Oh no, Lucy, no, no, what you're thinking.

Speaker 14 (39:55):
Is just a lot of crazy superstitions.

Speaker 5 (39:57):
You know what it means to this house?

Speaker 16 (40:00):
Okay, I'm gonna find out what it means.

Speaker 17 (40:03):
Yes, hello, who are you?

Speaker 10 (40:05):
Whin this bell? Where are you?

Speaker 5 (40:06):
Who are you?

Speaker 8 (40:07):
No?

Speaker 10 (40:08):
No?

Speaker 8 (40:09):
Do you believe?

Speaker 11 (40:10):
No?

Speaker 5 (40:11):
With there any wet footprints on the porch.

Speaker 16 (40:13):
Oh, there wasn't any wet footprints or any dry footprints.

Speaker 17 (40:16):
There wasn't anything.

Speaker 5 (40:17):
Proves it's a warning.

Speaker 4 (40:19):
We've got to leave. We've got to get out of here.

Speaker 5 (40:20):
Get out of here, yes, now, before it's too late.

Speaker 16 (40:23):
Why why, Lucy, Just because that telephone becaut, some crazy
voice on it said we shouldn't.

Speaker 8 (40:27):
That's what it said.

Speaker 4 (40:28):
That we've got to because this house is haunted, it's
full of evil spirit.

Speaker 17 (40:32):
No, no, since you know it is.

Speaker 16 (40:34):
And you've got to get over this crazy idea that
anything that happens anything you can't explain, it's supernatural.

Speaker 5 (40:39):
Hot it.

Speaker 4 (40:40):
That's why the phone rang and the doorbell rang, and
there was nobody there.

Speaker 18 (40:46):
There's some evil evil spirit.

Speaker 16 (40:48):
No no, Lucy, no no, it's some practical joke of
that soul.

Speaker 17 (40:51):
And I stopped the sun sense got hold of yourself.

Speaker 5 (40:53):
Coming on the rent is solo. Nobody will stay here.
It's why that Asian was so so started.

Speaker 4 (40:57):
When you tone in, then I'm sacking, I am entering,
and there is something wrong with this place.

Speaker 5 (41:03):
We've got to get out of here.

Speaker 4 (41:04):
You've got to believe it.

Speaker 18 (41:05):
We've got to labor. Something terrible will happen.

Speaker 16 (41:07):
And I say, you've got your crazy ideas. I don't know,
I don't know, but there has to be some logical explanation.
And I'm not going to let a lot of superstitious hogwash. Okay,
now we tear that thing off the wall, right off
the wall. Okay, all right here, look at it now

(41:28):
it stopped.

Speaker 17 (41:30):
Now you listen, Lucy.

Speaker 5 (41:31):
Please please you listen.

Speaker 4 (41:34):
You're only losing your temper refusing to see what this
really means.

Speaker 16 (41:37):
The storm, the air is full of electricity, the long
wires that were hooked up for these things, no long
telephone lines out there, and the lightning. That's what's in it.
And I'll be sensible. We've got to keep our heads
about this.

Speaker 4 (41:47):
The voices you heard, can you explain them?

Speaker 16 (41:49):
Yes, yes I can. The wires got crossed up in
the wind, and that's all.

Speaker 5 (41:55):
And when it rang again after.

Speaker 16 (41:57):
Our fatigue, our excitement, I tell you we were excited.
Did we only thought we heard it?

Speaker 5 (42:01):
No, you're wrong, seez Henry, I'm baking you.

Speaker 18 (42:04):
Let's leave.

Speaker 4 (42:06):
Let's get out of here. Gon't go back into town.
Some hotel, some hotel in town is that's far away
from the terrible things in this.

Speaker 16 (42:14):
And I say, why this thing run again? Has this
doorbell rung again since I ripped it off the wall? No,
of course it hasn't.

Speaker 4 (42:24):
Let's get out of here.

Speaker 16 (42:25):
Don't you see, honey, what old Guardian angel stuff, all
that psychic talk has done to you. It's made you
believe in all this impossible stuff, and how it's fighting
you because of it.

Speaker 17 (42:35):
No, it can't see, it's can't see. It's impossible.

Speaker 16 (42:54):
Here you are, mister Missus Peeley, Room three fourteen. I'll
just have these bags here in the rack.

Speaker 14 (43:00):
There you are, sir.

Speaker 16 (43:01):
Fine, fine, thank you, sir. Anything else you'd like, maybe
from room service or something.

Speaker 17 (43:08):
No, no, that'll be all, yes, sir.

Speaker 16 (43:10):
Oh, well the telephone is right there in the night
table if you want it telephone.

Speaker 17 (43:13):
Oh, thanks, yes, sir.

Speaker 5 (43:15):
Oh.

Speaker 16 (43:16):
If you'd like a little news and music, I'll put
on this radio for you. Fine, take a few seconds
to warm up.

Speaker 17 (43:21):
Okay, thank you.

Speaker 16 (43:23):
I don't know how good will be though after that
big storm we had.

Speaker 17 (43:26):
Well, NK, sir, feel better.

Speaker 5 (43:34):
Thanks darling.

Speaker 7 (43:36):
I feel a lot safer now, we see.

Speaker 14 (43:41):
I still can't help wondering if we weren't a little
phillis spitting our imagination because we were tired of.

Speaker 28 (43:47):
Both local and Dorchester County politics are making every effort
to locate on mister and missus Henry Fielding. According to
our report, they were the new tenants of a small
home on the outskirts of the Bell Matter development that
was struck by lightning during the heavy rain and thunderstorm
that ended a short while ago. Fortunately there was no fire,
nor were any other homes in the area affected, but

(44:09):
that single boult of lightning struck the Fielding home with
such force as to completely demolish the living room. Neighbor
had reported seeing lights on people moving about only a
few minutes before. However, no sign of either them or
their car has been found at the scene, and it
is fairly possible that they left before the lightning struck
cold This has not been confirmed. If they did leave,

(44:32):
whatever their reason, we can only say it was indeed
providential they weren't in that house when this catastrophe occurred.
If anyone has any information as to the whereabouts of
a mister and missus Henry Fielding, please notify this station
or the Dorchester County Police.

Speaker 5 (44:51):
Henry.

Speaker 2 (44:53):
I know, Darling, your guardian Angel.

Speaker 17 (45:08):
Suspense.

Speaker 24 (45:11):
You've been listening to Bells starring Rosemary Rice and Bill
Lichton and written especially for suspense by Jack Bunday.

Speaker 17 (45:17):
In a moment a word about next week's story of suspense,
and now.

Speaker 10 (45:30):
The all of fantasy. Welcome for all of fantasy.

Speaker 23 (45:40):
Welcome to the series of radio problems dedicated to the supernact,
the unusual, and the unknown. Com Isle, My friends, we
shall defend the world to the unknown and for business.

Speaker 17 (45:54):
With the vail of time and the supernatural.

Speaker 23 (45:58):
Raise the key, Come with me and layla a hangman's rope, Kim,
it came from all right, we're better take a look.

Speaker 14 (46:17):
Yeah, I hope nothing look hanging from that tree, swinging
back and forth.

Speaker 2 (46:29):
It's a man.

Speaker 10 (46:34):
For all of fantasy.

Speaker 23 (46:35):
Will present the Hangman's Rope in just a moment, and
now for our story, an original Tailor fantasy entitled The
Hangman's Rope.

Speaker 10 (46:52):
There is a.

Speaker 29 (46:53):
Legends you know the time about the hangman For twenty
three years, the executioner for the crowd Jack Ketch was
his name, Governor Jack Kitch.

Speaker 14 (47:14):
I remember we were on our way back from the lake,
Jim and Carol and I. For some reason, we started
back to the city later than usual. We hadn't been
driving for more than half an hour when one of
those sudden springed storms. Where did that come from? Someone
said there might be a storm tonight, but I.

Speaker 10 (47:35):
Thought we'd be home before it broke.

Speaker 14 (47:37):
We'd better put the wipers on.

Speaker 7 (47:39):
We started back to late tonight.

Speaker 14 (47:42):
Who was it that held us up?

Speaker 17 (47:43):
Jim, I don't know a lot of things. When I
finally looked at.

Speaker 14 (47:47):
My watch, I couldn't believe my eyes here's a man
right in corner of the car. You stay here, Carol,
Come on, Arnie, we'd better take a look. Yeah right,
we didn't hit him, did we.

Speaker 2 (48:01):
I don't think so.

Speaker 14 (48:03):
How well would show and be out in the middle
of the road.

Speaker 9 (48:05):
On a night like that.

Speaker 14 (48:06):
There's a lot of crazy people in this world. Annie,
he must have been one of them. And I'm getting
soaked now.

Speaker 9 (48:13):
He was just about here.

Speaker 14 (48:16):
I can't understand, kim fucker the player there there beside
the tree. I don't see anything.

Speaker 17 (48:28):
Because I was wrong.

Speaker 10 (48:30):
You know.

Speaker 2 (48:30):
For a minute, I.

Speaker 14 (48:31):
Thought I thought I saw someone hanging from their tree.

Speaker 10 (48:37):
Oh, you must have been mistaken, you know.

Speaker 14 (48:40):
I can't figure this out.

Speaker 5 (48:41):
Annie.

Speaker 14 (48:41):
That guy who was out here on the road right
in front of us, I saw him just as plain
as day. Now there's no one around him. Yeah, we'd
better get back.

Speaker 10 (48:53):
To the car.

Speaker 30 (48:54):
Yeah, that's for sure.

Speaker 14 (48:56):
There's no sense looking back at that tree, Annie, there's
nothing back there. I don't know. I thought I saw
someone swinging their back and forth with the lope around
his back car. Now you couldn't have. Maybe it was
some kind of optical illusion. It could have been a
shadow or a branch or anything.

Speaker 5 (49:13):
Yeah, that's right.

Speaker 9 (49:14):
Anything.

Speaker 14 (49:16):
Well, there's a.

