How Do You Communicate With An Alien Species?: #RetroRadio EP0352 #WeirdDarkness

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's heard during the podcasts that are not in my
voice or placed by third party agencies outside of my
control that should not imply an endorsement by Weird Darkness
or myself.

Speaker 2 (00:15):
Latenspeliate Stations Present Escape.

Speaker 3 (00:21):
Oh of Fantasy.

Speaker 4 (00:24):
I'm gonna thank some miss.

Speaker 5 (00:29):
Oh ah Man uh.

Speaker 6 (00:38):
As Seal.

Speaker 7 (00:44):
Present Suspense. I am a whistler.

Speaker 1 (01:00):
Welcome Weirdos. I'm Darren Marler, and this is retro radio
old time Radio in the Dark, brought to you by
Weird Darkness dot Com. Here I have the privilege of
bringing you some of the best dark, creepy, and macabre
old time radio shows ever created. If you're new here,
welcome to the show. While you're listening, be sure to

(01:20):
check out Weirddarkness dot com or merchandise. Sign up for
our free newsletter, connect with us on social media, listen
to free audiobooks that I've narrated. Plus you can visit
the Hope in the Darkness page. If you're struggling with depression,
dark thoughts, or addiction, you can find all of that
and more at Weird Darkness dot com. Now, bult your doors,

(01:42):
lock your windows, turn off your lights, and come with
me into Tonight's retro Radio, Old Time Radio in the Dark.

Speaker 8 (02:00):
The CBS Radio Mystery Theater presents Come in.

Speaker 9 (02:23):
Welcome.

Speaker 10 (02:24):
I'm E. G.

Speaker 9 (02:25):
Marshall, curator of this.

Speaker 8 (02:27):
Cryptic museum dedicated to the mysterious and the macabre. Concealment
seems to be the order of the day. We use fabrics, paints, chemicals,
and hair to obscure the body, and we employ customs
and law to hide the soul. Life for so many

(02:49):
of us is a series of rituals and ceremonies, all
of which are directed toward curbing our natures. Small wonder,
so few of us forget to understand our fellow man,
So few of us ever get to know ourselves.

Speaker 11 (03:06):
You me, you, Stuart Haskins, You are a killer?

Speaker 12 (03:10):
Oh no, yes, I faint that.

Speaker 13 (03:13):
The sight of blood, Oh, you are a murder very
sound of gunshot makes me violently ill, a.

Speaker 11 (03:18):
Cold blooded ruthless asassia.

Speaker 12 (03:20):
Ask anybody, they'll tell.

Speaker 11 (03:22):
You no one, no feelings of pity can prevent you
from your wholesale.

Speaker 12 (03:27):
Slaughter, oil and nil. Even talking about violent death makes me.

Speaker 11 (03:31):
Oh, you are a killer, and I have evidence to
prove it.

Speaker 8 (03:44):
Our mystery drama the public Avenger was written especially for
the Mystery Theater by Sam Dan and stars Arnold Stang
and Marian Haley. It is sponsored in part by sign
Off the Sinus Medicines and Buick Motor to I'll be
back shortly with Act one. Full Many, a gem of

(04:16):
purest ray serene, the dark, unfathomed caves of ocean bear
full Many. A flower was born to blush unseen and
waste its fragrance on the desert air. A few poets,
ever wrote truer sentiments, how many of us know such

(04:37):
gems and flowers? Indeed, so many of us ourselves can
be classed as kidden diamonds and wasted blossoms. Well to business,
our scene is a warehouse, specifically a warehouse that stores groceries.
But don't get too hung up on the product. It

(04:57):
really has nothing to do with the store.

Speaker 14 (05:00):
Me, miss Ellenbogen, Yes, get stored in here.

Speaker 15 (05:05):
Oh I'm gonna.

Speaker 14 (05:05):
Fire that clown. Maybe I'm not a camel, but this
is the last straw. My back is rusted. I don't
care if he's worked here fifty years.

Speaker 12 (05:15):
Yeah, you sent for me, mister Fenrich Stort or fired.

Speaker 14 (05:18):
Hired to get your money and got it.

Speaker 12 (05:20):
But but why, mister Fenrick, Why.

Speaker 14 (05:22):
Because you're stupid, muddle headed and useless. You've got no ability,
initiative ambition.

Speaker 12 (05:28):
Answer, But but what did I do?

Speaker 14 (05:29):
What did you do? You cost me the biggest account
I got in the house. That's all you did. Atlantic
Stores their order has to be out of here by
the fifteenth. I'm walking through the warehouse just before and
there it is still piled up against the wall. Oh yeah, Oh,
all it takes is one idiot like you, and I
can lose twenty five percent of my annual bidence. But
mister Fenn, I don't want to hear any more here.

Speaker 13 (05:51):
But sir, Atlantic Storre it doesn't want that order sent
out until the twenty is.

Speaker 14 (05:55):
You've got to be lean to not have one ounce
of excess baggage. And Atlantic Stores doesn't want the orders
and out to lip whatdith, what do you mean they
don't want there?

Speaker 13 (06:06):
Called up and they said, why wasn't I told I
let the message on your desk?

Speaker 14 (06:11):
What kind of communication we got around here?

Speaker 13 (06:12):
Where on my dead There it is there right on
the right hand side, your right hand side, Yes, sir,
mister Fenrick, No.

Speaker 14 (06:20):
Wonder you've been working here fifteen years, and you don't
know by now that you have to put messages on
the left hand side. Oh yes, sir, mister Ferro, on
account of your stupidity, I almost had a heart.

Speaker 12 (06:32):
Oh I'm sorry, mister Fenwick.

Speaker 14 (06:33):
I'm going to give you one more chance, sir, one
more chance.

Speaker 12 (06:37):
Well that's it, old tik you, mister Fenwick has.

Speaker 14 (06:39):
Dropped the ball one more time and you are through.

Speaker 15 (06:41):
Oh yes, sir.

Speaker 14 (06:42):
I'll get out of here, got sir, and see if
you can keep out of trouble for the rest of
the day.

Speaker 11 (06:50):
Mister Haskins, Yes, Miss Ellen Bogan, May I ask you
a personal question?

Speaker 12 (06:56):
Well, yes, I suppose.

Speaker 11 (06:57):
So why do you allow you to bruise your psyche
like that?

Speaker 13 (07:02):
Bruise my psyche? Well, I'm afraid I don't understand. Oh
I'm sorry.

Speaker 12 (07:07):
Is that an expression you learned in college?

Speaker 13 (07:09):
How do you know I'm going to college? I see
those books on your desk.

Speaker 11 (07:14):
Oh yes, I'm just attending it now.

Speaker 12 (07:18):
Well, I've never gotten myself. I wish I had.

Speaker 11 (07:21):
It was never too late. You know, I'm studying psychology.

Speaker 12 (07:26):
I understand that's quite a deep good thing.

Speaker 11 (07:29):
For the psyche. Is the well, in religion it would
be the soul. In psychology or psychiatry, it is in
the mind, but considered as an organic system, reaching all
parts of the body to adjust the whole organism to
the total demands of the environment.

Speaker 12 (07:50):
Oh, yes, that's very interesting. What was that question you
asked me?

Speaker 14 (07:57):
Oh?

Speaker 11 (07:59):
Well, on second perhaps it's it's most presumptuous. I'm sure
it's something quite private.

Speaker 12 (08:05):
Why do I allow.

Speaker 13 (08:06):
Mister brentwish to bruise my psyche?

Speaker 12 (08:10):
Well, I don't know.

Speaker 3 (08:12):
I don't know.

Speaker 12 (08:13):
I don't feel bruised.

Speaker 13 (08:16):
You don't know, although maybe if I knew where my
psyche was. Yeah, Miss ellen Bogan. Yes, Uh do you
go to nigh school every night?

Speaker 12 (08:28):
Oh?

Speaker 11 (08:28):
No, not every night. Yeah, well, I was wondering if yes,
mister Haskins.

Speaker 12 (08:35):
No, Oh my goodness, I have to get that. I
have to get that special order out the.

Speaker 14 (08:40):
South Coast markets.

Speaker 11 (08:42):
I'm late, yes, mister Haskins. Good evening, Professor Temple. Yes,
I'm Rose Allen Bogan, missous Ellenbogen, and you are here

(09:04):
for our conference, Professor Temple a government. We were to
discuss my term paper. Yes, well, I was thinking of
doing a study, a study of a certain person. Ah,
he works in the place where I'm employed, and he

(09:27):
displays an abnormal behavior pattern. The subject, male, white, unmarried,
thirty two years of age, has been employed in the
shipping department for fifteen years. His name is Stuart Haskins,

(09:47):
and he is the daily recipient of the most vicious
mental abuse imaginable from our employer, a mister Ferdinand Fendris. Why, well,
I can understand mister Fenris's attitude. Oh, yes, indeed, I
can understand it very well, can you?

Speaker 2 (10:08):
Uh?

Speaker 14 (10:08):
Huh?

Speaker 11 (10:08):
Mister Fenris is completely incompetent, and mister Fenris knows it.
It's mister Haskins who actually runs the business of his
angers and frustrates mister Fenris so completely that in an
attempt to salvage his manhood, he must attack mister Haskins constantly. Now,
how does mister Haskins manage to maintain his sanity?

Speaker 14 (10:30):
We bring you a late bulletin. The mysterious public avenger
has struck again.

Speaker 11 (10:35):
A public offender angle.

Speaker 14 (10:36):
Chief Punch Gumbo, as gunned down as he was taking
tea in the garden of.

Speaker 4 (10:41):
His country estate.

Speaker 14 (10:42):
Does according to mister Gumbo's bodyguards, the killer appeared suddenly,
and as he fired bullet after bullet into mister Gumbo,
he shouted, the public Avenger strikes again. The killer wore
a mask, and he is described as being about five
feet nine inches tall. The bodyguards read turned the fire,
and one of them thinks he may have hit the killer,

(11:03):
but the assassin made good his escape, and now we
return to Symphony hall.

Speaker 11 (11:08):
Oh, I wonder who he is?

Speaker 14 (11:10):
Professor?

Speaker 11 (11:12):
You mean you know?

Speaker 14 (11:14):
Oh, yes, who he is?

Speaker 16 (11:16):
Who is he?

Speaker 17 (11:17):
Mister Stuart Haskins, Professor, you're joking. The last time I
made a joke over at the Freud in Vienna in
nineteen and thirty six.

Speaker 11 (11:31):
Yes, it's impossible you never met Stuart Haskins. It was
a joke, Stuart Haskins. The public Aventure down is some
place in my nose. Stuart Haskins is hemmed in by inhibition.

Speaker 15 (11:49):
I will find the joke another time.

Speaker 11 (11:51):
Stuart Haskins feels completely constricted.

Speaker 17 (11:54):
Concisely, and so he breaks out, what are you saying, professor?
That's your mister Fenri's proofs its manhood by whipping mister Haskins.

Speaker 15 (12:05):
Mister Haskins finds his by becoming the public Avenger.

Speaker 11 (12:09):
Oh, impossible.

Speaker 4 (12:11):
Is a meique and.

Speaker 17 (12:12):
Mind what you're mister Haskins, he does not know he
is the public Avenger.

Speaker 11 (12:18):
How can he not know?

Speaker 12 (12:20):
He is an amnesiac amasiac.

Speaker 15 (12:23):
Some people's offer.

Speaker 17 (12:24):
From amnesia because of physical injury, but for the most part,
people suffer.

Speaker 15 (12:29):
From amnesia because they neat amnesia.

Speaker 11 (12:33):
Hmm are you saying that, mister Haskins.

Speaker 17 (12:37):
Psycho Jennic amnesia We forget because we wish to forget.

Speaker 18 (12:44):
Yeah?

Speaker 15 (12:45):
No, who what was that joke? I told doctor foud.

Speaker 11 (12:49):
To Haskins the public Avenger. It's incredible. Oh he couldn't
be Mi Stard Haskins.

Speaker 19 (13:00):
He couldn't.

Speaker 13 (13:06):
Good morning, Miss Allen Bogan. Would you please put this
letter on mister Fris's desk for me?

Speaker 11 (13:11):
Certainly, although I think he's looking for you.

Speaker 2 (13:14):
Huh.

Speaker 11 (13:15):
Yeah. He said if you came in from the warehouse,
you'd go into his office.

Speaker 13 (13:19):
Oh well, I I really would rather not, do you
suppose you might not mention that I was around here?

Speaker 7 (13:25):
I will George?

Speaker 12 (13:27):
Oh, oh gosh, you come right in here, Yes, sir,
excuse me, Miss Allen Brogan. You wanted to see me,
mister Fenris.

Speaker 14 (13:37):
Where's that invoice from pleasant Valley markets Or did you
lose it?

Speaker 20 (13:42):
No?

Speaker 12 (13:42):
I put it in your in basket, sir.

Speaker 13 (13:44):
I thought that way it wouldn't get mislaid on either
side of your desk.

Speaker 14 (13:49):
Oh well, short, Uh where's your jacket?

Speaker 12 (13:54):
My jacket?

Speaker 14 (13:55):
I don't care how you look down in the warehouse,
but up here we were jackets. Now how dare you
come upstairs without its client?

Speaker 9 (14:05):
Yessir?

Speaker 14 (14:05):
Important people coming in and out. I can't afford to
have my employees running around looking like a bunch.

Speaker 12 (14:10):
Of bomba gets her.

Speaker 14 (14:11):
But and you knew the rule, yes, sir, and you
broke the up, mister.

Speaker 12 (14:16):
Let me explain. I had to get my jacket clean.

Speaker 14 (14:19):
You had to get your jacket clean, yes, sir. In
other words, you're having your jacket cleaned on company. We
let it happen again, No, sir, I won't. I don't
know why I'm so good to use her. I'm getting solved,
so thank you, sir. Are you still standing the How
don't you have work to do?

Speaker 9 (14:35):
I get her? Oh?

Speaker 11 (14:41):
Was it doing that this morning?

Speaker 12 (14:44):
It was?

Speaker 3 (14:44):
What?

Speaker 2 (14:45):
Very bad?

Speaker 11 (14:46):
Was the way he spoke to you?

Speaker 13 (14:47):
Oh bad? Well, he doesn't mean anything by it. He
doesn't know and Besides, he doesn't know any better. Tell me,
did you read the news this morning?

Speaker 12 (14:59):
Though I I never read the news or listen to it.
I don't know, not if I can help it. I
find it too upsetting.

Speaker 11 (15:06):
Oh you mean things that happen to other people upset you?

Speaker 3 (15:10):
Oh?

Speaker 12 (15:10):
Yes, terribly.

Speaker 11 (15:12):
Have you heard of the public Avenger?

Speaker 12 (15:16):
No, I don't believe I have. Who is the public Avenger?

Speaker 11 (15:20):
Well, nobody knows.

Speaker 21 (15:22):
Uh.

Speaker 11 (15:22):
He seems to be a kind of one man vigilante committee.
He kills well known hoodlums who seem to have alluded
the legal process.

Speaker 12 (15:30):
Well, I can't say I approved.

Speaker 11 (15:32):
You don't.

Speaker 12 (15:32):
Oh, no violence of any kind?

Speaker 11 (15:35):
Oh could could you imagine yourself as the public Avenger?

Speaker 14 (15:40):
Me?

Speaker 15 (15:40):
Oh? Never, I'm frightened.

Speaker 13 (15:43):
The death of guns me the public avenger? Whatever could
have given me that idea. You certainly have a sense
of humor.

Speaker 12 (15:50):
If there's one.

Speaker 14 (15:51):
Thing I admire a girl, I mean, in a young.

Speaker 13 (15:53):
Lady, it's a sense of humor. Oh, so you never could.
I was wondering, miss U. Do you do you suppose
I was wondering if you? Oh my goodness, I haven't
packed the order for the money sorts. I just have
to get back to the warehouse.

Speaker 11 (16:17):
Yes, may I help you?

Speaker 2 (16:19):
I'm supposed to leave this jacket and mister Stewart.

Speaker 15 (16:21):
Haskins at the reception, all right?

Speaker 5 (16:24):
And would you tell him it won't pay to fix
the hole under the right arm.

Speaker 9 (16:27):
It will cost them a fortune to rewive it.

Speaker 15 (16:31):
Yeah, that small hole.

Speaker 17 (16:33):
Why, I'll tell you why, because it's a bullet hole.

Speaker 15 (16:39):
A what you hate me?

Speaker 9 (16:42):
It's a bullet hole.

Speaker 15 (16:47):
You hurt him too?

Speaker 8 (16:49):
How could a bullet hole get into mister Stuart Haskins jacket?
Don't ask me. I won't tell you. Actually, I may have,
or he told you. They say still waters run deep,
but in Stuart Haskins we may be trying to navigate
still water that has no bottom. I promise you things

(17:13):
will flow fast and furiously when I return in just
a few moments.

Speaker 3 (17:17):
With that two, we live.

Speaker 8 (17:30):
In a time when no speculation can be too extravagant,
because the fact is everything.

Speaker 15 (17:38):
It's possible.

Speaker 8 (17:39):
Practically all of the once considered far out fantasies of
Jules Verne have not only come to pass, but most
of them.

Speaker 12 (17:47):
Have already been passed by So.

Speaker 9 (17:50):
When Professor F.

Speaker 8 (17:51):
Joseph Tepple and his student miss rose Ellenbogen speculate that
mister milk toast himself Stuart Haskins can actually be a
one man the Gilante Committee, known as the Public Avenger.

Speaker 9 (18:04):
Who is to say them?

Speaker 22 (18:05):
They yeah, lady, that's a bullet hole, a bullet hole.
You see the material all around the hole that's burn
Those are powder burns, Yeah, gunpowder, lady, Like you get
close to the muzzle of a gun that's going off
the flash like you see in the movies, that flame
that spouted out of the barrel, that burns.

Speaker 15 (18:27):
So all the materials were How.

Speaker 11 (18:30):
Could mister Haskins get a bullet hole through his jacket?

Speaker 9 (18:33):
Don't ask me?

Speaker 14 (18:40):
Oh, the man came with my jacket. Well, I'm so glad.

Speaker 12 (18:43):
Oh, thank you? Is zellen Boga.

Speaker 11 (18:45):
The man said to tell you that that they couldn't
fix the hole, the hole, the bullet hole, because all
the material around it burn.

Speaker 14 (18:55):
Oh oh yes, I see.

Speaker 11 (18:57):
May I ask you how you got a hole in
your jacket?

Speaker 12 (19:02):
I don't have the faintest idea you don't.

Speaker 11 (19:04):
Know, But how is that possible? I mean, certainly you
should remember a thing like a bullet I would think.

Speaker 12 (19:10):
I can't even imagine.

Speaker 11 (19:11):
I think I mean, would you could you have been
near any place where they were shooting? For example?

Speaker 13 (19:17):
Oh no, I've never been near any place where they
were shooting. Oh well I was in the military service.

Speaker 11 (19:22):
What did you fire a gun in the service?

Speaker 12 (19:25):
Well, yes, but I prefer not to think about that.

Speaker 11 (19:27):
Well about this bullet hole, how can we account for it?

Speaker 12 (19:31):
Well, I'm afraid there's only one explanations. It's not a
bullet hole.

Speaker 11 (19:35):
It isn't. But the man said no, And it does
look burnt.

Speaker 13 (19:39):
Well, you see, they may have been pressing it and
somebody carelessly burned this hole, and and to cover up
they made up this little story about it.

Speaker 11 (19:48):
You insist then, that this, this here is not.

Speaker 13 (19:51):
A bullet Well, I don't know of any way I
could have received it in my coat.

Speaker 11 (19:54):
Well what do you intend to do about it?

Speaker 9 (19:56):
To do it?

Speaker 15 (19:57):
Well?

Speaker 13 (19:57):
Nothing, I suppose it's really a old jacket and I
am about ready to discard it anyhow, So why create
a tempest in a teapot as it were?

Speaker 11 (20:08):
Oh you're positive that that cannot be a bullet hole?

Speaker 13 (20:12):
No at all, don't ye, Miss ellen Bogan. Are you
going to school this evening?

Speaker 21 (20:18):
No?

Speaker 13 (20:20):
I was thinking that, Yes, am I gonnas, I have
impacted chippy chipmunks, canned pages.

Speaker 23 (20:27):
Excuse me, a who is created by a bullet.

Speaker 11 (20:37):
Well, but now that I think about it, he may
have been right. It could have been terrelessness on the
part of the cleaner.

Speaker 15 (20:43):
No, no, no, it's a bullet.

Speaker 11 (20:45):
It's impossible, now that I think of.

Speaker 4 (20:47):
It, it's so so meek.

Speaker 11 (20:50):
I said, consult.

Speaker 14 (20:52):
Them, ah one one business And I looked.

Speaker 11 (20:54):
At his face. The very fawt seemed to make him ill.
The jewel, the tool of the professor. We are discussing
Stuart Haskins.

Speaker 17 (21:06):
What is there to discuss Stuart Haskins is the public offender?

Speaker 11 (21:11):
Can you make such a statement.

Speaker 12 (21:12):
I've explained to.

Speaker 11 (21:14):
You, I know, and I've gone through the literature on
disorders of orientation.

Speaker 17 (21:19):
If you have gone through solizathure, there is the popular one.

Speaker 11 (21:24):
Look at Stuart Haskins would be enough to convince you
that he couldn't possibly do.

Speaker 15 (21:30):
Not want him to be the offend.

Speaker 14 (21:33):
Nour half our news bulletin Joseph Fulsom, known as Joe
the Jabber, reputed King Tin at the Drug Traffic has
been released by the authorities. The Federal Prosecutor in New
York City says he cannot proceed because of lack of evidence. Ironically,
Joe the Jabber himself is somewhat less than.

Speaker 6 (21:51):
Happy with the decision.

Speaker 14 (21:53):
He is quoted as saying, if you Feds want to
put me back on the street, you've got to protect
me from this crazy Avenger. More years later, the.

Speaker 17 (22:04):
Public Avenger shall strike tonight. N mister Haskins shall shoot
mister Joseph Jabber.

Speaker 11 (22:13):
Joe the Jabber is in New York that's a thousand
miles from here.

Speaker 17 (22:19):
This is Friday night.

Speaker 15 (22:20):
Yes, there is work at the warehouse tomorrow.

Speaker 17 (22:24):
No, and so mister Haskins has two days to accomplish
his mission.

Speaker 15 (22:30):
No, and return Monday.

Speaker 11 (22:33):
Oh, the Public Avenger is tough resource, yea. And at
store it is so timid and ineffectual.

Speaker 15 (22:43):
Then why are you in love with him?

Speaker 11 (22:47):
Because who says I'm in love with him?

Speaker 17 (22:51):
You are in love with him because you believe he
is the public Avender.

Speaker 15 (22:56):
He's hidden masculinity.

Speaker 11 (22:58):
No, no, no, he can't be if only you could see.

Speaker 17 (23:02):
Him very well. I try to see him when he
shall he take you out again?

Speaker 11 (23:09):
Take me out?

Speaker 17 (23:11):
Yes, this is the name for the rights of courtship
in America.

Speaker 15 (23:15):
No to take the lot run out.

Speaker 11 (23:18):
Well, he doesn't take me out?

Speaker 12 (23:21):
Oh, then where does the ruins occur?

Speaker 11 (23:27):
There isn't any That's.

Speaker 16 (23:29):
What I mean.

Speaker 11 (23:30):
He doesn't even have the courage to ask me for
a date.

Speaker 15 (23:35):
He will not ask you.

Speaker 12 (23:37):
Then you must ask him.

Speaker 11 (23:40):
Ask him, ask him what?

Speaker 15 (23:42):
Ask him to dinner?

Speaker 11 (23:43):
For dinner?

Speaker 15 (23:44):
We must assume he eats.

Speaker 11 (23:46):
Oh well, I just care, I mean why not? What
can I tell him?

Speaker 24 (23:51):
Oh?

Speaker 17 (23:52):
Say you are VISI friend, and we have a fine
dinner here that we would like to share car? Just
like one lifts the telephone, dials the number, and science performs.

Speaker 11 (24:07):
The Well, all right, I've been. Once you meet Stuart,
you will admit he couldn't possibly be the public avenger?
Too much? Interesting?

Speaker 15 (24:21):
How does it happen you know his number?

Speaker 11 (24:25):
I don't know his number?

Speaker 17 (24:26):
Then how does it happen you can dial it without
consulting the directory?

Speaker 11 (24:31):
Oh? I don't know.

Speaker 17 (24:34):
Have you wished to do this before? Have you subconsciously
found out the information?

Speaker 12 (24:41):
I don't know.

Speaker 15 (24:43):
Can you also be an ansiac?

Speaker 17 (24:47):
Have you another existence where you telephone mister Stuart Haskins?

Speaker 11 (24:52):
Oh that's impersival.

Speaker 15 (24:55):
Then how do you know his number.

Speaker 11 (24:56):
Professor, there's no answer, of course, not what do you mean?

Speaker 12 (24:59):
Of course?

Speaker 14 (25:00):
Now, how can that be an answer?

Speaker 17 (25:01):
Mister Stuart Askins has already left for New York, no
where he will kill mister Joe.

Speaker 11 (25:09):
The Dabba will will stop him.

Speaker 14 (25:12):
Yes, we must.

Speaker 11 (25:13):
We should call the New York police.

Speaker 15 (25:15):
And tells him.

Speaker 11 (25:16):
No, no, no no, we can't tell anybody anything. Oh do
is get him killed. But there must be a way.

Speaker 14 (25:23):
There is.

Speaker 15 (25:25):
We must make.

Speaker 17 (25:26):
Him fight for something, for someone, and therefore he will
not be driven to amnesia for fulfillmas.

Speaker 11 (25:35):
But how does that help us?

Speaker 14 (25:36):
Now?

Speaker 11 (25:37):
This gangster, this drug traffic kingpin, he's expecting Stewart. He
surround himself with bodyguard. Stewart will be killed the measure.
You're not listening?

Speaker 15 (25:49):
What what?

Speaker 9 (25:50):
What?

Speaker 4 (25:50):
What?

Speaker 15 (25:50):
Oh, miss Ellenburger, What did you say?

Speaker 11 (25:53):
I said this gangster will be expecting story?

Speaker 15 (25:56):
No, no, you said something else? You said I was
not listen.

Speaker 17 (26:01):
Now I remember the joke. You know, these psychoanalysts. We
spent all our time in listening. And Professor Wright said
to me, doctor, you see so many patients here, so
many problems.

Speaker 15 (26:15):
They at night you listen.

Speaker 17 (26:17):
To such terrible toddles.

Speaker 14 (26:19):
How do you.

Speaker 15 (26:20):
Keep from going off?

Speaker 17 (26:21):
Cit depend And I said, I said, who listens?

Speaker 15 (26:34):
I must say? Doctor Fright is not saying it was
funny either.

Speaker 3 (26:38):
Oh?

Speaker 11 (26:40):
What are we going to do about Stewart? Professor? I'm
so worried.

Speaker 17 (26:44):
Now you see why I do not tell jokes once
spitten twice?

Speaker 15 (26:49):
Fine?

Speaker 11 (26:50):
Can you got me into this? I got you, but
it wasn't for you. I have never known Stuart with
a public avenger. Please please, Professor. Maybe maybe there's a
chance he he isn't, My dear.

Speaker 17 (27:04):
Miss Ellen Bolgan, I have never been home he is.

Speaker 15 (27:22):
He's gonna leaning on that bell all night.

Speaker 11 (27:24):
Lady, Well, mister, I just call me Palell okay, Pal.
I've been trying to get into mister haskins apartment, but
it doesn't look as if he's home.

Speaker 3 (27:33):
No had done.

Speaker 11 (27:35):
Uh Are you the superintendent.

Speaker 15 (27:38):
When I get a raise? Meantime, I'm the janitor?

Speaker 11 (27:42):
Uh huh? Do you know where he is?

Speaker 25 (27:45):
No is a guy never goes nowhere nowhere, comes home,
cooks himself as supper, listens to music.

Speaker 15 (27:52):
Maybe he read then he hears the second.

Speaker 11 (27:55):
He's always home. Yeah, except lately, Yes, lately, I.

Speaker 15 (28:01):
Mean the past month.

Speaker 25 (28:02):
Maybe he goes someplace where I don't know, but you're
getting this car, drive away and be out most of
the night like this is Saturday. Okay, last night I
see him getting a car. He drove off and he
hain't been back since.

Speaker 11 (28:21):
Has he did? He seem to be acting in a
peculiar way.

Speaker 25 (28:26):
Pal, He always acts in them all less peculiar way.
I mean, I know, quiet guys, but him. Hey, look,
if you're gonna marry this guy, you better be prepared
to do all the talking.

Speaker 11 (28:38):
Oh, she's been gone all this time and we don't
know where.

Speaker 25 (28:43):
Well, when he gets back, when you ask him?

Speaker 14 (28:50):
Time for your late Sunday evening wrap up. Well, the
big news, as you might expect, was the latest killing
by the Public Avenger. All the King's horses and all
the King's men couldn't save Joseph Joe the Jabber fulsome
from the vengeance of the Public Avenger. Even though Joe
the Jabber was heavily guarded, the killer managed to evade

(29:12):
the protective cordon, fire his fatal shots, and make good
his escape in just a few moments. We shall have
more details for you, Judge, just a.

Speaker 19 (29:27):
Manat now who.

Speaker 11 (29:32):
But that's a Temple me I enter. Yeah, you heard
the movie.

Speaker 15 (29:40):
He is and that is why I am here.

Speaker 11 (29:43):
Oh do you know something, something.

Speaker 15 (29:46):
That should make you happy.

Speaker 17 (29:48):
I want you to know that your Stuart Askins is
not the Public Avenger.

Speaker 8 (30:03):
That's the happy announcement for Rose ellen Bogan. But how
does Professor Temple know is he the Public Avenger? Well,
somebody's a public adventurer. Somebody's depopulating the underworld? Who on
this show?

Speaker 15 (30:20):
You never know?

Speaker 8 (30:22):
The third act, which is where the piper must be paid,
will be brought to you in just a very few moments.
You take a timid soul, subject him to harassment and abuse.

(30:46):
You thus drive him to day dreams and fantasy. He
sees himself as a knight, errant, a hero, a writer
of wrongs. With most people it remains at that level fantasy.

Speaker 15 (31:00):
But there are those.

Speaker 8 (31:01):
Who seek to make their dreams reality. They forget this
world and try to live their ideal in another. Of course,
they don't remember doing it. This physical attempt is a
form of amnesia, which is what we've been talking about
all along.

Speaker 11 (31:20):
You see, Stewart is not the Public Avenger is not, And.

Speaker 15 (31:27):
Can you ever forgive me if.

Speaker 11 (31:28):
You for what for making you think so well? After all,
you thought so yourself.

Speaker 15 (31:37):
But by I never thought so well.

Speaker 11 (31:40):
You and the one who made such a logical diagnosis.

Speaker 15 (31:44):
I know, I know, but you see it was my
poor sense of humor.

Speaker 11 (31:50):
I don't understand what.

Speaker 17 (31:51):
Every forty years I try to make a joke and.

Speaker 15 (31:55):
She simply it's not funny.

Speaker 17 (31:58):
Yes, was a joke, an example of how hypothesis can.

Speaker 15 (32:05):
Leave one astray.

Speaker 11 (32:06):
According to the textbook Disassociative Behavior, people like Stewart would
seek an outlet. I mean, they are logical candidates for
psychogenic amnesia.

Speaker 15 (32:20):
Yes, yes, but you see it.

Speaker 17 (32:21):
To become a public avenger requires more. Since the wish
one must have the bodies of sapphire, they allow the
ability and wish. This was a joke, yes, to see
how easily one may be taken in by words and theories.

Speaker 11 (32:41):
You mean start, isn't the public Avengers?

Speaker 17 (32:44):
There is no way under the sun, moon and stars
that your Stuart Askins could possibly be.

Speaker 15 (32:52):
It is my last bad joke.

Speaker 17 (32:55):
Certainly I cannot live another forty years.

Speaker 11 (33:00):
You forgive me, I'll forgive you, professor. I love you.
Good morning, Miss Ellen Bogan, Good morning, mister Haskins.

Speaker 12 (33:15):
It's mister Fens.

Speaker 2 (33:16):
No.

Speaker 12 (33:17):
Oh that's good. I'm late twelfth. I better get downstairs.

Speaker 11 (33:20):
Oh, mister Haskins, do you have a cigarette?

Speaker 12 (33:25):
Do I have a cigarette?

Speaker 17 (33:26):
Oh?

Speaker 10 (33:26):
Your?

Speaker 14 (33:27):
Yeah?

Speaker 11 (33:27):
Here? Oh thank you, I'll keep them. Oh I couldn't.

Speaker 13 (33:30):
No, go ahead, I decided to give up smoking. Oh
since when it's just now? Well, I have to be
getting back too.

Speaker 11 (33:38):
Well do you know I happened? Well, I just happened
to be in your neighborhood Saturday night. Oh you were, Yes,
I was visiting some friends just down the block and
on my way home. I said, well, why don't I
Why don't I just stop and say hello? Mister Haskins?

Speaker 12 (33:54):
Well, why didn't you?

Speaker 11 (33:55):
I did?

Speaker 3 (33:56):
You did?

Speaker 11 (33:56):
Yes? I rang your bell?

Speaker 13 (33:58):
Oh but you you could have rung my bell, but
I did. You didn't because if you did, I would
have heard you.

Speaker 11 (34:05):
How could you have heard me? You weren't home, don't hear?

Speaker 4 (34:08):
I was?

Speaker 12 (34:09):
I was home all weekend? Where would I have gone?

Speaker 11 (34:12):
But I did ring your belt?

Speaker 15 (34:15):
Huh?

Speaker 13 (34:15):
Are you sure you had the right address to seventeen
Lauren Apartment five?

Speaker 14 (34:20):
Oh? Yes?

Speaker 11 (34:20):
And the superintendent came out and he said, tal his
name was. You've gotten into your car Friday night and
driven off someplace.

Speaker 13 (34:28):
I was home, Miss Allen Bogan. Yeah, Miss Allen Pogan,
there's something wrong.

Speaker 11 (34:34):
What what did you say?

Speaker 13 (34:36):
All of a sudden It's as if you, I mean,
as if something hit you.

Speaker 12 (34:40):
You're not sick, are you?

Speaker 11 (34:42):
Look? If mister Fenris comes in and asks for me,
tell him I wasn't feeling well.

Speaker 12 (34:48):
Is there anything I can do for you?

Speaker 11 (34:49):
Just tell mister Fenders I'll be back in a while.
I was there at his house Saturday night. He was gone.
He claims he was home all weekend. May have been
the janitor says he saw him leave in his car.

