MY GHOST WIFE WARNED ME ABOUT YOU!: #RetroRadio EP0354 #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):
Latins affliated 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 us Seal.

Speaker 6 (00:44):
Present Suspense.

Speaker 7 (00:49):
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
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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 (02:22):
Welcome.

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

Speaker 8 (02:25):
Marshall. Till death do us Part is perhaps the best
known phrase of the marriage service. Today's brides and grooms
say them and all the time believe them. Despite so
many marriages ending in the divorce courts. There are, however,
many marriages that are indeed lasting unions, and some very

(02:47):
few that should have the words till death do us
Part changed to a promise to love to the grave
and beyond to the end of time.

Speaker 6 (03:00):
Why can't I see.

Speaker 11 (03:01):
You, Josh Darling? I am dead and you live. You've
crossed a deep and dark boundary to be here to
talk to me, and it is best for you to
go back now and forget me.

Speaker 12 (03:19):
Forget you, Emily, you know I can never do that.

Speaker 11 (03:23):
Forget that you ever.

Speaker 13 (03:24):
Talked to me.

Speaker 11 (03:24):
Josh, Please, for your sake, if not for mine, learn.

Speaker 14 (03:31):
To leave the dead alone and our.

Speaker 8 (03:43):
Mystery drama Home Is Where the Ghost Is was written
especially for the Mystery Theater by Murray Burnett and stars
Gordon Gould. It is sponsored in part by Ludden's Medicated
Cough drops and buick motor division. I'll be back shortly
without one. In each of us has a very special place,

(04:15):
a favorite retreat. It may be a particular restaurant, or
a very special vacation spot, or, in our younger days,
perhaps a cave or a treehouse. Ghosts are no exceptions
to this rule, and for centuries they have favored castles,
old creaky houses, and desolate, wind swept moors. For the

(04:40):
most part, the spirit world has avoided college times, perhaps
because they were wary of the boisterous spirits displayed by
the student bodies. So it came as a shocking surprise
when Neil Fox, the proctor of Calhoun University, was called
upon to deal with a ghost. I don't believe in ghosts.

(05:04):
What happened at Calhoun during the International Conference of Scientific
Observers happened, I admit that, But I wasn't dealing with ghosts.
I was dealing with Professor Ramsey Jocelyn, a man whose
scientific credentials were and are impeccable. And I will leave
it to you to decide about the ghosts. It started

(05:27):
when an excited and distraught Ramsey phoned me late one afternoon.
He sounded so upset that I dropped everything to get
over to his house.

Speaker 12 (05:36):
Oh, Neil, thanks for rushing over. Okay, I hope I
didn't inconvenience it too much.

Speaker 6 (05:41):
No, no, not at all.

Speaker 8 (05:42):
I just left two FBI men and another agent from
some super secret arm of the government sitting in my office.
But I'd leave a lot more people on that. When
I heard the note of panic in your voice.

Speaker 12 (05:52):
Neil, I had an experience. Well, before I tell you
about it, I want your word that what I have
to say goes no farther than between us.

Speaker 6 (06:03):
You have my word, all right.

Speaker 12 (06:05):
First, I want you to open the back door to
this house and tell me what you see.

Speaker 8 (06:10):
Okay, Uh, you coming with me?

Speaker 12 (06:13):
No, I'll stay here.

Speaker 8 (06:14):
Oh what am I supposed to see?

Speaker 12 (06:16):
Just open the door? Well, oh, just what I expected?

Speaker 8 (06:24):
Your backyard, your garden, and off in the distance the
uh Halroyd's house.

Speaker 6 (06:29):
That's it.

Speaker 12 (06:30):
Nothing else at all, that's it. What did you expect?

Speaker 8 (06:36):
I don't know.

Speaker 12 (06:37):
I'm not sure. All I know is that when I
opened that same door some time ago, I didn't see
the backyard or the garden or the Holroyd's house. I
saw Emily.

Speaker 8 (06:51):
Oh, well, I suppose that's only.

Speaker 12 (06:54):
Natural, only natural. Don't humor me, Neil. You know Emily
has been dead three weeks and I saw her.

Speaker 8 (07:01):
Eit a minute, Wait a minute, you mean you think
you saw her and talk to her. We better go
into the damn have a drink and just talk this
thing out. Okay, okay, fair enough. Now, please listen to
me and don't interrupt. Try to put yourself in my place.

Speaker 12 (07:17):
I walked to the door and opened it, and I
saw no backyard but tree shaded walks, and I heard music, strange,
unearthly music.

Speaker 11 (07:32):
Go home, Joss, Go.

Speaker 12 (07:35):
Home, Emily. Emily is that you.

Speaker 11 (07:40):
You shouldn't be here, my love. You mustn't be here
in this place?

Speaker 12 (07:46):
Where am I am?

Speaker 8 (07:47):
What is this place?