Speaker 7 (49:16):
Car you two must like it out there in the rain.

Speaker 14 (49:19):
Are you kidding?

Speaker 5 (49:21):
No, I'm not.

Speaker 7 (49:22):
All the time that you were out there in the rain,
the man you almost hit.

Speaker 5 (49:25):
Was talking to me.

Speaker 9 (49:28):
What did you say?

Speaker 2 (49:29):
You heard me?

Speaker 10 (49:30):
Oh?

Speaker 14 (49:30):
No, sis, Wait a minute. I looked back at the
car a couple of times. I didn't see anyone talking
to you.

Speaker 5 (49:35):
Oh, I don't know what's.

Speaker 7 (49:36):
Wrong with your eyes. Then I asked him if we
couldn't give him a lift, and he said no. Wait,
he only had a little distance to go.

Speaker 14 (49:43):
Carol, Honey, this is the truth. We didn't see anyone
near this car.

Speaker 10 (49:48):
No.

Speaker 7 (49:49):
Look, I can prove it if he assisted.

Speaker 2 (49:52):
I take this.

Speaker 7 (49:55):
That's strange. He was such an unusual man, not American.
He insisted that I accept the rings on him, practically
forced it on me. I put it in my pocket
and now it's gone and in its place.

Speaker 14 (50:15):
It's a funny little piece of rope, like a whole noose.
I knew Carol wasn't lying to us. I asked her
if she would let me have a little piece of rope.
After I dropped them off at their place, I went home,

(50:36):
took it out and set it on the table. I
can't explain it, but there was something about that rope
which seemed old. It was made of him, the kind
of rope you would imagine Jack Ketch might have. He
was two hundred and fifty years ago when he was
the Hangman. That night, as I slept, my sleep was troubled.

(51:00):
In my greens there was a huge black gallows. I
saw a man climbing the stairs to his death. He
reached the top and stood there. Standing beside him was
a black, hooded man.

Speaker 10 (51:23):
He raised his.

Speaker 14 (51:24):
Hand and the trap door sprung open. There was a screen,
and then I saw this man swinging back and forth.
His face was hidden from me, yet there was something
strangely familiar about him. I felt as if I knew
him quite well.

Speaker 23 (51:50):
We'll return to the tail of the Hangman's Rope in
just a moment. Back now to our tail of fantasy
titled the Hangman's Rope.

Speaker 14 (52:06):
When I awoke from my dream, I couldn't get back
to sleep. From the black blankness of sleep, I had
come into contact with death. As the morning approached, I
fell into a nervous sleep. I was awakened.

Speaker 7 (52:30):
Hello, Arnie, this is Carol could.

Speaker 5 (52:34):
You meet Jumin me for lunch today?

Speaker 14 (52:37):
What time about one? And I hope you'll forgive me.
I don't sound awake, Carol, I just couldn't sleep last night.

Speaker 5 (52:47):
I didn't sleep either, anyhow, I'll see.

Speaker 31 (52:49):
You at won.

Speaker 14 (52:55):
And I guess I wasn't the only one who missed
out on sleep last night. Oh that's right what it was.
But I had the craziest dream. When I woke up,
I couldn't get back to sleep.

Speaker 7 (53:04):
But that's what happened to me too.

Speaker 14 (53:06):
What kind of draymo was it? Carol?

Speaker 18 (53:10):
Well?

Speaker 7 (53:11):
Everything dark and gloomy. I seemed to be watching an execution,
an old time execution, maybe two or three hundred years old.
A man walked up the steps of the gallows. Another
man was there with a black hood over his head.

Speaker 17 (53:30):
He raised his arm.

Speaker 7 (53:32):
The tractor opened and ether.

Speaker 20 (53:35):
And the man swung back and forth, and there was
something familiar about him.

Speaker 2 (53:40):
Isn't that way?

Speaker 14 (53:41):
Yes?

Speaker 7 (53:41):
But how did you know?

Speaker 14 (53:43):
Because my dream was the same as yours, just exactly
the same. Jim's and my vacations were due the following week.
We decided to spend it up at the lake where
his family had a cottage. Carol said she might be

(54:03):
able to join us on the last weekend, but not
before that. Jim and I left the following Friday night.
I can certainly use this vacation and maybe we can
catch a few northerns this time. Maybe Ah is her
family gonna come up here while we're there. No, no,

(54:24):
Carol will be up the last weekend. That's all well,
and I guess we'll have the place to ourselves.

Speaker 17 (54:30):
Huh yeah, I guess so.

Speaker 14 (54:33):
Hey, why are you stopping here last Sunday night? This
is where we stopped. I'm gonna get out and take
a look at the side of the road for a minute. Oh, Arnie,
why don't you forget about it? I just want to
check it.

Speaker 10 (54:48):
That's all. That's the tree.

Speaker 14 (54:55):
Christmas, I think so on that limb, that's where I
saw him hanging. Oh, just thinking about it makes me nervous.
Come on, let's go back to the car, all right.
Girl said that while we were out of the car,
she was talking to the fellow we saw. If that's

(55:16):
the case, I can't understand why we didn't see him too.
You know, Jim, there just wasn't enough time for him
to get away from the car without our scene.

Speaker 2 (55:26):
Unless unless what unless he was never there.

Speaker 14 (55:31):
About that couldn't.

Speaker 2 (55:34):
Arry Look.

Speaker 14 (55:37):
The car seat, another little piece of rope. Before I
could stop him, Jim threw the little noose out into
the darkness, but a little piece of rope and inanimate
thing coiled and twisted, which somehow seemed to be alive.

(56:01):
We reached the cottage perhaps half an hour later, and
though we're both disturbed by what would happen, still it
didn't interfere with our sleep. The next day we went
out fishing early, had little luck, and we're on our
way back to the cottage when the woman who owned
the property next door stopped.

Speaker 7 (56:17):
Us in morning, mister Stanley, Oh.

Speaker 14 (56:21):
Good morning, missus Bennett. Out for the weekend, well for
the next two weeks. Oh excuse me and missus Bennett.
This is Arnold Slade.

Speaker 7 (56:29):
How pleased to meet you, mister Slade. Thank you must
be that young man that Carol's going to marry. Yes,
that's right, she'll make your fine wife, mister sladey. Yes,
The reason I stopped you, mister Stanley, is this is
something strange going on out here.

Speaker 2 (56:48):
What do you mean?

Speaker 7 (56:49):
Well, the constable came by the other day and asked
me if i'd seen any strangers here. A couple of
people have died over on the other side of the lake,
and the constable he hain't been able to find out what.

Speaker 14 (57:02):
Happened, Paw, how did these people die?

Speaker 7 (57:06):
Well, that's what's so strange about it. Both of them
were killed by hanging. That's right, old mister Taylor, who
lived about a mile down by the shore. He was
one of them, and he couldn't hardly walk. They found
him swinging from a tree, but he was several feet
off the ground, and nobody can figure out how he

(57:29):
got up there.

Speaker 14 (57:34):
What the woman had said frightened me. It seemed as
if we were getting deeper and ever more deeply into
something from which who would never be able to get away.
That night, it was Saturday, Jim and I went out
for a walk. It was a particularly dark night. The
moon was obscured by clouds, and as we walked along,

(57:55):
I could hear the chirping of many crickets, occasionally a
bullfrog's voice raised in protest. Arnold, this thing has me worried.

Speaker 8 (58:05):
In what way?

Speaker 14 (58:06):
This whole thing? Last Sunday night and today, when we
stopped by the tree and then what missus Bennett told us.
I've been thinking about it too.

Speaker 2 (58:18):
That's strange. On the crickets have suddenly stopped.

Speaker 14 (58:23):
It's too quiet, Jim.

Speaker 2 (58:29):
If it came from over there.

Speaker 14 (58:30):
We better take a look out.

Speaker 10 (58:34):
That's too quiet.

Speaker 14 (58:36):
Just as you said, there must be something terribly wrong
up here.

Speaker 17 (58:39):
I hope nothing.

Speaker 14 (58:40):
Donald's good. Huh.

Speaker 2 (58:41):
Look hanging on that tree, singing back and forth.

Speaker 5 (58:50):
It's a man.

Speaker 10 (58:53):
What are we going to do?

Speaker 2 (58:55):
We better cut him down?

Speaker 14 (58:56):
No, we better call the authorities first. I guess you're right.

Speaker 2 (59:00):
Come on, missus Bennett's got a phone.

Speaker 14 (59:02):
If we hurry, we may be able to get out
a great deal of help to the authority.

Speaker 3 (59:07):
Jim.

Speaker 14 (59:07):
Did you notice how high that branch was?

Speaker 10 (59:09):
I saw it?

Speaker 14 (59:12):
Yes, Why mister Stanley, it's your missus Bennett. They well
use your phone. Well I suppose so, come in life,
thank you, But.

Speaker 5 (59:21):
It's in the other room.

Speaker 7 (59:22):
Let what's the matter, mister Slade. It looks like something's happened.

Speaker 14 (59:30):
To upset you to well, why what's happened? We were
house for a walking Yes, yes, we heard a scream, scream,
and become hanging from a tree. Round a man hanging
from a tree hanging. Yes, we'll stay here at Missus Bennett's. Yeah.

Speaker 8 (59:48):
Thanks.

Speaker 7 (59:50):
What you're telling me the truth, young man.

Speaker 14 (59:52):
That's the truth, ma'am, mister.

Speaker 7 (59:55):
Stanley, is what mister Slade told me, the truth.

Speaker 14 (01:00:00):
I'm afraid it is.

Speaker 7 (01:00:01):
Ah, then no one is safe around here.

Speaker 17 (01:00:05):
I wonder who it was.

Speaker 14 (01:00:07):
What difference does that make, Missus Bennett. A man's been murdered.

Speaker 7 (01:00:10):
It makes a lot of difference, mister Slade. If it
was Bill Roberts, then it was just like the other two.
I saw him just the other.