Speaker 15 (35:10):
Janitor may not have seen him come back.

Speaker 11 (35:13):
You and I telephoned the house Friday, I rang the
bell Saturday. We know he wasn't there yet he has
no memory of being away. Now isn't that a classic
amnesia symptom?

Speaker 15 (35:27):
Very well, perhaps she has amnesia.

Speaker 11 (35:30):
Isn't telling you, professor? It may have started as a
joke on your part, but it happens to be true.

Speaker 15 (35:38):
But suppose it is true.

Speaker 17 (35:39):
We have no proof that he is a public avenger,
not every amnesiac.

Speaker 11 (35:44):
We have proof he was in New York.

Speaker 15 (35:48):
We have what proof.

Speaker 6 (35:51):
Here?

Speaker 11 (35:52):
This package of cigarettes he gave them to me. See
they come from New York.

Speaker 17 (35:57):
Oh no, no, no, you can purchase those cigarettes will
of course you can't. What do you say he brought
them in New York because.

Speaker 11 (36:04):
Of this this stamp, this New York City sales tax stamp.

Speaker 17 (36:08):
And doesn't that prove somebody has given him the success?

Speaker 11 (36:12):
We have the bullet hole.

Speaker 15 (36:13):
It might have been a careless cleaner.

Speaker 11 (36:15):
Second, he was not home all weekend.

Speaker 9 (36:18):
Cannot be pulled.

Speaker 11 (36:19):
Third, the New York stamp on a cigarette package not conclusive.

Speaker 14 (36:24):
And now the News on the Hour, reliable information has
it that the Organized Underworld has collected a fabulous war
chas to protect itself against the Public Avenger. No expense
will be spared in a mammoth operation to find the killer.
The law enforcement authorities have announced a full scale drive
to apprehend the Public Avenger. And so it appears that

(36:47):
both the government and the gangsters may very well be
united in an effort to fight a common foe.

Speaker 15 (36:54):
Fall the word.

Speaker 11 (36:58):
Interesting, liar, So what am I going to do? Professor?
We still have no absolute kill him. One side or
the other will kill him.

Speaker 15 (37:10):
Yeah, there's no thoughts about that.

Speaker 11 (37:12):
How can I make him stop?

Speaker 15 (37:14):
How?

Speaker 11 (37:16):
Why does he have amnesia because his boss persecute him?

Speaker 17 (37:22):
This must be put to stop to But how let
us supply psychology to the problem.

Speaker 14 (37:34):
And we have special orders to send to a well
asked start.

Speaker 11 (37:40):
Yes, mister Fenris, will that be all, sir?

Speaker 26 (37:42):
Yes, yes, that's all.

Speaker 11 (37:43):
Oh, I dropped my book.

Speaker 14 (37:46):
Well that's a pretty heavy book, Michelle n Boken. Doesn't
your arm get tired carrying him?

Speaker 11 (37:51):
Oh? No, sir, it's a psychology book, is he? It's
really fascinating.

Speaker 27 (37:57):
Oh.

Speaker 11 (37:57):
Yes, As a matter of fact, most employees is today
are great students of psychology.

Speaker 4 (38:03):
Why.

Speaker 11 (38:04):
Well, most people in their human relationships use the direct
head on approach. Well, now, a person like mister Haskins Stewart,
Now he is really a very intelligent, sensitive human being
he is, Oh yeah to me, Well, he, Stuart could

(38:25):
respond so much more effectively to kindness.

Speaker 21 (38:29):
You're wrong, what do you mean.

Speaker 14 (38:30):
All his psychology stuff?

Speaker 11 (38:32):
Now, spunk, How can you say that.

Speaker 14 (38:35):
Psychology you know how to manage people?

Speaker 11 (38:37):
Well, yes, through understanding kindness, through sympathy, through.

Speaker 15 (38:42):
Fear, fear, fear naked fear.

Speaker 14 (38:48):
That makes a man tremble for his job, shows him
whose boss makes him toe the mark? Keep in line
got to be a toper's nails. You got to be
a hard nose too.

Speaker 11 (38:59):
Best that I and mister what fantasy are you?

Speaker 14 (39:03):
Lost it? I was saying, I don't want last Are
you sure?

Speaker 11 (39:06):
You sure want fear?

Speaker 14 (39:10):
That's what gets the work done by all those Greeks
and Romans when they wanted to get their ships to move?
How do they do it with psychology? With a whip
that which reminds me get stored up here?

Speaker 11 (39:28):
It was awful, awful, we stood. I felt so badly.
Who am I going to do?

Speaker 17 (39:38):
You have tried psychology, Now you must find something else?

Speaker 11 (39:44):
Well what else is there?

Speaker 15 (39:46):
You must approach the problem as a woman.

Speaker 11 (39:51):
A woman, Well I am a woman.

Speaker 15 (39:53):
Then you must begin to behave like one.

Speaker 11 (39:56):
I din behaving like a woman.

Speaker 17 (39:59):
If you like a desirable, aductive, enticing.

Speaker 11 (40:04):
Movement, well I'm not sure I know how.

Speaker 15 (40:08):
Then you must learn.

Speaker 14 (40:09):
Oh, we interrupt to bring you in yours bulletin. No
not Elleneezer Twitchll, the mass murderer and leader of the
Maccab devil worshiper sect known as the moon Blood, has
been released from prison on a technicality and is now free.

Speaker 11 (40:25):
No, I don't want to hear anymore. Stuart Stewart's going
to How can we stop him?

Speaker 17 (40:31):
I told you you must learn to be a zuductive fans.

Speaker 11 (40:35):
Well, I don't have time. Stuart will go there tonight.
And this person is surrounded by an army of human being.

Speaker 17 (40:44):
That is difficult. Well, we have striped psychology. We have
attempted to use the law with no success. We are
lefts this one remaining approach chat x sex.

Speaker 11 (41:03):
But how can I my.

Speaker 17 (41:04):
Dear miss Ellenbogan forgets psychology?

Speaker 15 (41:09):
Do what comes naturally?

Speaker 14 (41:17):
Miss Yes, sir, get stored up here? What does he
think he's full the time? Oh boy, am I gonna
put the fear of Heaven into him.

Speaker 11 (41:27):
I'll get him on the intercom.

Speaker 4 (41:32):
Chipping room, Haskins speaking.

Speaker 11 (41:34):
Mister Haskins, Mister Fenris wants you right there sex? Well,
here goes mister where.

Speaker 14 (41:50):
Well? Well, what is it?

Speaker 19 (41:52):
Don't you touch me?

Speaker 3 (41:54):
Don't you what are you talking about?

Speaker 15 (41:57):
Whose doing anything?

Speaker 11 (42:01):
Ut your hands off me?

Speaker 15 (42:03):
Screaming yaya shave me.

Speaker 14 (42:08):
Why he's crazy? I never did any You get out
of here. You're crazy. You're gonna let him, yell with me.
You you said you love me?

Speaker 11 (42:17):
Well I do well?

Speaker 19 (42:19):
What he trying to do to me?

Speaker 7 (42:20):
Do?

Speaker 14 (42:20):
But why where I want to do anything to our
homely bag? Like you?

Speaker 11 (42:24):
What do you want me to do? What you really
want to do?

Speaker 14 (42:27):
Well? I what I really want to well?

Speaker 11 (42:30):
I want to do this and do.

Speaker 12 (42:35):
It that you called me stood? If you're fired, you
can't fire me.

Speaker 14 (42:40):
I quit?

Speaker 15 (42:41):
You quit fast, haven't you? You can't quit?

Speaker 14 (42:46):
I mean, well, am I going to run the business?

Speaker 13 (42:49):
You never ran this business? I did and always get
another job. Still, I don't need a new job. I
need a new title.

Speaker 14 (42:56):
That's right, story, new title general manager and more money. Yes,
search start, That's that's only fair.

Speaker 10 (43:03):
Now.

Speaker 14 (43:03):
Now let's say, let's go to luncheon and we can
talk about I don't.

Speaker 12 (43:07):
Want to go to lunch with you.

Speaker 13 (43:08):
I'm taking my fiance Rose. I'll be ready to pick
you up in ten minutes. Oh and if you had
another day break it?

Speaker 26 (43:16):
Oh?

Speaker 12 (43:16):
Yes, Steward, do you have school tonight?

Speaker 28 (43:20):
Oh?

Speaker 11 (43:21):
No, Stuard.

Speaker 12 (43:22):
No, God, we can get married.

Speaker 11 (43:26):
Henri's foods, Missus Haskins. No, No, I'm just getting in
the practice.

Speaker 15 (43:33):
It's only called to see.

Speaker 4 (43:34):
If you.

Speaker 11 (43:36):
I didn't have to learn how to do anything I
knew all the time, and.

Speaker 8 (43:48):
So they were married for reasons. No one has yet
discovered the public avenger has disappeared from view.

Speaker 15 (43:56):
He has been unheard of since.

Speaker 8 (43:59):
So we can't say that Rose's gain has been society's loss. No,
we can't say that no vigilanteism, no matter how well intentioned,
is ever a gain for society. But I shall have
a gain for you when I return in just a
few moments.

Speaker 15 (44:30):
How do people cope with the intolerable?

Speaker 8 (44:33):
They become someone else, either in fantasy or actuality. We
never claim that Stuart Haskins was a public avenger. We
only presented some psychological evidence. But the same evidence could
point toward the frustrated mister Fenris, the repressed Miss Ellenbogen,

(44:54):
or even poor Professor Tepple, whose psyche is ravaged because
no one appreciates his sense of humor?

Speaker 12 (45:01):
Could it also point toward you?

Speaker 8 (45:06):
Our cast included Arnold Stang, Marion Haley, Robert Dryden, and
Leon Jenny. The entire production was under the direction of
Hyman Brown, and now a preview of our next tale.

Speaker 11 (45:21):
I'm not welcome in this world anymore. I think I'll
leave in this armor whatever its name is.

Speaker 29 (45:29):
Don't don't do that. You shouldn't even in a joke. Life, Suki.
Life is so precious, you shouldn't just make jokes. There's
no use pointing at yourself. Zuk isn't loaded, you see.

Speaker 14 (45:45):
Well he is.

Speaker 11 (45:46):
At first, you don't succeed. Trying again, and I'm.

Speaker 29 (45:51):
Told you put the gun again. Look, Suki, would you?
Would you put that down before I take it away
from you?

Speaker 15 (45:59):
And again Uki in Suki suki suki.

Speaker 3 (46:10):
God yess it was.

Speaker 9 (46:13):
Statue Radio.

Speaker 8 (46:15):
Mystery Theater was sponsored in part by Buick Motor Division
and sign Off the Sinus Medicines.

Speaker 26 (46:21):
This is e. G.

Speaker 8 (46:22):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, pleasant Dreams.

Speaker 30 (47:25):
You are alone in Paris, unable to speak the language,
unable to cope with a gigantic conspiracy which seeks to
convince you that you are mad, and you know you
are the victim of a plot from which there is
no escape.

Speaker 31 (47:54):
Escape Produced and Today, written by William N. Robeson, and
carefully contrived to free you from the four walls of
today for a half hour of high adventure.

Speaker 30 (48:09):
Today we escape to Paris at the time of the
Great Paris Exposition and one of the recurring legends of
the twentieth century in Alexander Wilcott's version of the Story
of the Vanishing Lady.

Speaker 32 (48:35):
Another cup of tea, Bruce, Oh no, thank you, my dear.

Speaker 30 (48:37):
I'll just slide up in the pipe now and have
a look at the evening standard.

Speaker 33 (48:41):
I like another peace. Mother, all right, Alice, only one,
sugar deer. We must watch our figures, you know, one nonsense.

Speaker 4 (48:52):
A growing girl like Alice needs plenty.

Speaker 33 (48:53):
Of see mother. Daddy approved, perhaps, but mother is still boss. Yes, Mother,
there's a dear mother. Yes, dear, I've been thinking, yes, dear,
I've been thinking about my grandparents. Oh, I know all
about Daddy's parents. How grandfather Stanley commanded a dreadnought the

(49:16):
Battle of Jutling.

Speaker 30 (49:17):
It was not a dreadnought, Alice, it was a heavy.

Speaker 33 (49:19):
Cruiser, yes, a heavy cruiser.

Speaker 34 (49:22):
He got the VC.

Speaker 33 (49:23):
And how grandmother Stanley was a volunteer nurse at wester
Larch when the Steplins came over. And I know about
your father too, and how he died Nindy from his
wounds and how gallant he was to the Kuyber Pass.
But Mother, yes, dear, you've never never told me anything
about grandmother winship, haven't I No?

Speaker 19 (49:44):
And I'd like to know something.

Speaker 30 (49:46):
Bruce the child sixteen. I think it's time she knew that, Bruce,
and you'd probably feel better to get it off your chest.

Speaker 33 (49:55):
What mother, what is he? Well, my dear, I've never
talked about your grandmother because I've always half believed that
some day, somehow she'd come down our garden walk. And
I know it sounds silly, and explain where she's been
for the last twenty years.

Speaker 34 (50:17):
Why what happened to me?

Speaker 30 (50:20):
I don't know, and I don't suppose I ever will
Cynthia Darling if it's going to now.

Speaker 33 (50:23):
Bruce, You're quite right it would be best to get
it off my chest, as you put it. As you know, Alice,
I was born and brought up in India and I
was about your age when my father was killed in
the Kayper campaign. Mother decided to leave India for good
and returned to her old home in Warwickshire. However, since

(50:46):
it was necessary for her to go to Paris to
attend to some details of my father's estate. She decided
we should leave the piano boat in Marseilles and proceed
by train. You may imagine the timidity with which we
two unescorted ladies across France, without the slightest knowledge of
the language, and with all indeed assurance we could find
a hotel room in Paris, though we had telegraphed for

(51:08):
reservations from Marseilles. You see, dear, the Great Paris Exposition
had just opened and the city was jammed with visitors
from all over the world. You may imagine our relief
when we arrived at the Grand Hotel Universal and heard
the clerk speak in quite understandable English.

Speaker 35 (51:25):
In sheep will come, welcome, that you will peace to
sign the register.

Speaker 12 (51:30):
Ah, you have our reservation in DVA.

Speaker 35 (51:33):
So most fortunate, madame, that you telegraphed. I reserve for
you the last room in the house.

Speaker 34 (51:38):
Oh, I'm so relieved. Yes, Canthia, you may as well
learn how to sign a register for they said, Oh, yes, Mamma,
where do I ride there in that line?

Speaker 6 (51:47):
Oh?

Speaker 35 (51:47):
Yes, I see, wella you were that you gave him
your journey. Not I shall let thee boys show you
to your hooms at once. Chasseur chasseur la monta Carrol
with Madame and Mademoiselle wan ship to the street.

Speaker 30 (52:03):
This is your baggage, madame.

Speaker 34 (52:05):
Yes, these six. You'd best carry the little one with
the medicine in it.

Speaker 33 (52:12):
Yes, thank you, I'll take that one, the little red one.

Speaker 34 (52:18):
This way, ladies, keep your eye that tortus in here.
I don't trust this frenchman, mam.

Speaker 33 (52:26):
I don't think you'll make up with our things. Here's
the lift.

Speaker 34 (52:36):
I do wish we could have gone straight under south empty,
but you'd only have had to come back across the
channel to see the solicity.

Speaker 32 (52:42):
Mamma.

Speaker 33 (52:43):
We really save time this.

Speaker 34 (52:44):
Way, I suppose. I mean I wish we hadn't come
to Paris at all. Such a sinister place.

Speaker 36 (52:50):
Oh mama, wella, letsim.

Speaker 9 (52:56):
This way, ladies.

Speaker 7 (52:57):
To the right, and on the tibia.

Speaker 37 (53:01):
Was swash vela andree ladies, thank you.

Speaker 33 (53:14):
Oh what a lovely big room. And look, mama, French
windows o in the park out there.

Speaker 4 (53:21):
And that's the square with.

Speaker 11 (53:22):
The statues, no, thank you.

Speaker 33 (53:27):
Beautiful beautiful bridges. Oh mama, it's like something out of
a book.

Speaker 34 (53:32):
Yes, my dear, that's the trouble with Paris. So attractive,
but underneath it's evil.

Speaker 33 (53:41):
The furniture, the guilt Clark and this lovely marble top table. Oh, mamma,
everything is so so French.

Speaker 34 (53:49):
I'll be very glad to be on my way to
where everything's English by this time tomorrow. Come away from
that window and help me get into something comfortable. There's
the yes, mamma.

Speaker 7 (53:59):
Of course.

Speaker 34 (54:01):
I don't know when I've been so tired. Humm, I
just can't seem to catch.

Speaker 33 (54:10):
Mama, Mama, what's the matter, mamma, Mamma, speak to me here.
I'll get you up into bed there now. Let me
lose your courses here, Mama. I hear the smelling salts
pretty deeply, darling, Mamma, the telephone. I've got to get

(54:31):
a doctor. Hello, operator, will you please send a doctor
up to room number Let me see number three for two.
Will you please send a doctor to room number three
for two?

Speaker 31 (54:47):
A doctor?

Speaker 33 (54:49):
Are doctor? W madmoiselle, don't you? While I waited for
the doctor, I did everything I could think of to
bring my mother back to consciousness. I'm massage to think,
fingers and toes. I put wet claws on her forehead.
I waved the smelling salts under her nose, but she
lay silent and white and unmoving like one did. Only

(55:11):
the quick, shallow movement of her breast assured me she
was not. And all the time another anxiety possessed me.
What if this doctor could not speak English? How should
I tell him the circumstances of mother's unexpected fainting, How
should I understand his instructions for treatment. I'm sure it
was not long, although it seemed like an eternity before
he arrived, accompanied by the manager of the hotel, and

(55:34):
to my great relief, they both spoke English. The doctor
felt mother's pots, took her temperature, and did the usual
things that doctors do. And then he turned the tail
coated hotel manager.

Speaker 30 (55:46):
Legend van palte frossi buzzer and open was on it.

Speaker 38 (55:49):
Sieur to tafy a.

Speaker 35 (55:50):
Lot of papalliamonnez monsieur cur cicid tonfatre sergius and ye
a balliolmelosco for Mazukura said, Fami that pain de la peste,
la peste, and.

Speaker 30 (55:59):
Like you know, the.

Speaker 33 (56:05):
While they talked in this language, I couldn't understand. I
looked from one face to the other, trying to read
from their expressions how serious my mother's illness was. But
there is casual, as though they were ordering dinner. I
could stand it no longer. You must tell me what
is the matter with her, mademoiselle.

Speaker 35 (56:22):
Your mother is ill, Yes, seriously ill. It is a collapse,
due perhaps to this train of traveling. However, a week
of two of absolute rest will work on us.

Speaker 33 (56:34):
We were to go on to England tomorrow, that.

Speaker 30 (56:36):
Would be out of the question.

Speaker 10 (56:37):
Ma'amselle.

Speaker 35 (56:38):
She cannot be moved for at least several days. I
now she must have complete rest. The next twenty four
hours will be critical. Oh nana, mademoiselle, you must not
write down too. I need your help. Yes, doctor, immediately,
I need some medicine. Will you fetch it for me?

(56:59):
I must not leave your mother for a moment during
these critical hours. Here I will write down this address
and a little message.

Speaker 10 (57:06):
To my wife.

Speaker 35 (57:08):
Your wife, Yes, yes, I have the medicine already prepared
at home. It will be faster to go there for
it and to a farmacy. There are very few chemists
who have the ingredient.

Speaker 33 (57:17):
But couldn't you tell a phone helas I have no telephone.
A messenger.

Speaker 35 (57:24):
Perhaps Mademoiselle does not know Paris or fat with the
exposition opening nowhere can you find a reliable messenger. They're
all selling a souvenir. Oh no, Mademoiselle, you will accomplish
here and more rapidly yourself. Here is the address ran
caadbis rival degras, and here is the message to give

(57:44):
to my wife.

Speaker 33 (57:45):
But I don't know Paris at all. I'm a total
stranger here.

Speaker 35 (57:49):
I am sure the manager here will give the necessary
instructions to the cabin.

Speaker 39 (57:55):
Indeed they will now if Mademoiselle is ready.

Speaker 33 (57:59):
Before I knew what was happening, I was seated in
a rickety taxicab outside the hotel with the doctor's message
clutched in my hand, while the hotel manager gave valuable.

Speaker 30 (58:08):
Directions to the cabin.

Speaker 35 (58:12):
He said, ye baniolaviquenpel what you aisopepa brani la blah
blah pea slaps He's.

Speaker 30 (58:19):
Sure to sweep at the hotel hom wand.

Speaker 10 (58:21):
The desert ha on you, bob.

Speaker 35 (58:25):
It is Arrangementemoiselle Raqui is one of our most trusted cabins.
He will get you to the doctor's house and back
in safety.

Speaker 33 (58:31):
Oh, thank you so much, sir. And you will look
after mother, won't you?

Speaker 30 (58:35):
Indeed I will of that, you may be sure.

Speaker 33 (58:46):
When we left the hotel, the crossed a huge square
with statues around it, and turned into a wide avenue
which led up a gentle incline, at the top of
which was a huge arch. But before long we turned
off to the ride into narrower streets. It must have
been twenty minutes later when we turned into another wide
boulevard and I saw another huge arch up ahead?

Speaker 32 (59:07):
Or was it the same arch?

Speaker 4 (59:11):
Driver, madmoiselle?

Speaker 33 (59:13):
Haven't we passed that arch?

Speaker 14 (59:14):
Before I go there?

Speaker 4 (59:16):
Mademoiselle? Where she loved? At your number? Not doing?

Speaker 33 (59:20):
Tell you all, I don't want a sight seeing to her.
I want to go to this address directly. Don't you understand?

Speaker 7 (59:25):
Now?

Speaker 33 (59:25):
Please take me there at once?

Speaker 35 (59:26):
Surber all faints on you de la passors, Mademoiselle, BELLI
said you ally?

Speaker 4 (59:33):
Were you?

Speaker 33 (59:36):
At last we turned into a narrow street and pulled
up before a grim gray house. The blue enamel sun
on the wall read number twenty four beasts. I jumped
out of the cab almost before it stopped, rushed up
the three stone steps and pulled at the brass bell.
Nub Oh, hurry, hurry, hurry, please, Oh, the doctor sent

(01:00:03):
me for some medicine. Here. Read this please.

Speaker 40 (01:00:07):
Atturney, said gienefarmoucilortan, Perceive said la paris membe de la france.
Oh a tree, mademoiselle, thank you, coruna la ferratan tony
green bout de pest.

Speaker 33 (01:00:26):
The doctor's wife stood there, reading and rereading the notice,
though she didn't understand it, and until I thought I
would scream, please, please hurry, get me the medicine. It's
my mother, she may be dying. I must get back
to her. Please hurry, I see yev. She pointed to
a chair ador did slowly walked down the hall and
closed the door behind her. I waited and waited, and

(01:00:46):
I wondered. I wandered about the time, the texts he
had taken to get here, about that arch that looked
so familiar, And I was torn by the hundred nameless
anxieties that touch you when you're nearest and dearests ill.
And then I heard something that froze my blood. A telephone,
a telephone clearly ringing somewhere in the house. But the

(01:01:07):
doctor had said he had no telephone. That was the
reason I must come all this way for the medicine.
Oh no, it couldn't be in this house. It must
be next door, across the street. Of course, that's where
the sound was coming from. But no, it was the
voice of the doctor's wife answering the phone. Oh no, no,
what monstrous plot was this? I felt, my scalp crawled

(01:01:30):
with terror. My brain pounded, my head felt as though
it would burst. I wanted to scream, to run out
of this awful house, to run all the way across
Paris to the bedside of my mother. Thank you, thank you.
Oh wow, mademoiselle. Now, driver, please please, in the name
of your own mother, hurried back to the hotel as

(01:01:50):
fast as possible.

Speaker 14 (01:01:51):
Please, sorry, all its one hill.

Speaker 33 (01:02:02):
But my pleading was of no use. Either it was
misunderstood or ignored. We crawled across Paris just as slowly
as we had come, and I was certain I saw
that same white arch three times. But at last we
crossed the Great Square with the statues, and I knew
we were closed to the hotel. Oh please please hurry

(01:02:23):
it off.

Speaker 38 (01:02:24):
Its on.

Speaker 33 (01:02:26):
Just beyond the Great Square we turned up a narrow street,
which shortly entered a wide circle, in the middle of
which was a tall, slender monument. The driver swung around
the monument and pulled up before the entrance of the hotel,
reached back and opened the door. I dropped out of
the cab, and then I saw the sign over the entrance.
It said Hotel Ritz Driver, Driver, you've taken me to

(01:02:51):
the wrong hotel. I'm staying at the Grand Hotel Universal.

Speaker 38 (01:02:56):
Apri or Rich.

Speaker 41 (01:02:59):
No, I don't understand what you're saying, said these secrets,
said the secrets of stupid.

Speaker 2 (01:03:09):
Stupid, be strong.

Speaker 33 (01:03:11):
My mother is You've taken more than two hours to
get me to the doctor's house in back. Can't you
understand my mother is sick, perhaps dying.

Speaker 38 (01:03:19):
On Mademoiselle than God.

Speaker 33 (01:03:21):
But I looked around me a small group of persons
bids stopped and listening curiously to the argumist, and then
they joined it and taking sides everywhere I know too
far and faces strangers, enemies, And then shouldering through the crowd,
I saw a bare headed young man in tweets with
a pipe clamped in his teeth, And before I had

(01:03:43):
a chance to speak, I knew help had come.

Speaker 30 (01:03:45):
Having some trouble.

Speaker 33 (01:03:46):
Thank Kevin's you're English right now, it seems to be
the matter. I told him as rapidly as I could,
and he paid the mulish cabby. He popped me into
another cab. Five minutes later we walked up into the
lobby of the Grand Hotel Universal. The manager was behind
the desk. My mother, is she all right?

Speaker 35 (01:04:06):
I I beg your pardon, Mademoiselle?

Speaker 33 (01:04:08):
My mother, missus Winship in three four two, is she
all right?

Speaker 35 (01:04:13):
There is no h Madame Winship in three two four
two three four two is occupied by Monsieur August Noai,
a dominant guest.

Speaker 33 (01:04:22):
But don't you remember me? I'm Cynthia Winship. Two hours
ago you put me into a taxi to go to
the doctor's house for some medicine for my mother.

Speaker 35 (01:04:31):
I am afraid that Mademoiselle is mistaken. I have never
seen a before in my life.

Speaker 30 (01:04:34):
Well, okay, what is this?

Speaker 33 (01:04:35):
There is nice way to you. It's just as I say.
We saw under register less than three hours ago. We
got in on the train from Marseilles.

Speaker 30 (01:04:43):
We'll let's have a look at the register.

Speaker 33 (01:04:45):
Yes, I'll show you. I'm in three four two where
is the register.

Speaker 35 (01:04:48):
It is here, Mademoiselle. You may see it for yourself.
See to day's date. Fourteen guests registered. But I do
not see any Mademoiselle or Madame vinship.

Speaker 19 (01:04:59):
Do you.

Speaker 2 (01:05:01):
No?

Speaker 33 (01:05:03):
What have you done with my mother?

Speaker 35 (01:05:08):
I should not like to have to ask you to.

Speaker 30 (01:05:10):
Leave, would you please? We'll get to the bottom of this.

Speaker 35 (01:05:13):
Perhaps Mademoiselle's mistaken. Perhaps she's registered at some of the hotels.

Speaker 33 (01:05:17):
This is the hotel, the Grand Universal. You you were
standing there when we arrived. You handed my mother the
pen with which she registered. You came to the door
with a doctor. You put me in a taxi.

Speaker 35 (01:05:29):
But I assure you, Mademoiselle, he's a fantastic.

Speaker 33 (01:05:33):
He carried our baggage. He'll remember, Monsieur.

Speaker 30 (01:05:39):
Madame set up nor Monsieur.

Speaker 33 (01:05:43):
There were six pieces, don't you remember? You wanted to
take them all, and I insisted on carrying a little
jewel case. It was a little red one.

Speaker 9 (01:05:50):
No, Mademoiselle, see that my vehicle.

Speaker 30 (01:05:55):
This is never in his life before.

Speaker 33 (01:05:57):
But this is monstrous. It's possible my mother is somewhere
in this hotel. What have you done with her? What
have you done with her?

Speaker 30 (01:06:16):
Feeling better than Miss winshap.

Speaker 33 (01:06:17):
A little thank you?

Speaker 30 (01:06:19):
Care for something else?

Speaker 33 (01:06:20):
No thank you? Another cup of tea?

Speaker 30 (01:06:22):
Perhaps, certainly it won't ask the tape. My mum's said,
sweet miss you.

Speaker 33 (01:06:28):
I don't know how to thank you. Mister realize I
I don't even know your name.

Speaker 30 (01:06:35):
It's Bruce, Bruce Stanley.

Speaker 33 (01:06:38):
I'm very glad to meet you, mister Stanley.

Speaker 30 (01:06:39):
It's a pleasure, Miss Winship.

Speaker 33 (01:06:41):
Mister Stanley, you believe me, don't you. We did registered
at that hotel. We were in room three four two.
I can even describe the finishings. There was a big
window that went from the ceiling to the floor.

Speaker 30 (01:06:52):
Every hotel room in Paris has windows like that, Miss Winship.

Speaker 33 (01:06:56):
They do yes well. In this room. The draperies were
plum colored, and there was a marble top table black
marble it was, and a gilt clock and it had
run down the hands had stopped. I remember it twenty
minutes past three. The walls were covered in rose brocade,
and the bedspread was washed out yellow. If I could
only get into that room, you'd see that. I'm not

(01:07:17):
making this up on night.

Speaker 30 (01:07:18):
I'm sure you won't. Perhaps I can find a way
to make them let you in the room, can you. Yes,
I'm with the Embassy, you know, under secretary sort of thing.
I believe the British Empire has enough influence to change
the mind of an obstinate Paris innkeeper.

Speaker 33 (01:07:31):
Well, then let's do it right away.

Speaker 30 (01:07:32):
Well, I'm afraid the might of Britain can't move that fast.
It's past any time. But tomorrow we shall see tomorrow.

Speaker 33 (01:07:39):
But I must get into that room to night. I
I have no money, no way to sleep.

Speaker 30 (01:07:45):
Well, we can do nothing with the people at the hotel.
You saw that. We just have to be patient until tomorrow.
I'm sure I can find a room for it to
night and a passy on near the embassy.

Speaker 33 (01:07:54):
You're so very kind. How can I ever think, mister Stanley?

Speaker 30 (01:07:59):
Well you you might begin by calling me Bruce. Thank you, Bruce,
Thank you. Cynthia.

Speaker 33 (01:08:08):
Oh, I just thought of something. The doctor, the doctor, yes,
the one the hotel manager brought in to look after mother.
I still have his address somewhere here in my purse. Yes,
here it is. Now we must go there immediately. He
can tell us about mother.

Speaker 30 (01:08:22):
Twenty four piece rough vile de Garral. Well that's not
far just off Boulevard Ross Bayne, near the Luxembourg.

Speaker 33 (01:08:26):
How long would it take to get there by taxi?

Speaker 30 (01:08:29):
About ten minutes, but it.

Speaker 33 (01:08:33):
It took over a knoll this afternoon.

Speaker 38 (01:08:47):
Where monsieur man can't beat the glass.

Speaker 30 (01:08:51):
So here we are, Yes, this is the place I
tend down on you. The house is dark. Well it's
quite late.

Speaker 33 (01:08:59):
Well I don't care. We've got to find out tonight.

Speaker 38 (01:09:08):
You know, he said?

Speaker 30 (01:09:10):
Where is he there at the upstairs window? A mission, said, mademoiselle.
Winship or ship whip. He says, he doesn't know you, but.

Speaker 33 (01:09:21):
He must, he must. Doctor. Don't you remember this afternoon
you sent me here to your house for medicine for
my mother?

Speaker 30 (01:09:30):
He says he doesn't understand English.

Speaker 33 (01:09:32):
Oh, the liar, the dreadful liar.

Speaker 4 (01:09:34):
He does.

Speaker 33 (01:09:35):
He speaks perfect.

Speaker 2 (01:09:35):
Englishman was on an air police.

Speaker 30 (01:09:43):
I'm sorry.

Speaker 33 (01:09:46):
What am I going to do? What am I going
to do? If it hadn't been for Bruce, I'm certain
I should have gone out of my mind. He found
a room for me at poncey On near the embassy,
where I spent a sleepless night of anxiety, almost beyond endurance.

(01:10:13):
Bruce called for me at half past ten the next morning,
and took me back to the hotel. To my surprise,
the attitude of the manager had changed completely.

Speaker 35 (01:10:22):
But of course Mademoiselle may inspect whom three hundred and
forty two. We are only too glad to convince Mademoiselle
that her mother is not and never was in the
Grande Tel Universal. Why, I personally will escort you to
the room as his way pleased.

Speaker 30 (01:10:37):
To the essence.

Speaker 33 (01:10:40):
Oh, Bruce, that terrible man, that horrible horror Cynthia upset
you tos you what was him?

Speaker 7 (01:10:50):
Now?

Speaker 33 (01:10:50):
Remember what I told you last night, Bruce. You'll see
plum colored draperies, black marbled up table, rose walls, and
a guilt clock with hands stopped at twenty minutes past three.

Speaker 35 (01:10:59):
You'll see, yes, well, I not this way please, It
was room three hundred and forty two that you wish
to see, Madmoiselle.

Speaker 33 (01:11:08):
Yes, that's right, third door of the right perfect you see, Bruce,
I know where it.

Speaker 30 (01:11:14):
Is, yes, my dear, Yeah, we are.

Speaker 9 (01:11:20):
Willa enter please.

Speaker 33 (01:11:22):
Now, Bruce, you'll see the yellow bed spread.

Speaker 35 (01:11:27):
Oh, not quite the room you just described in the elevator, Mademoiselle,
the drapes are royal blue, a little dusty. I fear
I must have this room renovated. You see there is
no mable top table. The clock, as you notice, is
running and right on time, it seems, and the walls

(01:11:48):
are not rose bockade but yellow flowered. Now, my dear mademoiselle,
you see how thoroughly mistaken you are.

Speaker 33 (01:11:56):
Now they had tried to make me think I was mad,
but they succeeded. I remembered nothing until I awoke in
my aunt's house in England two weeks later, thanks to Bruce,
who never left my side during those terrible days when

(01:12:17):
my sanity hung in the balance. Well that's the story, Alice,
And that's why I've never been able to talk about
your grandmother Winship, Oh mother horr, because all these years
I've clung to the foolish hope that somehow should come
back and tell us herself what happened.