Speaker 11 (07:49):
No place for the living? Return to life?

Speaker 6 (07:53):
Why can't I see you?

Speaker 11 (07:54):
Joss? You must stop thinking about me. You mustn't.

Speaker 6 (07:59):
Why don't you ask me to say.

Speaker 15 (08:00):
Oh, my love.

Speaker 11 (08:02):
I'm not asking you to forget me. I wouldn't ever
want you to do that. But you must stop thinking
of me as if I were alive.

Speaker 12 (08:11):
But you are alive to me, am you always will be.

Speaker 11 (08:15):
I can't be Josh, Please, you must go for your
own sake. Goodbye, Joss, I love you, darling, goodbye.

Speaker 12 (08:30):
And that was it, Neil, that was the end.

Speaker 8 (08:34):
You mean you came back into the house.

Speaker 12 (08:37):
No, Before I came back, the place where i'd seen
and talked to Emily vanished and I was in my
own backyard, so to speak. Then I came in and
phoned you. And now I'm not at all sure I
did the right thing.

Speaker 8 (08:55):
Why the second thoughts about calling me?

Speaker 12 (08:57):
Because you're a realist, a hardheaded ex police officer who
knows there are not such things as ghosts, and he
is probably thinking right now, poor old Joss, he's on
his way to the honey farm, beginning to see things.
Even though you won't come right out and say it,
Hole Ramsey, you're so wrong.

Speaker 8 (09:14):
Would you be surprised if I told you that I've
been expecting something like this, expecting me to see and
talk with Emily. No, no, I won't be that specific.
But I know how close you and Emily were, and
I know how badly her death hits you, but you
haven't shown it. You've been holding your grief into tightly, Jos,
hugging it to yourself, and it was inevitable that there'd

(09:37):
be some reaction in this. Wow, I think this is
all it was.

Speaker 12 (09:42):
You make everything sound plausible. So how would you describe
my experience?

Speaker 8 (09:48):
A temporary hallucination caused by dwelling too long and too
closely upon Emily's loss. I couldn't overcome I'm a deep
feeling of anxiety about my old friend and the role
he was slated to play in the upcoming international Conference
of Scientific Observers. I was also concerned about my own course.

(10:12):
How was I going to reconcile telling the truth to
my house guest, Nick James, and at the same time
keep my vow of secrecy to Jocelyn. I still didn't
have the answer by the time I reached home and
found Nick waiting for me. As usual, he wasted no time. Okay,
what's a scoop of Joscelyn to look now? It's not

(10:33):
what you were worried about. He's upset about his wife.
His wife's dead. Fox.

Speaker 16 (10:38):
What's bothering him?

Speaker 8 (10:39):
Just that he wishes she were alive?

Speaker 2 (10:42):
How badly does he wish it?

Speaker 8 (10:44):
It's hard to say.

Speaker 2 (10:46):
Well, we'd better be able to say the whole alleg
Saver GODA operation hangs on Jocelyn if he's not stable Bargoda.
He isn't going to think of defecting.

Speaker 8 (10:54):
So far, your outfit is the only one who's even
heard about Fergoda's desire to defect.

Speaker 6 (10:59):
Our information is correct.

Speaker 8 (11:01):
Look, for Goda and Joss have been corresponding for years.
Why wouldn't Fergoda have dropped him a hint?

Speaker 2 (11:07):
Your being naive with a man as important as Alexeyer
Goda the slightest trace of anything that whispered of disaffection,
and he wouldn't have been allowed to come to this conference.

Speaker 8 (11:18):
Yeah, but he must have told someone he was fed
up because you people heard about it.

Speaker 2 (11:22):
For Goda wants out and we want to help him.
We believe that Ragoda will use Ramsey Joscelyn as a
contact when he gets here. And as of this minute,
I'm worried about Ramsey Joscelyn flipping his lip. Oh come on, Nick,
I think you're overreacting or you'll see some real overreaction
of this operation gets filed up.

Speaker 8 (11:43):
With all the men you've got out here. I don't
understand why you say the whole operation hangs on Joscelyn.

Speaker 2 (11:48):
All our information says Fragoda is going to contact Jocelyn
because he trusts him.

Speaker 6 (11:53):
Now, will you.

Speaker 2 (11:54):
Guarantee me that he's going to stay normal until his
conference is over?

Speaker 8 (11:59):
Guarantee No one can guarantee that anyone will even be
alive tomorrow. But what I will do is go back
and check this whole thing out with Jos. On the
way to see Ramsey Joslyn for the second time that day,
I felt vastly better because now I could level with Jos,
I shake him out of this preoccupation with the loss

(12:19):
of Emily by presenting him with his important role in
the proposed affection of Alexey Vargoda. I didn't find out
until Jos told me later that at the very time
I was on my way to see him, Jos was
having another experience Emily. Emily.

Speaker 12 (12:40):
I came back.