Speaker 32 (01:00:19):
Day and he said someone was paying a joke on him,
that he'd been sent to a little piece of rope
shaped in the form of a noose.

Speaker 23 (01:00:35):
You are listening to the Tale of the Hangman's Rope
on this week's Journey down the Corridors of the Hall
of Fantasy. We'll return to our story in just a moment,
and now back to our story entitled The Hangman's Rope.

Speaker 14 (01:00:56):
A little piece of room book. Jim and I still
out of each other for a moment. It might be coincidence,
but it was difficult trying to make ourselves believe that.
About half an hour later, the constable arrived. You two
found him, and right, Miss Stanley, that's right. We were
off taking a walk, we heard a scream and then

(01:01:17):
we found him.

Speaker 2 (01:01:18):
Can't make heads and tails out of this.

Speaker 14 (01:01:20):
Three of them, three deaths in two weeks, all the
same way.

Speaker 2 (01:01:24):
They all received a little piece of rope just before
they died.

Speaker 10 (01:01:27):
A little piece of rope.

Speaker 23 (01:01:29):
Yes, that's right, I say all three. I ain't seen
the body yet, but I have a pretty good idea
who it is, Bill Roberts.

Speaker 7 (01:01:35):
It's enough to make a person afraid of the dark.

Speaker 10 (01:01:37):
Constable, Yeah, I ain't it.

Speaker 13 (01:01:39):
Well, I I want you to to take me to him.

Speaker 7 (01:01:42):
I'll go too.

Speaker 23 (01:01:42):
No, you stay here, you stay off the phone. I
don't want the rest of the people to hear anything
about this, at least at the time being.

Speaker 2 (01:01:50):
Things are bad enough as it is.

Speaker 10 (01:01:52):
Right, come on, let's go.

Speaker 2 (01:01:56):
Now.

Speaker 14 (01:01:56):
Remember what I said, This has Bennette, don't you worry?

Speaker 7 (01:01:59):
Then constantly by and because.

Speaker 23 (01:02:02):
That woman stays off the phone, who County of the
intern uproar?

Speaker 2 (01:02:05):
She doesn't?

Speaker 14 (01:02:06):
Do you have any idea who's behind these deaths? Well,
I haven't a funny thing. He was up so high.
I don't see how he could have gotten up there
by him John, No.

Speaker 10 (01:02:16):
He wish I had something to work on.

Speaker 2 (01:02:19):
Well, we'll see, he's just.

Speaker 30 (01:02:20):
Like the others.

Speaker 2 (01:02:20):
A little while.

Speaker 10 (01:02:22):
How far away was.

Speaker 9 (01:02:26):
There?

Speaker 5 (01:02:27):
He is?

Speaker 14 (01:02:27):
Constable?

Speaker 30 (01:02:29):
I want to get a look at his face.

Speaker 2 (01:02:33):
Yeah, I's afraid of that.

Speaker 10 (01:02:35):
Who is it? Phil Roberts?

Speaker 14 (01:02:38):
But how did he get up there?

Speaker 23 (01:02:40):
Branch's twenty feet off the ground and take an actor
thatout to climb that tree? Well, it wasn't any acrobatic.

Speaker 14 (01:02:46):
Well how did he get up there?

Speaker 23 (01:02:47):
I don't know.

Speaker 17 (01:02:49):
Three people receive pieces.

Speaker 23 (01:02:50):
Of rope, and then a couple of weeks later we
find him hanging from a tree.

Speaker 2 (01:02:56):
You tell me the answer.

Speaker 14 (01:03:05):
We cut him down, but it took almost an hour
to get up on that branch. To do it, we
put him in the Constable's car and drove him back
to town. Before he left, we told him that we
too had received the little gift, the noose of rope,
which had been, in three instances, the forerunner of death.

(01:03:27):
When we got back to the cottage, we had a
bite to eat, and, seeing as we weren't in the
moods of sleep, we sat down to read. I picked
up a little book I hadn't seen before and read
it from cover to cover. It held an eerie fascination
and I wasn't able to put it down to the
last page had been turned. The last word read, Jim,

(01:03:48):
where did you get this book?

Speaker 10 (01:03:49):
I don't know.

Speaker 14 (01:03:50):
I don't think I've ever seen it before. Why it
looks like a first edition of two hundred years ago.
Let me see it.

Speaker 20 (01:03:58):
Yeah, a short history concerning the mysterious reappearance of Jack Ketch,
the hangman who served as executioner for twenty three years.

Speaker 2 (01:04:10):
I've never seen this book before.

Speaker 14 (01:04:11):
Well, then, how did it get here?

Speaker 5 (01:04:13):
Do you know?

Speaker 20 (01:04:14):
Jack Ketch say he was a hangman in England who
took too much pleasure in his work.

Speaker 17 (01:04:19):
Isn't that right?

Speaker 14 (01:04:20):
I think?

Speaker 10 (01:04:20):
So?

Speaker 14 (01:04:21):
How much of this did you read? All of it?
It's not very long, and this is what I got
out of it. Before he died. The book says he
had made some kind of a pact with an evil power.
It seems they actually do have a written copy of
that agreement somewhere in England, and there's his signature and
an illegible scrawl that no one has ever been able

(01:04:44):
to decipher. The pact promises life after death for him
in exchange for certain services. Then The book says that
year after year, some rather mysterious deaths have occurred. They
find the victims hanging from the branch of a tree,
the tree almost impossible to climb, and the book also
says that each of the murdered people received a little

(01:05:07):
piece of rope before their deaths, identical to the ones
Jack Catch used as executioner. That is the warning, the
warning of death to follow. But that's impossible. The man's
been dead for over two hundred and fifty years. That's right,
he's dead. But the rest of the story, it's exactly

(01:05:29):
the same thing that's happening to us. Two days later,
in late evening, the rest of the story unfolded. Jim
had gone down to the store to pick up some cigarettes.
I had been down to the shore doing a little
fly casting, and had started back up to the cottage.

(01:05:52):
I was surprised at how quickly night had fallen. I
wish that I'd brought along a flashlight. From somewhere across
the lake, I heard the cry of a dog, and
the sound of it filtered through and was carried along
by the night air. For some reason, I became unaccountably nervous.

(01:06:14):
I stopped walking I felt someone was watching me. Then
from the darkness of the trees, the man emerged.

Speaker 2 (01:06:24):
Here there.

Speaker 10 (01:06:27):
Where be you?

Speaker 18 (01:06:27):
Gallon?

Speaker 14 (01:06:29):
Or back up to my cottage. I was doing some
fly casting till night came. Helly luck, No, I'd better
be going.

Speaker 2 (01:06:39):
Tell me, dare you why nice out here?

Speaker 10 (01:06:42):
I did? I suppose?

Speaker 17 (01:06:44):
So it's try and sing and.

Speaker 2 (01:06:48):
The little peaches.

Speaker 14 (01:06:51):
I stopped little creatures.

Speaker 2 (01:06:54):
That's right, God.

Speaker 30 (01:06:57):
Creaked from the frogs. They stopped talking. Yes, they they
have you frightened to be?

Speaker 2 (01:07:10):
Governor?

Speaker 14 (01:07:11):
Of course not what are you laughing at?

Speaker 30 (01:07:17):
You wouldn't understand it?

Speaker 18 (01:07:19):
Governor?

Speaker 11 (01:07:22):
Is that you down there, mister snag?

Speaker 14 (01:07:24):
Oh uh, yes, missus Bennett.

Speaker 7 (01:07:26):
Do you mind if I join you?

Speaker 2 (01:07:28):
No?

Speaker 14 (01:07:28):
No, of course not.

Speaker 2 (01:07:29):
Ah good, I'd better be doing, Governor.

Speaker 18 (01:07:32):
I'll see you.

Speaker 7 (01:07:36):
Who who are you talking to?

Speaker 10 (01:07:38):
If I don't know?

Speaker 14 (01:07:39):
He he just stepped out of the darkness.

Speaker 30 (01:07:41):
And there he was.

Speaker 14 (01:07:43):
Well, I guess he's going now, Yes, I guess he is.

Speaker 7 (01:07:46):
Where is mister Stanley?

Speaker 14 (01:07:48):
He went down to pick up some cigarettes.

Speaker 2 (01:07:50):
He should be back soon.

Speaker 14 (01:07:52):
When the constable told me to tell you that that
he'd be out tonight, thank you.

Speaker 7 (01:07:57):
Would Would you mind walking me back to my place,
mister Slade. It's rather frightening out here when it's this dark.

Speaker 2 (01:08:06):
I'll be glad to that man you were talking to.

Speaker 7 (01:08:11):
What did he look like?

Speaker 14 (01:08:13):
I don't know. I couldn't see his face.

Speaker 2 (01:08:15):
He had an accent.

Speaker 17 (01:08:16):
It sounded like he might have come from London.

Speaker 7 (01:08:20):
Wait a minute, huh, I I can't understand it. The
crickets and frogs, they've been starting and stopping all night.
They must be afraid of something every time they stop.
What'd you say?

Speaker 5 (01:08:37):
Every time they stop?

Speaker 14 (01:08:39):
Something happens on a while I'm walking Missus Bennett back
to our cottage. Anything wrong, Oh? I got back from
the store and I was wondering where you were.

Speaker 5 (01:08:50):
It's just that I have a strange feeling that something
is why happened.

Speaker 14 (01:08:56):
Let's go up to our place in Missus Bennett. Maybe
the constable will want to see you too.

Speaker 7 (01:09:01):
That's a good idea, man, says mister Slade. The strangest
things have been happening out here lately, Honor.

Speaker 14 (01:09:10):
We'll be up there, Jim or someone up here now.

Speaker 7 (01:09:13):
I thought, what, Jim, something's wrong, mister Slade.

Speaker 10 (01:09:18):
I don't know, Jim, what's the matter?

Speaker 18 (01:09:23):
Answer me? Oh, woo, mister Slade. Look who hanging from
that tree? It's mister Salpe.