Speaker 30 (01:12:41):
You, poor dear, you may as well dispel that hope forever. Cynthia,
what since you have had last brought yourself to discuss
your mother's disappearance, I think it's time you knew the
true fact.

Speaker 6 (01:12:53):
Bruce.

Speaker 30 (01:12:54):
Your mother died twenty minutes after you left the hotel
on that fool's errand for the doctor. She died of
the bubonic plague she had caught in India before she sailed.
The doctor recognized the symptoms the moment he examined. He
told the hotel manager in French in your presence. They
agreed that the matter must be kept completely secret. If

(01:13:15):
the news leaked out that there was a case of
plague in Paris, the city would have been empty to visitors.
The exposition would have been a failure.

Speaker 6 (01:13:22):
Oh proofs.

Speaker 30 (01:13:24):
The conspiracy of silence began in the hotel. The bellboy
was paid to claim he never saw you. The taxi
driver was paid well to take you to the doctor's
house by the most roundabout route. The note to the
doctor's wife advised her to detain you as long as
she could. The taxi driver had at his own imaginative
touch by returning you to the writz instead of the universe.
Cell I shuddered to think what might have happened if

(01:13:46):
I hadn't come through the place one at home just then?

Speaker 33 (01:13:48):
But you didn't know, not then? When did you find out?

Speaker 30 (01:13:55):
Next morning? By then the conspiracy had grown to international proportions.
The embassy had been advised if the exposition was a failure,
the frank would fall and the pound sterling would be effected.
That sort of thinking. I knew when we went back
to the hotel you would not find your plumb drapes
and rose colored walls and black marble top.

Speaker 33 (01:14:10):
Table, and you let me go through with it.

Speaker 3 (01:14:13):
What could I do?

Speaker 30 (01:14:15):
I was acting under orders. I knew that the hotel
had completely fumigated and redecorated the room over night, and
everything was in readiness to repudiate your story. I had
to let the last act of the dreadful farce play
to its dreadful end.

Speaker 33 (01:14:29):
What did they do with my mother?

Speaker 30 (01:14:33):
Her body was removed from the room less than thirty
minutes after you left it. It immediately burned.

Speaker 33 (01:14:39):
Why Why didn't you tell me all this years ago?
Why did you let me go on all this time?

Speaker 30 (01:14:45):
This is the first time you've ever mentioned your mother
since then, My dear.

Speaker 33 (01:14:51):
Alice. Yes, mother, there's a new issue of the Tetler
in the library. Wouldn't you like to get it? There's
a good girl, I want to have a talk with
your father.

Speaker 31 (01:15:20):
Escape produced by William N. Robeson and directed by Norman MacDonnell,
has brought you The Vanishing Lady by Alexander Wilcott, freely
adapted for radio by mister Robeson. The part of Cynthia
was played by Joan Banks. Bruce was played by High Averbach,
the hotel manager and driver by Ramsey Hill. Musical score
was conceived by cy Feuer with Eddie Dunstetter at the console.

Speaker 10 (01:15:45):
Next week, you are.

Speaker 30 (01:15:47):
Deathly afraid of snakes, and between you and the fortune,
between you and escape yon the white jaws of a
deadly cotton mouth.

Speaker 31 (01:16:08):
Next week we escape with Ervanes Cobb's famous story Snake Doctor.

Speaker 6 (01:16:13):
Goodbye.

Speaker 31 (01:16:13):
Then until the same time next week when we again
offer you escape. This is CBS the Columbia Broadcasting System.

Speaker 42 (01:17:05):
Murder by Experts. The Mutual Broadcasting System presents Murder by
Experts with your host and narrator, mister John Dixon Carr,

(01:17:26):
world famous mystery novelist whose books have been published in
seventeen languages, have sold over ten million copies, and who
was author of the recently published detective novel below, Suspicion.

Speaker 26 (01:17:38):
Good evening, This is John Dixon Carr.

Speaker 43 (01:17:41):
Each week, at this time, Murdered by Experts brings you
a story of crime and mystery, which has been chosen
for your approval by one of the world's leading detective writers. Tonight,
our guest expert is the noted mystery novelist Frank Gruber.
From the many thrillers he has read and enjoyed, Mister
g Were, he selected Attempts and Gripping story by George

(01:18:03):
and Gertrude Fast and now we present Larry in It's
luck that counts.

Speaker 44 (01:18:26):
When you're down on your luck, can't expect things to
break right. You see a dime lying on the street,
you go to pick it up and get swiped by
an auto. Or you snatch a bag from a rich
looking dame and all your finding it is six cents
and a lipstick.

Speaker 10 (01:18:40):
You know what I mean.

Speaker 44 (01:18:43):
So in the bartender in this Pittsville dive told me
to scram, I guess I should have listened.

Speaker 16 (01:18:48):
Look, crop, keep your hooks out the free lunch, quitting
butt in the customers. Nobody's gonna buy you.

Speaker 6 (01:18:53):
A drinking not bothering anybody.

Speaker 16 (01:18:54):
Just you're standing there. Bothered me just because I'm near
to freight yards every bundle step in the things I
run a club for homeboards or something.

Speaker 6 (01:19:02):
I told you once.

Speaker 16 (01:19:03):
I told you a dozen times to shove off with you. Wait,
what's going on?

Speaker 4 (01:19:09):
Well? The cops coming here for all right, folks, stay
right way your head? What is dance? Keep your shirt on? Delaney.
This is a raid commissioner's orders.

Speaker 45 (01:19:20):
Hey, you there, come over here.

Speaker 9 (01:19:23):
Hi, don't do nothing?

Speaker 16 (01:19:24):
All right?

Speaker 4 (01:19:25):
Searching fucker?

Speaker 7 (01:19:26):
What for?

Speaker 16 (01:19:27):
What have I done?

Speaker 45 (01:19:27):
Never by?

Speaker 2 (01:19:31):
Hey?

Speaker 6 (01:19:32):
You you're in the brown suit.

Speaker 4 (01:19:34):
Get over there with the.

Speaker 2 (01:19:35):
Other one and you there, red, go on, get over there.

Speaker 12 (01:19:42):
Hey, you.

Speaker 16 (01:19:45):
You're a new face. What's your name?

Speaker 7 (01:19:49):
Me?

Speaker 15 (01:19:50):
Yeah?

Speaker 6 (01:19:50):
You Matthews? Dan Matthews.

Speaker 16 (01:19:53):
Where do you live?

Speaker 6 (01:19:54):
I'm uh, I'm just passing through.

Speaker 16 (01:19:57):
Get over with the others, Matthews.

Speaker 6 (01:19:59):
But I haven't done anything.

Speaker 16 (01:20:12):
I here's an excellent lieutenant. His name is Dan Matthews.

Speaker 46 (01:20:14):
H All right, Dan, Now here's your chance to come clean.
Why did you kill him?

Speaker 9 (01:20:22):
Kill?

Speaker 6 (01:20:23):
I didn't kill anybody, I swear I did.

Speaker 16 (01:20:25):
Suppose I told you were seeing near the old lady
shack just about the time she was killed? What old
lady Sarah Grimes names familiar reason? No, I never heard
of her. I never was near herhor Did you hide
the money? Danny?

Speaker 6 (01:20:37):
What money?

Speaker 47 (01:20:38):
The seventy five grand you stole from the old lady
after you killed her?

Speaker 6 (01:20:43):
Seventy five grand?

Speaker 44 (01:20:44):
Yeah, you think if I stole seventy five ge'es, I'd
be hanging around to lady's bomb watching a drink.

Speaker 46 (01:20:49):
I'm asking the questions, Matthews, where were your Tuesday night
between eight o'clock and midnight?

Speaker 6 (01:20:59):
Well, if that's when it happen, and that lets me out, Lieutenant,
I was in Delaney's bar all that time. Ask him.
If you don't believe me, he'll tell you.

Speaker 46 (01:21:07):
All right, Matthews, if Delaney backs you up, that'll clear
you and you'll let me go. Oh no, no, no
matter what Delaney says, we're holding you for vagrancy.

Speaker 16 (01:21:17):
Vagrancy. Yeah, you're a big, good looking guy, Matthews.

Speaker 26 (01:21:22):
Why haven't you got a job.

Speaker 46 (01:21:24):
Well, this city doesn't like bums, Matthews, especially bums from
out of town. We got enough of our own. Hey, Sergeant,
take Matthews back to the cell and bring in the
next one.

Speaker 44 (01:21:44):
They all gave me the big double ow and I
got shucked back into the cell. But I just grinned
at him and flopped onto a cat. They still had
it coming. All of them were guys like me, all
except one. He was about forty big and he wore
a neat pin striped suit. I could see he was

(01:22:04):
really sweating under the cool front he was putting up. Presently,
he came over to me.

Speaker 26 (01:22:12):
Hey, fella, Yeah, what are they looking for? Listen they
question you? What are they trying to find? I don't
even know why they arrested me.

Speaker 6 (01:22:23):
You mean they just picked up and pulled you in
without telling you what for?

Speaker 26 (01:22:26):
Yes, I was just opening up a pull parlor when
the cops came pull me up without a word, and
what for?

Speaker 21 (01:22:33):
Why?

Speaker 10 (01:22:34):
You know what they want?

Speaker 3 (01:22:35):
Yeah?

Speaker 9 (01:22:36):
Sure, I know.

Speaker 48 (01:22:36):
They're looking for a murderer. Murderer who was give some
old crow named Grimes, Sarah Grimes. Yeah, you know, of
course I know. She was a friend of my old lady.

Speaker 6 (01:22:49):
Oh she's dead head, smashed in, blood all over everything.

Speaker 44 (01:22:53):
According to the cops, she had seventy five thousand bucks
hitting in that tumbled down shackers, maybe.

Speaker 26 (01:22:57):
More seventy five thousand.

Speaker 16 (01:23:00):
What am I to do with this?

Speaker 6 (01:23:02):
Why do you arrest me the same reason they arrested
me to ask questions?

Speaker 26 (01:23:06):
Tell me?

Speaker 7 (01:23:08):
What?

Speaker 12 (01:23:08):
Uh?

Speaker 26 (01:23:10):
What questions?

Speaker 7 (01:23:11):
Do?

Speaker 26 (01:23:11):
They ask?

Speaker 38 (01:23:12):
Lots of questions?

Speaker 3 (01:23:13):
You know?

Speaker 7 (01:23:14):
Do I.

Speaker 26 (01:23:16):
Do they do anything else? What do you mean he
search you saving your clothes?

Speaker 6 (01:23:23):
They didn't, but I decided to give the guy a ride.

Speaker 26 (01:23:26):
Yeah.

Speaker 44 (01:23:27):
Sure, Sure, they go over you from head to foot,
examine your clothes under ultra violet for bloodstains, looking to
your cuts, your shoes, socks, everything, Why.

Speaker 26 (01:23:37):
Nothing, nothing? Listen for Danny's the name, Danny Matthews. Danny,
I'm bred Bruno. You look like a nice guy. Guy
I can trust. Sure everybody can trust Anny.

Speaker 44 (01:23:51):
I h I want you to do me your favor.
I'll be glad to ley. I'm not getting oaty here,
so I can't call your lawyer now.

Speaker 26 (01:23:56):
It's it's not that I am a married man, say
I see, But sometimes I go to New York on business.

Speaker 3 (01:24:02):
You know.

Speaker 26 (01:24:03):
Yeah, I don't like to carry a lot of baggage
with me, so I keep a bag in the city, suitcases.
I got my clothes in it.

Speaker 36 (01:24:09):
You know.

Speaker 49 (01:24:11):
You know two, I know you know that checkroom in
time Squen or some way. Yeah, I know, I got
the suitcase. Check there, I got the baggage check with me.
Well that's not crying. Yeah, but you see it's like this,
if they find that baggage check on me. They'll investigate,
won't they.

Speaker 6 (01:24:26):
Yeah, they'll investigate.

Speaker 26 (01:24:27):
That's what I'm afraid of.

Speaker 49 (01:24:29):
I've got a girlfriend in the city. My wife finds
out about that, it's going to be trouble. So you see,
I don't want them to know you understand, sure, not
just how you feel. They're not gonna search you again.

Speaker 3 (01:24:41):
No, no, they're not.

Speaker 7 (01:24:44):
Would you.

Speaker 9 (01:24:46):
Sure?

Speaker 30 (01:24:46):
I'll hold it for you.

Speaker 6 (01:24:47):
Just give it here.

Speaker 26 (01:24:48):
I'll give you ten dollars for the pay.

Speaker 9 (01:24:50):
That's all I have on it.

Speaker 6 (01:24:51):
Thanks. I'm glad to do it for you.

Speaker 26 (01:24:52):
A good guy, Danny. You give it me when I
came back.

Speaker 6 (01:24:55):
Well, maybe you're not coming back. Maybe they'll let you go.

Speaker 26 (01:25:00):
Worry about that. I'll be around to pick it up.

Speaker 6 (01:25:03):
Okay, whenever you want it, you can have it back again.

Speaker 26 (01:25:05):
It's fine. Yeah, here it is. Take care of me.

Speaker 6 (01:25:09):
Oh sure, you're han't a thing to worry about.

Speaker 9 (01:25:20):
Well.

Speaker 44 (01:25:20):
Fred Bruno didn't come back to the cell, so I
knew the police didn't have enough on him to hold him.
A couple of hours later, I was hauled into night
court and was handed a thirty days stretch for vacancy.

Speaker 6 (01:25:34):
I hadn't been in a week.

Speaker 44 (01:25:35):
When they told me I had a visitor, Fred Bruno,
he didn't waste any time getting down to the business.

Speaker 26 (01:25:43):
Where is it? Well, it's what that baggage check?

Speaker 44 (01:25:47):
What baggage chick? I don't know what you're talking about.
I would fool around with me, Matthews. I want I
tell you, I don't know what you're talking about. I
warn you, Matthews, I want that check.

Speaker 49 (01:25:57):
I don't get it. You're not going to like what
happens to you. Maybe I better call a screw. You're
threatening me. Maybe i'd better tell me you want a
baggage chick. Suppose they were to find that check, do know?
And find the suitcase in your girl's picture, and that
your wife isn't gonna like that? All right, Matthews, you're
asking for it, and you're gonna get it right on

(01:26:19):
the neck.

Speaker 6 (01:26:25):
I knew then I had to do some planning.

Speaker 44 (01:26:28):
I wasn't letting that check slip through my fingers, not when,
for the first time of my life my luck was
beginning to change. I ain't done. I know it was
in that suitcase. It was a seventy five g's Bruno
got when he knocked off his old lady friend. I
know I had to get that baggage check to a
safe place. I got a noenvelope and a stamp and

(01:26:49):
addressed it to Dan Andrews's care of General Delivery, New York.

Speaker 6 (01:26:53):
And I got friendly with.

Speaker 44 (01:26:54):
A stew who was in for ten days on a
D and D charge. I gave him ten bucks to
mail a letter for me when I got out. I
know it was taking a chance, but what else could
I do?

Speaker 9 (01:27:04):
Well?

Speaker 44 (01:27:05):
When my thirty days were up, I walked down the
jail house steps, expecting to find Fred Bruno waiting for me.
He wasn't there, but that didn't mean he wasn't having
me tailed. I walked down the street and then turned
off toward the main highway.

Speaker 30 (01:27:21):
Out of town.

Speaker 44 (01:27:23):
As I hiked along, I kept thumbing cars. The fourth
one slowed down and stopped.

Speaker 19 (01:27:31):
Would you like a lift?

Speaker 15 (01:27:33):
You bet?

Speaker 9 (01:27:34):
Oh?

Speaker 6 (01:27:35):
Thanks, thanks a lot.

Speaker 19 (01:27:37):
You're welcome. You're going far?

Speaker 16 (01:27:40):
Uh New York?

Speaker 6 (01:27:42):
You going that for it?

Speaker 16 (01:27:43):
Oh?

Speaker 19 (01:27:43):
No, no, I'm not sorry, but I can take you
about twenty miles on your way. Well, every little good helps, Yes,
I guess it does.

Speaker 38 (01:27:53):
She smiled at me.

Speaker 44 (01:27:56):
She was a luscious blonde with blue eyes. That really
set you back on your heels. She looked at me
about twenty five, and there was class written all over.
I sat next to her, smelling that wonderful perfume and
cursing my clothes and the luck that made us.

Speaker 9 (01:28:14):
Meep like this.

Speaker 6 (01:28:18):
You're not scared picking up a guy like me. I'm
not dressed so.

Speaker 19 (01:28:21):
Well, should I be scared?

Speaker 7 (01:28:22):
Oh?

Speaker 19 (01:28:22):
No, No, well I'm not. As a matter of fact,
I didn't look at your clothes when I stopped for you.
I looked at your face.

Speaker 6 (01:28:31):
Looked done this time. Not only that, Oh, say I
I sure wish you were going to New York. We
could have a great time.

Speaker 3 (01:28:42):
Man.

Speaker 44 (01:28:43):
Or you may think because I'm dressed like a tramp,
i am a tramp broke. But that's where you're wrong.
I've got lots of money waiting for me. I'll have
it just as soon as I get to the city. Yes, sir,
I've got a steak there waiting for me, A big steak.

Speaker 19 (01:28:54):
That's nice. Somebody die and leave your fortune, I might
say that.

Speaker 6 (01:29:02):
Sure, you might say that.

Speaker 19 (01:29:04):
Well, I'm sorry. I'm not going to New York. I'm
on my way to my country place. I've got a
little place near Gloucester.

Speaker 6 (01:29:12):
Oh, you will stay there all alone most of the time,
isn't it lonely?

Speaker 12 (01:29:20):
Well, yes, it.

Speaker 19 (01:29:23):
Might be a bit lonely.

Speaker 44 (01:29:25):
He well, lone Look, I don't have to get to
New York today. I could get in tomorrow or the
day after.

Speaker 19 (01:29:32):
Are you angling for an invitation?

Speaker 6 (01:29:34):
Well, I just thought if you want a company, I
don't know.

Speaker 19 (01:29:40):
I don't know. Well, I guess you could come to
lunch maybe and stay for swim.

Speaker 6 (01:29:46):
I could, And that's swell.

Speaker 19 (01:29:49):
Yes, I think it is too. And since we'll be
spending the afternoon together, I guess we'd better get to
know each other's names.

Speaker 26 (01:29:57):
I'm Alice, I'm Danny.

Speaker 6 (01:29:58):
Denny Matthews.

Speaker 19 (01:30:00):
Glad to know you.

Speaker 44 (01:30:00):
Danny, You're not half as glad as I am, Alice.
It took us about an hour to get to that
summer place of ours. It was all all by itself
in the woods. Right near it was an old quarry

(01:30:21):
filled with sparkling cold water. I helped to lug a
cart and the groceries from the car into the kitchen.
When we stowed them away together and tucked the covers
off the furniture, I could feel a building between us
all the time.

Speaker 19 (01:30:33):
It's on eleven o'clock. Would you like to go for swim?

Speaker 11 (01:30:36):
Now?

Speaker 16 (01:30:37):
The quarry's fine for sure, Only I don't have a suit.

Speaker 19 (01:30:40):
Oh you can wear my brother's trunky just about your size.

Speaker 16 (01:30:44):
I'll show you.

Speaker 19 (01:30:44):
Wait and change, then i'll meet you in five minutes
in front of the house.

Speaker 44 (01:30:50):
I was ready in three and I waited for her
on the porch. She came out in a white swimsuit,
and when I saw just about asked my breath. She
was the dreamiest dame I have laid eyes on. She smiled,
and I just comped.

Speaker 19 (01:31:07):
Come along, we go down this path.

Speaker 33 (01:31:19):
Do you swim?

Speaker 11 (01:31:19):
Well, it's very very deep.

Speaker 16 (01:31:21):
All like a fish. Come on, let's get in.

Speaker 4 (01:31:26):
What is great?

Speaker 19 (01:31:29):
My goodness, you are a good swimmer.

Speaker 16 (01:31:31):
I was born near the East River. Can you die?

Speaker 19 (01:31:34):
Oh?

Speaker 16 (01:31:35):
Sure?

Speaker 33 (01:31:36):
Can you touch bottom?

Speaker 6 (01:31:37):
I don't know how deep?

Speaker 16 (01:31:38):
Thirty feet? Oh? I like get on the sledge now
watch me.

Speaker 44 (01:31:45):
Water was so clear I could see the bottom coming
up at me as I kicked myself down. I grabbed
a handful of gravel and started up.

Speaker 15 (01:31:53):
Here's a pressent for you.

Speaker 20 (01:31:54):
Thanks.

Speaker 19 (01:31:55):
I can't do that. I've tried, but I never get
all the way down.

Speaker 16 (01:31:58):
It's easy.

Speaker 19 (01:32:00):
Come on, stand here on this rock and catch your breath. Oh,
isn't the water wonderful?

Speaker 6 (01:32:06):
You're wonderful.

Speaker 19 (01:32:08):
You're nice too.

Speaker 6 (01:32:11):
She turned to face me.

Speaker 44 (01:32:14):
I let my arms float around her and closed them,
and then she floated up close to me. Her lips
were soft and cool, and then suddenly the coolness was gone,
and she was warm and close. She looked at me
for a long moment with those beautiful eyes, and then
she slipped away and swam to the other end of

(01:32:35):
the quarry.

Speaker 6 (01:32:36):
I swam after it. We climbed onto the rocks, and
she sat down and pulled off a bathing cab. I
was like, I, oh, lois house. I know it's crazy,
just meaning a couple of hours ago, but I'm nuts
about you.

Speaker 19 (01:32:48):
You're very nice, Danny, You're so very nice.

Speaker 6 (01:32:52):
It doesn't come to New York with me. I got
a pilot door there just waiting for me to pick
it up.

Speaker 44 (01:32:55):
I know, I'm talking like them out of my head
and me without a cent in my pocket, dressed in
rags and true, but we'll really start living, get married.

Speaker 19 (01:33:05):
You don't know what you do to me To get
back to the house. Please, not know.

Speaker 6 (01:33:12):
We went back to the house. I followed her inside
into the living room. Somebody was standing there with a
ride in his hand.

Speaker 26 (01:33:22):
Bruno, I'm o, Matthews, I'm over. I'll plug you.

Speaker 19 (01:33:30):
Danny, Danny, this is my husband.

Speaker 9 (01:33:34):
I get it.

Speaker 3 (01:33:36):
I get it now.

Speaker 19 (01:33:37):
Did you find it?

Speaker 26 (01:33:38):
No, it's not on a clouds. It took them apart.

Speaker 3 (01:33:40):
I haven't got it.

Speaker 19 (01:33:41):
Oh maybe maybe he hit it in the bit.

Speaker 26 (01:33:43):
I looked everywhere. Talk, Matthews, where is it? Talk? You
be wishing you were dead?

Speaker 6 (01:33:50):
I having a thing to say.

Speaker 30 (01:33:52):
Hey that.

Speaker 26 (01:33:54):
Wait before I get through with your you talk plenty.
Save it.

Speaker 19 (01:33:59):
Give it to him and I give it to him
and you can go to you have my mind?

Speaker 26 (01:34:03):
Not talk upstairs, Matthews.

Speaker 44 (01:34:09):
We went upstairs and Bruno told her the tiny to
a chair, and she did a good job too. I
was tied to that chair so tight I could hardly breathe.

Speaker 26 (01:34:16):
You go outside, Alice, my.

Speaker 14 (01:34:20):
Danny.

Speaker 19 (01:34:21):
I'm sorry.

Speaker 26 (01:34:25):
Well, this is your last chance. You're going to talk.

Speaker 7 (01:34:33):
Guys, it's just the beginning.

Speaker 6 (01:34:43):
Really did a good job too.

Speaker 44 (01:34:46):
When he was through, I knew I'd been schle liked
by an expert, but I didn't talk. I know I'd
be signing my own death warrant by spilling. He wouldn't
kill me as long as he thought you could get
me to sing. I was a long in the room,
still tied to the chair downstairs. I could hear the
two of them moving around talking. I had to get

(01:35:06):
my hands free. I pulled and jerked until my blood
came and I passed off. Must have been hours later.
When I came to it was dark and the house
was quiet. I tried again to loosen my wrists, and
I finally got my right hand free, free but almost useless.

(01:35:28):
I rested flexing my fingers. An hour passed, maybe more.
I was picking at the knot that tied my left
hand when the door quietly opened. The room was as
dark as the inside of a camera, but I knew
who it was. I'd know the smell of that perfume anywhere.

Speaker 6 (01:35:46):
Danny, I'm awake.

Speaker 26 (01:35:50):
You mustn't hear you whispering before I could say.

Speaker 19 (01:35:53):
Then he's going to kill you?

Speaker 3 (01:35:54):
What?

Speaker 19 (01:35:55):
I don't want you to die.

Speaker 6 (01:35:56):
You wouldn't kidd me, would you.

Speaker 19 (01:35:57):
I'm going to untie you and let you go. I mean,
I do, mean it. Just tell me where it is.

Speaker 33 (01:36:03):
That baggage check.

Speaker 19 (01:36:04):
Please, Danny, you're keeping it, won't do you? When he
could believe me? Danny, listen to me. Freddy killed that
old woman, and he'll kill you too. I don't want
him to. No, let him have a baggage check, Danny,
and then we'll go away.

Speaker 33 (01:36:18):
You and I.

Speaker 6 (01:36:19):
I hate him, I hated You're not getting anywhere, Oh, Danny.

Speaker 19 (01:36:25):
You think I want to get the money, don't you?
You think I'm lying just to get the money. Well,
I'll tell you something, Danny. There isn't any money in
that suitcase.

Speaker 10 (01:36:36):
Where is it?

Speaker 6 (01:36:36):
If not in a suitcase, I have it.

Speaker 19 (01:36:40):
You have it, Yes, I have. I took it out
of a suitcase and put something else in.

Speaker 6 (01:36:47):
All right, all right, you have the money.

Speaker 30 (01:36:50):
Why didn't you take a.

Speaker 26 (01:36:50):
Power with it?

Speaker 19 (01:36:51):
Because I can't get at it.

Speaker 6 (01:36:52):
That's why you have it, but you can't get at it.
That makes sense.

Speaker 19 (01:36:56):
The night that Freddy killed her, he came here with
the money. I didn't know he was going to kill her.
I didn't know a thing about it until he showed
me the money. He put it in a suitcase so
we could drive down to New York and check it. Well,
while he changed his clothes. I took the money out
and put something else in what you do with the door.
After he left, I put the money in a big

(01:37:17):
mason jar and dropped it in the quarry. Yes, I
was sure that I'd be able to dive down and
get it up again. Well, I tried, but it was
too deep for me. That's why I asked you if
you could touch bottom?

Speaker 11 (01:37:29):
You see?

Speaker 19 (01:37:30):
So please please tell Freddy where the check is. He'll
go to get it, and while he's gone, we'll get
the money.

Speaker 8 (01:37:36):
And go away.

Speaker 19 (01:37:38):
It's quite a iron, but it's true, Danny, Please, it's true.

Speaker 26 (01:37:42):
All at time, she talked and kept working on my
left hand, pulling to free it.

Speaker 6 (01:37:47):
Finally it slipped.

Speaker 3 (01:37:47):
Out of the rope.

Speaker 19 (01:37:48):
Oh, Danny, we can go out west, some place where
he'll never find this. Please please, you've got to believe me, Danny.

Speaker 12 (01:37:57):
I love you too.

Speaker 19 (01:37:59):
If I didn't, and I wouldn't tell you all this,
I'd keep the money for myself, wouldn't I for a sucker?

Speaker 33 (01:38:06):
To trust me?

Speaker 19 (01:38:07):
Please? Please tell me where the baggage check is?

Speaker 10 (01:38:10):
Got me free?

Speaker 9 (01:38:11):
First?

Speaker 19 (01:38:14):
You don't trust me?

Speaker 7 (01:38:15):
Do you?

Speaker 6 (01:38:16):
Sure?

Speaker 3 (01:38:16):
Sure?

Speaker 6 (01:38:16):
I trust you? If I haven't had an army you
know that where is he in New York? In a
safe place mine.

Speaker 19 (01:38:21):
I'll tell Freddy and he'll go for it. When he
does pick up that suitcase, there'll be a surprise waiting
for him. While he's gone. We'll get the mission job
from the bottom of the quarry and we'll be on
our way west in the morning.

Speaker 6 (01:38:35):
Does he know you're in here now?

Speaker 3 (01:38:38):
Yes?

Speaker 16 (01:38:40):
Yes.

Speaker 19 (01:38:41):
I asked him to let me try talking to you, Danny.
He thinks that I'm trying.

Speaker 6 (01:38:47):
To fool you, but you wouldn't do that with journey.

Speaker 19 (01:38:50):
Oh, Danny, can't I make you understand?

Speaker 50 (01:38:53):
I could feel numinous leaving fingers on my left hand.
Now I had both hands free and shoes within my reach,
lying full head off to get me to give up
the seventy five grand to give her and Freddy. Come closer, eyes,
kiss me, just to show me you're liveling with me.
She came close, her lips pressed against mine, and then I.

Speaker 44 (01:39:16):
Had one hand and that salt flying red motha hers
and the other with all my strength, held on pulling.

Speaker 16 (01:39:24):
It down on my knees. Feet wouldn't kick the flow.

Speaker 44 (01:39:29):
Suddenly she was limp, but I didn't let go minutes
went by. Finally I took my hand off or not.
She wasn't breathing anymore.

Speaker 3 (01:39:42):
She was dead.

Speaker 44 (01:39:46):
Slowly, I let her body down on the floor, and
I untied the knots that held me to the chair.
I reached for her, and carefully, with stiff fingers, I
took off a jacket. The perfume she drenched it with
came off in waves, and I got a pulling the
jacket ahead of me like a bull fighter's cape. I
walked down a pitch black hall I was, I tell you,

(01:40:08):
I stopped. He'd been waiting there all the time. The
perfume and that jacket food him the way I thought
it would. It was just a couple of feet from him.
The next time he spoke, i'd jump, Well did he talk?
My first while punching the dog put him out. After that,

(01:40:34):
he wasn't any more trouble than she was. There was
a lot for me to do before dadbreak. First, I
got rid of both the bodies, tying weights to them
and sinking them to the bottom of the quarry. Freddie
had a fat wallet. I helped myself to that. Next,
I changed into one of his suits that was in
the house. I closed the place, locked it, and got
into the cars. The first streaks of light began to
show in the east. By afternoon, i'd be in New York.

(01:41:05):
When I reached New York, I got a shave and
a haircut and had some lunch. Then I went down
to the main post office. Ill bet it was there,
And at ten minutes I was at the Times Square.

Speaker 26 (01:41:16):
Subway station with the baggage check in my hand.

Speaker 6 (01:41:20):
Hey are one suitcase?

Speaker 15 (01:41:23):
Yes?

Speaker 47 (01:41:23):
Sure, B one thirty one.

Speaker 6 (01:41:29):
What are you waiting for?

Speaker 47 (01:41:30):
B one thirty one?

Speaker 9 (01:41:32):
This was checked over thirty days ago.

Speaker 6 (01:41:34):
Oh whatever it, I'll pay the charges.

Speaker 47 (01:41:35):
We don't keep baggage up here after thirty days. Your
suitcase is down in the storage room. B this way, please,
and sure, just lead the way.

Speaker 44 (01:41:45):
We took the stairs down to one of the cellars,
walked along some dark halls, and then stopped in front
of a locked door.

Speaker 47 (01:41:56):
It's one of the beings down this way. Hey, here
we are be well thirty one?

Speaker 6 (01:42:08):
Is it that looks like it? Okay, take it back?
Oh hey, Bud, let's for your trouble. No nothing, come
on by a drake.

Speaker 16 (01:42:18):
No, I don't want it.

Speaker 6 (01:42:21):
All right, suit yourself let's go.

Speaker 44 (01:42:27):
As we walked back to the door, I wondered why
the guy should refuse a tip. When we got to
the door, I found out he opened it and I
walked out right into the arms of a big guy
in a bronze So he grabbed my wrists and before
I knew what was happening, he had a pair of bracelets.

Speaker 16 (01:42:42):
All right, mother's your under arrest.

Speaker 6 (01:42:44):
Wrest?

Speaker 16 (01:42:45):
What for the murder of Sarah Grimes and Pittsville, Massachusetts.
I didn't kill that old day, But brother, you can
do all your talking down at headquarters.

Speaker 6 (01:42:58):
We're all at talking. I did done it headquarters.

Speaker 44 (01:43:00):
There are a lot of things I couldn't explain away, like,
for instance, the bank books belonging to Sarah Grimes they
found in the suitcase, my having the baggage check for
the suitcase. One thing the cops didn't know, and that
was what happened to the seventy five grand which should
have been in the suitcase and wasn't.

Speaker 6 (01:43:23):
Yeah, there wasn't a dime in that suitcase.

Speaker 44 (01:43:27):
The cops told me that two days after old Lady
Grimes was knocked off, they got an anonymous letter telling
him to look into the suitcase checked in Times square
and the number B one thirty one. The note said
the man who'd call for that suitcase was the murderer
of Sarah Grimes. So now they're hanging me in half

(01:43:48):
an hour. Yeah, yeah, I'm getting the surprise that was
meant for Fred Burnon. And when I think it all over,
two things stand out. Down in mad Quarry there's a
mason jar with seventy five.

Speaker 6 (01:44:08):
Dollars in it.

Speaker 44 (01:44:11):
And down there too is a gorgeous blue eyed dame
with a rock tied around her neck. See what I
mean by the break's gone against you? I could have
had them both. Yep, I could have had them both.

Speaker 43 (01:44:40):
And so the curtain falls on its luck that counts,
which was chosen by guest expert Frank Ruber, whose latest
mystery thriller is The Leather Duke Next to It. At
this Time, Murder by Experts brings you the story of
four people trapped in a bus in a driving blizzard

(01:45:01):
and faced with a realization that one of them is
a murger.

Speaker 16 (01:45:06):
Selected for your approval by Helen Riley.

Speaker 43 (01:45:11):
Until then, this is your host, John Dixon Carr, hoping
you'll be with us next week.

Speaker 10 (01:45:16):
At this time.

Speaker 42 (01:45:20):
It's Luck that Counts was written by George and Gertrude Fass.
In the cast were Larry Haynes, Miss Leslie Wood, Sadus Ortega,
Bill Smith, and Ed Latimer. Music is under the direction
of Emerson Buckley and was composed by Richard du Page.

Speaker 16 (01:45:32):
Murder by Experts is produced and directed by Robert A.

Speaker 42 (01:45:35):
Arthur and David Cogan. All characters in our story were fictitious,
and any resemblance to the names of actual persons was
purely coincidental. This is Jack Farron speaking. This is the

(01:46:01):
mutual broadcasting system.

Speaker 51 (01:46:44):
Now step into the incredible, amazing future as we go
exploring tomorrow.

Speaker 11 (01:47:04):
And now.

Speaker 51 (01:47:05):
Here is your guide to these adventures of the mind.
John Campbell Jr.

Speaker 14 (01:47:10):
For many years, a lot of us have been interested
in considering the possibilities of meeting other life forms, other intelligent.

Speaker 9 (01:47:18):
Beings from other stars.

Speaker 14 (01:47:21):
Now, if there is life out there, some form of life,
and remember it may be beyond our most far fetched imaginations.
If there is life, and we have our own earthships
going out in constant regular deep space exploration, someday somewhere,
maybe even out on the gas cloud of the crab nebula.

Speaker 52 (01:47:43):
Sometimes we will meet. Step it up, step it up,
a scatter.

Speaker 9 (01:48:00):
Maximum maximum magnification.

Speaker 14 (01:48:03):
Maximum mag more more sorry, sir, maxis max. You see
and you see well visibly. Quarter quarterck water quarter is
a step.

Speaker 9 (01:48:15):
Up the scanner.

Speaker 2 (01:48:16):
Step it up.

Speaker 9 (01:48:17):
Don't you understand I've got to see nothing according to
the reading. Captain, nothing said, sorry, captain, hold it on
the five quarter h.

Speaker 2 (01:48:33):
Solid oture eighty thousand miles sir, one o'clock unknown, I'll
be changing changing twelve twelve o'clock sound collision.

Speaker 9 (01:48:54):
Mack ready, mister dart.

Speaker 7 (01:48:56):
I'll hear this. I'll hear this.

Speaker 4 (01:48:58):
The captain Mallow addressed the ship. First, you've heard the
collision alarm.

Speaker 2 (01:49:04):
You will all out take action stations, man, all weapons,
condition of extreme alert red.

Speaker 4 (01:49:11):
I repeat red in all departments.

Speaker 2 (01:49:14):
Instrumentation tells us there is an unknown solid optic less
than eighty thousand miles.

Speaker 4 (01:49:19):
Dead as we go. There was a locator beam on us.

Speaker 2 (01:49:23):
I repeat, there was an unknown locator on us, giving
us unexpected feedback.

Speaker 9 (01:49:28):
Echo, man, we are not a washer.

Speaker 4 (01:49:32):
Hey, they almighty be with us.

Speaker 9 (01:49:35):
That is all, mister nothing, sir.

Speaker 2 (01:49:37):
Now, I see nothing on the busy place but radio
locator here, look at it, Sir, Up and down, up
and down something monsters monster in size, Sir making lunatic
dishes toward us at collision speed, then skipping away at
the same fantastic speed. Yeah, not a worship here it comes,

(01:50:00):
it goes away again, all on radio locate.

Speaker 9 (01:50:03):
I'm busy plate by eye nothing.

Speaker 2 (01:50:04):
Can't you take a thing?

Speaker 9 (01:50:06):
How many solar systems in our galaxy? How many?

Speaker 2 (01:50:10):
How many planets fit for life? And how many kinds
of life could there be? This ship isn't from Earth,
and it isn't It has a crew that isn't human,
and things that aren't human but are up to the
level of deep space travel, and their civilization could mean anything. Yes, Sir,
something like this has been talked about and speculated about
for years. Mathematically it's been an odds on bet that's

(01:50:31):
somewhere in our galaxy there'd be another race with a
civilization equal to or further advant than ours. Nobody could
ever guess where or when we meet them. And it
looks like we've done it now o food. They'll be friendly, Captain.
Thank the Old Mighty for the blasters.

Speaker 9 (01:50:47):
Here they come in for us fast against her.

Speaker 14 (01:50:48):
Oh, pulling away again. Yes, I can read the beam
if your pardon said. The blasters are for me to ride, sir.

Speaker 9 (01:50:54):
They were never worth they designed his space weapons.

Speaker 2 (01:50:56):
They can serve as pretty good ones because we don't
know what they're like you for, and we.

Speaker 14 (01:51:02):
Can't take a chance. We can't trust them, the fraction
of them. And sure, I know, Let's try and find
out all we can about them. Let's meet, let's try
to be friends. Well that ship out there, now, we
do it. And you realize why because they have locators,
because they might trace us all the way back home
without our knowing it. And we can't risk a non

(01:51:24):
human race knowing where Earth is unless worth sure of them?

Speaker 15 (01:51:28):
And how can we be sure?

Speaker 4 (01:51:30):
Do you know, mister Dort?

Speaker 19 (01:51:32):
Do you know?

Speaker 2 (01:51:33):
Mister Dort with your sentimental polly and a slush pile
that calls itself your brain, your mind, unidentified object retreating
against our locators, had.

Speaker 9 (01:51:41):
Back and forth, back and forth, the game goes on.
They're afraid, we're afraid.

Speaker 2 (01:51:48):
Oh, sure they could come to trade, of course, import export,
that wouldn't hurt. Or maybe these creatures will be esthetic marvels,
nice and friendly and polite and underneath the Tosio type.
What am I going to risk the possible future of
the human race that I guess that it's safe to
trust them.

Speaker 9 (01:52:06):
The one thing I won't risk is having them know how.

Speaker 15 (01:52:10):
To find.

Speaker 9 (01:52:13):
Either I know they can't follow me or.

Speaker 38 (01:52:15):
I don't go.

Speaker 9 (01:52:18):
And they probably feel the same way.

Speaker 14 (01:52:21):
Ready the ship for supplemental command. There's my sight on
the busy plate. I see it by the first time
by eye. It's a small noser. It's bigger and bigger,
bulb bulbous, shaped like a pair head. Force is extremely
high acceleration. Say hide about, heart about this, Let us about,

(01:52:44):
let us about. He's crossing the teeth. Lord, that's me
a relay, What a relake. He's to the blasters. Direct
to the blasters, out of my head.

Speaker 4 (01:52:54):
This is the captain Ready blasters.

Speaker 2 (01:53:01):
Courts with not an innivized space object maximum poet ready.

Speaker 4 (01:53:05):
Blester sixtion one.

Speaker 3 (01:53:07):
This is.

Speaker 4 (01:53:17):
Exploring tomorrow continues in just a moment.

Speaker 53 (01:53:21):
All of us, as American citizens, believe in our inherent
liberties and freedoms, such as the freedom of the individual
to choose and elect his own national representatives.

Speaker 9 (01:53:32):
It has been said that there is only one ruling class.

Speaker 53 (01:53:36):
In America, the people themselves, who, through their vote, have
established the law of our land. The real importance of
this freedom depends on our accepting the responsibility not only
to know what we are voting for or against, but
also to choose our leaders for the best interests of
the nation. So accept your responsibility and insure your freedom.

Speaker 14 (01:54:06):
Two spaceships, two scientific expeditions, each uncountable miles from their
own home, one from Earth, one from where.

Speaker 9 (01:54:17):
The other ship stopped. Captain cut power flight stationary, say.

Speaker 2 (01:54:27):
Captain da Cruz, steady as you are are identified space object.
Now stationary, do not fire. I repeat, fire only on command.

Speaker 4 (01:54:40):
This is a trick. You will fire only on command
from myself and only when.

Speaker 7 (01:54:45):
Verified as you are.

Speaker 9 (01:54:48):
Stop dead, sir, They are dead for sure.

Speaker 6 (01:54:51):
Have a look.

Speaker 9 (01:54:53):
How far do you make them?

Speaker 2 (01:54:55):
Range?

Speaker 14 (01:54:55):
Twenty miles Captain now descending modulated short, We've got to
say frequency modulated, yess Yes, I see your needle. Apparently
a signal, not enough power to do any harm.

Speaker 9 (01:55:09):
Look up in the.

Speaker 2 (01:55:09):
Left bow, busy plates. There there's something now and I
see a movement on the outside of their hue. They're cold,
black hole. We shine like a mirror. Did you ever
hear of a jet black space ship. Mister, we want
to reflect the sun. Perhaps they want or a need
to absorb heat from the passing sun. I know, now,

(01:55:33):
what's that thing?

Speaker 9 (01:55:34):
Small round, whatever it is, it's coming out of the
side of the ship. Watch.

Speaker 2 (01:55:38):
Huh, you're ripping sweat on your instruments. I'm sorry, sir,
As I realize what they're up to. They send anything
toward us, it might seem a projectile or a bomb.
So they come close, let out a lifeboat and go
away again. Figure we can send a boat or a
man to make contact without risking our whole ship too.

Speaker 9 (01:55:53):
Captain.

Speaker 2 (01:55:54):
That means that means they think pretty much as we do. Yes,
I'm glad that finally occurred to you, mister Dort. By
law of space command, I am not allowed to leave
my ship except the jettison. Mister Dort, this is not
an order, no, sir. I would you care to go
out and look the thing over?

Speaker 9 (01:56:10):
Whatever it is?

Speaker 14 (01:56:13):
The alien ship continued to retreat forty eighty four hundred miles.
He came to a stop and hung out there waiting.
Earthman Tommy Dort climbing into his atomic driven spacesuit inside
the airlock heard this mileage report and felt safer, but
just a little bit safer, For if the unknown black
space intruter had stopped its retreat at four hundred miles,

(01:56:35):
he reasoned it might not have weapons effective at a
greater distance. But Tommy felt lonely and a little expendable,
speeding toward that tiny black dot which hung in the
incredible brightness of the star gas, four thousand light years
from his wife and family and home. Speeding toward that

(01:56:56):
tiny black spot, the only solid objeef he could see
in all all this glowing space, and then it landed.
It was a slightly distorted sphere, not much over six
feet in diameter. There were small tentacles or horns projecting
from this black space orange.

Speaker 7 (01:57:15):
They looked rather like.

Speaker 14 (01:57:15):
The designating horns of an old air submarine mine, where
there was a glint of crystal at the tip of each.
Then through his souit he began to feel vibrations. A
section of the round and hull beneath his feet opened up.
He moved sideways fast, He opened up and out, And
when he looked inside into the now open insides of
the little sphere, no, he didn't see the first non

(01:57:38):
human civilized beings he expected.

Speaker 7 (01:57:40):
What he saw was simply a.

Speaker 14 (01:57:41):
Flat plate, and on that flat plate a dim red
glow of light came and went. Even inside the protection
of his spaceship, Tom Dort felt the hairs and his
neck rise and bristle. In momentary terror, he pressed his
sleeve button switch communicator.

Speaker 2 (01:57:58):
Very glad, mister Doran. I don't need to panic X
your scanner to look into that plate, Harry, these creatures
are are equal. The dumped out a robot with an
infrared visit plate for communications, all not risking any personnel.

Speaker 4 (01:58:14):
Good sop for them.

Speaker 9 (01:58:16):
Whatever we might do would only damage the scenery.

Speaker 7 (01:58:19):
That's good.

Speaker 9 (01:58:19):
That means they value your life as you value yours.

Speaker 2 (01:58:22):
Maybe though they expect us to pull you with a
sphere in on board may have a bomb charge that
can be detonated when they're ready to blow for their
own home. I'll send a visit plate off of the
man to face one of the scanners. You return to
the ship well down door it, yes, sir, but which
way is the ship head straight away from the Double Star.

Speaker 9 (01:58:41):
We'll pick you up, do it.

Speaker 14 (01:58:52):
A tiny, black, bobous robot floated in space between two
space ships, ours and Layers. It represented a culture, theirs,
which was at least up to ours. Now our two
races could be friends, we'd also be deadly enemies. We
were a monstrous menace to them and they to us.

(01:59:14):
And the only safe thing to do with the menace is,
of course, to destroy it. This truce weeks and weeks it.

Speaker 9 (01:59:23):
Started to get the crew miss the Dorgs. I'm busy
still calculating, Captain, let's see where it was.

Speaker 2 (01:59:30):
I'm thinking, how do we establish friendship without risk of treachery?

Speaker 9 (01:59:36):
Friendship is based upon confidence?

Speaker 6 (01:59:39):
Where is it?

Speaker 2 (01:59:41):
Can confidence be established in the foundation of necessarily complete distrust?

Speaker 14 (01:59:47):
If you can be patient a bit longer, sir, I
think think I figured out a way we can talk
their language, I mean communicated, since they seem to be
stone deaf, you can, I think, sir.

Speaker 9 (01:59:59):
You can have leave now, sir. We can say almost
anything we wish to them and understand.

Speaker 2 (02:00:03):
What they say back. But of course you'll never be
able to know how much of what they say is
the truth.

Speaker 9 (02:00:08):
Well, there they will, they about us go on the street.
Well I've managed to hook up with them.

Speaker 14 (02:00:11):
As to a mechanical translator, We showed them our recorder
in the vision plates, and they showed us theirs. They
record the FM direct, I think, and they don't you
sound at all even in speech. My guess is, sir,
that they use microwaves, so what you might call person
to person conversation. I think they make short wave trains as.

Speaker 2 (02:00:31):
We make sounds. Telepathy, Yes, I think, sir. I'm ready
if you are. If you are that is prepared to
talk with the skipper, turn on your mechanical translator. What

(02:00:53):
what shall I say to them?

Speaker 3 (02:00:54):
Door?

Speaker 9 (02:00:59):
What shall I say? They're waiting? They keep sending something
like a c Q.

Speaker 14 (02:01:10):
The oxygen breeds there, and they appear not too dissimilar
in certain ways. I'm sure I do take the challenge
of irony, iron I mean, sir, that implies humor. In
other words, I think they could be likable. All right,
send this the acting suspicious?

Speaker 9 (02:01:32):
All right, say.

Speaker 2 (02:01:34):
The appropriate things about this first contact two dissimilar but
civilized races. And that's my hope that a friendly intercourse
between the two people's will excuse her.

Speaker 14 (02:01:45):
What appropriate things? Oh, just a second said that the
skipper sends you the following quote. That is all very well,
but is there any way for us to let each
other go home alive. I would be happy to hear
of such a way, if you can contrive one. At
the moment, it seemed.

Speaker 15 (02:02:03):
To me that one of us.

Speaker 14 (02:02:06):
Must be killed unquote, all right, then send this look
here out there, whoever you are. It looks like we
have to fight and one batch of us gets killed.

Speaker 9 (02:02:21):
All right, We're ready. We have to but if you win,
we've got it fixed.

Speaker 2 (02:02:25):
So you'll never find out where Earth is, and there's
a good chance we'll get you anyhart.

Speaker 4 (02:02:30):
We stayed here a month, and we've swapped information, and
we don't hate each other.

Speaker 9 (02:02:34):
There's no reason for us to fight except to protect
our races.

Speaker 2 (02:02:42):
Well, he says, sir, Yes, all you say is true
that his race has to be protected, just as you
feel that yours must be.

Speaker 9 (02:02:54):
He says, quote. Perhaps this will help us to think clearly.

Speaker 2 (02:02:58):
Suppose we make it so we can and find each
other's home planet, but leave a way to communicate in
the future. So work out grounds for a common trust.
If our governments want to be fools, let them, but
we should give them the chance to make friends instead
of starting a space war out of mutual panic. Und

(02:03:20):
all right, I haven't send this. Okay, sir, whoever you are,
let's swap spaceships.

Speaker 14 (02:03:28):
Send it, Send it, He answers, interesting, what is rest
of your swapping proposed? Send this swapships and crews. I
remove all star charts and everything else. Evidently he removes
all his navigational record. We trade each other's key crewman,
and I go for home.

Speaker 9 (02:03:45):
With my crew and his ship.

Speaker 4 (02:03:46):
He goes for home with his crew and his ship.

Speaker 9 (02:03:48):
That's my proposal.

Speaker 2 (02:03:50):
Tell them next final if he refuses our black hold on, please, sir,
he says accepted. He says accepted, with one bou that
we arranged to meet here at this starf It's in
exactly one astronom of the double stuff.

Speaker 9 (02:04:08):
Agrade for us. That'll be a year. Send it.

Speaker 16 (02:04:12):
I'll hear this, I'll hear this.

Speaker 4 (02:04:15):
On signaled prepared to abandoned ship. We sailed for home.

Speaker 2 (02:04:18):
As soon as we have learned to man controls of
unanetavidespace object and good God speed to us all. We
will all see Earth again as soon as we are trained,
and we trained them.

Speaker 14 (02:04:56):
There's a hidden assumption in this story. We just heard
that the intelligent entity can and may lie. I wonder
just what a lie is and why it is that
we expect intelligent entities to lie? Could a machine lie?
Could an intelligent machine lie?

Speaker 7 (02:05:17):
Well?

Speaker 14 (02:05:18):
Next next time we have a discussion on that that
I think you'll find interesting.

Speaker 7 (02:05:23):
It's called liar.

Speaker 51 (02:05:41):
Join us for a fascinating adventure and exploring tomorrow, Earn.
In our cast tonight were Lon Clark and Lawson Zerby.
Script was by Murray Leinster, adapted by Peter Irving, produced
and directed by Sandford Marshall. Here in New York, Bill
Maher speaking.

Speaker 9 (02:06:29):
Dark fantasy.

Speaker 7 (02:06:39):
I am the man who came back.

Speaker 14 (02:07:05):
All right, now, break it up, break it up here,
all right, mass casey kar I stay right there in
the doorway and don't let nobody in a rout right
all right now?

Speaker 15 (02:07:15):
Or are you hurt him?

Speaker 18 (02:07:16):
But we had nothing to do with.

Speaker 2 (02:07:18):
It, okay, sister, you didn't. Jane got nothing to be
scared of. Hey, you, where do you think you're going?
I thought I might get a little air if you
don't mind, Well.

Speaker 7 (02:07:28):
I do mind.

Speaker 2 (02:07:29):
I'm back in the house with you. What's the big idea?
You were not mask as you might have observed, my friend,
this is a masquerade party. Whoa you should now well
a carden dreamily post it's masks off at midnight. We
got this car to come out here just as a
clock in Washington Circle which striking the ore. The call

(02:07:50):
is placed by a most hysterical woman, and there is
nothing you can do for the man in there, I
assure you, not changing the sub What I want to
know is why ain't you unmasked like.

Speaker 9 (02:08:04):
The other my professor to wear my mask?

Speaker 2 (02:08:08):
Take it off, don't, yuan. I want to look at
your mug. It might be better, my friend, if you
didn't see my mug. Now, look here's your Perhaps why
we are waiting, I might tell you a story. Yeah,
Art is his bedtime at Grandma's. The only story I'm

(02:08:29):
interested in is what happened here tonight, exactly, eh, I said, exactly.

Speaker 9 (02:08:36):
Perhaps I can tell you the story.

Speaker 2 (02:08:40):
All right, and my fine mysterious friend give well.

Speaker 9 (02:08:44):
You see it's quite a long story.

Speaker 2 (02:08:49):
It really all began free, yes, at least three years ago.
I remember that evening quite well. I let myself into
Granger's apartment.

Speaker 9 (02:09:11):
It was a golden key.

Speaker 7 (02:09:12):
I used.

Speaker 54 (02:09:14):
A bright golden key, and there was no one there
when I arrived. So I closed the door and waited.

Speaker 9 (02:09:42):
Well, Grange, imagine seeing me here black. Oh, I say,
you startled me?

Speaker 3 (02:09:47):
Did I? Now?

Speaker 9 (02:09:49):
I dare say?

Speaker 2 (02:09:50):
Had I been someone else, you wouldn't have been at
all startled.

Speaker 9 (02:09:53):
Incidentally, old man, how did you get in here?

Speaker 2 (02:09:55):
I suppose it would be quite facetious on me to
say that I came in the same way you did.

Speaker 9 (02:10:00):
Oh, I say, a new piano? Do you mind? Oh no,
not at all. Right ahead, help yourself.

Speaker 8 (02:10:07):
Have a drink?

Speaker 4 (02:10:08):
No, thanks, you better have one though.

Speaker 9 (02:10:12):
Oh yeah, I say, Blake, what's that you're playing?

Speaker 2 (02:10:16):
You've heard it before, Grange, have I I don't recall
you will have a short memory.

Speaker 9 (02:10:22):
I usually remember pretty well.

Speaker 7 (02:10:24):
When you choose to you do.

Speaker 9 (02:10:25):
Yes, what do you mean by that?

Speaker 2 (02:10:28):
My wife has played that tune vieo every night this
week and last and the week before that, you see,
I happen to know.

Speaker 9 (02:10:38):
Oh, I see.

Speaker 2 (02:10:41):
I'm glad you haven't the audacity to deny it.

Speaker 9 (02:10:44):
No, I don't deny it.

Speaker 55 (02:10:47):
Your wife has been here often as often as she
possibly could, and I assure you she came of her
own desire, and as.

Speaker 2 (02:10:57):
A result of your oily persuasion.

Speaker 55 (02:11:00):
I might agree blake that she is easily persuaded, And
of course my curiosity prompts me to ask how you
finally learned the truth.

Speaker 9 (02:11:07):
I accidentally found the key to your apartment here.

Speaker 2 (02:11:11):
It was in Sylvia's purse, a golden key with your
initials engraved on one side, hers on the other.

Speaker 9 (02:11:21):
I thought that a rather handsome touch, don't you agree?

Speaker 2 (02:11:24):
I've brought the key back to you. How I'm serious?
Sylvia will never come here again?

Speaker 9 (02:11:34):
Are you positive of that?

Speaker 10 (02:11:35):
Quite?

Speaker 2 (02:11:37):
For I shall ask her not too. You seem to
believe she'll be She will, And I ask you now grange,
as a gentleman, kindly refrain from inviting her here again.

Speaker 9 (02:11:49):
In other words, hands Off said it.

Speaker 14 (02:11:52):
I'm glad I make myself quite plain. Why you fool,
you dull, stupid fool. What right of you to demand
anything of Sylvie?

Speaker 55 (02:12:00):
Do you think for a mole night after night twiddling
her thumbs while you're away from home?

Speaker 2 (02:12:04):
I admit I've been busy this past year, but another
six months.

Speaker 55 (02:12:07):
You've no one to blame for Sylvia's being here. With
yourself here, She's found what you denied her, Blake. I
doubt very much if she'll give it up.

Speaker 9 (02:12:16):
Why you swine? If you think from home? Oh, I
forgot you carry a gun. But if you'd care to
put it away skip, the hero explained. You know, I
think I've suddenly thought of a solution to all this.

Speaker 2 (02:12:34):
The only solution is for you to leave Sylvia alone.

Speaker 55 (02:12:36):
Oh, you're quite mistaken. This is the solution here in
my hand. Indeed, I rather like the idea. Besides, with
you out of the way, Sylvia need to have no.

Speaker 2 (02:12:51):
More qua by you, low yellow rat.

Speaker 55 (02:12:54):
That's it, Blake, come closer, threaten me, make me do it,
Make me do it at play.

Speaker 2 (02:13:00):
You think killing me is the way out, Grange, You're
very badly mistaken.

Speaker 9 (02:13:04):
It's the only way off.

Speaker 14 (02:13:05):
You'll kill me, Grange. I'll come back and avenge myself.
One shot and that would be all I can prove
self defense. Sylvie will help. She'll swear you came here
and tried to kill me.

Speaker 2 (02:13:15):
I'll come back, Grange, one shot directly between the eye.
I'll haunt your Grange, because by God in Heaven, I'll
come back. It's a perfect scheme.

Speaker 8 (02:13:24):
Yes, I like it.

Speaker 2 (02:13:25):
Here's the veil, Grange, because I'll come back if I
have to fight all the demons, and I'll prepare Blake.

Speaker 4 (02:13:32):
This is a chance of a lifetime. It's the way off. Yes,
it's the way off.

Speaker 21 (02:13:56):
Get your extra paper of the play like cleaning as
a partner.

Speaker 4 (02:14:01):
Read all about it.

Speaker 12 (02:14:02):
Hey, guys, the Keith grain playing self defense and playing
the Philip plate heaven his faults.

Speaker 4 (02:14:07):
Get your extra paper. Read the headline news the Master.

Speaker 56 (02:14:30):
It is the judgment of this Court that the defendent,
Teeth Grange did shoot until the deceased Philip Blake on
the night of April sixteenth, and that in so doing
he acted in a line of self defense. The Court
therefore decrease that Keith Grange shall not be held to

(02:14:52):
account for this unfortunate incident.

Speaker 57 (02:15:15):
Well, my dear, I suppose there's nothing to worry about now,
not the slightest thing.

Speaker 9 (02:15:20):
I told you from the very beginning, Sylvia, that I
acted rightly in doing.

Speaker 4 (02:15:23):
What I did.

Speaker 57 (02:15:24):
I still can't resign myself to it, but you must.

Speaker 9 (02:15:27):
It's all over. Philip is dead. Now we can be
together as much as we please.

Speaker 57 (02:15:33):
Keith, Suppose you and I should have a misunderstanding. Suppose
I should become angry, sometimes so angry I might tell
the truth to the authorities.

Speaker 55 (02:15:48):
That my dear would be most unfortunate. But it's a possibility,
and by no means should we overlook possibility. And so
allow me to remind you, Sylvia, my dear girl, you're
hiding the true facts of the matter of the coroner's
investigation automatically.

Speaker 9 (02:16:03):
It makes you an accomplience.

Speaker 11 (02:16:05):
Oh, I see, But why are we talking about this, darling?
We'll both feel.

Speaker 57 (02:16:11):
Better after we've had a little red, of course we will.

Speaker 12 (02:16:15):
Excuse me.

Speaker 57 (02:16:15):
Good night, Darling, I'm going home.

Speaker 9 (02:16:16):
I'll take you.

Speaker 57 (02:16:17):
No, i'd rather girl alone tonight, if you don't mind,
as you wish, my dear, good night, good night, darling.

Speaker 11 (02:16:24):
Sweet Will you call me in the morning, Yes.

Speaker 9 (02:16:27):
Of course I will. Good Night, good night, Darling. Pleasant dreams.

Speaker 55 (02:16:38):
That's strange, very strange. Just a moment ago that romly
Sylvia and I hear. Now she's gone yet I feel
that I'm not alone.

Speaker 2 (02:16:52):
You're not alone, Grange.

Speaker 3 (02:16:54):
What what was that.

Speaker 9 (02:16:59):
I thought I heard of?

Speaker 2 (02:17:00):
It was my voice?

Speaker 7 (02:17:03):
Who are you?

Speaker 9 (02:17:04):
Where are you? I told you i'd come back. No, No,
it's just my imagination. Is it your imagination?

Speaker 7 (02:17:13):
Graine?

Speaker 9 (02:17:14):
Yes, yes, of course I warn you.

Speaker 26 (02:17:19):
I warn you.

Speaker 2 (02:17:21):
Remember come out, Come out in the open, Come out,
I say, do you hear me? Come out here?

Speaker 4 (02:17:28):
Gun is useless against me.

Speaker 58 (02:17:30):
Now, Grain, what do you want?

Speaker 12 (02:17:32):
Tell me?

Speaker 20 (02:17:33):
What do you want?

Speaker 21 (02:17:34):
Or not?

Speaker 3 (02:17:34):
Now?

Speaker 9 (02:17:36):
The time isn't right now.

Speaker 3 (02:17:39):
But I'll be back.

Speaker 2 (02:17:42):
Watch for me and wait what and wait?

Speaker 4 (02:17:49):
Or I'll come back rain I'll that.

Speaker 9 (02:18:01):
No, no, I'm sure of it. There was no one,
no one at all. I just imagined. If that's all, Yes,
just my imagination.

Speaker 55 (02:18:31):
Sylvia, Dear, you look so tired. Here, Perhaps this will
wake you up. Present for you something I picked up today.

Speaker 57 (02:18:38):
I thought you'd like it because sweet love you, darling.
I think I can guess just for looking at the box.

Speaker 11 (02:18:45):
It's it's a ring.

Speaker 9 (02:18:48):
Are too clever? Go ahead open it?

Speaker 33 (02:18:51):
Oh my darling. We don't hurry me.

Speaker 55 (02:18:55):
Oh Sylvia, that isn't the ring I bought for you.
Look at this ring, the initials P B.

Speaker 12 (02:19:09):
Keith.

Speaker 9 (02:19:11):
This this is his rings, Sylvia. What are you saying?

Speaker 12 (02:19:14):
It's his ring?

Speaker 16 (02:19:15):
I gave it to him, I swear to you.

Speaker 33 (02:19:18):
Philip Blake was buried with that ring on his.

Speaker 4 (02:19:39):
Yeah, yeah, yes, uh.

Speaker 7 (02:19:42):
Do you mind coming around to the other side, please?

Speaker 58 (02:19:44):
Mister.

Speaker 9 (02:19:45):
That door busted and you can't get it open. Oh
very well, Sorry I asked that out here, but they ain't.

Speaker 4 (02:19:50):
Had time to get the other door fixed.

Speaker 7 (02:19:55):
Way too, friend, Oh lodding good arms hotels?

Speaker 4 (02:19:59):
All right, excellent?

Speaker 9 (02:20:01):
Eh, that's where I'm going. But you start on me.
I didn't know there was anyone in this cabin so
dark tonight, Yes, isn't it? I say?

Speaker 55 (02:20:14):
I don't seem to feel anyone in the seat here
beside me, Strange.

Speaker 2 (02:20:18):
You certainly bought me hard enough when you crawled in.

Speaker 26 (02:20:22):
Here, don't you.

Speaker 9 (02:20:25):
I beg your pardon, sir, But I never.

Speaker 2 (02:20:27):
Mind, Grange, never mind you know me? I am surprised
that you don't know me.

Speaker 9 (02:20:36):
Why, yes, your voice sounds familiar. Good Lord Philip Blake,
do you mind riding with me?

Speaker 38 (02:20:50):
Blake?

Speaker 9 (02:20:51):
You're supposed to be dead, You're supposed to be buried.
I am dead, Grange, I am buried.

Speaker 15 (02:21:02):
Cappy stopped this tab, right, sir?

Speaker 59 (02:21:05):
Don't hell this?

Speaker 3 (02:21:06):
Let me off?

Speaker 9 (02:21:06):
What's the matter of Governor?

Speaker 4 (02:21:07):
Hey, you had worn to jump out of a moving
car like that? Wasn't the name of Heaven is in
the back of that cabin? Why nothing, Governor here? See,
I'll turn on the light.

Speaker 2 (02:21:19):
See, but there was somebody in there with me. Oh now, mister,
they couldn't have been. Look for yourself. A seat's empty there.

Speaker 4 (02:21:26):
And you just jumped out on this side of the cab.

Speaker 15 (02:21:28):
The other door won't open.

Speaker 2 (02:21:31):
No, brother, there wasn't nobody in that seat with you.
Must have been your imagination.

Speaker 11 (02:21:53):
Hello, hello, Dory, there this is still yeah.

Speaker 57 (02:21:58):
I just wanted to remind you about the mask bol
at Keith's.

Speaker 60 (02:22:00):
New home tonight.

Speaker 57 (02:22:02):
You'll be there fine, now, remember masks and.

Speaker 60 (02:22:06):
Costumes for everybody. I'll be sure to come in costume,
won't you, Darby? Yes, and heavily masked, my dear. Yes,
at keith new place. Oh, Darling, wait till you see

(02:22:28):
the place that's really are mentioned.

Speaker 33 (02:22:30):
Honestly it's.

Speaker 11 (02:22:49):
Grange, I believe.

Speaker 9 (02:22:51):
So you've penetrated my disguise.

Speaker 57 (02:22:54):
I heard you order it from the consumers yesterday, Darling.
The music book starts. It's the first Dance Hours.

Speaker 9 (02:23:02):
Sylvia, my dear, every dances ours tonight. Are you happy
I bought this place?

Speaker 57 (02:23:08):
Absolutely lovely, Keith Darling.

Speaker 9 (02:23:12):
What's the matter that man in black? I've been watching
him all evening. He's been watching me.

Speaker 7 (02:23:19):
Do you know who he is?

Speaker 9 (02:23:21):
No, he just stands and stares at me. Everywhere I go,
he's always just a short distance away.

Speaker 11 (02:23:28):
Loo Keith. He's going into your study.

Speaker 9 (02:23:30):
Well, he hasn't any business in there.

Speaker 11 (02:23:32):
It's strange.

Speaker 57 (02:23:35):
I locked that door this evening so the guest wouldn't
go into your study and.

Speaker 11 (02:23:38):
The stead things.

Speaker 9 (02:23:39):
Well, he just walked right in. And dear, I'll go
see who is and what he wants. You mingle with
the guests, and I'll join you later very.

Speaker 33 (02:23:44):
Well, dear, they don't be long.

Speaker 18 (02:23:47):
I'll be waiting for you, all right.

Speaker 9 (02:23:48):
Sah, it's odd the store is locked.

Speaker 6 (02:24:00):
H yeah, dark.

Speaker 9 (02:24:07):
Piano, No, confounded, where's the light switch?

Speaker 6 (02:24:12):
H No, No, it can't be.

Speaker 9 (02:24:20):
At piano. Someone's playing and yet there's no one seated there.

Speaker 55 (02:24:30):
The keys moving up and down, playing the music, but
there are no hands on them. That melody, it's the
melody he played the night I killed him. He's playing
it now, yet he's not there.

Speaker 2 (02:24:53):
I'm here, grain Ian here, pay look closer, grain here,
I am.

Speaker 9 (02:25:03):
You see yeah, I see you now.

Speaker 2 (02:25:08):
I brought you a little gift for your masquerade party.
You'll find it lying on your desk. Turn around and
see for yourself.

Speaker 9 (02:25:20):
That's right.

Speaker 3 (02:25:23):
There.

Speaker 9 (02:25:24):
You see.

Speaker 4 (02:25:27):
M gun. It's the one you kill me with.

Speaker 9 (02:25:32):
Don't you recognize it? Where did you get that gun?

Speaker 2 (02:25:36):
I found it, Grange, and I've brought it back to you.
I put one shell in its chamber, just one Grange.

Speaker 38 (02:25:49):
But that is enough.

Speaker 10 (02:25:51):
What are you trying to do?

Speaker 4 (02:25:55):
Gone?

Speaker 9 (02:25:58):
He's gone?

Speaker 4 (02:26:02):
Lord am I mad?

Speaker 14 (02:26:03):
Was I dreaming?

Speaker 9 (02:26:07):
Oh? Another gun is here? It is my gun?

Speaker 55 (02:26:17):
One cartridge, he said, only one, one cartridge. Yes, yes,
it's the only way left. He knew it was the
only way. Now he's led me to take it. All right, Blake,
you can have your revenge. You can have it, and

(02:26:39):
you are right, it is the only way.

Speaker 9 (02:26:53):
Hmmm souh.