Speaker 29 (01:09:50):
There is a legend you now, the child about the
hangman for twenty three years, the executioner, the crown Jack
Kitchi was his nine covenant.

Speaker 2 (01:10:07):
Jack catch.

Speaker 23 (01:10:20):
So runs to night's tale of the unusual but terrifying
the Unknown.

Speaker 2 (01:10:26):
Join us again when next week journey down.

Speaker 10 (01:10:29):
The corners of the haw Fantasy.

Speaker 11 (01:10:32):
To hear another strange tale.

Speaker 2 (01:10:33):
Of the supernatural.

Speaker 23 (01:10:38):
All characters and events portraying these programs are fictional, and
any similarity to actual events or persons living or dead
is purely coincidental.

Speaker 2 (01:11:00):
You're then.

Speaker 22 (01:11:03):
You see, this is Archobler bringing you another in our
series of stories of the unusual. And once again we
caution you, these lights out stories are definitely not for
the timith soul. So we tell you calmly and very sincerely,

(01:11:25):
if you frighten, easily turn off your radio.

Speaker 10 (01:11:28):
Now, Oh what time is it?

Speaker 5 (01:11:37):
Ten minutes more? Gee, has been a long day, hasn't it,
I'll say so. I'll never see another scripted typewriter, It'll
be too soon. You were the one who wanted to
get into radio. For radiol Sitting at a typewriter eight
hours a day making sensle. You were the one who
said it'd be a shortcut.

Speaker 33 (01:11:53):
Some director walk into the script apartment, see you behind
that typewriter and say, why are you men all my line?

Speaker 3 (01:11:58):
Mary?

Speaker 5 (01:11:59):
Stop it? Will you you think yourself here? I don't
see anyone.

Speaker 26 (01:12:01):
Wild Bernie, Mary. After all, this is the place of business.
I don't like to be the disciplinarian. But this is
the third time that I found you quarreling with.

Speaker 5 (01:12:09):
Each other rather than working. Who we weren't quarreling? Perhaps not,
but it sounded like it. They're setting a very unfortunate
example for the other girls. I'm going to ask both
of you a simple question. Do you or do you
not want to continue working here?

Speaker 8 (01:12:22):
Who we do? Yes?

Speaker 5 (01:12:23):
Of course we do very well. No more of this nonsense.

Speaker 26 (01:12:25):
Then there's a script that must be the meographed first
thing tomorrow morning, so the sensils will have to be
out tonight.

Speaker 5 (01:12:31):
It shouldn't take you long. What's the matter with you girls?
Have you any objections to working late tonight? Oh? No,
I love it very well. All right, the rest of
you girls, time to go home. Yes, I'd love to
stay over time of like good type over her dead body.

Speaker 14 (01:12:46):
A shay, you'll hear you.

Speaker 26 (01:12:47):
There's a script girls, twenty pages divided up between yourselves.

Speaker 8 (01:12:51):
Yes, ma'am.

Speaker 5 (01:12:51):
When you're through, leave the cencils on my desk and
lock the door behind you, Yes, ma'am.

Speaker 30 (01:12:55):
Well good night.

Speaker 5 (01:12:56):
Don't forget to turn out the lights as you go, yes, ma'am.
All right, girls, get out of here quickly so the
Bernice Americans finish that work.

Speaker 8 (01:13:03):
You want to hear.

Speaker 5 (01:13:06):
Of all the knock needs by a beard, long neck pop.
He'll always stop it when you let type it? Anything
off and get out of here.

Speaker 10 (01:13:13):
Well, what do you know?

Speaker 5 (01:13:14):
It's mark? Look the scripture supposed to type lights up
one of those things? Yeah, so what I I don't
like to type them? Do they scare me?

Speaker 8 (01:13:26):
Are you kidding? Typing? Styping?

Speaker 5 (01:13:30):
No matter what you're typing, mat if it's one of
those lights out, please blood and people dying and murderers
and worms shot. Forget it just works on paper.

Speaker 8 (01:13:40):
It scares me.

Speaker 5 (01:13:41):
Type with your eyes closed. You listen to this, not
to the sound apartment. At this point in the play,
I want the sound of a body being turned inside out.
I suggest the use of a wet rubber glove to
plant the picture of a human being being deliberately turned.

Speaker 8 (01:13:57):
Oh, stop it when you.

Speaker 5 (01:14:00):
It's only an the fact I was just read. Will
you type your script and let me type this. I
don't go reading any of it out loud, right, all right?
I wonder what kind of a screwball he is? Who
the fellow writes this? Plays you know job?

Speaker 2 (01:14:14):
Yeah?

Speaker 18 (01:14:14):
Oh? I like him?

Speaker 5 (01:14:15):
So what are you talking about? You never even met him?
But I like him anyway. But you just finished saying
you don't like this, So I like his other please
you know the one he does for the government, which
says to them.

Speaker 8 (01:14:26):
Wow.

Speaker 5 (01:14:26):
Firstally, I think he's a wolf. What are you talking about?

Speaker 33 (01:14:29):
You know one of these where wolf? I bet he
eats his young We don't talk like that. He's got
ten months old baby. I saw a picture of it.
That's real curious. Well, I still think, for heaven's sake,
just because the man writes fantastic doesn't mean he's fantastic.

Speaker 5 (01:14:41):
Will you look who's talking? But you're even afraid to type?
What are you afraid of? That the ghost will pop
out of the pages and turn you inside and stop.
But if you don't stop, right, let's say, why do
you like that?

Speaker 8 (01:14:55):
Isn't it right?

Speaker 5 (01:14:55):
Now? My typewriters Jim camel with key, See what's the
matter with you?

Speaker 8 (01:15:00):
Ninety is two? Well, why typewriter is too?

Speaker 5 (01:15:03):
Like the fellow said, say, look here, everything's falling apart. Well,
i'll have to use one of the other machines. And
just when I was getting comfortable, I'll use the needle.
I'm gonna use Deblyn. She won't care what I do
with it. She's gonna be a wave anyway. All right,
this one's jam too.

Speaker 8 (01:15:18):
Yeah, so's every old machines.

Speaker 5 (01:15:20):
She's always boasting about how fast it is.

Speaker 8 (01:15:24):
Why it's jam too?

Speaker 2 (01:15:25):
And so is this one? Well?

Speaker 5 (01:15:26):
What are you now?

Speaker 8 (01:15:28):
What is it?

Speaker 5 (01:15:28):
The typewriter gremlin?

Speaker 14 (01:15:30):
Mary?

Speaker 5 (01:15:31):
What's the matter your face?

Speaker 8 (01:15:32):
Let's get out of here. Let's get out of here.

Speaker 5 (01:15:35):
We've got old king. Let's go home. Just because a
typewriter jams up, there's no reason to have us fair. Well,
I'm getting out of here, and you're better come with me.
You're crazy running out? What's come over you?

Speaker 18 (01:15:43):
What are you?

Speaker 8 (01:15:44):
What's the matter with you? Now?

Speaker 5 (01:15:45):
What are you standing at the.

Speaker 10 (01:15:46):
Door with you back to me?

Speaker 5 (01:15:47):
For say you're going gime me here, click, suck pete sake.
What's the matter with you? Why are you standing there
for with your hand on the knobs?

Speaker 8 (01:15:55):
Why lot?

Speaker 5 (01:15:56):
Oh you are crazy? Let me add it.

Speaker 2 (01:15:59):
Let me try.

Speaker 5 (01:16:03):
Why is it locked because some screwball janitor thought everybody
left and locked the door. That's all, say, somebody out there,
Let us out of here.

Speaker 7 (01:16:13):
We're locked in.

Speaker 14 (01:16:14):
Hey, you won't do any good, that's what you say.

Speaker 5 (01:16:20):
All wait for death, Hey, dese for death for whatever
it is.

Speaker 16 (01:16:25):
Somebody get a keep.

Speaker 34 (01:16:26):
Let us out.

Speaker 5 (01:16:27):
Hey, we're not slave labor. Let us out. What's the
matter with me?

Speaker 8 (01:16:32):
What are you going?

Speaker 2 (01:16:32):
Well?

Speaker 5 (01:16:32):
I've got to do is pick up the telephone. Call communications.
They'll get us out of here. Oh, you call them
right away, tell them I lied, all right, I'm calling
him Hello, Hello, Anthony.

Speaker 8 (01:16:44):
What's the matter?

Speaker 5 (01:16:45):
I did stop that? The operator thought we'd all gone home,
so she disconnected the wire.

Speaker 35 (01:16:51):
That's all.

Speaker 5 (01:16:53):
I'll, for Pete's sake of all and incomposed there to
cry about. I'm afraid, So you're afraid. So I'm queen
of the may and there are roses in there? What
is this all about? What's all hysterious? You don't understand,
I'll say, I don't you stop crying? There was something
terrible is going to happen. What are you talking about.
We're in the script department of a broadcasting company. Remember

(01:17:14):
something to him, the typewriters. Something out the door, somebody
you mean something something I tell you. I tell you
you're crazy. They I've known you all these weeks. I
never knew he had bath your belfry. That's absolutely nothing
that's happened. Why do you just stop talking?

Speaker 8 (01:17:31):
Anthony?

Speaker 5 (01:17:32):
Telephone core, Yeah, and it's torn off. Yes, but I
I talked to him this telephone an hour ago. Remember, Yes,
I could have gotten torn loose. I told you shut up?

Speaker 2 (01:17:52):
All right.

Speaker 5 (01:17:52):
Maybe there is something screwy. I don't know, but I
do know there's nothing to get hysterical about. Place only
had windows. I could call out, I'm modernistic air conditioning.
When you stop moaning, when you're scared doing I am
not a Kno series of coincidences, that's all.

Speaker 8 (01:18:09):
What could it be, Anthony?

Speaker 14 (01:18:10):
What?

Speaker 5 (01:18:11):
Whoever heard of anything happening.

Speaker 14 (01:18:12):
In a place like this?