Speaker 2 (02:26:55):
He shot him, surfy.

Speaker 9 (02:26:57):
The evidence in there will indicate that he did.

Speaker 2 (02:27:00):
Yes, say that's quitey young you spoon zorro.

Speaker 9 (02:27:04):
It is nothing but the truth.

Speaker 2 (02:27:07):
Come on, now, come on, my friend, let's take off
your mask and have a look at you. One moment,
Keith Grange shot Philip Blake squarely between the eyes.

Speaker 7 (02:27:20):
Yeah, so what that.

Speaker 9 (02:27:24):
Doesn't make a very pretty sight?

Speaker 2 (02:27:28):
Well I don't see what that's got to do with.
Here comes the captain. Here, take that mask off, you
captain Sullivan. Come here, ask Katy what is it? I
was remarked, here, I won't take off his mask. He's
been spinning me the most fantastic year never heard in
all of my h.

Speaker 45 (02:27:49):
Of where'd you go?

Speaker 9 (02:27:50):
Huh? When he'll go say, did you let somebody get
out of this house?

Speaker 4 (02:27:54):
Casey?

Speaker 2 (02:27:55):
No, no, no, no, said Captain No. I didn't, but
he was. He was had to here just a minute ago.
You wouldn't take off his mask? He told me the
Dundas story about a murdered man coming back from the grave.

Speaker 6 (02:28:09):
See have you been there?

Speaker 9 (02:28:11):
The punch bowl? There's no one here? Now, wait a minute,
what's this day?

Speaker 10 (02:28:17):
Here on the floor.

Speaker 24 (02:28:21):
Blood, a little pool of it there on the floor,
right in the exact spot where the man in black
was standing.

Speaker 2 (02:29:03):
A fantasy, The Man who Came Back, an original tale
of dark Fantasy by Scott Bishop Ben Morris. Was Keith Grange,

(02:29:28):
eleanor Naylor Corn was heard of. Sylvia red Wain took
the part of Casey your height was Captain Sullivan, Murollosko
Field the cab driver, and Eugene Francis was the Man
who came back.

Speaker 9 (02:29:40):
Ladies and gentlemen every Friday night.

Speaker 2 (02:29:42):
At this time the National Broadcast the National Broadcasting Company,
will bring you dark fantasy tales of the weird adventures
of the supernatural, created for you by Scott Bishop.

Speaker 9 (02:29:55):
Listen one week.

Speaker 2 (02:29:55):
From tonight, while the breathtaking story of the Tombs of
Ancient the Soul of Shanghai Wan. This is the National
Broadcasting Company.

Speaker 61 (02:30:18):
Welcome, ladies and gentlemen to my open house of horror
and to a series of stories from the other side
of sanity. This is the second and in the science
of numerology, a science that has long intrigued me, it
is said that the number two is a strongly feminine number.

(02:30:43):
My story today shows a woman who is indeed strong
surprisingly so. And it is a story which may disturb
you by its implications, But the frontiers of science are
forever being pushed back. The doctor in my story acted
only from the purest of motives. Could the same be

(02:31:06):
said of Mary Pearl, the somewhat plump and merry widow
who confided in me at a cocktail party. Yes, as
I was saying, the number two has a strongly feminine aura.
But let us begin not at the beginning, but rather
at the end. Or was it really the end. Story

(02:31:27):
Number two is about William and Mary.

Speaker 4 (02:31:38):
I am the resurrection and the life, said the Lord.

Speaker 62 (02:31:42):
He that believeth in me, though he were dead, yet
shall he live?

Speaker 4 (02:31:48):
And who's who ever liveth and believe.

Speaker 38 (02:31:50):
Within me, shall never die.

Speaker 63 (02:31:59):
So you see, missus Pearl, Apart from the few small
bequests already mentioned, your late husband has left all his
property to you. It is solicitor. I've been instructed to
give you this letter. No doubt you'd like to take
it home with you and read it in privacy.

Speaker 64 (02:32:15):
Oh, thank you, Yes, yes, I'll do that. This note,
my dear Mary, is entirely for you, and will be
given to you shortly after I am gone.

Speaker 33 (02:32:39):
Do not be alarmed by the sight of all this writing.

Speaker 64 (02:32:42):
It is nothing but an attempt on my part.

Speaker 39 (02:32:45):
To explain to you exactly what doctor Landy is going
to do. During the past few days, I have tried
very hard to speak with you about Landy, but you
have steadfastly.

Speaker 10 (02:32:57):
Refused to give me a hearing.

Speaker 39 (02:32:59):
Is very foolish attitude to take, and it stems mostly
from ignorance. I swear to you that when you have
read my story, your sense of antipathy will vanish, and
I dare to hope that you will become a little
proud of what your.

Speaker 10 (02:33:15):
Husband has done.

Speaker 39 (02:33:18):
As my time draws near, it is natural that I
begin to brim with every kind of sentimentality. I have
a wish, for example, to write something about you and
what a satisfactory wife you have been to me through
the years. I have a yearning also to speak about Oxford,
where I've been living and teaching for the past seventeen years.

(02:33:41):
All the things and places that I loved so well
keep crowding in on me now in this gloomy hospital room,
and I can see them more clearly than ever. The
details of the illness that struck me down in my
middle life are well known to you, and I do
not need to repeat them here. Suffight it to say
that I admit at once how foolish I was not

(02:34:02):
to have gone earlier to my doctor.

Speaker 10 (02:34:05):
Six weeks ago, John Landy came to see me.

Speaker 39 (02:34:10):
He is a magnificent eurosurgeon, much involved with the varying
effects of prefrontal lobotomies upon different types of psychopath Maybe
you have never met him, but he and I have
been friendly for at least nine years, and the moment
he entered my room, I knew there was some sort
of madness in the wind.

Speaker 10 (02:34:32):
William, my boy, this is perfect.

Speaker 38 (02:34:35):
You're just the one I want.

Speaker 10 (02:34:36):
Good day here, John, Do take a pew. How may
I be of help?

Speaker 3 (02:34:41):
Now?

Speaker 38 (02:34:41):
Look, in a few weeks you are going to be dead,
correct so it would seem. And then they'll pick you
out a great You're ary me that is even worse.
And then what do you believe in good heaven?

Speaker 39 (02:34:53):
I doubt it, though it would be comforting to think
so well that I don't really see why they should
send me there.

Speaker 38 (02:34:59):
You never know, my dear, what is all this about? Joel? Personally?
I don't believe that after you're dead you'll ever hear
of yourself again, unless unless you have the sense to
put yourself into my hands. I'm really serious about it, William,
Which you care to consider a proposition?

Speaker 10 (02:35:14):
I don't know what you're talking about.

Speaker 38 (02:35:16):
Listen and I'll tell you.

Speaker 39 (02:35:18):
Go on then if you like I d if, I've
got very much to lose by hearing it.

Speaker 38 (02:35:21):
On the contrary, you have a great deal to gain,
especially after you're dead. This is a thing, William, that
I've been working on quietly for some years, one or
two others here at the hospital have been helping me.
We've completed a number of fairly successful trials with laboratory animals.
I am at the stage now when I'm willing to
have a go with that human. It's a big idea,
and it may seem a bit far fetched at first,

(02:35:43):
but from a surgical point of view, there doesn't seem
to be any reason why it shouldn't be more or
less practicable. Now, quite a long time ago I saw
a short medical film that had been brought over from Russia.
It showed a dog's head completely severed from the body,
and with the normal blood supply being maintained through the
arteries and veins by a means of an artificial heart. Now,

(02:36:05):
the thing is this, That dog's head, sitting there all
alone on a sort of tray, was alive. I find
that difficult to believe. I tell you the brain was functioning.
They proved it by several tests. For example, when food
was smeared on the dog's lips, the time would come
out and lick it away, and the eyes would follow

(02:36:25):
a person moving across the room. Now, then, my own
thought is to remove the brain from the skull of
a human being, and keep it alive and functioning as
an independent unit for an unlimited period after he is dead,
your brain for exhaust so interrupted him. Far as I
can tell, the brain is a peculiarly self supporting object.

(02:36:47):
The magic processes of thought and memory which go on
inside it are manifest there, not impaired by the absence
of limbs or drunk or even of skull, provided that
you keep pumping in the right kind of blood under
the proper Yes, but idea, William, Just think of your
own brain. It is in perfect shape. It is crammed
full of a lifetime of learning. It's soon it is

(02:37:08):
going to die, along with the rest of your body,
simply because your silly little pancreas is riddled with cancer.

Speaker 10 (02:37:14):
No, thank you, you can stop there.

Speaker 39 (02:37:16):
It's a repulsive idea, and even if you could do it,
it would be quite pointless. What possible use is there
in keeping my brain alive? If I couldn't talk, or see,
or hear or feel personally, I can think of nothing
more unpleasant.

Speaker 38 (02:37:30):
Harvard, I haven't told you about the eye yet. We
might even succeed in giving you a certain amount of
vision and listen I would try to leave one of
your optic nerves intact, as well as the eye itself.
The beauty of it is that it's not really a
nerve at all. It's an out pouching of the brain
and is attached to the eyeball, so the back of
the eye is very close.

Speaker 10 (02:37:52):
Contact with the brain. You see, how convenient.

Speaker 38 (02:37:54):
I'm afraid there wouldn't be any muscles there to move
it around, but it might be sort of fine to
lie there quietly and peer out at the world.

Speaker 9 (02:38:03):
Hilarious.

Speaker 39 (02:38:04):
How about leaving me an ear as well?

Speaker 38 (02:38:06):
I'd rather not try an ear this day.

Speaker 39 (02:38:07):
I want an ear. I insist upon an arrow. I
want to listen to Bach.

Speaker 38 (02:38:11):
Don't understand how difficult it would be. The hearing apparatus
is a far more delicate mechanism than the eye. You
really must leave me to decide what is possible? What
Isn't you talk as if it's all arranged? I tell you,
I don't fancy the idea. Would you rather be dead altogether?

Speaker 10 (02:38:28):
Perhaps?

Speaker 39 (02:38:28):
I would don't know yet I wouldn't be able to speak,
would I of course not?

Speaker 10 (02:38:32):
Then how could I communicate with you?

Speaker 39 (02:38:35):
But if it turned out to be terribly painful, and
I couldn't stand no legs to run.

Speaker 6 (02:38:39):
Away or no voice to scream with it?

Speaker 39 (02:38:42):
How would you know if I were conscious of that?

Speaker 38 (02:38:44):
Part would be easy. An ordinary electra and cathleograph could
tell us that we'll attach the electrodes to the frontal lobes.

Speaker 10 (02:38:51):
Of your breed.

Speaker 39 (02:38:51):
I couldn't communicate with you.

Speaker 10 (02:38:53):
As a matter of fact, I believe you could.

Speaker 38 (02:38:55):
There's a man up in London called Vatheimer who's doing
some interesting work on that subject of thought communication. You know,
the brain throws off electrical discharges rather rather.

Speaker 10 (02:39:06):
Like radio will I know a bit about it?

Speaker 6 (02:39:07):
Well?

Speaker 38 (02:39:08):
Vertheimer has constructed an apparatus which produces a kind of
graph which is apparently decipherable into words and thoughts.

Speaker 10 (02:39:15):
Would you like me to ask him to come and.

Speaker 39 (02:39:16):
See you're assuming that I believe any of this nonsense stuff,
Why don't you just go away and leave me alone?

Speaker 38 (02:39:22):
As I think that's a very short sighted attitude. You'll
be fascinated when you hear about the actual operations. So
I'll come to all that later on. The fact remains
that you are going to die fairly soon, whatever happens,
and my plans were not involved touching you until after
you were dead. Now, come now, William, no true philosopher
could object to lending his dead body in the course

(02:39:43):
of science. After all, you carry a donor God, did you?

Speaker 10 (02:39:47):
That's hardly the same thing.

Speaker 39 (02:39:49):
And it seems to me there is some doubts as
to whether I were dead or alive at the time
you'd finish with me.

Speaker 38 (02:39:55):
Well, I suppose you're right about that, but I don't
think you ought to turn me down just yet before
you know a bit more about it.

Speaker 39 (02:40:00):
I've heard more than enough already, Thank you. I can
do without the gory detail or not.

Speaker 10 (02:40:04):
Don't be depressed. Man, Here, would you like a cigarette?

Speaker 39 (02:40:07):
I don't smoke, you know that disgusting habit?

Speaker 4 (02:40:10):
Well?

Speaker 10 (02:40:12):
May I go on?

Speaker 9 (02:40:13):
Kind of?

Speaker 10 (02:40:13):
Rather you didn't, I think you will find it quite interesting.

Speaker 38 (02:40:17):
At the moment of death. I should have to be
standing by so that I could step in immediately and
try and keep your brain alive.

Speaker 39 (02:40:24):
You mean leaving it in my head?

Speaker 38 (02:40:25):
Well to start with, yes, i'd have to.

Speaker 39 (02:40:28):
And where would you put it after that? If you
want to know in a sort of basin are you
really serious about this?

Speaker 38 (02:40:38):
Certainly I'm serious?

Speaker 9 (02:40:42):
All right?

Speaker 7 (02:40:43):
Go on.

Speaker 38 (02:40:44):
Well, I suppose you know that when the heart stops
and the brain is deprived of fresh blood and oxygen,
its tissues die very rapidly, anything from four to six minutes,
and the whole thing is dead. So I should have
to work quickly to prevent this from happening. But with
the help of the machine, it should be all quite simple.
At what machine the artificial heart. We've got a nice

(02:41:07):
version here in this hospital which can do all the
necessary things. It's really not at all complicated that as rain.
You see, the blood supplied to the brain is derived
from two main sources, the internal carotid arteries and the
vertebral arteries. And the return system is even simpler. The

(02:41:28):
blood is drained away by only two large veins, the
internal jugulars around the brain itself. They naturally branch out
into other channels, but they don't concern all.

Speaker 10 (02:41:40):
Right, imagine I've just died. What is the first thing
you would do?

Speaker 38 (02:41:46):
Indeed, I should immediately open your neck and the cake
to the four artteries.

Speaker 10 (02:41:51):
I should then.

Speaker 38 (02:41:52):
Stick a large hollow needle into each. These four needles
would be connected by tubes to the artificial heart. Then
I would dissect up the left and right jugular veins
and hitch them to the heart machine as well to
complete the second. You wouldn't be like their Russian dog,
for one thing, and certainly lose consciousness when you die.

(02:42:14):
And I have very much doubt if you'd come to
again for quite a long time, if at all, but
conscious or not, you'd be in rather an interesting position,
wouldn't you. You'd have a cold, dead body and a
living brain. We could now afford to take our time,
and believe me, we'd need it. The next thing we'd

(02:42:38):
do would be to wheel you to the operating.

Speaker 3 (02:42:43):
Ah.

Speaker 38 (02:42:44):
It's important that you should know precisely what is going
to happen to you all the way through.

Speaker 10 (02:42:49):
You see afterwards, when you're again consciousness.

Speaker 38 (02:42:51):
It will be much more satisfactory from your point of
view if you're able to remember exactly where you are
and how you came to be there, if only if
your own piece of mine, sir. The next problem is
to remove your brain from your dead body. The body

(02:43:14):
is useless, in fact, it has already started to decay.
The skull and the phase are also useless. They're both encumferences.
All I want is your brain, a clean beautiful brain
alive and perfect, sir. Now, I'm going to take this
more oscillating saw and proceed to remove the whole vault

(02:43:38):
of your skull. Could be rather painful, but if I'm
sure you're quite unconscious, William, I won't have to bother
with an anesthetic of any kind. Now, William, I've got
the upper half of your skull off so that the
top of the brain, wrapped in its outer covering, is exposed.

(02:44:00):
And the next step is the really tricky one. I've
got to release the whole package so that it can
be lifted cleanly away, leaving the stubs and the arteries
and veins hanging underneath to be reconnected to the machine.
This is an immensely lengthy and complicated business, involving the

(02:44:21):
delicate chipping away of much bone.

Speaker 10 (02:44:24):
To do this, I shall now take this.

Speaker 38 (02:44:29):
And slowly bite off the rest of your skull and
begin to peel it off downward like an orange, until
the sides and underneath of the brain are fully exposed.

(02:44:52):
It's all right. I have plenty of time because the
artificial heart is continually pumping away alongside the operating table.
Now your brain is connected to your body only at
the base by the spinal column and the veins and arteries.

(02:45:12):
So I am now severing your spinal column just above
the first cervical vertebra, taking great care not to harm
the two vertebral arteries which are in the area. Now, William,
I'm ready for my final move. On this side table,

(02:45:38):
I have a basin of a particular shape and it
is filled with what we call Ringer's solution, that is
a special kind of fluid we use in eurosurgery. At
this point, I am cutting your brain completely loose by
severing the supply arteries and the veins.

Speaker 10 (02:46:01):
Claps, please quickly, not thank you.

Speaker 38 (02:46:05):
So I pick your brain up in my hands and
transfer it to the basin. Yeah, don't worry, It'll only
take me a moment to reconnect your veins and arteries
to the artificial heart. There you are. Your brain is

(02:46:26):
now in the basin and still alive, I hope, and
there isn't any reason why I shouldn't stay alive for
a long time. You'll be delighted to know that I
have managed to leave one of your optic nerves intact,
as well as the eye itself. Now I'm putting your
eye into the small plastic case I constructed for it

(02:46:50):
to take the place of a socket, and your eyeball
is rising to float on the surface of the liquid.

Speaker 3 (02:46:58):
There Now.

Speaker 38 (02:47:01):
Your eyeball in its case is staring up at the ceiling.
I'm sorry I couldn't leave you an ear as you wanted, William,
But if your eye works, it doesn't matter all that
much about your hearing. We can hold up messages for
you to read now so that we can tell whether

(02:47:21):
you are again consciousness. We'll attach these electrodes to the
frontal lobes of your brain there in the patient, and
the electra and cathlograph will register your thought waves. How
lucky you are. Your thinking is no longer influenced by

(02:47:42):
your senses. You are living in an extraordinarily pure and
detached world. Nothing to bother you at all, not even pain,
no worries or fears of pains, or hunger or thirst,
not even any desires. Your brain could stay alive for

(02:48:03):
two or three hundred years in circumstances like these.

Speaker 10 (02:48:10):
All goodbye, and now will him. I'll drop in and
see you tomorrow.

Speaker 64 (02:48:20):
I lay in bed thinking for a long time after
John Landy left. There was something basically repulsive about the
idea that I myself.

Speaker 39 (02:48:30):
Should be reduced to a small, slimy blob lying in
a pool of water. Then my mood began to change,
and I found myself able to examine Lander's proposals in
a more reasonable light. I am rather proud of my brain.
As brains go, it is a damn good one. Landy

(02:48:50):
has assured me that when my brain is in the basin,
I shall be able to think and reason as I
can now.

Speaker 10 (02:48:58):
Even the power of memory will remain.

Speaker 9 (02:49:02):
Well.

Speaker 7 (02:49:02):
Mary.

Speaker 39 (02:49:03):
As you know, I have tried to discuss this subject
with you many times, but you have refused to give
me a hearing. Therefore, when it comes to see me tomorrow,
I shall tell him straight out that I'm going to
do it. I won't say goodbye to you, because there's
a tiny chance that if Landy succeeds in.

Speaker 10 (02:49:21):
His work, I may actually see you again.

Speaker 39 (02:49:25):
I'm giving orders that these pages shall not be delivered
to you until a week after my death. Be good
when I am gone, and always remember that it is
harder to.

Speaker 10 (02:49:36):
Be a widow than a wife.

Speaker 39 (02:49:39):
Be diligent and dignified in all things. Be thrifty with
your money. Do not drink cocktails, do not smoke cigarettes,
do not eat pastry, do not use lipstick, do not
buy a television apparatus. And incidentally, I suggest that you
have the telephone disconnected now that I.

Speaker 58 (02:49:58):
Shall have no further you for it.

Speaker 64 (02:50:01):
But before doing so, please give Landy a call to
see how things went with me.

Speaker 38 (02:50:07):
I'm so glad you called at last, Missus Pearl. You're
quite well, I hope. I wonder if you would care
to come over here to the hospital that we can
have a little chat. I expect you are very eager
to know how it all came out. Well, I can
tell you now that everything went pretty smoothly, far better
in fact than I was entitled to hope. It's not
only a live was Pearl. It's conscious. Isn't that interesting?

(02:50:31):
And the eye is seeing. We are sure of that
because we get an immediate change in the deflection on
the kpnograph where we hold something up in front of it,
and now we're giving it the newspaper to read every day?

Speaker 18 (02:50:40):
Which newspaper in the daily mirror?

Speaker 10 (02:50:43):
The headlines are larger.

Speaker 18 (02:50:44):
He hates the Mirror. Give him the Times, Oh very well.

Speaker 38 (02:50:48):
Missus Pearl, will give it the Times. We actually want
to do all we can't give it happy.

Speaker 12 (02:50:53):
Him, not it him him.

Speaker 10 (02:50:57):
Yes, yes, I make your pardon to keep him happy.

Speaker 38 (02:51:01):
That's one reason why I suggested you should come along
here as soon as possible.

Speaker 10 (02:51:05):
I think it'd be good for him to see you.

Speaker 38 (02:51:07):
You could indicate how delighted you are to be with
him again, smile at him, and blow him and kiss,
all that sort of thing. It's bound to be a
comfort him to know that you're standing by. Well, you
mustn't be surprised by what he looks like, missus Ball. No,
it's abound to be a bit of a shock to
you at first. It's not very prepossessing in his present state, Unfred.

Speaker 18 (02:51:28):
I didn't marry him for his looks.

Speaker 38 (02:51:30):
Doctor Ah, Well, I take your time. When you get
inside the room, he won't know you're in there. And
if you place your face directly above his eye, the
eyes always open, but he can't move it. The tolls
of the field of visions very narrow.

Speaker 10 (02:51:43):
Present.

Speaker 38 (02:51:44):
We have it looking straight up at the ceiling, and
of course I can't hear anything. We can talk together
as much as we like.

Speaker 10 (02:51:50):
I'm in here.

Speaker 38 (02:51:56):
Well, I wouldn't go to close yet, stay back here
a moment with me, if you get used to it.
He's in that big enamel bowl, that white bowl over there. Come,
that's a little closer, not too near. That's the eye
in there. Can you see it?

Speaker 10 (02:52:14):
Yes, as far as we can tell, it's still in
perfect condition.

Speaker 38 (02:52:16):
It's is right high, and the plastic container has a
lens on it, similar to the one he used in
his own spectacles.

Speaker 18 (02:52:22):
Staring at the ceiling all the time. Kind of much fun.

Speaker 10 (02:52:24):
I don't worry.

Speaker 38 (02:52:24):
We're in the presence of working out a whole program
to keep him amused. But we don't want to go
too quickly at first, get him a good book, we will,
we will. Are you feeling all right, missus bowl?

Speaker 7 (02:52:34):
Yes?

Speaker 38 (02:52:34):
Then we'll go forward a little more, shall we, and
you'll be able to see the whole thing.

Speaker 10 (02:52:41):
There you are, This is with him?

Speaker 18 (02:52:45):
Goodness, isn't he large? He looks like an enormous pickled wallner.

Speaker 38 (02:52:49):
You'll have to lean over and put your pretty face
right above the eye. He'll see you then, and you
can smile at him and blur him that kiss. If
you'd say a few nice things as well, he won't
act you hear them, but I'm sure you get.

Speaker 10 (02:53:01):
The general idea.

Speaker 18 (02:53:02):
He hates people blowing kisses at him. I'll do it
my own way if you don't mind.

Speaker 64 (02:53:10):
Hello, dear, it's me Mary.

Speaker 11 (02:53:13):
Are you feeling all right?

Speaker 14 (02:53:14):
William?

Speaker 11 (02:53:16):
Your eyeball looks.

Speaker 64 (02:53:17):
Quite interesting, that network of tiny red veins, and there
are little dark streaks in the eyries although it's so blue,
ice blue. I never noticed them before I got your letter, dear,
and came over at once to see how you were.
Doctor Landy says, you're doing wonderfully well. Perhaps if I

(02:53:40):
talk slowly you can understand a little of what I
am saying by reading my lips.

Speaker 18 (02:53:48):
I'm sure you're watching me.

Speaker 64 (02:53:51):
You look so calm and kindly like this, William, almost cowlike,
with that soft, gentle look in your eye.

Speaker 18 (02:54:01):
Are you quite sure he's conscious, doctor?

Speaker 7 (02:54:02):
Oh?

Speaker 10 (02:54:03):
Yes, yes completely, And he can see me perfectly.

Speaker 18 (02:54:07):
Isn't that marvelous? I expect he's wondering what happened, not
at all.

Speaker 38 (02:54:11):
He knows perfectly well where he is and where he's there.
He can't possibly have forgotten that.

Speaker 18 (02:54:15):
You mean, he knows he's in the space, of.

Speaker 38 (02:54:16):
Course, and if he only had the power of speech,
you'd probably be able to carry on a completely normal
conversation with it this very minute.

Speaker 64 (02:54:24):
But you can't talk, can you dear? No arguments and criticisms,
no ban on smoking, no shirts to wash and iron,
no meals to cook.

Speaker 18 (02:54:36):
I could live very comfortably with you as you.

Speaker 38 (02:54:38):
Are now, William.

Speaker 10 (02:54:39):
Are you all right, missus Pelt?

Speaker 3 (02:54:41):
Oh?

Speaker 18 (02:54:41):
Yes, yes, yes, thank you, Doctor Landy.

Speaker 64 (02:54:43):
I was just thinking, I do believe I'm suddenly getting
to feel the most enormous affection for him.

Speaker 18 (02:54:49):
Does that sound strange?

Speaker 10 (02:54:50):
I think it's quite understandable.

Speaker 64 (02:54:53):
He looks so helpless and silent, lying there under the
water in his little basin.

Speaker 39 (02:54:59):
I could pay that's what he's like.

Speaker 64 (02:55:01):
He's exactly like a little baby, the William my pet.
From now on, Mary's going to look after you all
by herself, and you have nothing.

Speaker 3 (02:55:15):
To worry about in the world.

Speaker 10 (02:55:17):
It's almost as if he's trying to say something to it.

Speaker 18 (02:55:20):
When can I have him back home?

Speaker 12 (02:55:22):
Doctor?

Speaker 18 (02:55:23):
A bigger pardon, I said, When can I have him
back in my own house?

Speaker 3 (02:55:27):
Oh?

Speaker 10 (02:55:27):
You're joking?

Speaker 18 (02:55:28):
Why should I joke?

Speaker 10 (02:55:29):
We couldn't possibly be moving?

Speaker 4 (02:55:31):
Why not?

Speaker 10 (02:55:31):
This is a scientific experiment.

Speaker 18 (02:55:33):
It's my husband of the landing.

Speaker 10 (02:55:35):
It is my husband, you know, but that is rather
a tricky point.

Speaker 38 (02:55:40):
Your husband was buried only a couple of days ago.

Speaker 36 (02:55:43):
You are a widow now, missus bow I want him back.

Speaker 18 (02:55:50):
Would you care for a cigarette?

Speaker 3 (02:55:51):
Doctor? No?

Speaker 10 (02:55:52):
Thank you?

Speaker 38 (02:55:53):
Should we go back to my room now? Smoking isn't
really permitted in the laboratories the way.

Speaker 10 (02:55:58):
Art is over here.

Speaker 32 (02:56:00):
I go with you in a moment.

Speaker 64 (02:56:01):
I want a private word with my husband. Mary's leaving now, sweetheart,
And don't you worry about a single thing. You understand
We're going to get you right back home where we
can look after you properly, just as soon as we
possibly can.

Speaker 20 (02:56:18):
And listen, dear, Oh, don't you like.

Speaker 18 (02:56:23):
The nasty cigarette smoke? William? I can see you, didn't.
You're looking at me just as you used to.

Speaker 38 (02:56:39):
Come on, missus Peth, don't look.

Speaker 11 (02:56:42):
So cross, William.

Speaker 18 (02:56:44):
It isn't any good looking cross just because you've got
smoke in your eye, Not anymore.

Speaker 64 (02:56:50):
It isn't because from now on, my pet, you're going
to do exactly what Mary tells you. And I do
you understand that?

Speaker 18 (02:57:00):
Naughty boy again? Will you, my precious naughty boys? I
like to get published? Good Bye, darling on you that
soon this sweet isn't he wasting a home?

Speaker 64 (02:57:19):
And one day soon, William, there will be a little
keelly of your own hanging from the ceiling so we
can watch the programs together.

Speaker 11 (02:57:31):
Won't that be nice?

Speaker 61 (02:57:39):
Think about William when you go to bed tonight and
close your eyes. William can never close his eye. For him,
there is no sleeping and waking to separate his days,
just one long, continuous viewing of everything he hates. In

(02:58:12):
the story to Day, Joss Acklin played doctor Landy and
Elizabeth Morgan was Mary. William was played by Alan Dudley,
and John Badley was both priest and solicitor. William and
Mary was written by Roald dah dramatized by Jill Brook

(02:58:32):
and directed by Jerry Jones. My name is Edward de Sousa,
the Man in Black, and I'll be here next week
with story number three. And as you know, things happen
in threes. Things certainly happen next week. Until then, be

(02:58:54):
nice to each other.

Speaker 65 (02:59:07):
This is five after the Hour by less Winerrot. This

(02:59:37):
is an invitation to the drama. This is a request
to listen. This is five after the Hour. Music for

(03:00:04):
five after the Hour is the original composition of sal
Stacco and the orchestra is under the direction of Louis Panika.

(03:00:29):
Now you're invited to listen to the new suit. This

(03:00:52):
is a story about a man's suit now on the
rack of the clothing store. It resembles each one of
its brothers in every tale.

Speaker 66 (03:01:00):
At number three oh five eight one lot double breasted
men's suits, blue with white chalk stripes, thirty nine fifty.

Speaker 65 (03:01:09):
This suit had come into being in the ordinary way.
The wool came from sheep raised in Montana, the thread
was manufactured in Massachusetts, and the tailoring was done in
New York. The entire garment was made entirely under government regulations,
and the manufacturer's representative said.

Speaker 12 (03:01:26):
Say for a war garment, that's very handsome, very handsome.

Speaker 6 (03:01:31):
Yes, it was quite an ordinary suit.

Speaker 10 (03:01:34):
And then it was sold. This is its story.

Speaker 67 (03:01:51):
Stand up straight out, looking that incheem thirty one inch,
look up it in thirty one inch thirty one inches
and inch and a half of coff in one and
one half h Let me raise up the right shoulder
a little bit, shortened the sleeve. Mike mark, raise right

(03:02:19):
shoulder right, and shortened sleeves and marked. Let me m hm,
reset the buttons, re said, buttons? You know, yeah, it's
in the business.

Speaker 45 (03:02:39):
Why can I have it? Well, with conditions as they are,
in the rush, say Friday, I gotta have it now.
I'll wait, But that's impossible. Either I get up now
or it's no dice. Well I couldn't you rush it
through this afternoon, mister fier Reno.

Speaker 4 (03:02:58):
But well, if it's for you, okay.

Speaker 45 (03:03:04):
You can pick.

Speaker 67 (03:03:06):
I suppose you come by five o'clock, five o'clock at
the clothing good.

Speaker 45 (03:03:12):
I'll be back by now. Then, if you'll just give
me your name and address, sergeant, we can send you
your father.

Speaker 4 (03:03:19):
Give it.

Speaker 58 (03:03:19):
Some guy wants to be a hero.

Speaker 20 (03:03:32):
We have no white shirts, but perhaps i'll take three
of the plain blue ones colan sleeves.

Speaker 10 (03:03:37):
I I don't know.

Speaker 9 (03:03:42):
What's your guess.

Speaker 12 (03:03:55):
Well, these are the only shorts we have, limit three
to a customer.

Speaker 68 (03:03:58):
Well, how about some of these solid color rayons. They're
very smart, don't you.

Speaker 6 (03:04:14):
Think, lady.

Speaker 58 (03:04:14):
I've been wearing the same solid color for three years.
Now show me something with patterns, lots of patterns, and
don't hold back on the colors.

Speaker 9 (03:04:33):
Eh.

Speaker 45 (03:04:34):
There, you are a perfect fit. Eh fear.

Speaker 16 (03:04:37):
You know, it's like she wasn't made for him.

Speaker 45 (03:04:41):
Now, with your honorable discharge button in your buttonhole, you're
all set, sergeant, or I mean, mister Jones.

Speaker 58 (03:05:05):
Take a walk for yourself, mister Biff Jones. Stroll down
the avenue. Take in the sights. Done, looks so self conscious.
You you were a pseudo sighte lung and you did
a uniform.

Speaker 38 (03:05:23):
I have breathed deep.

Speaker 6 (03:05:27):
It's free air.

Speaker 58 (03:05:29):
You're a free man. No more buy the numbers. You're
a civilian, son, a lousy, no good live off the
fat of the land. Civilian. Hey, you look sure, feel good?
You got do Raymie in your pocket. You own the world.
Oh here comes an MP. Okay, unbutton your coat and

(03:05:52):
let your shirt tails hang out. If you want to relax,
you ain't fighting the war with anybody. Must be near
child time or lunch time. Treat yourself to a meal,
mister Jones. They're not such a bad guy.

Speaker 20 (03:06:27):
Yellow cart breakfast or all you can have?

Speaker 58 (03:06:28):
Now, how about lunch?

Speaker 9 (03:06:30):
Lunch?

Speaker 58 (03:06:32):
No, it's eleven o'clock, isn't it.

Speaker 20 (03:06:34):
Okay, mister, If you want to eat lunch an hour
before everybody else, that's your business only you'll have to
order a la carte the blue plate. Don't go on
till eleven thirty.

Speaker 2 (03:06:44):
We'll it be.

Speaker 58 (03:06:46):
I'll have a h.

Speaker 12 (03:06:50):
Never mind, I'm sorry.

Speaker 20 (03:06:54):
I didn't mean to sound snippy. Just at a running
with a chef. We're all shorthanded.

Speaker 33 (03:07:01):
Would you like.

Speaker 20 (03:07:02):
Chopped steak, mashed potatoes, beans and salad.

Speaker 18 (03:07:04):
I can get that for you in a.

Speaker 19 (03:07:05):
Couple of minutes.

Speaker 33 (03:07:06):
It's on the steam table.

Speaker 58 (03:07:07):
Now, that'd be fine.

Speaker 20 (03:07:09):
Okay, I'll be right back. The morning paper's on the
rack right behind you.

Speaker 58 (03:07:14):
Soldier, Come on, lordie, tell the truth. You knew I
was a soldier by my discharge button.

Speaker 21 (03:07:33):
I not altogether in.

Speaker 16 (03:07:35):
The first place.

Speaker 20 (03:07:36):
You come into the restaurant at eleven o'clock and you
want lunch.

Speaker 33 (03:07:39):
I figure you're used to an early child. And then
you're sued.

Speaker 16 (03:07:44):
And what's wrong with my suit? But nothing?

Speaker 20 (03:07:46):
It's very sharp, But brother, is it new?

Speaker 33 (03:07:50):
Everything on you shrieks brand new?

Speaker 10 (03:07:54):
Yeah?

Speaker 58 (03:07:55):
Yeah, I suppose.

Speaker 69 (03:07:58):
How come you ask me for.

Speaker 12 (03:07:59):
A date with the as Zoo?

Speaker 20 (03:08:00):
Of course you're a number one heart thrub stands yup.
I'm sorry if I said the wrong thing, he.

Speaker 58 (03:08:07):
Didn't say the wrong thing. I wish there wasn't number
one that she had stood me up.

Speaker 20 (03:08:14):
I don't quite know what to say.

Speaker 58 (03:08:17):
You don't have to say anything, okay.

Speaker 19 (03:08:20):
Okay, beer?

Speaker 7 (03:08:25):
Yeah, mind if we sit down, okay by me?

Speaker 20 (03:08:32):
Where'd you get the name beer?

Speaker 58 (03:08:35):
That's a long story. You'll be bored.

Speaker 20 (03:08:38):
Listen. Will you get the chip off your shoulder and
act like a human being? Or do you want me
to get up and leave?

Speaker 58 (03:08:45):
Thanks for giving me a choice. I'm sorry, okay, okay.
The old man was a fighter boxer Prilims. Mostly Once
he was sparking under to the champ he named me
a bit.

Speaker 33 (03:09:04):
Oh.

Speaker 58 (03:09:05):
I never thought much about it until I got in
the army. The guy started to ride me. They didn't
after a bit.

Speaker 7 (03:09:14):
Where is your father dead?

Speaker 9 (03:09:17):
Mother too?

Speaker 3 (03:09:19):
Oh?

Speaker 33 (03:09:19):
I'm sorry.

Speaker 58 (03:09:21):
They died when I was a little kid. Never liked
the orphanage, busted out one of my own. Yeah, did
lots of things till the war came and no, no,
I don't know. For three years somebody else did all
the thinking for me. Never had to worry about anything,

(03:09:44):
board room, clothing, job, nothing, No, it's different mm hmm,
funny thing Like most guys. I never in particularly liked
the army it's one of those things. Yes, Now, now
I feel more alone than I did when my folks died.

(03:10:10):
Screw you.

Speaker 9 (03:10:12):
Mm hmm yeah.

Speaker 58 (03:10:16):
And I put my final thumb mark on the discharge papers.
I thought to myself, Biff, you're out. You're gonna get
out of this uniform and buy yourself a suit, a
civilian suit of clothes. You're not gonna belong to anything.
That's how it is. I don't.

Speaker 12 (03:10:39):
Well, give yourself time.

Speaker 20 (03:10:40):
Be give yourself time.

Speaker 58 (03:10:44):
I will, oh and say, Laurie, yes, thanks for listening.
I felt like a jerk. How I feel better?

Speaker 7 (03:10:59):
Okay?

Speaker 20 (03:11:01):
And I hope you feel good enough to be good
and hungry?

Speaker 14 (03:11:04):
I am.

Speaker 20 (03:11:25):
So what happened?

Speaker 58 (03:11:26):
I saw the guy about the educational program?

Speaker 5 (03:11:30):
Well, he said, mess, but okay, can I have some water?

Speaker 2 (03:11:35):
Oh?

Speaker 20 (03:11:35):
Sure, I'll be bad?

Speaker 4 (03:11:38):
Anything else?

Speaker 16 (03:11:41):
Ah?

Speaker 58 (03:11:43):
Hey, old beer him mister kibble.

Speaker 12 (03:11:47):
Ah, you look fine, tonight, fine?

Speaker 58 (03:11:52):
Thanks.

Speaker 12 (03:11:53):
Three weeks already you've been coming to my restaurant and
still you look fine, steady customer. It is the wonderful food.
No no, no, it is not the wonderful food. No oh,

(03:12:14):
well then it was something else, the wonderful atmosphere.

Speaker 15 (03:12:18):
No no, no, not at the atmosphere.

Speaker 12 (03:12:24):
Hm hm, well, I uh, I wonder what it could be. Then, Oh,
I didn't see you, mister k Sorry, Laurie. It's good
to have only the customers interests at heart. Me old keeper.

Speaker 59 (03:12:40):
I like to see my girls take a personal interest
into steady customers.

Speaker 4 (03:12:45):
I don't know why, go.

Speaker 9 (03:12:46):
Ahead laugh your.

Speaker 19 (03:12:50):
fIF what happened?

Speaker 58 (03:12:52):
Oh no go, I couldn't afford it, even with the
government help. Besides, I didn't finish high scho Oh the
jobs I offer a guy selling stuff, I have no salesman.

Speaker 20 (03:13:07):
You've done a pretty good job with me.

Speaker 58 (03:13:10):
Look, Laurie, when I got out, I thought i'd ry.

Speaker 9 (03:13:15):
Eight.

Speaker 20 (03:13:18):
Sorry, that's my stay.

Speaker 12 (03:13:21):
See you tonight, Okay, tonight, okay there, m.

Speaker 58 (03:13:51):
All right's it's all mixed up, Laurie. When I was over,
we used to set a and have both sessions about
what we'd do after it was over. I guess maybe
when you're just living for the one minute that's there
right now, you get screwy notion. So so yeah, build

(03:14:18):
up a bunch of stuff and you come back buy
yourself a new suit. I expect that everybody has been
thinking the same things as you, and they haven't they've
been too busy making dough to worry about what you think,

(03:14:38):
what you hope for, what you'd like to do.

Speaker 20 (03:14:44):
Are you all through with the beef?

Speaker 3 (03:14:47):
Huh?

Speaker 20 (03:14:48):
Because if you are, Aunt Laurie's going to tell you
the facts of life.

Speaker 19 (03:14:52):
Listen.

Speaker 20 (03:14:53):
Just because you sweated it out at el Ala, Maine
and Anzio, there's no reason to think that everybody back
home was taking it easy. There's lots of ways to
fight a war.

Speaker 58 (03:15:02):
You know, name one other, Okay, I will.

Speaker 20 (03:15:05):
They're sitting around listening to the radio. There's reading the
casualty lists, and there's the newspaper headlines.

Speaker 58 (03:15:12):
You're breaking my heart.

Speaker 20 (03:15:14):
Well, I'd like to break your head.

Speaker 16 (03:15:17):
Ah.

Speaker 20 (03:15:18):
If if the world isn't all good, and it isn't
all bad, however it is, whatever it is, you've got
to adjust yourself to the world. It's too big to
adjust itself to you.

Speaker 33 (03:15:32):
Uh, what's the news?

Speaker 7 (03:15:36):
Go on?

Speaker 58 (03:15:37):
I'm listening Larry.

Speaker 20 (03:15:39):
Well, if you've got to give yourself time, It's like like,
bif did you ever break a leg when you were
a kid.

Speaker 38 (03:15:50):
Yeah, yeah, I did?

Speaker 16 (03:15:53):
Well?

Speaker 20 (03:15:54):
Do you remember how you planned stuff while you were
lying there in bed?

Speaker 10 (03:15:57):
Was the orphanage?

Speaker 58 (03:16:00):
I could hear the other guys playing ball. I ran
out every hit.

Speaker 20 (03:16:04):
Yeah, and then do you remember how you felt when
they took the cast.

Speaker 58 (03:16:08):
Off and I wanted to run, I fell flat on
my face. Hey, hey, it's penetrating my thick head.

Speaker 20 (03:16:23):
You had trouble walking at first, it was slow, step
by step.

Speaker 58 (03:16:29):
Yeah, that's what I'm doing now, learning to walk. No,
I'm just now learning to crawl all over again.

Speaker 20 (03:16:42):
But when you practiced a while, the muscles started to
do what you wanted him to, didn't they.

Speaker 58 (03:16:50):
Yeah? Yeah, they did, Well they will again.

Speaker 20 (03:16:55):
Bif all your muscles, mind your heart, everything, I'll remember.

Speaker 58 (03:17:05):
You mean, I'll quit resenting civilians. I'll quit feeling like
somebody owes me something.

Speaker 20 (03:17:13):
Sure, you would be too busy being a civilian, be
too busy working whatever you're doing to have time to be.

Speaker 58 (03:17:23):
You really think so?

Speaker 20 (03:17:26):
I really think so.

Speaker 7 (03:17:29):
Good.

Speaker 58 (03:17:31):
I hate myself for resenting the chair born commandos, the
guys dressed in civilians who's just like myself, and wearing
a discharge button just like me. Only they got theirs
for fighting the Battle of Chicago. Or they were dug
in in a foxhil at the Pentagon, or they had
a centroin Omaha.

Speaker 9 (03:17:52):
I get mad at him, and I know that.

Speaker 58 (03:17:58):
I would have swapped with him anytime along a line.

Speaker 38 (03:18:02):
That's right.

Speaker 58 (03:18:05):
I know they didn't ask for theirs anymore, and I
asked for mine.

Speaker 11 (03:18:09):
You're on your way, Bip.

Speaker 58 (03:18:12):
What do you mean.

Speaker 20 (03:18:14):
I mean you're getting your thinking straightened out. That's the
first step without the crunches. Yeah, yeah, gee, it's getting
laid biff. No, man, Kipple's got me on the early
shift tomorrow morning.

Speaker 7 (03:18:30):
Yeah.

Speaker 38 (03:18:31):
Yeah, well you gotta be going.

Speaker 20 (03:18:34):
Yeah, put me your hand, Okay, thanks, Fifth Jones. Well
you've got leaves and grass and dirt all over your
new suit.

Speaker 70 (03:18:48):
Well brush me off. Lady, this is my new business suit,
didn't you know? Ladies and gentlemen, this is less wine rad.

(03:19:10):
At this point in the script, the writing should take
a twist. According to all the rules. It should get
a good job with a pleasant employer and a promise
of future, and he should propose to.

Speaker 58 (03:19:20):
Lourie and she should accept.

Speaker 45 (03:19:22):
Fade out.

Speaker 70 (03:19:23):
The happy couple kiss an old man kippled beams as
they face the golden sunset, their eyes gleaming with the
confidence of youth facing a roseic future. Now this Scrivener
knows Biff and Laurie are their reasonable fact similes, but
he does not know what happens to them. Because that

(03:19:43):
story remains to be written. Neither this writer or any
other writer can write it yet. No, this story has
its ending in the future, in the future that America
makes for its biffture bones and the lorries they fall
in love with. America must write this ending. America must

(03:20:07):
provide the means to make Biff a solid citizen and
a good, albeit growsing taxpayer. Briff Jones is back. He's
one of the first. His suit of civilian clothes is new, now,
new and sharp. One day it's going to be second best,

(03:20:28):
then one day, one day it's going to be a
rainy day suit. And then one day if will buy
another new suit. That's maybe in a year or two,
or five or ten. It's important for Biff to buy
that suit, terribly important, because the end of this story

(03:20:50):
must be the beginning of Biff.

Speaker 65 (03:21:12):
The New Suit was written, directed, and produced by Les Weinrot.
Starred in the roles of Biff and Laurie were Ralph
Carmargo and Cheer Brentson. Other players were Charles Irving, Lucy Gilman,
Sherman Marx, Josephine Hipple, and Tom Moore. Original music for

(03:21:33):
the New Suit was composed by Sal Stacco, and the
orchestra was under the direction of Louis Panico. Five after

(03:22:44):
the Hour by less Wine Rod originated in the studios
of w b b M the Regular Building in Chicago,
and will return at the same time next Wednesday night.

(03:23:11):
This is CBS, the Columbia Broadcasting System.

Speaker 62 (03:23:34):
Another five minute mystery.

Speaker 66 (03:24:10):
Specer Clark speaking, Yes, the Cooper Rubies where Blackstone at
forty nine.

Speaker 62 (03:24:16):
I'll be right over.

Speaker 71 (03:24:24):
Come in inspect cham. Oh, this is terrible, terrible, And
to think that we took such precautions. I just can't understand.

Speaker 66 (03:24:31):
Ahna, just a moment, mister Blackstone, just calm down a
bit and tell me what's happened.

Speaker 71 (03:24:35):
They'll tell you what's happened. One of the Cooper Rubies
has been stolen. That's what's happened.

Speaker 66 (03:24:39):
I understand that, mister Blackstone, but if I can have
some information about them.

Speaker 71 (03:24:43):
The Cooper Rubies are a group of fifteen of the
most exquisite stones I have ever had in my possession.
This woman, missus Lloyd came into my shop and asked
to see the Cooper rubies.

Speaker 19 (03:24:53):
I have wanted to buy one, but I certainly don't Now.

Speaker 71 (03:24:56):
I was showing them to her myself. At the same
time I was showing this gentle and mister Williams some bracelets,
just a simple little bracelet for my wife, Inspector. I
was interrupted by one of the sailors girls. I turned
away for just a moment, and when I look back,
one of the rubbish was gone. Now I ask you
who other than one of these two could have taken it.

Speaker 66 (03:25:15):
Your assumption has quite sound, Mister Blackstone. I'm very much
afraid I'm going to have to ask.

Speaker 10 (03:25:20):
You too to be searched.

Speaker 66 (03:25:22):
Leave your bag here on the desk. Mister Blackstone's secretary
will assist you in the other room. Mister Williams, I'll
search you in mister Blackstone's office. Let's see missus Lloyd's bag. Compact,
nothing here, lipstick, no sacred compartments.

Speaker 69 (03:25:43):
I hope you're set aside.

Speaker 66 (03:25:45):
Loves nothing in the pockets. Well, I guess that eliminates you,
Missus Lloyd. Now, mister Williams, things nothing in the pockets
will fool come? Does that eliminate me, Inspector, I guess
it does.

Speaker 7 (03:26:00):
Mister Williams. Everything seems to be quite in order.

Speaker 66 (03:26:03):
A cigarette, this is Lloyd, No thank you, I don't
smoke Williams, No thanks, I have my pipe, of of course. Well,
mister Blackstone, I've found your precious ruby.

Speaker 4 (03:26:14):
You've watch which I haven't seen it.

Speaker 62 (03:26:16):
No, you haven't seen it, mister Blackstone.

Speaker 16 (03:26:18):
But I know where it is.

Speaker 66 (03:26:20):
Mister Williams, I arrest you for the theft of the
Cooper Ruby. How did the inspector discover Eric Williams theft
of the Cooper rubies?

Speaker 4 (03:26:31):
Do you know the clue?

Speaker 62 (03:26:32):
In a moment, we'll hear more, But first and now,

(03:27:20):
let's see what Inspector Clark has to say.

Speaker 71 (03:27:22):
But I don't understand where is the ruby?

Speaker 62 (03:27:25):
Inspector.

Speaker 66 (03:27:26):
Well, mister Blackstone, when I asked these two people to
submit to be searched, I knew the guilty one would
hold out. For a moment, I thought I was licked.
We seemed to have all their possessions, yet nothing was evident.
Only when I offered mister Williams a cigarette did I
notice that he was smoking a pipe? Here, mister Blackstone,
is your ruby? Concealed in the bowl of his pipe.

(03:27:46):
And now, mister Williams, I'd like to show you something
in bracelets, a double one better known as the handcuff.

Speaker 11 (03:28:45):
Stay tuned now for adventure and excitement in the world
of the future, Entertainment for the entire family, produced right
here in Kalamazoo.

Speaker 72 (03:29:02):
Join us now for our voyage into another dimension, A
journey into a realm as infinite and limitless as time itself.

Speaker 5 (03:29:17):
Our destination the farthest leeches of the imagination.

Speaker 12 (03:29:27):
Wm UK Special Projects presents.

Speaker 5 (03:29:33):
Future Takes Pictures Don't Lie by Katherine McLean. I had

(03:29:54):
been writing science stories for The Times for a few
years before the whole business of aliens came up. I
got on to doing science because I wasn't a very
good sports writer, and the guild made it clear to
the manager. But I had enough seniority to make it
tough to fire me, so when Masters went over to
Time Magazine, I was shoved into his spot.

Speaker 9 (03:30:14):
Now, being the man from the Times on any.

Speaker 5 (03:30:16):
Given story is quite a responsibility. It's not quite so
inspiring as the London Times. You remember the butler announcing
that there were several reporters and a gentleman from the Times.
But we're supposed to look as if we didn't specialize
in axe murders and picking winners at Jamaica. Of course,
it pays off you find scientists, satomic energy commissioners, even
congressmen will open up to the Times men. And that's

(03:30:39):
how I got on the inside of this whole business.
I had met Joseph Nathan at a convention in Atlantic City,
and when he invited me to look over his work,
I accepted.

Speaker 12 (03:30:48):
I don't think there's anything classified in this work, mister Schwartz,
as long as I don't actually supply you with the
text of messages.

Speaker 9 (03:30:57):
I got a department clearance up to most confidential. That
should do it.

Speaker 12 (03:31:01):
You see, my job is radio decoder in the department
here under the Pentagon, directly the Department of Military Intelligence.
We use a directional pickup to tune in on foreign
bands and record any scrambled or coded messages.

Speaker 9 (03:31:17):
I thought the code department was handled by the CIA. Well,
I guess there is some duplication.

Speaker 12 (03:31:23):
Actually, though I concentrate on the scrambled messages. Well, here
I can show you. I've got a piece of tape here,
and this is a typical scrambled broadcast. It's not military,
it's a commercial message. Oh wait a minute here, until
I thread up to the machine. Sure you know the

(03:31:44):
basic principles. You take a straight voice message, run it
through on an electronic scramble circuit, and it may come
out something like this. Now my job is to pick
a thing like that out of the air, analyze the patterns,
and wire an unscrambler. I've got this particular pattern set up.

Speaker 73 (03:32:08):
On the machine Tanker seven thirty four capacity code seven
DA at Galveston.

Speaker 12 (03:32:14):
Thirty You see, now that was just a commercial message.
I do the same things with military intelligence. Is it
something like old fashioned cryptology? Well, yes, except that there's
a small complication. You need a degree in advanced electronics
for this way, for math with a touch of quantum physics.

Speaker 5 (03:32:37):
I suppose it's quite challenging then every time you pick
up a new signal.

Speaker 12 (03:32:40):
But in a way, actually, they do the same work
in every country these days. Everybody knows it's just a
matter of time before any scrambled pattern is broken.

Speaker 9 (03:32:52):
It's pretty routine. Or ever pick up anything exciting.

Speaker 12 (03:32:56):
Well, actually, most of the messages when I scramble them
are still in pre arranged code, and I have to
turn them over to cryptology. But there is something interesting here.
Listen to this piece of tape.

Speaker 9 (03:33:15):
I don't hear anything.

Speaker 3 (03:33:16):
Well, that was it.

Speaker 12 (03:33:18):
Oh, and now listen, there's another one coming up.

Speaker 58 (03:33:26):
That's it.

Speaker 9 (03:33:28):
Well, I get that on my car.

Speaker 5 (03:33:29):
Radio static, yes, but that's from the stars. Oh you
mean radio interference.

Speaker 9 (03:33:36):
That's right now.

Speaker 12 (03:33:38):
I think you wrote about the work at Bell Telephone
and RCA Labs about radio telescopes mapping the star positions
by static.

Speaker 9 (03:33:46):
You're interested in that, Well, not exactly.

Speaker 12 (03:33:49):
They've never been able to figure out why the static
on these particular bands comes in such jagged bursts. It
just doesn't seem natural. You have an ideas, Oh, I
don't know. I've been kicking around the notion that it's
not a natural phenomenon. I've been trying to discard it,

(03:34:10):
sort of like playing chess against yourself on the train
in the morning.

Speaker 9 (03:34:15):
Well that's about all there is. That's all it was.

Speaker 5 (03:34:28):
Then Joe Nathan swindling a few hours of government time
to ride a hobby horse of his.

Speaker 9 (03:34:34):
I wrote it up for the Sunday Magazine section.

Speaker 5 (03:34:36):
It got squeezed out by an article by a famous
actress on the ten leading roles. I disliked the most,
so I forgot about it. Went back to announcing a
miracle drug per week and conflicting theories of psychoanalysis.

Speaker 14 (03:34:49):
Haha.

Speaker 5 (03:34:51):
I don't know what I'd do without them. They're always
good for a piece. I was at the office late
one night. I didn't have any work, but I just
didn't feel like going home and putting kids to bed. Yeah,
mister Schwartz, that's right.

Speaker 4 (03:35:06):
This is Joseph Faith, you remember.

Speaker 9 (03:35:09):
Yeah, sure, how are you, mister Schwartz?

Speaker 4 (03:35:11):
Can you come out to my lab? I'd like to
show you something.

Speaker 9 (03:35:15):
Well, maybe we could make an appointment.

Speaker 4 (03:35:17):
No, I mean tonight.

Speaker 12 (03:35:19):
Oh what is it.

Speaker 4 (03:35:20):
I think I've found something that you might be interested in.

Speaker 9 (03:35:23):
Yes, you know those static versts.

Speaker 14 (03:35:25):
I recorded the.

Speaker 9 (03:35:26):
Ones that came from the stars.

Speaker 4 (03:35:28):
That's right, I decoded them.

Speaker 5 (03:35:38):
When you write science for the Times, you don't often
go dashing off on the trail of scoops as in
TV versions of newspaper Life. But it was about a
quarter to twelve as I drove out along the highway,
listening to the radio to keep from piling up the
car against a tree. Radio keeps me awake. Nathan was
waiting for me at the gate. He had quite an

(03:35:59):
argument to get me in past the MPs. We were
challenged four times before we got to his lab.

Speaker 9 (03:36:04):
I'm glad you came, mister Schwartz. Oh it's a nice
night for a drive.

Speaker 12 (03:36:09):
I know, I know, but frankly, I wanted to ask
you what I should do. You see, I requisitioned the
supplies without authorization, and I don't know how to explain
it to my division chief. Well, I mean, it isn't
as if I took any of the equipment home. It's
all right here, but I've got to tell somebody. I

(03:36:32):
just thought you might have some experience in how to
handle a thing like this, like what, well you remember
that static recording I played you now here. I've got
it set up.

Speaker 5 (03:36:47):
Yes, I remember it vividly. Now, mister Nathan, it's very low.

Speaker 12 (03:36:52):
You see, there's an old intelligence trick speeding up a
recording till it sounds just like that. Now, Schwartz, walk
of static and then broadcasting it undergrounds us that when
they didn't want their transmitters located by triangulation. Now, when
you receive the broadcast, you slow it down and get

(03:37:12):
your message.

Speaker 9 (03:37:13):
Now, wait a minute.

Speaker 5 (03:37:14):
You mean that you've decoded those static bursts from the star.

Speaker 9 (03:37:18):
Well, no, not exactly.

Speaker 12 (03:37:20):
I mean they're not in code.

Speaker 9 (03:37:23):
You think there's somebody out there broadcasting at us. Well no,
it's not exactly that either.

Speaker 26 (03:37:29):
Now.

Speaker 12 (03:37:29):
You see, if a star has inhabited planets and there
was any broadcasting between them, they'd send it on a
tight beam to save power. Naturally, they would compress each
message into a short half second or half length package
and send it a few hundred times in one long
blast to make sure it was picked up during the

(03:37:51):
instant the beam swings across the target.

Speaker 9 (03:37:54):
You see.

Speaker 5 (03:37:55):
Oh well, yeah, I suppose so is that what those
static squawks were?

Speaker 9 (03:38:00):
Think?

Speaker 12 (03:38:00):
So, I've got them analyzed up to a point and
they can't possibly be random.

Speaker 6 (03:38:07):
Oh yeah.

Speaker 12 (03:38:08):
I recorded a couple of screeches from Sagittarius section and
I concentrated the work on them. It's taken me a
couple of months to find the synchronizing signals and set
the scanners close enough to the right time to get
an even pattern. But I'm getting close to it now.

Speaker 5 (03:38:25):
You mean you've actually picked up messages from some form
of alien life out there?

Speaker 9 (03:38:29):
In the Stars.

Speaker 12 (03:38:30):
Yes, and this raises a tremendous problem. How am I
going to explain to the division chief why I made
all those unauthorized parts requisitions.

Speaker 5 (03:38:46):
I convinced mister Nathan that the supervisor was likely to
overlook about three hundred dollars worth of electronic gear. I'm
presented with the fact that Nathan had discovered life in
other star systems and was close to deciphering some of
their messages, and put him on full time, gave him
an assistant. They made me swear to sit on this
story by promising to give me the first break on

(03:39:06):
it when it was finally released.

Speaker 9 (03:39:08):
So I kept checking with Nathan as he worked. I
don't think it's a voice message. What is it a
racing wire?

Speaker 5 (03:39:15):
Are we catching some late scratches from some track at
the edge of the galaxy?

Speaker 4 (03:39:19):
Well?

Speaker 12 (03:39:19):
I don't think so. It's a TV signal. Oh, there's
a definite scanning batter. I can separate out the locking
poles for a picture.

Speaker 3 (03:39:30):
Yeah.

Speaker 12 (03:39:31):
Now, the only problem is I have no way of
assigning colors to the various bands. What makes you think
it's colored? Oh, it seems as if it's got to be.
Look at these waveform analysis with a band spread that
wide rather indicates a color transmission, don't you think for sure?

Speaker 5 (03:39:50):
Why not let me know when you get all in
the family. And then, of course he did, not all
of the family, but the equivalent of it. He called
me about four months later. He had a monitor screen
set up on a bear chassis with a wide bad
videotape machine recording everything that came in.

Speaker 12 (03:40:11):
Here, wait till I adjust the sets here there you
see this picture looks like a Scotch plaid. We finally
assigned the colors so that they seem to give a
rational picture. Now, wait a minute, I'll clear it up
there there, Oh yeah.

Speaker 38 (03:40:32):
There is What is that?

Speaker 5 (03:40:35):
That's the signal from the stars. It's a picture some
kind of distorted broadcast. That's what I've said.

Speaker 12 (03:40:43):
It's a broadcast and it's coming from somewhere out past Sagittarius.
Do you want to hear the audio signals? That's their language.
That's right, we're sure about that. The colors were assigned arbitrarily,

(03:41:05):
of course. But you see that that see that figure there,
the tall one with the green skin. Yes, yes, Now
that skin maybe maybe blue or pink or or gray
or anything.

Speaker 9 (03:41:17):
We don't know what their color response is.

Speaker 12 (03:41:20):
The only thing we're sure about is the various shadings
of intensity and.

Speaker 9 (03:41:24):
The audio channel.

Speaker 3 (03:41:26):
What is it?

Speaker 12 (03:41:27):
What's it all about? Well, we haven't dequoted the language yet.
There's a team from Harvard working on that, and we
record everything that comes in. But I think it's a
lending library. Oh what, it's all fiction.

Speaker 15 (03:41:43):
It's plays and there.

Speaker 12 (03:41:45):
Are there are dozens of them, all.

Speaker 15 (03:41:47):
At the same time.

Speaker 12 (03:41:48):
I think they've broadcast them continuously and anybody who wants
a particular play can tune it in. With the short
burst method of transmission, you've got plenty of room in.

Speaker 9 (03:41:58):
The spectrum a lending one, of course.

Speaker 12 (03:42:01):
And as soon as we break the language barrier, we'll
know for sure. Oh oh, by the way, I thought
you might be interested. I've sent them back a message.

Speaker 9 (03:42:12):
What are you going to release this? When can I
use it? Well, I don't know.

Speaker 12 (03:42:15):
In the civil service, you know, you don't ask questions,
you just.

Speaker 5 (03:42:18):
Now Look, I'm a newspaper man. This is the hottest liary.

Speaker 12 (03:42:21):
I thought you were from the time.

Speaker 5 (03:42:22):
I know, I know, but it's still a newspaper. What's
the message you sent them? How did you do it well.

Speaker 9 (03:42:28):
I took a print of a film. Yeah.

Speaker 12 (03:42:31):
Well, as a matter of fact, it was Punky Eli's
Dance of the Hours from the Disney film, you know,
with the dancing hippopotamus and crocodile.

Speaker 9 (03:42:39):
I think I remember it well.

Speaker 12 (03:42:41):
I scanned it with the same combinations and sent it
back along the same line we're receiving from they're just testing.

Speaker 5 (03:42:48):
Uh huh, what do you think they'll make of dancing
hippopotamuses and crocodiles out past Sagittarius.

Speaker 12 (03:42:53):
Oh. I did record a prologue and I explained what
it was. I thought it would please their lives to
get a new record.

Speaker 5 (03:43:02):
Look, mister Nathan, please, will you find out when they'll
release this?

Speaker 9 (03:43:06):
Well?

Speaker 12 (03:43:06):
As a matter of fact, I do have an idea
that the project supervisor said there'd be a big news
when we get an answer back.

Speaker 9 (03:43:14):
When when.

Speaker 12 (03:43:15):
Oh, at the rate of transmission, only about three or
four years.

Speaker 5 (03:43:36):
That's when it was three or four years. I forgot
about Nathan for most of the interim. It was one
of the few stories in which nothing leaked. I have
a feeling if the Pentagon realized how much I knew
about it, I never would have gotten out of the laboratory, and.

Speaker 9 (03:43:52):
So this story seems a lot more direct than it
actually was.

Speaker 5 (03:43:55):
An awful off happened in the four years before Nathan
called me again, landing on the moon for one. But
when he did call me, he had big news here.

Speaker 3 (03:44:04):
And now watch this.

Speaker 5 (03:44:06):
Watch Is that the recording of the message you said down?
I've seen that before.

Speaker 9 (03:44:22):
No, it isn't. That's a message we've received.

Speaker 12 (03:44:26):
They're playing it back to us, and I wait, wait
that you'll see Now look you see there's an auditorium.
They've been showing our message on a screen.

Speaker 3 (03:44:38):
Now, look look at them.

Speaker 9 (03:44:40):
What are they doing waving their hands in circles?

Speaker 12 (03:44:43):
Well that might be applause, we can't tell, but that
isn't the most important thing. Not watch now, their camera
or whatever they use, pans up from the audience.

Speaker 9 (03:44:55):
Look at that wall. Hey, it looks like a ship's
hol Yes, it is. It's a spaceship.

Speaker 12 (03:45:02):
That accounts for the intensity of the broadcast. We've picked
up an alien spaceship and they've gotten our message. They're
approaching our solar system and we'll be able to contact them.

Speaker 5 (03:45:15):
Joe, you know, I just don't care anymore. You've strung
me along with this thing for five years, and it's
no use to me, absolutely no use.

Speaker 12 (03:45:22):
Why didn't I tell you why? The Department of Defense
is releasing the story to the press. You have it
today and there'll be a general release tomorrow.

Speaker 9 (03:45:40):
And of course you remember the story.

Speaker 5 (03:45:42):
We had it first, and any paper or TV broadcast
that picked it up before the general release had to
carry my byline in the Times copyright. I think it
was the most important single newspaper beat that I've ever
heard of, and of course I did very well because
of it. It was page one in the upper right
hand corner of The Times for eight days running. And
then the arrangements were made to cover the landing of

(03:46:03):
the alien ship. The White House press secretary handled the
whole thing. There'd be one pool man on the inside
in direct contact with Nathan the linguist teams in the brass. Naturally,
I got the pool of Simon. There wasn't any question
of the greeting, but the rest of the boys were
in on the releases, free things and press conferences. On
arrival day, we all drove out to the apron of

(03:46:24):
White Sand's rocket base. The concrete is graded to stand
the thrust of those three stage giants that make the
satellite Moon runs. The communications equipment was set up in
the old red control blockhouse. First, they threw Nathan to
the wolves. In a press conference, the TV boys were
down on their knees in the first row and the
rest of us in the bass movie theater. Nathan was

(03:46:44):
up on stage. Al Sullivan from the News let it off,
mister Nathan.

Speaker 9 (03:46:49):
What do you think of the aliens?

Speaker 4 (03:46:51):
Are they friendly? Do they look human?

Speaker 9 (03:46:53):
Very human?

Speaker 4 (03:46:54):
Exactly where will the alien ship land?

Speaker 12 (03:46:57):
Well that isn't exactly my field, but when you get
out to the port you'll see the strip.

Speaker 9 (03:47:04):
It's like a tic tac toe diagram.

Speaker 12 (03:47:07):
The release describes the precautions that have been taken, except
for the grass strip along the runway.

Speaker 9 (03:47:14):
The light area has been remodeled.

Speaker 21 (03:47:16):
Do you know anything about their home planet?

Speaker 12 (03:47:19):
No, nothing directly. You think they're dangerous, then no, I
don't think so. You realize, mister Dacan, that the eighth
Atomic Artillery Battalion has been drawn up five miles north
of the port prepared for action.

Speaker 9 (03:47:33):
Well, no, that's not my department. I don't know what
precautions the military has taken.

Speaker 5 (03:47:39):
But you think differently.

Speaker 9 (03:47:41):
Althose I know are I've been in contact.

Speaker 12 (03:47:44):
With their radio operator of the ship, and but says
I call him Bud, that he's worked up quite a
thirst on this trip. Of course, we don't know what
he drinks. We have no common chemical terminology. We've arranged
for you to see some of the recorded broadcasts that

(03:48:05):
we have made. When you watch them, i'd like you
to realize that these are plays, all fictional. We haven't
dubbed in a translation of the soundtracks, although since these
were recorded we've developed an automatic translator. Well, you'll see
that later, all right, I think we're ready for the showing,

(03:48:29):
if someone will please dim the house lights.

Speaker 5 (03:48:40):
Of course I'd seen the films before, but I stayed
at the back of the hall to watch them again.
The almost human forms, half dancing. The color is bright
but strange. The sound is a flowing language with many
shifts of pitch. And there was that strange, odd motion,
not slow, but somehow drifting. It had been bothering you
for some time.

Speaker 9 (03:49:00):
The scenes.

Speaker 5 (03:49:01):
There was something in the way they walked. They were
good actors. Even without knowing what was happening, You were interested.
You could tell the hero from the villain sometimes, and
you rooted for him. Finally I went out to the
lobby and I found Nathan facing up and down.

Speaker 9 (03:49:16):
What's on now?

Speaker 5 (03:49:17):
That recording that they returned to the Punkilly.

Speaker 9 (03:49:21):
It's funny.

Speaker 12 (03:49:22):
You know that they are crazy about Punky Elly and
Mozart and they can't stand gershwin Strange.