Speaker 5 (01:18:15):
What are you looking at me like that?

Speaker 10 (01:18:16):
For?

Speaker 5 (01:18:17):
This is no hanted house. You and me and a
lot of other girls work. You Remember, so we're locked
in and have to stay here all night.

Speaker 8 (01:18:24):
So whatt the.

Speaker 5 (01:18:25):
Doors locked from the outside? The watchman downstairs? Remember, so
who could get in here to hurt it? What if
the locked door won't do any good? You hurt me?
You're a crazy kid. Look, desks and chairs, fluorescent light,
modern design. Remember we're not no hanted house. Get that
through your head. We're not no hanted house. Well, what's

(01:18:48):
the matter?

Speaker 14 (01:18:48):
Now you're all through?

Speaker 5 (01:18:49):
Explain what's the matter? Something happened, happened, something in the air.

Speaker 2 (01:18:58):
What do you oh for heaven?

Speaker 8 (01:19:00):
They're at the end of the room.

Speaker 5 (01:19:01):
The light must have burned out.

Speaker 2 (01:19:03):
I was right.

Speaker 5 (01:19:05):
It goes to show you how crazy it's been. A
couple of unnatural things happen and you start acting out
a ghost story. You should join the Actors Union.

Speaker 8 (01:19:12):
Please.

Speaker 5 (01:19:13):
One of the lights burned out?

Speaker 18 (01:19:15):
So what?

Speaker 5 (01:19:16):
There's one thing? The script apartment's got plenty of light.
Mary that I saw it go on.

Speaker 8 (01:19:22):
I saw it go on.

Speaker 5 (01:19:23):
Crazy. Now look here there are two four, six eight
eight lights in this place. See one two, three, four, five,
six seven eight. Don't give me any more of that?
Lights out? Another another? Absolutely crazy. I'm scared, just staying
here with you them? Why should I them? One two
three four five seven n e seven Gee, I told

(01:19:49):
you what another one out? One two three four five
stopping to stop another one there.

Speaker 8 (01:19:57):
Another only four left, only four? What'll we do on
before I was putting him out, I don't know. I
don't know more.

Speaker 5 (01:20:07):
If they go, we'll die.

Speaker 2 (01:20:08):
They will go out.

Speaker 5 (01:20:09):
They can't go out. The switch. That's it, A hold
of switch. I'm going to have the lights of my
hold of switch. It's all right, Mary. See I got
hold of the switch.

Speaker 15 (01:20:18):
Not another one, another one, but I was holding on
to the switch. Two lights, two lights in the dark.
Bernie Brittany told me, I'm scared. But see I'm scared.

Speaker 5 (01:20:32):
It's all right.

Speaker 8 (01:20:33):
There's still too light. Two lights.

Speaker 5 (01:20:35):
They'll stay on. They will, I know they will.

Speaker 4 (01:20:37):
We're in the dark.

Speaker 18 (01:20:38):
Fore we're up yet.

Speaker 8 (01:20:41):
Let me on here.

Speaker 5 (01:20:43):
If I'm a plan of the dark, put me on it.
Stop but stop. It an't be fair enough about you
driving me crazy. Let's the good of your crying is
the reason I speak of this. Everything's got a reason.

Speaker 14 (01:21:04):
I know it.

Speaker 8 (01:21:04):
I know I can't stand and I can't I can't
those black out.

Speaker 5 (01:21:07):
Candle stop crying. Let me think just went and had
some black out candles at her desk. I know she
don't don't mean along, don't mean in the dark for
me when you stopped. But I found candles, matches, the
candles like this one and this one. See here money
a light? Now, who's there? Nobody? Nobody does a reason

(01:21:31):
for everything. I tell you, I know what it is.
The electricians.

Speaker 8 (01:21:35):
That's it.

Speaker 5 (01:21:36):
The electricians didn't know her up here, and they were
testing the lights. They'll go on any minute, wait and
see you think so of course, look what I tell you.
There they go on again. Come with the ceiling.

Speaker 8 (01:21:51):
Green. It's like, oh there's green. Green.

Speaker 15 (01:21:57):
Hold on the lights, Sean, you die to me. You
said it with the elect Christians. Look at the light
and green. Make your face look green.

Speaker 18 (01:22:08):
You look dead.

Speaker 10 (01:22:09):
You hear me dead.

Speaker 5 (01:22:10):
You'll be dead, know me dead, will be dead. Stop
the But you're not gonna drive me crazy just because
there's something wrong with electricity. You look around, But he's
all right, nothing's wrong here.

Speaker 8 (01:22:21):
Nothing typing.

Speaker 5 (01:22:26):
I heard typing.

Speaker 36 (01:22:27):
So I I think I just mustn't imagine the type.
And there's no one who's diping.

Speaker 18 (01:22:41):
Who's diving?

Speaker 8 (01:22:48):
I me too. I wonder if it's day.

Speaker 2 (01:22:58):
I don't know.

Speaker 8 (01:22:59):
I don't think so.

Speaker 5 (01:23:02):
Sooner or later someone will come along.

Speaker 8 (01:23:04):
It'll be too late.

Speaker 5 (01:23:05):
Don't say that anything happens. Let us stop. I says
it nothing. It will when I get out of here.
I never want to talk to you as long as
I live, as long as you live. Stop talking like that,
or do I help. Don't hurt me. I'm not hurting
you know it's going.

Speaker 8 (01:23:21):
To hurt you or me.

Speaker 5 (01:23:23):
Trick gets some kind of a trick, the type I
like the one. Do they hower something? It's got to
be a trick.

Speaker 8 (01:23:32):
You don't believe it? Do you believe what? There's something
in this room with it where I don't know, but
it's here.

Speaker 5 (01:23:43):
What are you trying to do? Make me scared as
you are scared? There's something in this room, hands anywhere,
just you wouldn't need to tall. You're not gonna scare me.
I'm not gonna let myself get scared anymore. I want
to get out of here, and I'm going to get
out of here.

Speaker 14 (01:23:57):
My head's doom.

Speaker 5 (01:24:00):
Yeah, I heard it too. What something.

Speaker 25 (01:24:09):
Desk looks the test moving that one and that one
very thick hands away from your eyes and look look
the death, all of them moving.

Speaker 8 (01:24:32):
Very looks.

Speaker 25 (01:24:36):
Stay thank you, stay back, very very old.

Speaker 5 (01:24:42):
Sty moving.

Speaker 4 (01:24:43):
Jump shut up.

Speaker 2 (01:24:52):
We'll be right back after this short break.

Speaker 8 (01:25:00):
Mm hmmm, uh.

Speaker 15 (01:25:09):
Oh, verry very open your eyes. Open your eyes please,
you're not that you can't see.

Speaker 8 (01:25:20):
I'm all right. Oh I thought I'm all right. But
what happened? You'll fainted? Did I? Yes? All all around.

(01:25:46):
You're the one who is scared, now, aren't you. He's right, Oh,
I'm not I'm not scared. You know, it's very nice.

Speaker 5 (01:26:05):
It's very nice, you know. Okay, I don't know what
you're talking about. You know, I don't know.

Speaker 8 (01:26:14):
Tell me.

Speaker 17 (01:26:16):
So warm?

Speaker 5 (01:26:18):
What's warm?

Speaker 8 (01:26:19):
The sun? So one sitting in the sun. What nice
when the sun is warm, isn't it? I always wanted
to sit in the sun. Oh no, you can sit
in the sun if you want to bring me. It's

(01:26:42):
all right, Mary, Mary, you don't have to shout.

Speaker 5 (01:26:48):
We'll go home soon.

Speaker 8 (01:26:50):
As soon as the sun goes down, we'll go home.
Oh Mary, I was scared before. For wonderful the way
it is now out here in the sun. There's no

(01:27:10):
reason to be scared when you're sitting in the sun.
I'm Mary, just be afraid to hear me. I'd rather
you be afraid. No, the sun. There is no sunmer
right here where we were in the office. My light
is still green in the disks and moved all in
around us, and we can't get out.

Speaker 5 (01:27:29):
Mary, be scared.

Speaker 8 (01:27:30):
Please stop looking at me the way you are and
be scared, you say, when you're not sitting in the sun. No, No,
you must be crazy, Bernie, because we are sitting in
the sun. Are you crazy? Bernice?

Speaker 5 (01:27:51):
All right, if that's what you want. We are sitting
in the sun.

Speaker 8 (01:27:57):
Dear, I knew it. I used to be so scared.
Now I'm all right.

Speaker 5 (01:28:09):
You were right before when you said there was someone
in the room.

Speaker 2 (01:28:14):
There is.

Speaker 5 (01:28:15):
I can't see anyone, but there is someone. The sun
is so nice for the typewriters, and then the lights,
and then the moving death and now waiting. Who's waiting?
It's waiting.

Speaker 8 (01:28:38):
Will we go home soon?

Speaker 19 (01:28:42):
Yes?

Speaker 8 (01:28:43):
When soon?

Speaker 5 (01:28:47):
I think very soon. I was very scared. Yes, when
you get scared enough, you can't get scared anymore. The
sun is very nice. I think I'm getting that scared
now myself.

Speaker 8 (01:29:08):
You'll hear something, what something? There's nothing, nothing, No, there
is something I told you. Listen to me here?

Speaker 5 (01:29:20):
Who's here with us?

Speaker 8 (01:29:23):
Who?

Speaker 5 (01:29:24):
Answer me? What do you want of us?

Speaker 8 (01:29:26):
Please?

Speaker 18 (01:29:26):
Answer me? What do you want of.

Speaker 5 (01:29:39):
Will sleep? Like Mary?

Speaker 8 (01:29:43):
You sleep?

Speaker 5 (01:29:43):
You don't think. I'm not gonna think anymore if I
think about it, just like Mary is no, one won't think.
I sit here a little morning with my eyes shut,
and one's morning. They'll get here. I'll be all right,
I'll be all right. My eyes clothes, green light still

(01:30:04):
shines through my lips. How could green light turn with
no stop thinking? Gotta stop thinking? Green light? Whom my list? God?