Speaker 5 (03:49:30):
Joe, there's something wrong with the films. What do you mean,
there's something wrong with the whole thing. It's a lunch.
There's something about the way they move that bothers me too.
When I turn the tape faster.

Speaker 12 (03:49:45):
They're all rushing, and you begin to wonder why their
clothes don't stream out behind them, why the doors won't
close quickly behind them, why things fall so fast. Well,
we don't have to worry about it. We'll see them
in about two hours when they land.

Speaker 5 (03:50:13):
He seemed a little too cheerful, Joe. Nathan wasn't like that.
He was usually too serious, took things literally. But he
seemed to be trying to convince himself that nothing could
go wrong. It was as if he smelled a rat
but held his nose and went right ahead. At minus
thirty minutes, we all took our places in the blockhouse.

(03:50:34):
They had a monitor set up with the automatic translator
hooked up on the audio shaft. The alien operator looked
as if he were talking, but the lip movement didn't
quite match, like a bad foreign film with English dubbing.

Speaker 12 (03:50:45):
There he is, he's broadcasting. Throw on the translator unit.

Speaker 73 (03:50:52):
We've decelerated enough to enter the atmosphere. We'll be landing
in three time periods.

Speaker 14 (03:50:58):
Hey, Joe, what is it.

Speaker 4 (03:51:00):
Planet you live on?

Speaker 9 (03:51:01):
What does he mean by that?

Speaker 12 (03:51:03):
He's kidding. I've been talking with him for a few weeks.
He's got a sense of humor. What does he mean, Murky?
It can't be raining over much territory on Earth. It
rained here this morning, but it's.

Speaker 9 (03:51:14):
Cleared up now. Oh, there he is again. See the
way he holds his mouth in an Oh, that's their laugh.

Speaker 15 (03:51:21):
There.

Speaker 12 (03:51:22):
You can see his view screen behind him. He must
be just entering the atmosphere. There was the green light again.

Speaker 6 (03:51:29):
What's that?

Speaker 12 (03:51:29):
Oh, we're not getting this broadcast direct. That light means
they've sent a concentrated squawk broadcast. We record it, slow
it down and then play it back here just a
minute and we'll get what he said.

Speaker 9 (03:51:44):
Ah, here he comes.

Speaker 4 (03:51:45):
Pejoe, it's dark. Your atmosphere is thick, really thick. You
didn't tell me about that. Approaching round level.

Speaker 5 (03:51:54):
I didn't hear any rocket JITs. We should hear a
landing blouse, shouldn't we?

Speaker 9 (03:51:57):
Well, we don't know.

Speaker 2 (03:51:59):
We don't know.

Speaker 9 (03:52:00):
Now, Oh, another message in it.

Speaker 4 (03:52:02):
We've blended.

Speaker 5 (03:52:03):
We're down where they can't be.

Speaker 9 (03:52:05):
They can't be. There's nothing out there or here he
is again.

Speaker 4 (03:52:08):
Listen, Joe, we're down.

Speaker 73 (03:52:10):
We've landed, but our detection field shows no buildings near nothing.
The atmosphere register's thickest glue. There's tremendous cast pressure. Our
hole won't take it too long. There's no light at all.
You didn't describe it like this.

Speaker 15 (03:52:25):
What kind of a trick is this?

Speaker 12 (03:52:26):
We've got a directional fix on the broadcast. Now where
is it there on the field we're trying repair.

Speaker 4 (03:52:33):
We're adjusting the view screen to pick up the long
waves to go through the murk.

Speaker 15 (03:52:37):
The engineer says, there's.

Speaker 4 (03:52:38):
Something wrong with the steam jets.

Speaker 73 (03:52:40):
We're sending a help call to your nearest space space Joe,
get us out of here.

Speaker 15 (03:52:44):
But where are they?

Speaker 9 (03:52:46):
Where are they? There's nothing out there?

Speaker 14 (03:52:48):
Nothing, they'll have to triangulate the next broadcast again, Shoe,
You've got.

Speaker 4 (03:52:53):
To send a rescue party somehow. Listen, we've got a
viewing screen right now. We're in the middle of a
half circle of cliffs. Around the horizon.

Speaker 73 (03:53:01):
There's a wine muddy lake, but swing holpy things attacking
each other on all sides. Rolls in the lake on
the south edge the mud cat hold the ship's wait,
and we're sinking. The dudes are clock When can you
reach us?

Speaker 5 (03:53:16):
They're out there, they're out there on that airport, on
the empty field.

Speaker 4 (03:53:19):
Where are you were sinking?

Speaker 3 (03:53:21):
Where are you?

Speaker 12 (03:53:22):
I was wrong the squawk transmission by speeding it up
for better efficiency.

Speaker 9 (03:53:28):
I was wrong.

Speaker 12 (03:53:29):
What do you mean they don't speed up their broadcasts.
They live that past over an hour of talk and
action in one squawk. Nothing of any size could move
that fast against inertia.

Speaker 9 (03:53:42):
So get us out.

Speaker 4 (03:53:43):
We're sleeking. We're singing into the wood.

Speaker 39 (03:53:46):
The hole is buckling, So get us out.

Speaker 58 (03:53:50):
You can't.

Speaker 12 (03:53:52):
Oh wait, there isn't a lake or a river within
hundreds of miles of here.

Speaker 5 (03:53:58):
The broadcast came from out there, from the concrete spaceport,
possibly at the edge of the runway where the grass
is growing. After all, it rained this morning.

Speaker 9 (03:54:11):
Do you think we could ever find them?

Speaker 12 (03:54:15):
Maybe with a strong enough magnifying class.

Speaker 5 (03:54:35):
WMUK Special Projects has presented Pictures Don't Lie, a story
by Katherine McLean adapted for radio by Ernest Kennor. John
Phillips was heard as Schwartz, Mark Spink as Nathan, and
Greg Moody as the alien pilot. Future Tense is produced
and directed by La Segul. Next on Future Attends, we

(03:55:13):
have a strange story to tell, a sweet, blood curdling
little tale that is really only two sentences long. The
last man on Earth sat alone in a room. There
was a knock on the door. Think it over.

Speaker 74 (03:55:30):
Suppose you were the last man alive on Earth, in
the universe for that matter, the last man sitting alone
in a room, and suddenly there was a knock on
the door.

Speaker 9 (03:55:42):
What knocked on the door? You wonder, don't you?

Speaker 74 (03:55:47):
Your mind, faced with the unknown, supplies something vaguely horrible.

Speaker 5 (03:55:53):
But it isn't horrible.

Speaker 9 (03:55:55):
Really, you'll see.

Speaker 8 (03:55:58):
Versit.

Speaker 5 (03:55:58):
Gerard MacLeod and you and your entire family to join
us every Monday through Thursday at the same time for
Future Tents.

Speaker 9 (03:56:06):
Be sure to listen.

Speaker 15 (03:56:20):
And now gang Busters.

Speaker 75 (03:56:25):
Gangbusters presented in cooperation with police and federal law enforcement
departments throughout the United States, the only national program that
brings you authentic police case histories. Now the Gangbusters in

(03:56:52):
facts that show the operation of our law enforcement officials
in their war against the underworld.

Speaker 7 (03:56:57):
Gangbusters has asked the Honorable Saul S.

Speaker 66 (03:56:59):
Sheriffs Assistant United States Attorney for the Southern District of
New York, to narrate Tonight's case, the.

Speaker 2 (03:57:06):
Inside facts in the case of the kidnapped.

Speaker 7 (03:57:08):
Paymaster, mister Jarrison.

Speaker 66 (03:57:11):
Before you begin, I think the Gangbuster's audience would like
to know that you brought to the studio a man
who played a very important part in Tonight's case.

Speaker 76 (03:57:20):
That's right, Don Gardner. He's right over there, and we'll
hear from him later. Right now, I think we ought
to get on with the report, all.

Speaker 66 (03:57:27):
Right, mister Chafson. The main events in this case occurred
right here in New York City, isn't that right?

Speaker 7 (03:57:33):
In the section of New York City known as the Bronx.

Speaker 76 (03:57:36):
Almost a year ago, Don, on a Saturday afternoon, the
stores in the Fordham Road district were crowded with shoppers
At one particular shoe store, a young woman customer was
trying to get fitted while her companion sat next to her.
The trouble clerk was on his way with still another
pair of shoes to show. Is hard to please customer.

Speaker 69 (03:57:58):
Just look what he's bringing over this time.

Speaker 36 (03:58:00):
Crying out a loud terry. You're gonna buy a pair
of shoes, or aren't you?

Speaker 69 (03:58:03):
If I see something that shick? Yeah, here, madam, is
a style.

Speaker 7 (03:58:06):
It's very smart.

Speaker 69 (03:58:07):
Pumps I asked you for Do these look like pumps?

Speaker 7 (03:58:10):
So I told you, madam, pumps have gone out. They're
not wearing pumps this year. If the lady wants pumps,
get up pumps.

Speaker 69 (03:58:16):
Yeah, get me pumps.

Speaker 7 (03:58:18):
I'll take one more. Look, excuse me, please, I'll be
r fied.

Speaker 69 (03:58:22):
How do you like the nerve of him?

Speaker 7 (03:58:24):
And you're not exactly the easiest one in the world
to please.

Speaker 77 (03:58:27):
If I want pumps, neck, I want pumps, that's the
price you've got to pay. But keeping me slaving away in.

Speaker 36 (03:58:32):
That shop, look, Terry, I don't want to hear no
more about it.

Speaker 7 (03:58:34):
You stay on the job there until the time is right, And.

Speaker 69 (03:58:36):
When's the time going to be right?

Speaker 77 (03:58:38):
Meanwhile, I'm bringing my back running a drill press at
forty bucks a week.

Speaker 69 (03:58:41):
Who needs it?

Speaker 36 (03:58:41):
He'll keep running that drill press until I'm set.

Speaker 26 (03:58:44):
I need another guy or two.

Speaker 77 (03:58:46):
Who you're looking for, Dylan? Just shut up and four
months long enough to find somebody.

Speaker 7 (03:58:50):
I should get your shoes and get out of here.

Speaker 69 (03:58:52):
Let me take my time neck. I'm the one that's
got to wear them. Well, how do you like that?

Speaker 77 (03:59:00):
Said Charlie McCarthy of yours budd Where he's coming?

Speaker 69 (03:59:03):
He find you in Times Square on New Year's Eve?

Speaker 7 (03:59:07):
Hi, Terry Mac, I said, you want shopping?

Speaker 69 (03:59:10):
You've come to carry the bundles.

Speaker 26 (03:59:11):
What do you want?

Speaker 7 (03:59:12):
Budd? I had to see your boss and a little
jam a copper a dame. Awfully Terry? You kind of
a jam?

Speaker 69 (03:59:17):
Where is that monkey with the pumps?

Speaker 7 (03:59:18):
I need about three hundred bucks?

Speaker 3 (03:59:20):
Quick?

Speaker 7 (03:59:20):
Three hundred bucks. I'll too weighty to.

Speaker 36 (03:59:22):
Be exactly, must be a dame, try out lod.

Speaker 7 (03:59:25):
Why I owe it to a guy? Stole him?

Speaker 28 (03:59:28):
You can give him to him after we pull off
the big deal. I gotta pay him off tonight. If
I don't pay him, I get my head beating.

Speaker 7 (03:59:33):
Who's got this dough? Common anyway, Johnny J. Johnny J.

Speaker 36 (03:59:38):
Yeah, don't you have no more sense in to borrow
dove from a rotten lone shark?

Speaker 3 (03:59:42):
And I needed it?

Speaker 28 (03:59:42):
The horse is not a bell hungry? So what how
much to borrow two bills? What's the eighty four that's interest?

Speaker 7 (03:59:49):
Interest? Twenty five percent a week? You WITTI it?

Speaker 28 (03:59:54):
What do you have to meet that cigar smoke and
chiseler at some bar tonight? Okay, he'll be by the
two of us.

Speaker 69 (04:00:01):
Where is that guy with my pumps?

Speaker 36 (04:00:02):
You don't need any shoes. Let's get out of here.

Speaker 28 (04:00:04):
Hey wait a minute, let's get out of this joint
before I run you out in your bare feet.

Speaker 77 (04:00:08):
Hey, okay, but why I get sorted me? I didn't
borrow on no dough from Johnny Jay. Let's go and
come and don't rush me.

Speaker 7 (04:00:25):
I was up at the bar, told you this booth
sit down? Got a match?

Speaker 4 (04:00:33):
Yeah?

Speaker 7 (04:00:33):
Someplace?

Speaker 3 (04:00:35):
Yeah?

Speaker 7 (04:00:36):
Thanks, well, get my door.

Speaker 28 (04:00:42):
I buy a drink, Johnny, I haven't got this when
when I wanted to get paid, you're running? We wait,
nothing told you what had happened? You see a guy
get his face burnt with a let's say, guy, he'll
get your dough. I bet him tonight. There's a guy here.
Does he get the dough?

Speaker 7 (04:01:00):
Yeah, he's got it. I just say, so, let's go
get him.

Speaker 5 (04:01:04):
We don't have to here he comes.

Speaker 7 (04:01:08):
Oh, Jenny, how long has it been? That's the guy
that's him? Now? Mac, Now you come taking care of
the kid's troubles.

Speaker 9 (04:01:16):
Mac and Ti.

Speaker 36 (04:01:17):
I look after my boys, Okay, Bud scram Hey.

Speaker 7 (04:01:20):
Wet a minute.

Speaker 28 (04:01:20):
If I don't get my dough, I want his hide
and out of here. But you want yeah, so long,
I'm gonna come out. Sit still, Jenny.

Speaker 7 (04:01:28):
He only listens to me.

Speaker 36 (04:01:29):
If you've got a lot of nerve, Mac, one more thing, Johnny,
you can stay.

Speaker 28 (04:01:33):
But that cigar has gotta go. Oh yeah, give me
a match. And he said, put the cigar away or
shove it down your throat. Well, as long as you
ain't got no match.

Speaker 7 (04:01:46):
How much did the kid take from me? Comes to
two hundred and eighty. I didn't ask what it comes to.
What did he take?

Speaker 28 (04:01:51):
Got two hundred? But I'm entitled to my interest. He's
your two hundred and I look, Mac, I'm in business.
I gotta you've got.

Speaker 7 (04:01:59):
To not you don't want the two hundreds. Give it
back what he saw that Johnny put in your pocket. Yeah,
I guess it is. While you have to drink nothing,
I'll see you again sometime.

Speaker 28 (04:02:16):
And Mike, all right, I don't get the wrong idea.
But mate, I'm still as tough as I used to do.

Speaker 7 (04:02:23):
Be as tough as you like.

Speaker 28 (04:02:24):
I'm a three diamelods of Mike. Once more they put
me away for good. I don't want that. I remember.

Speaker 7 (04:02:29):
I can only be pushed so far.

Speaker 28 (04:02:32):
Johnny, have you got any idea why I laid out
two bills to get this bud out of soak?

Speaker 7 (04:02:37):
Didn't think it was out of the goodness that your heart.

Speaker 28 (04:02:40):
He's got a trick, Johnny. You can take the door
lock right off a car without leaving a scratch.

Speaker 7 (04:02:45):
So what do you want me to get my metal?
We take it to a guy in an hour later.

Speaker 28 (04:02:48):
We got a key that fits the ignition and the
door sweet orful sweet? But it takes too many cars
to build up a nice score. And I want to quicker,
and I'm gonna get it quicker.

Speaker 7 (04:02:58):
H huh.

Speaker 36 (04:03:00):
I ain't got a deal and the works that I
don't have to have a bushel basket to carry.

Speaker 7 (04:03:03):
Away the door.

Speaker 28 (04:03:05):
Yeah, after the book get me this time, mic told
you has a three time loser. I'm not interested in
anything except staying out in the street. This so be
a soft, this frozen custard worth it? Can you count
up to one hundred thousand? I tried hard enough, want
to hear about it. Can't put me back in for listening.

(04:03:26):
This is a big foundry over in Jersey. I plant
my girl in there. The payroll runs fifty to one
hundred grand every week.

Speaker 7 (04:03:32):
I pay off in cash, payrolls good guts make they
get a yet more goods.

Speaker 28 (04:03:38):
I've had my girl in that shop for four months.
I know that place inside and out Thursday nights. The
payroll lays in a safe for nobody around but an
old creepy watchman.

Speaker 7 (04:03:47):
I'm about the safe. I don't think that'd be so creepy.

Speaker 28 (04:03:50):
That's where the gimmick comes in. The paymaster lives right
here in the Bronx. We grab him at his house,
take them back to Jersey. He opens up the safe.
That's all there is to it. He's gonna take a
lot of doing for a lot of dough. I can
stand a lot of doing, Okay, Mike figure me in it.
Didn't you ask me for a match before?

Speaker 7 (04:04:12):
Yeah?

Speaker 10 (04:04:13):
Yeah I did.

Speaker 36 (04:04:14):
Yeah, go ahead, light up that big black ciguy.

Speaker 7 (04:04:18):
I love him. Thanks later later and the rod of
Drakes here make it savvy, So.

Speaker 76 (04:04:32):
Don the criminal David McIntyre had completed his organization which
he intended to use and robbing the payroll. He had
everything worked out nicely, accept the few details like a
set of stolen tires and an unexpected door bell.

Speaker 7 (04:04:48):
It was such clothes as these that set the Federal
Bureau of Investigation on the right trail.

Speaker 76 (04:04:53):
In the meantime, the Federal Bureau of Investigation was looking
into the interstate car thefts in which McIntyre and young
Bud Aldridge were previously involved. These cars were being stolen
in Bronx in Westchester Counties, New York, then taking to
Connecticut and New Jersey where the accessories were strapped and sold.
Special agents Haines and Martin were at the New York

(04:05:15):
Field Office discussing the case.

Speaker 5 (04:05:19):
Well, Haynes, looks like.

Speaker 66 (04:05:20):
Those car thieves are going to be harder to catch
than ever now. They just quit at least where they
were operating. We had a chance to get them with
the goods.

Speaker 16 (04:05:26):
I don't know.

Speaker 7 (04:05:27):
I don't think they pull out of it permanently, Martin.
Maybe they got something else to do for a few days.
Maybe they took a vacation.

Speaker 66 (04:05:33):
And they've sure been doing well enough to take a vacation.
If you'd think, after all this time, we'd at least
be able to get a line on them.

Speaker 78 (04:05:38):
We'll get our line on them. All we have to
do is keep checking those junk chefs and second hand
parts places. We'll find where they're selling this stuff. That's
all the line we need. Well, i'd better get going
Jersey City. Yeah, I'm gonna do a little hunting. Maybe
I can turn up something over there.

Speaker 28 (04:05:56):
He's going to pull into that parking space on the
black Mac Okay double park right here. I'll give your
lights on and yeah, make sure we'll set Johnny, you're kidding.
Let's go when you see his car pull.

Speaker 36 (04:06:08):
Out, but get right behind us and stay there.

Speaker 7 (04:06:10):
I know, I know, come on, I will you. I'm
the side. What let's go, good break, good break, nobody's
out tonight. Let's do it fast and quiet. I've never
seen a faster guy.

Speaker 6 (04:06:25):
There.

Speaker 7 (04:06:25):
It comes on your toes, no.

Speaker 9 (04:06:29):
Step pick.

Speaker 7 (04:06:35):
M pardon me, mister, yes, got a match? Yes, I
think so.

Speaker 28 (04:06:44):
Those cigars If his keep going out, he runs himself
and everybody else on the matches.

Speaker 7 (04:06:48):
Who some cigars are like that.

Speaker 28 (04:06:50):
Your hands get sides and don't move. Hey, I walk
back to your car. Listen here York, he said, Okay, okay,
but be careful what they're doing.

Speaker 36 (04:07:01):
Wait in your pocket? Can give me the keys to
your car?

Speaker 7 (04:07:03):
All right? What do you want from me? I don't
care how much money. Give me the car keys. Yeah,
you are pale, one up, Get in single get Where
are you taking me? How do you think?

Speaker 9 (04:07:19):
Get in?

Speaker 7 (04:07:20):
Please?

Speaker 28 (04:07:20):
Don't get in and back in the back o the
cast climbing back with him.

Speaker 7 (04:07:39):
I don't understand all this. What do you want from me?
Explain it to Pile. You're going back to your office.

Speaker 28 (04:07:45):
You're gonna open that safe and you're gonna hand over
tomorrow's payroll, just like that.

Speaker 7 (04:07:49):
But I don't know the combination. I'll tell me what
you know, but I don't. Honest gets right behind his boss.
I told you, I don't know the combination.

Speaker 28 (04:07:59):
Listen, friend, see the cigar how it gets when it's slipped.
I don't know how many thousands of degrees hot. Please
let me anyway it gets for the hat. You open,
it's safe. You get the end of the cigar, right
and you're right.

Speaker 57 (04:08:11):
Let me.

Speaker 7 (04:08:12):
I want to get out. Please hut him up.

Speaker 14 (04:08:14):
I can't open the city, can't.

Speaker 28 (04:08:16):
Okay, cat, stay ship, I'll not come on like yet.

Speaker 4 (04:08:20):
I want him sitting up when we cross the bridge.

Speaker 28 (04:08:22):
Okay, Okay, hosis getting those hats to toll gates us fashes.

Speaker 21 (04:08:25):
Keep him up and keep them quiet. Treatment later if
we have.

Speaker 76 (04:08:35):
So, don The two criminals and their victim, mister Georgia
Siegeal drove towards the George Washington toll Bridge across the
Hudson Riverend Seagulls car with the third criminal, but Albridge
following in their own car. Within a few minutes, they're
on the approaches to the bridge and nearing the toll gate.

Speaker 28 (04:08:58):
All right, Sigles, sit up straight, hi will, but don't
hit me again. We're gonna stop at that toll gig.
We're gonna pay the guy, and you're gonna keep your ship.

Speaker 7 (04:09:06):
You got it, don't worry. I won't say it or not.
If you don't want this cigar, remember and.

Speaker 21 (04:09:10):
Your toes toll gi yeah, fifty cents right decent.

Speaker 7 (04:09:19):
Hey, I'm motor day.

Speaker 3 (04:09:20):
You know it.

Speaker 7 (04:09:24):
She won't kick over I will?

Speaker 3 (04:09:26):
I will.

Speaker 4 (04:09:28):
It's a man of mess.

Speaker 7 (04:09:29):
You got trouble, Yeah, upstairs, will kick over.

Speaker 4 (04:09:35):
Gas.

Speaker 21 (04:09:36):
There's plenty of gas.

Speaker 7 (04:09:37):
Would say, it'll be all right.

Speaker 9 (04:09:41):
You'll have to get it out of here.

Speaker 4 (04:09:43):
Those cars want to get through.

Speaker 7 (04:09:44):
I'll give it another try. She's catching feet of gas.

Speaker 3 (04:09:50):
Let's go.

Speaker 7 (04:09:55):
I would have figured one like that. But there's a
trick to start it sometimes, to ask your take it
easy with him?

Speaker 4 (04:10:01):
Open that site.

Speaker 7 (04:10:02):
Okay, okay, I'm only plan. The kid's still behind me.

Speaker 28 (04:10:07):
Yeah, he's following this. Got worry, Go ahead, get that
a plan. Want to see what a payroll looks like?

Speaker 7 (04:10:22):
Special Agent Hanes.

Speaker 4 (04:10:23):
This is Martin.

Speaker 5 (04:10:23):
I'm glad to caught you at the office.

Speaker 7 (04:10:25):
Yes, I had to finish up something. What's up, Martin?

Speaker 4 (04:10:27):
I found a fence over.

Speaker 5 (04:10:28):
Here in Jersey City.

Speaker 4 (04:10:29):
Haines. I think he's the one.

Speaker 66 (04:10:30):
Who's been buying the accessories of those stolen broncks in
Westchester cars?

Speaker 7 (04:10:33):
Uhuh? What does he have to say?

Speaker 4 (04:10:35):
Nothing? That's the point. We found two radios and three
sets of tires, he says. He bought them in good faith,
says he doesn't know the fellows.

Speaker 7 (04:10:41):
Who's sold. What's the name of this fence?

Speaker 66 (04:10:43):
Then, Joe din he's got a long record for receiving
never a conviction.

Speaker 7 (04:10:47):
All right, how about bring him into New York. I'd
like to talk to him.

Speaker 4 (04:10:51):
Right, we'll be there in an hour.

Speaker 66 (04:10:52):
Oh and say, Haines, will you call up my wife
tell her I won't be home tonight.

Speaker 28 (04:11:01):
But I'm telling you I don't know the combination to
hear him, Boss, He says he don't know the combination.

Speaker 7 (04:11:07):
I heard him. We know different. We know you open
that safe every morning and close it every night. It's
not true, honesty, I ain't true.

Speaker 28 (04:11:16):
Hey, boss, give me a match. If you carry your
own matches, I'll drive catch ks. I get snappy plans
in the next block.

Speaker 7 (04:11:24):
What are you gonna do? Hey, I'm gonna like my cigar.
That's all. I like my cigar.

Speaker 28 (04:11:34):
Good cigar, right it. I would not told you how
how they get. Now you're gonna open that safe. H
You wouldn't like it any eye, would you?

Speaker 7 (04:11:43):
Okay, I'll open the safe. Are you acting smart? What
are your kid? It's not your dough.

Speaker 21 (04:11:49):
Wiky okay, hold on, we'll turn it in.

Speaker 28 (04:11:56):
As a kid right behind us, Sit up, sigal like
we tell you you won't get hurt bad.

Speaker 7 (04:12:02):
All right, I'll do anything.

Speaker 28 (04:12:05):
An let's go okay, see move, go ahead, all right,
I'm going. There's the kit all right, siegal, walk right
up to the office door, just like it worked here,
which he does what he does?

Speaker 7 (04:12:22):
Get gone? Yeah, I thought you were gone as on
the break up.

Speaker 28 (04:12:30):
And don't your job? All right, I'm but excited. There's
your key, Siagle. Open up the front door.

Speaker 7 (04:12:36):
But but what move? Can't move?

Speaker 36 (04:12:42):
You're gonna open up that front door of the office
and walk right to the site.

Speaker 7 (04:12:45):
And understand. But if I open the door, the burner
alarm a ring, it's just another store like the combination.

Speaker 28 (04:12:50):
Oh, I don't the truth. The burner alarm a ring,
A lion, Siagle. There's no alarm on that door.

Speaker 7 (04:12:54):
I know. Listen, you think we ought to take the chance.
There's no alarm on that door.

Speaker 28 (04:12:57):
He just wants to wise up the watchman. Let me
tell you something, seagull. I know this place inside now,
I know how we'll handle that watchmen. Once we're inside,
I'll open up the door. I don't say god, it's cigar,
okay quick now, Holy joys, fuck?

Speaker 8 (04:13:16):
It was right?

Speaker 9 (04:13:16):
Get him ar best.

Speaker 7 (04:13:17):
I want to get to the cat. Get to the
car right, don't write him gour. You're gonna let me
ut here, are you please? Yeah?

Speaker 28 (04:13:34):
Siagul, We're gonna let you see what he's got on him.
You want to get something out of this job, I'll
still are you all right? I don't have much.

Speaker 7 (04:13:41):
It is wallet. What's it?

Speaker 26 (04:13:44):
Five?

Speaker 7 (04:13:45):
Six, six bucks? Yeah, let's travel for six bucks, six bucks? Okay,
he's out.

Speaker 30 (04:13:56):
Uh.

Speaker 36 (04:13:57):
I think you're gonna shoot him once to the head.

Speaker 7 (04:14:00):
Shoot him. It was looking for the chair. How can
they tag us for if he's dead? I'll tell you
how to some people with big mies. That's how. What
are you talking about? You who can tell about the
kid or even the dame?

Speaker 28 (04:14:14):
Yeah, we can tell all right. Just work them over good.
I want a head start the cops. I'll work them
over good. I don't worry. I never say a guy
get pistol whipped. That's good for more than one thing,
did you right? I'll wake up for a week, yam.

Speaker 26 (04:14:41):
Now.

Speaker 7 (04:14:41):
I just sent Joe Denver back to the detention cell.

Speaker 26 (04:14:43):
Haines.

Speaker 7 (04:14:44):
We will file charges in the morning.

Speaker 4 (04:14:45):
Huh.

Speaker 78 (04:14:45):
First thing, you know, Martin, I never seen it fail.
All of these guys think I got something on them.
They'll sing their heads off looking for a break.

Speaker 7 (04:14:54):
What a business.

Speaker 66 (04:14:55):
It's not such a bad business. Joe Denver sings, we
clear up a spring of botto.

Speaker 7 (04:14:58):
Thats not so fast. We've still got to pick up
McIntire and this young sidekicker his Well.

Speaker 66 (04:15:04):
The information says they're probably still living at that address
in the Bronx and running with this Johnny Jay.

Speaker 7 (04:15:09):
They oughtn't to be so hard to trace from there,
I will say about that. Sure, Hello, specially Agent Hans Hans.

Speaker 4 (04:15:16):
This Crawford over at the Richfield, New Jersey Police.

Speaker 7 (04:15:18):
Oh, ask Crawford, how are you.

Speaker 4 (04:15:20):
We've got the victim of a robbery up here.

Speaker 79 (04:15:23):
They held him up in front of his home in
the Bronx and brought him over here to Jersey to
open up the safe.

Speaker 7 (04:15:28):
That's kidnapping.

Speaker 4 (04:15:29):
Yeah, they carried him over the state line.

Speaker 78 (04:15:31):
That makes it your beef done, man, It sure does
the Lindbergh law. What have you got to go on, Croppin?

Speaker 79 (04:15:36):
Well, the victim, Siegel got the license number of their car.
But that's not gonna be much help. Stolen last week
in Westchester.

Speaker 78 (04:15:43):
Carty that Chester tie in with anything it could. We're
working on a west it's the case right now, Stone Cars.
Oh where is this victim?

Speaker 4 (04:15:52):
He's still here at our station.

Speaker 9 (04:15:54):
Doctor says you can go home.

Speaker 7 (04:15:55):
After he rests up a bit. Well, keep him there
a while.

Speaker 39 (04:15:57):
We'll be right over.

Speaker 4 (04:15:58):
Okay, I'll be looking for you.

Speaker 28 (04:15:59):
So on.

Speaker 7 (04:16:02):
What is it? Ames? Come on, Martin, we're going over
to Jersey. I'll tell you all about it in the way.

Speaker 9 (04:16:06):
I'm ready.

Speaker 7 (04:16:06):
Oh uh, you don't happen to have a picture of
mac and doar on?

Speaker 20 (04:16:08):
You?

Speaker 3 (04:16:09):
Do you? Yes?

Speaker 7 (04:16:09):
I do good? Let's go.

Speaker 77 (04:16:18):
Six lousy bucks. I spent four months slaving at that
drill press for six rotten fuck.

Speaker 7 (04:16:22):
I sick a hearing about it.

Speaker 28 (04:16:24):
Terry, if you found out about that burglar alarm, everything
you've been fine, So.

Speaker 21 (04:16:27):
Just shut that big yappy.

Speaker 2 (04:16:28):
What am I.

Speaker 77 (04:16:28):
Supposed to know about burglar alarms? And watch out what
you're calling a big Yeah? But no kid, Brian's himself
mind it.

Speaker 7 (04:16:36):
But we got them cussed, and then we've been moving back.
It's a long drive.

Speaker 77 (04:16:42):
I see the small time stuff's good enough for you now, yes, mate,
was always good enough.

Speaker 28 (04:16:45):
You're looking for a crack and a head, Terry. Yeah
from who let's gope, but ready an hour.

Speaker 69 (04:16:50):
If you think I'm going.

Speaker 77 (04:16:51):
Back to work on that drill price, You've got another
thing coming.

Speaker 7 (04:16:53):
Ask you to go back. Do what you lie?

Speaker 69 (04:16:55):
Six bucks, six lousy bucks.

Speaker 7 (04:16:58):
Come here, Terry, Why come here? I said, I want
to kiss you goodbye.

Speaker 4 (04:17:03):
I'll stop it it.

Speaker 7 (04:17:07):
Come on, budd, cheer up with you in my car.
Let me along with it. All right. So we got
a bad break.

Speaker 28 (04:17:16):
It didn't work out right. Now we know we should
stick to this hot car run. But I'll tell you
what to stick to. Just watch where you drive. And
you got a red light.

Speaker 7 (04:17:22):
I see it, I see it.

Speaker 16 (04:17:24):
We got a good thing.

Speaker 12 (04:17:25):
It's a million dames like Terry, a million.

Speaker 7 (04:17:27):
We're crying and a sore shot up.

Speaker 4 (04:17:28):
All right. I just look at my car.

Speaker 7 (04:17:31):
That Tracy driver is gonna clip us. It needs cops. Cops,
what cops. Let's come a piece of my mind? All right?
If you say so hard, what's the matter.

Speaker 21 (04:17:45):
Don't you guys know how to drive?

Speaker 5 (04:17:47):
I get them up?

Speaker 7 (04:17:47):
You two just keeping your hands up. That's the idea.

Speaker 4 (04:17:51):
We ain't done nothing.

Speaker 7 (04:17:52):
We've got to want charging you with kidnapping.

Speaker 66 (04:17:54):
Kidnapping, Yes, you should always stop to think of the
state line. Come on, your friend, Johnny Jay has been
keeping a cell warm for you.

Speaker 7 (04:17:59):
You what's company?

Speaker 21 (04:18:00):
Okay, okayy goya.

Speaker 7 (04:18:02):
That push.

Speaker 76 (04:18:07):
That Don, was how the arrest was made. David McIntyre
and Johnny Jay were sentenced to twenty years each, and
but all Ridge was given six years. They are now
serving their terms at various federal penitentiaries for abducting mister
Julius Siegel and carrying him across a state line.

Speaker 7 (04:18:23):
Well, mister Siegul certainly had a rough time of it.

Speaker 76 (04:18:26):
You know, Don, that for every crime there must be
a victim as well as a criminal. And I have
brought mister Siegul to the studio tonight so I see,
mister Charrison. He hadn't experienced that any one of us
may be called on to face any day.

Speaker 66 (04:18:40):
We're glad to have you on Gangbusters, mister Siegel.

Speaker 59 (04:18:42):
I'm glad to be here, Don, but I must say
that in all my years of listening to Gangbusters, I
never dreamed that one day I'd be a part of
your program.

Speaker 66 (04:18:51):
And the very important part too. I suppose that all
of us think of crimes like kidnapping in terms of
someone else. It must have been some sensation when you
realize that this time you were the victim.

Speaker 59 (04:19:01):
Well, Don, from the first I knew those boys meant business.
But it wasn't until they were ready to leave me,
on to leave me later on that I started saying
my final prayers.