Speaker 8 (01:30:21):
No light over my eyes? God? The lights are going
dark again.

Speaker 5 (01:30:29):
Marry Mary, wake up, Marry the light please wake up.

Speaker 8 (01:30:36):
I'm not asleep. I thought. Sun is very nice?

Speaker 5 (01:30:46):
Isn't it the sun?

Speaker 8 (01:30:49):
You still think?

Speaker 5 (01:30:51):
Marry?

Speaker 18 (01:30:52):
Don't you know?

Speaker 5 (01:30:52):
Can't you see where? Singing in the dark?

Speaker 8 (01:30:56):
Dog? Stay close to me? If they only come, I
know he'll be here soon. Who in the dark? He'll
be here? Who are you talking about?

Speaker 18 (01:31:14):
Who?

Speaker 8 (01:31:16):
Any minute?

Speaker 18 (01:31:17):
Now?

Speaker 5 (01:31:19):
Do you hear him here?

Speaker 8 (01:31:23):
I think he's coming now? Yes, he didn't. Please know?
You're right? It is dark, very dark. He is kind
of dark talking about them. You can't stop him, No

(01:31:46):
one can stop him. What's the use of being afraid?
Some of the only come I've been telling you. Someone
is coming right now and he's sitting on the desk
looking at it. I'm glad he's here. You'll make my

(01:32:15):
kids stop hurting. You'll take me hope theok floor, it's listing, Yes,
I feel it. The room it's turning. Stop this, stop

(01:32:39):
turning the room. Let me out of here. Let's be
out of here.

Speaker 31 (01:32:52):
Access plane shot down the Mediterranean theater board. So much
for the war news. Now the news of local interest
to you early morning.

Speaker 10 (01:32:59):
Listen.

Speaker 31 (01:33:00):
If you've been wondering one of those dishes in the
kitchens started a dance last night. The answer is an
earth earthquake to you of five seconds duration. The material
damage was very slight, but two deaths are indirectly attributed
to the earthquake. Bernie Saxon and Mirabelle Pressler, employed by
the Broadcasting Company, were found dead this morning in the
script department where they've been doing overtime work. Because of

(01:33:23):
the death is believed to have been heart failure induced
by fright. The girls has been accidentally locked in the
office and when there was a failure of electric power
followed by earthquake. It is believed the young women were
frightened to death. This concludes our morning broadcast.

Speaker 10 (01:33:51):
It is later you Roma Wines Present Suspense.

Speaker 35 (01:34:34):
The Roma Wine Company of Presno, California welcomes you again
to this weekly half hour of suspense Tonight from Hollywood.

Speaker 5 (01:34:43):
Roma Wines bring.

Speaker 35 (01:34:44):
You as stars, miss Ida the Pino, currently being seen
in Warner Brothers in Our Time, and mister Vincent Price
of twentieth Century Fox, soon to be seen in the
Darrell at Xana production. Wilson, of the appearance of these
two distinguished screen personalities, We See You has written a
suspense play that deals with brooding anxiety and sharpening suspicion

(01:35:07):
played against the severe and forbidding background.

Speaker 10 (01:35:09):
Of the late Victorian era. And so with Hughue in c.

Speaker 35 (01:35:14):
Minor, and with the performances of Idola Pino and Vincent Price,
we again hope to keep you in fatense.

Speaker 34 (01:35:51):
April first, nineteen hundred, Dear Bessie, this is just to
let you know that I arrived in Pilot Spills. Lizzie
met me at the station. She's heartbroken about Papa's bankruptcy.
And for some reason feel that is up to me
to remedy the family situation. I told her I'd been
offered a job, but she swept away that idea in horror.

Speaker 26 (01:36:11):
A girl with your looks the man to Peabody doesn't
have to get a job. There are too many rich
husbands floating around for that.

Speaker 34 (01:36:18):
Furthermore, she says she has a rich husband already picked
out for me right here in Pilotsville.

Speaker 26 (01:36:22):
Don't you remember I told you about him at Christmas time.

Speaker 5 (01:36:26):
He's a mister Evans, richest crisis.

Speaker 26 (01:36:29):
Charming, cultured, a lonely widower with two dear little children.
And besides that, he's just your type, a real intellectual.
You should hear him play the pipe organ.

Speaker 34 (01:36:40):
And you know, Bessie, I've met so few interesting men lately,
and all you'd have to do is lift beyond the
little finger.

Speaker 10 (01:36:57):
Oh good evening, missus Chumley. How delightful to see you here.

Speaker 7 (01:37:00):
I'd like you to beat my sister, mister Evans.

Speaker 10 (01:37:03):
My sister meant Peabody delighted.

Speaker 7 (01:37:05):
I'm sure it's a lovely party, Miss Rethan.

Speaker 10 (01:37:07):
Thank you, Miss Peabody. Have you just come to Pilotsville?

Speaker 26 (01:37:10):
Yes, she's done from you or visiting me after the
whirl of the hectic susial seat.

Speaker 10 (01:37:14):
Indeed, and I'm afraid our pilots Ville society must seem
a bit dull to you, Miss Peabody.

Speaker 5 (01:37:19):
Oh no, not at all. It's charming.

Speaker 34 (01:37:21):
I've enjoyed everything so much tonight. Your beautiful house music.
I hear you're going to play for SMIs rhythm?

Speaker 10 (01:37:27):
Oh a bit? Do you care for organ music, Miss Peabody,
very much.

Speaker 34 (01:37:31):
I never miss a church with scantles. But what a
luxury it must be to have your own type organ
right here in the house.

Speaker 10 (01:37:36):
I'm afraid I couldn't do without it. It's my hobby,
you know, bach bookster hoodah, Saydarvedrunk. Don't you adore their work?

Speaker 33 (01:37:43):
Oh?

Speaker 5 (01:37:44):
Amanda's very musical.

Speaker 7 (01:37:45):
You should hear her render.

Speaker 5 (01:37:47):
The burning a broom.

Speaker 10 (01:37:48):
Yes. And the delightful thing, of course, about having a
pipe organ in the house is that it's everywhere to
sit at a keyboard and hear the walls, the ceilings,
the floors vibrate. You see, miss p I've had the
pipes installed all over the house under this floor, for example,
or all the choir stops up in the bedroom walls
are the stops for the swell manual in the great

(01:38:10):
thirty two foot pedal stops. The giant dire pasins underneath
the staircase. My children sleep next door to the echo chamber.
So you see, we live like angels here in a
paradise of music.

Speaker 5 (01:38:23):
How thrilling ladies?

Speaker 10 (01:38:25):
Come upstairs to the second floor landing, won't you, And
I'll show you the consoles.

Speaker 37 (01:38:28):
It was made for me in Vienna, April.

Speaker 34 (01:38:40):
Seventh, nineteen hundred and Bessie dare to tell you the truth.
I really find him fascinating. I wish you could hear
him play. It sweeps you off your feet. There is
such wildness twitters at the same time such dignity, and
to hear the sound all to that marvelous house, rolling
through those gorgeous rooms with their audiful.

Speaker 7 (01:39:00):
Tapestress and potted palms. I could sit and listen to
him all night.

Speaker 10 (01:39:06):
You have the most amazing eyes, Miss Peaboddy. What are
you thinking about the music?

Speaker 18 (01:39:11):
Oh?

Speaker 5 (01:39:11):
Please, don't stop, it's so beautiful.

Speaker 10 (01:39:13):
Well, you seem to be as mad about music as
I am. Your sister says you play too.

Speaker 7 (01:39:18):
Oh no, only a little.

Speaker 5 (01:39:19):
My appreciation of it is all inside.

Speaker 10 (01:39:21):
I'm afraid that's plenty. If one can't play, it's better
just to enjoy the music of others. I can't bear
this sentimental drumming, can you.

Speaker 5 (01:39:28):
I shouldn't think you would enjoy it.

Speaker 10 (01:39:30):
Idiotic cubs people play nowadays. Give me the old stern classics.
They have strength and power. Give me something with light
to it, something that will flood the whole house. Pun.

Speaker 5 (01:39:56):
Oh that's much.

Speaker 10 (01:39:58):
You're a very unusual girl, miss Pea, buddy, quite unlike
the run of girls here and down here at Pilotsville.

Speaker 5 (01:40:03):
Yes, and part way.

Speaker 10 (01:40:05):
Oh, it's rather hard to explain.

Speaker 30 (01:40:09):
Some more.

Speaker 10 (01:40:09):
Tea Amanda, No thank you, a muffin, no thank you.

Speaker 7 (01:40:15):
You have an excellent cook.

Speaker 38 (01:40:15):
Mister Evans, please please call me Theodore. You know you
promised Theodore Amanda. And your house is beautifully run too.
You must have an excellent housekeeper. Everything always looks so
charming and quiet. I haven't even heard a peep part
of your children.

Speaker 10 (01:40:32):
My children? Oh, yes, the children have been away at school.
You have two, haven't Yes, Deaphne and David. What sweet names,
but nearly I don't approve of schools for young children.
But you see, they were rather overwrought after Missus Evans
passed on.

Speaker 5 (01:40:46):
I can well understand they.

Speaker 10 (01:40:47):
Were almost morbidly devoted to their mother, and then, of
course the unfortunate circumstances of her death. But I suppose
your sister, Missus Chumley, has told you all about that.

Speaker 7 (01:40:57):
No, not very much, except your wife was so in
a street accident, wasn't she?

Speaker 10 (01:41:01):
Yes, in Philadelphia, a brewery wagon and four horses ran
her down.

Speaker 5 (01:41:05):
Oh, how terrible.

Speaker 10 (01:41:07):
It's something I don't like to think about very often.
Poor beautiful market. Well, it's like a nightmare, Amanda, and
I still can't feel reconciled. But what I was driving
at was the children. They were in school when she died,
and by some malicious stroke of fate, there was an
epidemic of scarlet fever raging up there. The authorities wouldn't
lift the quarantine and let them out for her funeral.

(01:41:30):
Sit upset them dreadfully. In fact, I sometimes fear it's
left a mark on them which may endure all their lives.

Speaker 5 (01:41:36):
What do you mean?

Speaker 10 (01:41:37):
They suffer from delusions delusions about her. They think that
in some ways she is linked, her soul is imprisoned
in the organ pipes horrible. I wish I could do
something about it. It's a frightful notion, but they won't.
They don't let me play when they're at home. That
echo chamber, in particular next door to their bedroom. Yes,

(01:41:57):
you know, it's nothing but an empty, sealed room with
few wars. Of course, it's all because they never saw
her dead, But they have a notion that she's well,
somehow hidden there.

Speaker 5 (01:42:08):
How ghastly they really think that to me.

Speaker 7 (01:42:13):
Children can think of such very strange things in their
little minds.

Speaker 5 (01:42:17):
Can't they.

Speaker 10 (01:42:30):
The night was suspense.

Speaker 35 (01:42:31):
Roma Wines are bringing you as stars, miss Ida Lapino
and mister Vincent Price, whom you have heard in the
prologue to Fugue in C.

Speaker 17 (01:42:39):
Minor The Night's Tale of Suspense.

Speaker 35 (01:42:55):
And now it is with pleasure that we bring back
to our sound stage Idla Pino as a man the
body and Vincent Price is Theodore Evans in Fugue in
C Minor, A tale well calculated to keep you in sum.

Speaker 5 (01:43:24):
April eighteenth.

Speaker 7 (01:43:26):
I met the children today, Bessy, for the first time.

Speaker 2 (01:43:29):
It was a shock.

Speaker 34 (01:43:31):
Yes, strange little creatures, utterly unlike their father. The girl
is about eleven and the boy ate. They were both
dressed in deep mourning. Their large gray eyes seemed strained
with terror. They listened and trembled at every sound.

Speaker 10 (01:43:47):
This is miss Peabody, children, She's a very good friend
of mine. Now I want you both to shake hands
with her. Oh come now, Daphne, you can at least
tell miss Peabody how old you are.

Speaker 34 (01:43:58):
Oh no, please don't press her. I know when I
was a little girl, I hated people to talk about
my age. I'd much rather hear about well, about school.

Speaker 39 (01:44:06):
We're not going back there, no matter what anybody says.

Speaker 10 (01:44:10):
David, that's all right.

Speaker 5 (01:44:12):
Then you didn't like school.

Speaker 39 (01:44:13):
No, mommy didn't like it either, She cried when we
went away.

Speaker 34 (01:44:18):
Oh but your mama wanted you to be educated, didn't she.
She wanted you to grow up and be intelligent people,
didn't she? Well, didn't she? Daphney, who are you? You
may call me aunt Amanda. I'm a friend of your papa's.

Speaker 7 (01:44:33):
Do you know where my mama is?

Speaker 5 (01:44:35):
Your mama?

Speaker 7 (01:44:36):
Well, your mama's in heaven.

Speaker 8 (01:44:38):
Dear, No she's not.

Speaker 5 (01:44:40):
Then where is she?

Speaker 10 (01:44:41):
Please? Please don't start them off, Amanda, it's too upsetting.
Come along. Children. Now we're going to have a little
music like old times. You remember when your mother was alive.
We all used to play together. David, you with your cornette,
and Daphne as the violin, and Mama at the piano. Well,
miss Peabody plays the piano too, and she's promised to

(01:45:02):
play Narcissus, Mama's favorite piece.

Speaker 5 (01:45:06):
Well, perhaps some other times, Theodore, when they don't.

Speaker 10 (01:45:09):
Feel so strange, I tell you why I've humored them
to death. Now come, David, there's your cornette on the mantlepiece,
and Daphne, no, I insist. Look now, I'll start the
melody on the organ. David, you come in with your
cornette opplegato in the third measure. Daphne you can follow me.

(01:45:39):
Come along, children, what's that? No?

Speaker 8 (01:45:42):
No making up funny noise?

Speaker 10 (01:45:47):
What note? Oh you mean that? Oh that's just a cipher.
A wire must have stuck somewhere one of the pipe fells.

Speaker 8 (01:45:53):
It's mama.

Speaker 5 (01:45:54):
That's where Mamma is.

Speaker 7 (01:45:55):
She's calling for it.

Speaker 10 (01:45:56):
Don't be silly. I'll just hit the key a few
times and it'll stuff. You've heard these ciphers before, haven't
you missed me? Buddy?

Speaker 7 (01:46:02):
Well, I don't know much about pipon the.

Speaker 10 (01:46:04):
Common technical occurrence, but very annoying, of course.

Speaker 5 (01:46:07):
What is she doing in there? Why doesn't it stop?
That's where she is. She's in the pipe and she.

Speaker 18 (01:46:11):
Can't get out.

Speaker 10 (01:46:12):
Deafnely stop that non sill.

Speaker 5 (01:46:14):
Hush, dear, Your papa will fix no, I won he can't.
She won't let him because he killed her deathly.

Speaker 10 (01:46:23):
Definitely, what did you say?

Speaker 5 (01:46:25):
She didn't mean it. I'm sure, the poor little thing
of scherical.

Speaker 7 (01:46:27):
We should never have tried to persuade.

Speaker 10 (01:46:29):
Oh Man, just because they never looked upon her face,
because they never saw her lying there in the cortin.

Speaker 34 (01:46:35):
Hush, my own children believe that I am a murderer, Theodore.
You're making them both, oh I, I who.

Speaker 10 (01:46:41):
Loved their mother so much, it was so devoted for
twelve years. Do I look like a murderer, Amanda?

Speaker 14 (01:46:47):
Do I no?

Speaker 18 (01:46:51):
Where it is? Again?

Speaker 7 (01:46:52):
It's mama, it's mamah dear.

Speaker 34 (01:46:55):
I'll take them upstairs for your Theodore while you try
and fix it. April twenty fourth, Oh Bessie, those poor
little children. We took them out to the cemetery today
to show them her grave. A marble angel guarded it.

(01:47:16):
It was planted with pure white tulips. How final it
was and peaceful, And yet they began to tremble again
the moment we set foot inside the house.

Speaker 5 (01:47:26):
Poor Theodore, the man is nearly out of his mind.

Speaker 7 (01:47:30):
What can he do? I keep asking myself that question.

Speaker 5 (01:47:35):
She died in Philadelphia, you say, yes.

Speaker 10 (01:47:37):
And May fifteenth, just a little less than a year ago.

Speaker 5 (01:47:40):
You weren't with her.

Speaker 10 (01:47:41):
No, she went there to take a piano lesson. There
was a new teacher she'd heard about. She was always
so self conscious about her technique. But she never reached
his studio. They notified me at midnight from the city.

Speaker 7 (01:47:52):
Morgue, and no one in Philadelphia saw her, No one.

Speaker 10 (01:47:56):
Except the attendance at the morgue, of course, and the
people who picked her up after the collision. It was
such a brutal accident.

Speaker 34 (01:48:02):
There'd been no one from among them who could speak
to the children, explain to them.

Speaker 10 (01:48:06):
Oh, no, oh, it's so horrible, so sordid.

Speaker 34 (01:48:10):
Oh I know, my dear, I hate to make you suffer.
But if we could find some way, if they could
just believe. When you brought her back here, the pilot
still there was a funeral. Yes, and was there anybody then.

Speaker 5 (01:48:24):
Who saw her?

Speaker 10 (01:48:24):
Oh? No, I couldn't bear it. And and I didn't
think at the time. She'd been so beautiful, her lovely, sweet,
gentle face in her eyes. The horses had completely trembled. Oh,
even if the children had been able to come home,
I wouldn't have let them look. The coffin was sealed
when I left Philadelphia. I didn't want to see her
again myself.

Speaker 5 (01:48:44):
But there was a funeral. People came. There were flowers
and undertaker.

Speaker 7 (01:48:48):
Yes, well, if they could believe that, if there was
one witness, perhaps my own.

Speaker 26 (01:49:01):
Of course, there was a funeral, the finest funeral in town,
a snow white horse and twenty five coaches. Everybody said flowers.
The casket wasn't open, but I think to lots of
funerals where they don't open the casket. And for what
I understand, she was pretty badly mangled. But it was
a beautiful funeral. Mister Evans played the organ himself for
the finest selections, all the sweet old pieces his wife liked.

Speaker 7 (01:49:24):
There was Narcissus and mighty nac Rose and good bye forever.

Speaker 34 (01:49:33):
It was so you see, David, my sister missus Cholmley
was there, Yes, but how did she know it was mama? Oh, David,
she didn't see mama, did she? Well, nobody saw your
poor mama, dear. She wouldn't have wanted anyone to see her.

Speaker 18 (01:49:49):
Mary wasn't there.

Speaker 34 (01:49:50):
She talks to us every night. She tells us to
look for where dear in the pipes. But David, your
mama's dead. She's been dead for Yeah, you saw her
grave out in the cemetery. She's happy and at rest.
Why doesn't Papa give us the key? If you only
let us have we could look for what key, dear,

(01:50:12):
the keys to the pipes. There's a little door just
underneath the stairs. That's where they that's where the big
pipes are. And inside it's all dark.

Speaker 5 (01:50:24):
But where are that?

Speaker 39 (01:50:25):
But there there are tunnels. There's a little room, a
little room. That's where she's hiding. That's where mommy is.
That's where mommy is.

Speaker 34 (01:50:41):
Oh, David Darling, Now look come here. No I hate you,
But why do you hate me? Why don't you let
me help you? Because because what because you like him him, Papa?

Speaker 18 (01:50:55):
You're going to marry him, aren't you?

Speaker 39 (01:50:57):
Yes, you are, The FIA says you are. You're going
to marry him, Daniel, Send us back to school.

Speaker 18 (01:51:07):
No be no one left to help Mama. Poor Mama
will never be left out.