Speaker 7 (04:19:10):
Well, just what happened?

Speaker 59 (04:19:12):
Well, when they got ready to go, one yell to
the other, kill him and dump him. But then he
came back to me and said, we decided not to
kill you. We're gonna knock you out.

Speaker 7 (04:19:21):
That's when they really gave you going over.

Speaker 59 (04:19:23):
That's right, Don, But to tell you the truth, the
beating wasn't nearly as bad as the mental torture. At
first I thought it was just another stick up. But
when my face hit the floor of the car, well,
it seemed as though a million things flashed.

Speaker 7 (04:19:35):
Through my mind. Well, just what kind of things do
you mean?

Speaker 59 (04:19:38):
Well, maybe these thugs had gotten to my wife and children. Also,
Even if they hadn't, I thought I'd never lift to
see them again. And then there was that one voice
that kept yelling if he opens his mouth kill him.
I can still hear it to this day.

Speaker 7 (04:19:53):
Well, that certainly must have been a grueling experience.

Speaker 12 (04:19:55):
Believe me, Don, it was. All I can say is
it's great.

Speaker 16 (04:19:59):
To be alive.

Speaker 66 (04:20:00):
Well, thank you, mister Julius Siegel, and you, mister SAULS. Sharrison,
for coming here tonight and being our guests on gang Busters.
Leading roles were played by Ken Lynch and Joe Julian
Don Gardner speaking gang Busters is a Phillips h lord production.

Speaker 4 (04:20:34):
The Green Hornet.

Speaker 2 (04:20:41):
He hunts the biggest of all game public enemies that
even the g men cannot reach.

Speaker 4 (04:20:45):
The Green Hornet.

Speaker 2 (04:22:20):
With his faithful valet Cato britt Reed, daring young publisher,
matches wits with the underworld, risking his life that criminals
and racketeers within the law may feel its weight.

Speaker 4 (04:22:30):
By the sting of the Green Hornet.

Speaker 2 (04:22:32):
M ride with Britt Reed as he races toward another
thrilling adventurer, the Green Hornet strikes again.

Speaker 4 (04:22:45):
Hurry, Kato, where ought to break the type of racket?

Speaker 2 (04:22:58):
Yes, madam, make your contu you now we're campaigning for
a special pension for everyone over fifty. Mister contribute to
us and you won't have to worry about your old age.
Thank you. I'm using my influence at the state Capitol personally.
Turnbull's the name Turnbull.

Speaker 9 (04:23:19):
Turnbull and I. There are many old age pension plans,
but none like ours.

Speaker 4 (04:23:23):
I'm collecting money for the campaign. We need yours.

Speaker 9 (04:23:26):
Make your contributions now.

Speaker 4 (04:23:28):
There are many old age pension plans, but none like ours.
Don't worry about your old age.

Speaker 14 (04:23:33):
A campaign to push old aid pensions through the state legislature.

Speaker 9 (04:23:36):
Many plans, but none like ours.

Speaker 4 (04:23:38):
Contribute now, none like ours. Turnbull and breaks influence at
the State Capital. Yeah, that's right.

Speaker 2 (04:23:53):
Lots of old age pension plans, but none like ours.
What do you mean, Harley, I'm through no more collecting.

Speaker 4 (04:23:58):
Get someone else. You're a jip, breaks you and Turnbull early.

Speaker 2 (04:24:02):
This is the way you talk. After we were good
enough to hire you as a collector for our campaign.

Speaker 4 (04:24:06):
You're fire. I quit and that ain't all. That's enough.

Speaker 9 (04:24:09):
We're running a sincere campaign.

Speaker 4 (04:24:10):
Then here my foot.

Speaker 2 (04:24:12):
Sure there's plenty of old age pension plans that's on
the level, but not this one. You can't say that
I turned in fifty bucks for your campaign. Fifty bucks
from all folks who needed the dough plenty bad. I
saw you this morning. You mark me down for ten
bucks brought in and the two of you, where does
the other forty go?

Speaker 14 (04:24:27):
Fuck me?

Speaker 4 (04:24:28):
No wonder the Daily Sentinel's been after you.

Speaker 69 (04:24:30):
The Sentinel.

Speaker 4 (04:24:30):
They're sending a reporter over. I'll give him poop your
crooked all right? Did you hear him? Buck?

Speaker 7 (04:24:35):
Yeah?

Speaker 4 (04:24:35):
Boss I had. You're gonna shoot your mouth? Who are you?

Speaker 9 (04:24:39):
Fuck?

Speaker 4 (04:24:40):
Is our special man Urly.

Speaker 2 (04:24:42):
He takes care of people who talk too much, people
like you. You'll open your trap. You'll be six feet
on there.

Speaker 4 (04:24:48):
You can't do that. Now I'm saying this, don't talk
and you won't get hurt.

Speaker 2 (04:24:51):
Do you understand early I guess I was speaking on
a turn. Maybe he understands.

Speaker 4 (04:24:56):
Yeah, yeah, I won't say nothing. Okay, just remember that
nothing will happen to you. What can be very tough, Hurley.
Bear that in mind.

Speaker 9 (04:25:05):
You collect the money. How its handle is our affair.

Speaker 4 (04:25:07):
I tell you you don't have to worry. I ain't talking.
Which one of you guys is Hurley? What I'm looking for?
A man named Hurley. Girl at the desk said he
was over here. You know my name's Turnbull. I'm the
one you want. Well, let's find mister Hurley just a minute.
What do you want him for?

Speaker 7 (04:25:20):
Oh?

Speaker 2 (04:25:21):
Nothing special, little private matter. Private, that's right. Come on
outside and I'll treat you the sas Thriller or something.

Speaker 9 (04:25:27):
You remember me, Hurley?

Speaker 2 (04:25:28):
That phone call this morning?

Speaker 4 (04:25:30):
Oh that I changed my mind. Oh you must be
that reporter from the Sentinel. What's that got to do
with it?

Speaker 9 (04:25:37):
Hurley made a mistake.

Speaker 2 (04:25:38):
What do you mean mistake? We were going to discharge him.
He resented it and called your paper. You understand, a
disgruntled employee and all that all.

Speaker 4 (04:25:47):
What come on, Hurley, let's get together.

Speaker 2 (04:25:49):
I'm staying here. Ah, mister Briggs is right. I have
nothing to talk about, exactly, perfectly happy here, aren't you sure?

Speaker 4 (04:25:56):
I am for sure? Why you so? That's it is now?

Speaker 9 (04:26:00):
If you'll excuse us, We're very busy.

Speaker 4 (04:26:02):
This campaign takes a lot of work. We can't waste time.

Speaker 2 (04:26:05):
Last chance, Hurley, if that phone call was on the level,
you and I have a lot to talk over.

Speaker 4 (04:26:10):
I told you once already I ain't got nothing to
talk about.

Speaker 2 (04:26:12):
If it was worth while, I'd.

Speaker 4 (04:26:13):
Poke you one.

Speaker 2 (04:26:14):
You're so scared already, you'd probably faint before I connected.

Speaker 4 (04:26:25):
Look at me, boss, what's wrong? Lauren stood out? That's what?

Speaker 2 (04:26:28):
Remember that phone call that came in this morning, a
man named Hurley none other. He was going to give
us a yawn and that phony campaign fun business.

Speaker 9 (04:26:36):
He did say something.

Speaker 4 (04:26:37):
About it changed his mind?

Speaker 9 (04:26:38):
What sure?

Speaker 2 (04:26:40):
I went over there this afternoon. All he was handing
out was the air no story.

Speaker 16 (04:26:44):
Boss.

Speaker 2 (04:26:44):
We could put what he said in the weather report
box and it would still be empty.

Speaker 9 (04:26:47):
And it's too bad.

Speaker 2 (04:26:49):
I had hopes would get enough out of him to
give us a start toward crushing this racket. You'll never
prove it, the racket by him?

Speaker 9 (04:26:53):
What went wrong?

Speaker 4 (04:26:54):
Why did he change his mind? Finger?

Speaker 3 (04:26:56):
What?

Speaker 4 (04:26:56):
Finger? Boss? The spot?

Speaker 9 (04:26:57):
That guy was white as a sheet.

Speaker 2 (04:26:59):
How about all the on the mint against When I
got in my pocket.

Speaker 14 (04:27:01):
He was told not to talk or else. All right, Laura,
you tried anyhow, Thanks, boss, But they don't pay off
on fries. All I hope is that I don't have
to see that guy again, not for a long time.

Speaker 11 (04:27:14):
Yes, mister read.

Speaker 2 (04:27:15):
In this case, a man named Hurley call this morning.
Have we his name on the file just for the records, Yes,
mister read on desk.

Speaker 9 (04:27:21):
Thank you.

Speaker 2 (04:27:22):
I'm going to use my private phones either. No one
comes in when I'm talking, Hurley, he is afraid to talk.
There's only one way to change his mind. You must
be made afraid not to talk.

Speaker 4 (04:27:36):
Okato.

Speaker 2 (04:27:38):
We're taking a little ride tonight. Have everything ready? Yes,
a little surprise visit.

Speaker 4 (04:27:53):
Soaping my eye? Where is the wash card?

Speaker 9 (04:27:58):
What's that?

Speaker 7 (04:27:59):
I like a doorbell?

Speaker 2 (04:28:01):
And here with the shower running. Somebody's always calling right
when I'm in the shower all the time. Okay, I'm
coming where till I get my bathrobe on?

Speaker 4 (04:28:14):
Breaking water all over the place.

Speaker 7 (04:28:16):
What do you want?

Speaker 4 (04:28:16):
I'm right in the middle. Hello, Early, what are you
doing here?

Speaker 45 (04:28:21):
Come on in?

Speaker 4 (04:28:21):
No, No, wait a minute.

Speaker 22 (04:28:22):
Move.

Speaker 4 (04:28:23):
I didn't talk, I didn't tell nobody nothing. So you
was right in the middle of a shower.

Speaker 2 (04:28:27):
You didn't have to come here. I told purtlepol and Brigs.
I keep my mouth plus water all over the rud your.

Speaker 4 (04:28:33):
Footprints, Early, I'm standing here. Look, go on my arm.
We're going back in the bathroom.

Speaker 58 (04:28:38):
Pile you and me.

Speaker 4 (04:28:39):
Listen. What are you gonna do? You shouldn't standing around
like that. You might catch cold. I'm all right, I'm
not cool while you're shivering all over. Get back into
that shower pile. Stop stop looking at me that way here, I'll.

Speaker 14 (04:28:52):
Turn it on.

Speaker 4 (04:28:53):
Let go shut up, print honest out long times to bed.

Speaker 2 (04:29:08):
Someone left her as we came up, Kato. Wonder who
it was, calling on Hurley. We soiled the bed and
we stayed out of sight as that man came down
the stairs. But something tells me we should have taken
a good look at him. We're gonna make Hurly talk
not to worry about strange visitors. Still no answering yet,
and the door's opened inside, quickly locked the door. It's strange.

(04:29:33):
Lights are on the door open, Wet footprints on the
rug just beginning to dry out, but there's still distinct
enough to see just a print of bare foot one
set of bare footprints leading to the front door and back.
I never said shoe prince, this time going just one way.
No trace of Hurley himself.

Speaker 4 (04:29:52):
Shower running.

Speaker 2 (04:29:52):
Huh, shower is running. We can hear it even when
the bathroom door closed. Hey, look a trickle of water
run out from underneath the bathroom door.

Speaker 4 (04:30:01):
Something wrong, something.

Speaker 2 (04:30:02):
Very peculiar going on here? Can you see these prints. Yes,
they sure that Hurley went to the door in the
middle of his shower. Someone came in, went back to
the bathroom with.

Speaker 9 (04:30:11):
Him and then left.

Speaker 4 (04:30:12):
I can't tell that.

Speaker 2 (04:30:13):
But notice how the man wearing shoes left prints only
from the bathroom to the front door. And they must
have gotten wet in the bathroom. More water trickling under
the bathroom door. We're going to see why that shower
is still running.

Speaker 4 (04:30:28):
Open the door.

Speaker 71 (04:30:31):
I up on it.

Speaker 9 (04:30:32):
This is the open the door police. He can't be found.

Speaker 2 (04:30:35):
The kid off, not with my green hornet mask and gun.

Speaker 9 (04:30:37):
Get this window wooping on the.

Speaker 2 (04:30:44):
Lucky We had the black beauty park right below in
this alley. Yes, sir, there's I'm mystery back in that apartment.
I learn more about it tomorrow. Right now, it's more
important for the green horn to make himself scarce.

Speaker 4 (04:31:05):
And what about it? Casey boss?

Speaker 2 (04:31:06):
And yet for the tenth time, no, he too, this
is important.

Speaker 4 (04:31:10):
I've told you before.

Speaker 19 (04:31:11):
He's on his way down.

Speaker 2 (04:31:12):
He said about the Hurley business. You want to see
him loadly and of your knitting, will you accident? Holy
cows knitting.

Speaker 4 (04:31:18):
What gets me is what happened to Hurley haven't you heard.
I just got here. He met with an accident, mister
read coury.

Speaker 2 (04:31:25):
He was taking a shower, kind of an accident. Boss,
Hurley's dead. You don't sorry, what's the matter? You don't
even a surprise? Yes, of course, I'm surprised.

Speaker 4 (04:31:33):
It happened last night, mister Reid.

Speaker 9 (04:31:35):
So Hurley was murdered.

Speaker 2 (04:31:36):
E Chufferance need read your belfries Al Wooly. Nobody said
it was murdered. Well no, no one said so. I
had just assumed it wasn't murdered, Boss, just an accident.

Speaker 4 (04:31:46):
An accident.

Speaker 2 (04:31:46):
You're all worked up about an accident. It's the coincidence
of the thing that gets me, Boss. That guy was
scared stiff yesterday, afraid to talk, and right afterwards he
slips in the shower, smacks his head against the.

Speaker 9 (04:31:56):
Fawcet and wham.

Speaker 4 (04:31:57):
Can he come in my office, Laurie, I want to
hear more about this accident. Golly Red, I ain't coming too.

Speaker 9 (04:32:04):
Let's get this straight.

Speaker 2 (04:32:06):
You believe it was an accidental death, Flaura, it was
mighty convenient.

Speaker 4 (04:32:11):
I thought exactly how how was Hurley discovered?

Speaker 2 (04:32:14):
The lady don't stare from Hurley's place, heard a lord,
don't you see as if someone had been hit.

Speaker 4 (04:32:20):
He didn't pay much attention at the time.

Speaker 2 (04:32:22):
Then a little later water started le through her ceiling.

Speaker 4 (04:32:24):
What did you do?

Speaker 14 (04:32:25):
Then?

Speaker 2 (04:32:25):
She was sort of scary red. After recollecting that nise,
she caused the cop in the corner. He went up
to have a look see, and he found Hurley lying
in the shower dead with the water running over.

Speaker 4 (04:32:36):
That's it, Golly, Reid. If I didn't know you was
home in bed, i'd say you with Davy.

Speaker 44 (04:32:41):
You said whatever.

Speaker 2 (04:32:41):
I gave you that idea, because that's just how it was. Well,
it's it's not difficult to reconstruct what happened. As soon
as I heard it was Hurley, I hopped down there.
You should have seen it, boss, Yeah, I wish ahead
with footprints all over the floor, footprints on it?

Speaker 9 (04:32:56):
What boss?

Speaker 36 (04:32:57):
Oh?

Speaker 2 (04:32:58):
Go on, what about the footprints. Don't tell me Hurley
been walking around in his wet feet. No, it wasn't Hurley,
It wasn't. What's the matter with your eve. The footprints
were the cops and the people who came up from downstairs.
Bathroom floor was wet and they'd packed the place up.

Speaker 9 (04:33:10):
That's all in other words, if.

Speaker 2 (04:33:12):
There had been a murder, all the evidence was covered up,
how could it be murdered?

Speaker 4 (04:33:16):
If it was an accident.

Speaker 2 (04:33:17):
It acts for lots of people slipping the best of it.
Why should it happen to this particular man and at
this particular time. That's the way I feel, Boss, it's
from what you say. There's no evidence, not a scrap.
Who was worth Hurley when you saw him yesterday afternoon.
You can't get anything that way, Boss, Turnbull and Brigs,
that's all. No one else, No a couple others around
the place, but no one threatened him, whoever it was.

Speaker 4 (04:33:37):
The threats were all made before I got there.

Speaker 9 (04:33:40):
Lollie, keep after this.

Speaker 2 (04:33:41):
I was hoping you'd say that there's nothing we can
do about it.

Speaker 4 (04:33:43):
Now listen, nobody can do still.

Speaker 9 (04:33:45):
Murder is a hard thing to cover up.

Speaker 2 (04:33:47):
It's just possible if this is a murder, and that
it isn't as fool proof as it seems. That evening,
Brittfried returned to his apartment and told Kato is predicament. Kato,
you and I know that Hurley was murdered. That man
we saw leaving those footprints on the floor positive proof.
Yet we can't tell the police what we know, because

(04:34:09):
that would mean the end of the Green Hornet.

Speaker 4 (04:34:11):
Whyster be it?

Speaker 2 (04:34:12):
The police would accept my word about those footprints, even
if they dried up at the time that officer forced
his way into Hurley's place, But they want to know
why I was.

Speaker 9 (04:34:18):
There and why I left so secretly, O Kato.

Speaker 2 (04:34:21):
An investigation is one thing we can afford.

Speaker 4 (04:34:23):
What are we going to do?

Speaker 2 (04:34:25):
Hurley was murdered because certain people were afraid he'd talk
with him. Out of the way, Turnbull and Briggs can
continue making a racket out of their old age pension plan.

Speaker 4 (04:34:33):
That's true.

Speaker 2 (04:34:34):
We have the mask and the gun, Cato, Only you
and the Green Hornet know that murder was done, and
it's up to the Green Hornet.

Speaker 9 (04:34:42):
To solve that murder.

Speaker 2 (04:34:53):
The curtain falls on the first act of our Green
Hornet Adventurer. Before the next exciting scenes, please permit us
to pause for just a mo.

Speaker 27 (04:35:39):
At an ever.

Speaker 2 (04:36:02):
Now, to continue our story, brit Reed and Cato stepped
through a secret panel in the rear of the clothes breass,
then along a narrow passageway built within the wall of
the apartment house, down a flight of stairs until they
stood in a supposedly abandoned building where the black Beauty,
the sleek, streamlined car of the Green Hornet was kept.
Solve this murder which smashed the racket Turnbull and Briggs

(04:36:22):
have set up for themselves.

Speaker 4 (04:36:24):
Shall I drive it a bit?

Speaker 2 (04:36:25):
Always solve The man who was at Hurley's place before
us was his general outline, and.

Speaker 9 (04:36:29):
That'll have to do.

Speaker 2 (04:36:30):
You take up here, Kato. We're after the names of
the men who worked for Turnbull and Briggs. Fast driving, Cato.

(04:36:53):
Here's the office building. You follow me as a side entrance.
We'll have to force it air with a bit. Wait
the night elevator attendant, he's sitting where he can see
whatever goes on. I will have to get him out
of the way without using gas. Too many people use
this building, even at tonight. He can't take a chance
on being trapped inside. Should someone discovering guests? Yes, sir,

(04:37:16):
you go on at the front entrance, Cato, ring the
night bell, then get back to the car and stay there.

Speaker 9 (04:37:20):
He well, ring it good and loud.

Speaker 2 (04:37:21):
I want to be sure that night attendant goes all
the way to the front, so I'll be inside before
he returns.

Speaker 4 (04:37:34):
Leave those files alone, Briggs, I know what I'm doing.

Speaker 9 (04:37:37):
Hurley's dead.

Speaker 2 (04:37:38):
Getting his ducket out of the files won't make any difference.
It was an accident.

Speaker 9 (04:37:42):
How can we be sure? Nobody suspect.

Speaker 4 (04:37:45):
Police called it an accident. The newspapers called it an accident.
Why make a fusser with nothing?

Speaker 9 (04:37:50):
The police have withheld evidence before.

Speaker 4 (04:37:52):
There was no evidence. It was fixed to look like
an accident.

Speaker 9 (04:37:55):
All the way. I'm playing safe. Suppose they come around
asking questions.

Speaker 4 (04:37:58):
Nobody's asking questions that we can't answer.

Speaker 9 (04:38:00):
They might run across the fires to show how we
were keeping money for ourselves. Might take a chance.

Speaker 4 (04:38:03):
Okay, have your own way.

Speaker 9 (04:38:05):
If I'd had my way, Hurley would have been alive.

Speaker 4 (04:38:07):
He knew too much.

Speaker 2 (04:38:08):
The threat was always necessary to shut him up. We
saw that yesterday.

Speaker 45 (04:38:12):
For how long.

Speaker 9 (04:38:12):
I don't like murder turnbull. It's dangerous jet.

Speaker 4 (04:38:14):
Those fires locked up. As long as Hurley was alive,
we were heading for trouble.

Speaker 2 (04:38:18):
I had known you were going to My orders were
carried out. I saw fit to remove Hurley, so I
had them removed. I'll shut up and get busy. Wait
enough already, who's that?

Speaker 4 (04:38:27):
Who are you?

Speaker 9 (04:38:28):
Turned out the light come breaks one side.

Speaker 12 (04:38:31):
Let go.

Speaker 9 (04:38:31):
I want your payrolls?

Speaker 28 (04:38:32):
Why is it?

Speaker 4 (04:38:33):
I'm not the payrollers?

Speaker 2 (04:38:35):
Go my arm, you're a payroll.

Speaker 4 (04:38:37):
Hurry in the fire top drawer. That's better.

Speaker 2 (04:38:41):
Now showing your pad on the floor before you're doing
any phone calling.

Speaker 4 (04:38:45):
Take a look at this, tor, No.

Speaker 14 (04:38:48):
My jaw.

Speaker 4 (04:38:49):
Where's the phone? Why didn't you stop him? Try stopping
a whirlwind?

Speaker 9 (04:38:53):
You know that was my back turns?

Speaker 4 (04:38:55):
How many came in? That was the green hornets, the
green harness. Call the police, they'll take care of him.

Speaker 9 (04:39:00):
Yes, hurry the hornut turn on the lights.

Speaker 4 (04:39:02):
Can't see the dial. That's better. You don't call a police? Wait,
get away?

Speaker 9 (04:39:05):
You didn't you hear what he said?

Speaker 4 (04:39:08):
Is he left? What's that? Cuts it?

Speaker 9 (04:39:09):
Eh?

Speaker 4 (04:39:10):
What did he say?

Speaker 9 (04:39:11):
Something about the door?

Speaker 4 (04:39:12):
Look on the door the door, I don't see anything.

Speaker 9 (04:39:15):
That paper wasn't stuck as.

Speaker 14 (04:39:16):
The door before?

Speaker 45 (04:39:16):
Where this?

Speaker 16 (04:39:18):
Why?

Speaker 4 (04:39:18):
There's nothing but part of a newspaper page?

Speaker 9 (04:39:20):
Turnbull?

Speaker 2 (04:39:20):
Look at this is that item about Hurley? It circled
in pencil and the word accident crossed out. He's written
murder in its place.

Speaker 4 (04:39:29):
Turn.

Speaker 9 (04:39:29):
We don't dare call the police.

Speaker 2 (04:39:30):
The Hornet's wise, mister bit I got the paper Recordato
way down upstairs and Turnbull's office.

Speaker 4 (04:39:44):
You drive Kato.

Speaker 2 (04:39:46):
I want to start checking his names. Fortunately there aren't
money racket like. There's needs very little over here. We
will go now, three women, all of them. Here's Hurley
and death checks him off at there's one, two, four possibilities.
Head for a phone ketto. I'm getting in touch with
those men right now. Leaving the green hornet, mask and

(04:40:16):
gun in the black beauty, b Reed made several phone
calls to the men on the list. Finally, on his
third call.

Speaker 9 (04:40:22):
All I was this buck Listen Buck, I just left
the office.

Speaker 4 (04:40:25):
They hate son.

Speaker 2 (04:40:26):
What are you talking about?

Speaker 9 (04:40:27):
That mentioned names over the phone? That accident last night?
You mean the cops know it wasn't an accident. You
sit twice. See where you are. We're coming right over.
I's sticking around for the cops to pick me up.

Speaker 4 (04:40:38):
You hurt me.

Speaker 9 (04:40:38):
I'm giving the orders anymore. You ain't you doing this
just like me. I'm coming down to the office right now.

Speaker 2 (04:40:44):
I want protection and you're giving it the smart box
there where you are. I'm coming down the cops grab me.

Speaker 44 (04:40:50):
I want you guys around when I can see you
just in case.

Speaker 4 (04:40:53):
Of a double cross.

Speaker 9 (04:40:54):
You get it, suit yourself.

Speaker 4 (04:40:56):
That's what I'm doing.

Speaker 2 (04:40:57):
I'm on my way.

Speaker 4 (04:41:10):
Work. Great. Huh, mister Turnbull, I was just thinking tonight.
I don't think, don't talk.

Speaker 9 (04:41:16):
You know, there's some of those kids around.

Speaker 4 (04:41:18):
They'll do anything, pound the side door open, for instance.

Speaker 9 (04:41:21):
This elevator takes all day.

Speaker 4 (04:41:26):
Hey, ground phone.

Speaker 9 (04:41:27):
You're the last to night. Oh gosh, there's somebody else
ringing the front bell.

Speaker 4 (04:41:31):
Come along rings? Wait? I got opened the door for
let the other man in. That's about time you. Hey,
what is this? You guys ain't leaving Buck? What are
you doing here? Are you kidding? I got the phone
call you did about the job I pulled on Hurley.
You said the cops was wise. It was you me

(04:41:52):
and mister Turnbull. Get back to your elevator where you belong.
Oh sure, sure you didn't call me? Who did?

Speaker 9 (04:41:57):
What's been going on tonight? Turnbull?

Speaker 4 (04:41:59):
You think this may be more of the same, Elder,
the cops know what, don't you say? Who is this lunch?
The green hornets.

Speaker 2 (04:42:06):
I'm the one who calls you, butck and the phone
came here. I had other plans, but your office will
do just as well.

Speaker 9 (04:42:11):
Trainbone.

Speaker 4 (04:42:12):
What's the matter with you? You wouldn't be wise. He's
got a gun. Bart never side you. You're covered up too.

Speaker 9 (04:42:16):
Came up like a cat. Not a sound much your
first time.

Speaker 4 (04:42:19):
All right. I don't think you're getting away with anything
you wanted.

Speaker 2 (04:42:22):
When you're getting away with consigns me more this guy. No,
we'll talk about that when we get upstairs.

Speaker 4 (04:42:27):
And blackmail us. I thought you gentlemen were gone for
the night.

Speaker 2 (04:42:30):
I didn't think it a stick up one side in
the elevator and the three of you. You can't do
that private proper staying here are on the elevator myself.

Speaker 15 (04:42:38):
No, wake it, you shot it.

Speaker 2 (04:42:40):
Only guess it'll be out for an hour. Time for
us to have a nice long talk and by the
time we're through, we'll.

Speaker 9 (04:42:47):
Know where we stand.

Speaker 80 (04:42:59):
No, slowly, were you stuff hopping on that hourly accident?
How do you know it was an accident because.

Speaker 4 (04:43:04):
I know it sure is.

Speaker 2 (04:43:04):
Me names Doyle suffering snake style lowdly was only asking you.

Speaker 4 (04:43:08):
A sip question and I answered it. I'll shut up
and let me answer the phone. He come about the plantation.
What's up Green's handling? The matter of the mask?

Speaker 65 (04:43:18):
You gast me.

Speaker 4 (04:43:18):
But the other bed of door's court speak up. I
can't hear you.

Speaker 7 (04:43:21):
What man?

Speaker 4 (04:43:22):
And what mask?

Speaker 58 (04:43:25):
Come on, hurry?

Speaker 4 (04:43:27):
What's the matter with you?

Speaker 2 (04:43:27):
Man?

Speaker 4 (04:43:28):
What's excitement?

Speaker 2 (04:43:28):
Doyle?

Speaker 4 (04:43:29):
This guy on the phone. You must have passed out
for a minute. Hey, hey, I'm all right now, yeah,
go ahead? Is it something? A green mask?

Speaker 3 (04:43:36):
You have?

Speaker 4 (04:43:36):
A curtain would have gasted me? Only the outside.

Speaker 80 (04:43:41):
You said you would have gassed you all the outside
elevated door shows first and man, the green mask mask, Hornet,
I hear you.

Speaker 4 (04:43:48):
About the fifth floor. We'll be there. It's him, all right,
up at a skyscraper on the fifth floor. What are
we waiting for?

Speaker 2 (04:43:54):
Glory b it looks like but after getting the green
harleted last?

Speaker 9 (04:44:08):
All right, horn you know the whole set up? What
do you said?

Speaker 4 (04:44:11):
Let's get out of this half now, hurry back.

Speaker 2 (04:44:13):
Nobody knows where her except the night attendant down stairs,
and he's gassed.

Speaker 9 (04:44:17):
I waste time.

Speaker 2 (04:44:17):
Get to the point, Hornet. A crook like you doesn't
bother with something unless you have an angle I have
What are you looking at me for?

Speaker 9 (04:44:25):
And you realize the spots you're in this racket can
support all of us Hornet, I'm talking about buck Me.

Speaker 2 (04:44:32):
He's a murderer, turnbull. Murderers are dans. I still don't
see what's the police pick him up for any reason,
it doesn't matter whether it's for this particular job or not.
The work over him, then make him talk.

Speaker 4 (04:44:41):
Hey, what does that mean?

Speaker 2 (04:44:42):
You might let something slip about Harley even if he
didn't mean to. I'm not doing business until you get
rid of him.

Speaker 4 (04:44:48):
You're accomplice. It's getting impatient, horn It.

Speaker 9 (04:44:50):
This is the only door you think over what I've
just said.

Speaker 2 (04:44:52):
When I'm not signing, there haint nothing to argue about.

Speaker 18 (04:44:57):
What is it?

Speaker 14 (04:44:58):
Cat?

Speaker 9 (04:44:59):
Please wear?

Speaker 2 (04:45:00):
They just came from the window water downstairs, said he Bucketo.
How do they find out we were here?

Speaker 9 (04:45:04):
I don't know?

Speaker 4 (04:45:05):
Need to be?

Speaker 2 (04:45:05):
You don't get into the elevator right jams the door
open on this floor. Who wouldn't run it? So only
chance if you heard the police before I join you
don't wait, save yourself, no need to be it. It
was my say he don't get into that elevator, but
I would not leave the times a route your prayers
that I'm joining you soon.

Speaker 4 (04:45:17):
What did he want? If nobody pumps me off?

Speaker 9 (04:45:19):
Not when I'm tired of talk from now and I'm
taking charge.

Speaker 4 (04:45:22):
Look out for God. This is for you to.

Speaker 14 (04:45:26):
What's the meaning?

Speaker 4 (04:45:26):
Didn't oh.

Speaker 9 (04:45:29):
Ah you Buck, you're gone.

Speaker 2 (04:45:32):
You're gone. Screwy first year against me, and I got
this door. I called me into the elevator. I haven't
changed my mind. Buck, You're gonna be taken care of, well,
taken care of.

Speaker 4 (04:45:44):
I close the doors. No, no, you can't, you can't do.
I want look at the indicator, Doyle, that elevator starting down.

Speaker 9 (04:46:03):
That's what I told you.

Speaker 4 (04:46:04):
He had it up there jams so I couldn't bring
it down.

Speaker 2 (04:46:06):
I send some of the men upstairs. They'll cover the
fifth floor suffering snakes. If the green harnets in this elevator,
we got him hands down.

Speaker 4 (04:46:13):
Sure you don't know we're waiting. He opened them doors
and step right into our arms. Look he's coming to
the first floor.

Speaker 38 (04:46:19):
Get ready.

Speaker 4 (04:46:21):
A few minutes. But holy crowl, he's talking to something yet.
I won't tell nobody.

Speaker 9 (04:46:26):
I bump Hurly off.

Speaker 4 (04:46:27):
You can trust me, did he say?

Speaker 15 (04:46:29):
Hurley?

Speaker 9 (04:46:29):
I trust no, buddy, especially I'll tell you what's Turnbull's idea?

Speaker 4 (04:46:34):
Himn praid thanking me? My order and I'm telling you this.

Speaker 15 (04:46:38):
I don't hear nothing.

Speaker 4 (04:46:39):
Why don't you open the door? Holy crowl Look at
that the elevators moving again. It's going on down to
the basement. If he gets away now, I'll quick. How
do we get to the basement? This way, step on it,
keep your gun handy, will get him.

Speaker 2 (04:46:57):
This way around the corner there's the elevators with the
door wide open and no green hornets.

Speaker 4 (04:47:02):
Who's this guy? He's out cool, he's where we get
out through the call shoe.

Speaker 2 (04:47:05):
That guy thinks of everything and he leaves a murderer
behind for day to put the cuffs on murderer.

Speaker 4 (04:47:10):
Sure this guy murdered Hurley.

Speaker 2 (04:47:12):
We heard it all to the door and turned bull
in his pallor.

Speaker 4 (04:47:15):
In a toe say that's right. We did hear him?
Confess didn't we? Well, you gotta say one thing for
the hornet.

Speaker 2 (04:47:20):
He may get away himself, but he always leaves somebody
around for the cops.

Speaker 81 (04:47:37):
Lettree Pepper Rocket's arrested for murder. Hunt in Rockets must
read hardest, get fully read hardest to lif that's the
left free Pepper.

Speaker 16 (04:48:14):
Cut O.

Speaker 2 (04:49:29):
The story you have just heard is a copyrighted feature
of the Green Hornet Incorporated. The situations and characters depicted
in this drama are fictitious. Any similarity to actual persons
or events of the past or present is coincidental.

Speaker 1 (04:49:57):
Thanks for listening. If you like what you heard, be
sure to subscribe so you don't miss future episodes. If
you like the show, please share it with someone you
know who loves old time radio or the paranormal or
strange stories, true crime, monsters, or unsolved mysteries like you do.
You can email me and follow me on social media
through the Weird Darkness website. Weirddarkness dot Com is also

(04:50:20):
where you can listen to free audiobooks I've narrated, get
the email newsletter, visit the store for creepy and cool
Weird Darkness merchandise. Plus, it's where you can find the
Hope in the Darkness page. If you or someone you
know is struggling with depression, addiction, or thoughts of harming
yourself or others, you can find all of that and
more at Weird Darkness dot com. I'm Darren Marler. Thanks

(04:50:44):
for joining me for tonight's retro radio Old Time Radio
in the Dark

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