Speaker 17 (01:51:12):
Oh, I hate you.

Speaker 10 (01:51:13):
I hate David. What are you doing here? David? Did
you strike Miss Peabody.

Speaker 7 (01:51:18):
He's sick, Theodore. I'm sure he's very sick.

Speaker 10 (01:51:20):
I got to your room at once.

Speaker 2 (01:51:23):
Ah.

Speaker 10 (01:51:23):
Those dreadful children, I tell you, Amanda, they'll ruin whatever
happiness we might have.

Speaker 34 (01:51:28):
Theodore, I love you very much, but I couldn't marry you,
not with that child's cry ringing in my head. We've
got to help them. Give them that key. Let them
go and look in the room where the pipes are.
Then they'll see for themselves that there's no ghosts.

Speaker 10 (01:51:43):
He who told you about a key to that room?

Speaker 8 (01:51:45):
The children?

Speaker 10 (01:51:46):
The children, Amanda, I'm going to tell you something, something
I've tempered never told you a living soul. It may
frighten you. Yes, Margaret was going mad when she died.
No one knew it but me. Ran in her family.
I discovered it long after we were married, after the
children were born. Otherwise I'd never have Now, you think
the children, I'm afraid. So it was peopling of sound.

(01:52:10):
She had just like them, a fear of the dead's returning.
She used to play.

Speaker 7 (01:52:17):
That's right, sounds like the organ.

Speaker 10 (01:52:19):
But the motor isn't done. The console was locked when
I left.

Speaker 7 (01:52:23):
Someone's trying to play.

Speaker 10 (01:52:25):
No one but me can touch that instrument. It's forbidden
in this house, and the servants are out unless those
children come upstairs and.

Speaker 5 (01:52:31):
Man, Theodore, why there's no one here, no one of
the keyboards.

Speaker 7 (01:52:41):
The organ's playing itself.

Speaker 10 (01:52:43):
That's impossible. The motor is not going. The motor, yes,
it's says the fellow's going. There's no air in the
pipes unless it's on. No air to make the pipes speak.
It's impossible. I tell you.

Speaker 7 (01:52:51):
The children found the key and got in.

Speaker 10 (01:52:53):
Y No, no, no, the keys here in my pocket.

Speaker 5 (01:52:55):
There's no other way.

Speaker 18 (01:52:56):
No.

Speaker 7 (01:52:57):
Theodore opened that door and see what's happening.

Speaker 10 (01:53:00):
Please, No, Theodore, I won't give in. I won't bear
prey to it. Do you here?

Speaker 18 (01:53:06):
I won't. I won't.

Speaker 10 (01:53:07):
I won't. It's stop now. Yes, it was probably nothing
but the wind.

Speaker 5 (01:53:17):
Theodore, give me the key. I'm not afraid.

Speaker 10 (01:53:21):
Are you saying that? I am?

Speaker 34 (01:53:23):
I don't know, but I'll be fair with you, Theodore.
I couldn't marry you and live here with that anymore
than your children can. Do you mean, rip out those
pipes with about the whole pipe organ, give it to
a church, but don't keep it here.

Speaker 10 (01:53:35):
Organ, Yes, but I couldn't. The whole house was built
around it. It's been the very soul and spirit of
this home.

Speaker 34 (01:53:41):
It's been the curse you mean, Theodore. I know I'd
go mad too if I had to listen to it
night and day. It's so hollow to think those pipes,
so huge down there in the darkness, I'd.

Speaker 5 (01:53:52):
Begin to hear things too.

Speaker 18 (01:53:57):
Quiet.

Speaker 10 (01:53:58):
Quiet, Come out side. We'll take amme. No, No, give
me the key, Give me the key, Amanda. I'm sorry
I've overburden you.

Speaker 7 (01:54:05):
Why don't you want to go in there? Is it
because you know something? You did something?

Speaker 5 (01:54:10):
What do you mean, did you kill her?

Speaker 10 (01:54:13):
Amanda? Very well, Amanda, here's the key. If that's the
way you trust me, we'll go down and look around together.
Come now, Amanda.

Speaker 5 (01:54:28):
I'm sorry, Theodore, it slipped off. It was a dreadful
thing to say.

Speaker 10 (01:54:33):
All right, I understand, yet it hurts a little. I've
trusted you so completely Amanda. Theodore is, Amanda, Let's not
go in there. I don't trust you, Darling. I believe
everything you've told me. No this little key to think
it should mean so much? How black it is, pitch

(01:54:57):
black cold.

Speaker 5 (01:55:00):
Where are the pipes? I can't see them.

Speaker 10 (01:55:02):
Come in further, Amanda. You'll see them as soon as
your eyes grow accustomed to the darkness. The biggest pipes
pack this well under the great staircase like giants where.

Speaker 5 (01:55:12):
I'm beginning to see them.

Speaker 10 (01:55:13):
Now.

Speaker 5 (01:55:14):
Should we go and get a candle?

Speaker 14 (01:55:16):
No?

Speaker 10 (01:55:16):
No, go in a little further. Be careful. The floor
is a maze of wires. Now stand there for a.

Speaker 5 (01:55:21):
Second, Theodore. Don't leave me.

Speaker 10 (01:55:24):
I won't be long. I thought you said you weren't afraid.

Speaker 18 (01:55:27):
I'm not.

Speaker 5 (01:55:27):
Only where are you going?

Speaker 10 (01:55:30):
Just upstairs to play for you, Theodore. I'd like you
to hear how the music sounds in the darkness. It's
quite an experience being so close to the pipes, you know, narrow, suffocating,
especially when I pay the great passa Carlia and Fugue
of Bach.

Speaker 5 (01:55:45):
Theodore, Please, I don't want to stay.

Speaker 10 (01:55:47):
That's one of the Weinberger symphonies are the great corrals
of Satar Frank Margaret, of course preferred narcissus. You're very gullible, Amanda.

Speaker 5 (01:55:58):
And you did to her. You kill her in this room?
Are you going to kill me?

Speaker 10 (01:56:04):
Yeah? Simple, isn't it? But why I don't wow? One
gets tired every now and then of mere music. Sometimes
the classics demand competition has scream. For example, there's something
so exciting about pulling out all the steps and drowning
out all human sound. Have you ever tried to match
your voice, Miss Peabody, against the thunderous voice of Bah?

(01:56:25):
It's most effective? And then when the struggle gets weaker,
when the air is almost gone and you choke and
gasp for breath to bring the music down softer, softer,
you're mad? You're mad, Amanda? Would you deny me that pleasure?
I promise you to cot long. It takes about eight
hours before the air gives out, But you know I

(01:56:45):
could play for days. And don't worry about the children.
I think you've convinced them about the ghost. But that
dear door, Someone shut the door, it's locked, and the
keys outside.

Speaker 37 (01:56:57):
Who's there?

Speaker 5 (01:56:59):
Set me out?

Speaker 10 (01:57:00):
Let me out, you get away from you, Let me out.

Speaker 26 (01:57:04):
You let me out.

Speaker 18 (01:57:05):
Let me have you. I can't breathe.

Speaker 5 (01:57:07):
I can stop cheating.

Speaker 2 (01:57:08):
It's so dark.

Speaker 5 (01:57:09):
I can't breathe. Let me out, please, please, I can't breathe.

Speaker 14 (01:57:13):
I can't.

Speaker 5 (01:57:15):
No, I can't.

Speaker 18 (01:57:17):
I can't.

Speaker 5 (01:57:17):
Let let me out. I can't breathe.

Speaker 17 (01:57:32):
See, do.

Speaker 18 (01:57:34):
Set your dog?

Speaker 5 (01:57:37):
Let me out, Let me out. He's dead, He's dead.

Speaker 7 (01:57:42):
I can't he, David, where are.

Speaker 4 (01:57:44):
You open the door?

Speaker 8 (01:57:46):
Help me?

Speaker 18 (01:57:47):
Help me?

Speaker 7 (01:58:01):
May one, nineteen hundred.

Speaker 14 (01:58:05):
I shall be coming home in a few days, Betty.

Speaker 40 (01:58:08):
I still can't sleep at night. I still hear that laughter,
still hear that corner playing its unearthly music. And Theodore
Evans once more lies dead at my feet. Twas his heart, Betty.
He died of fright in those few moments he anticipated
with hideous fate he had meted out to so many.

(01:58:32):
And I might have died there if he had not
gone so quickly. But the children hated me. They wanted
to kill us, both, those terrible, pathetic children. What horror
they must have sensed in that Charnel house. There were
other women beside his wife. Please found them all buried
and stuffed away into unused parts of the pipe organ.

(01:58:56):
Yes see, I was in that pipe room alone with
him for four hours before that door creaked open. There
they stood, and I shall never forget their faces or
the things they said. Why you can come out now
if you're really sorry, I'm sorry. Are you sure he's
quite dead?

Speaker 5 (01:59:18):
Yes, she's dead. We were right all the time we're doing,
miss peabuddy, Yes you were right.

Speaker 7 (01:59:26):
Now will you come and help us find mama?

Speaker 35 (01:59:58):
And so closes you in c minor, starring miss Ida
Lappino and Vincent Price, Tonight's.

Speaker 10 (02:00:05):
Tale of Suspense.

Speaker 2 (02:00:10):
Suspense is produced and directed by William Spear.

Speaker 5 (02:00:17):
This is Ida Lupino.

Speaker 34 (02:00:18):
Mister Spear has just been telling me a little about
next week's suspense show.

Speaker 5 (02:00:22):
The star will be Thomas Mitchell in a story.

Speaker 34 (02:00:24):
About a man who had headaches, tried everything to cure them,
finally went to a psychiatrist and found out that he
was a murderer. Now that certainly sounds like a broadcast.
We listeners won't want a miss one more word. Don't
forget to buy that war bond this week.

Speaker 35 (02:00:38):
Next Thursday, same time you will hear Thomas Mitchell and
Donald cris been suspend