Speaker 11 (12:41):
You shouldn't have, Jos, you shouldn't have.

Speaker 17 (12:45):
Why not?

Speaker 12 (12:46):
What's the harm in my talking with you?

Speaker 11 (12:48):
I miss you, so I know how difficult it is
for you, Joss, and it saddens me. But Josh, as
long as you're here, yes, do you remember alexeying?

Speaker 12 (13:03):
Of course, he's coming here to Calhoun's along with a
number of other scientific types, and we're going to have
a big Powell I know you know, M.

Speaker 8 (13:15):
Tell me what's it like where you are.

Speaker 11 (13:18):
I'd like to answer all of your questions, but there
are rules and it's not allowed.

Speaker 8 (13:24):
Why are we talking about Alexey.

Speaker 11 (13:27):
Because he will be important to you Alexey. Yes, you
never really knew Alexey.

Speaker 18 (13:34):
You know well.

Speaker 12 (13:35):
I met Alexey when you did. We both saw him frequently.
We've been friends for years. We still correspond, I know, Joss.
Then what are you trying to tell me?

Speaker 11 (13:45):
Dear Joss, do you remember after our second date? Do
you remember what I told you?

Speaker 12 (13:53):
Of course, you told me that it was part of
my charm that I always believed everything anyone told me.
You also said it wasn't very bright at me.

Speaker 11 (14:02):
That's right, Jos, and you haven't changed. Think about it.

Speaker 12 (14:09):
This has something to do with Alexey.

Speaker 11 (14:11):
Right, I'd rather say it has something to do with you.

Speaker 12 (14:17):
And I'm really talking to you, M. Or is this
just a trick of my imagination? Is it my longing
for you that makes me believe we're having a conversation
Or am I really honestly talking to you?

Speaker 11 (14:30):
Oh, you're worrying about the wrong things, Joss. I told
you to worry about Alexey, but.

Speaker 12 (14:37):
You haven't told me why.

Speaker 11 (14:40):
You must stop asking questions because answers are forbidden by whom.
Go back to your house, to your world, and take
care when you meet Alexey.

Speaker 8 (14:53):
I think I've made a discovery.

Speaker 12 (14:56):
If it only depends on my will to have these
talks with you, then I intend to have them.

Speaker 11 (15:03):
No, No, you mustn't. I've told you you mustn't trust me,
Josh and forget me.

Speaker 12 (15:12):
Then you must give me a reason.

Speaker 11 (15:14):
Very few mortals can come as far as you have,
and having reached this point, you should be able to
understand when I tell you that you are permitted only
a certain number of visits. Once you pass that number,
you can never return to your world.

Speaker 12 (15:34):
Or how many visits that I've permitted Emily, Emily?

Speaker 9 (15:40):
Did you hear me?

Speaker 12 (15:42):
How many?

Speaker 19 (15:44):
It's unfair?

Speaker 2 (15:46):
Don't you see that?

Speaker 12 (15:47):
Now I'm worse off than before. Emily Emily come back.

Speaker 8 (15:58):
For centuries, gamblers known that the ultimate gamble was life
or death. Now, if Ramsey Joslyn believes that he has
really been in touch with the spirit of his dead
wife Emily, then he must, if he wishes to talk
with her again, take that ultimate gamble On the other hand,

(16:18):
there are those who will say that he dreamed the
whole thing. Take your choice, and I will return shortly
with actto Civilization has been of two minds about people

(16:40):
who hear voices. In some ancient cultures they were enshrined
as saints or honored as soothsayers, while in more modern times,
some like Joan of Arc have been burned at the
stake and others sent to institutions. But the problem becomes
complicated when a man who believes he heard the voice

(17:02):
of his recently dead wife is not only a scientist
and college professor, but also the key figure in the
hoped for defection of a top scientist. Ah old friend,
my game has improved much since we recently opened the
bowling alley in my company.

Speaker 6 (17:24):
I can see that.

Speaker 8 (17:25):
And the wonderful thing about the bowling galley it is
that the most sophisticated of listening devices are useless here.

Speaker 12 (17:32):
I take it. Then you have something to tell me
that you don't want overheard.

Speaker 8 (17:37):
Have you not been informed?

Speaker 12 (17:40):
If you're talking about the possibility of your staying in
this country after the conference is over, I have heard
about it.

Speaker 20 (17:47):
Roughly revealed.

Speaker 8 (17:48):
I'm from home.

Speaker 12 (17:49):
From the proctor Neil Fox, a friend of mine. He
indicated that there were government agents here on the campus
waiting to help you if you want MC.

Speaker 6 (17:59):
I not only want, I need.

Speaker 21 (18:01):
Your scientists will wear me out with the hours you chieve.
Let's say, are you aware that you have a nine
thirty meeting tomorrow?

Speaker 8 (18:10):
Very well aware of that, Colonel, if we were just
discussing our varying points of view.

Speaker 21 (18:15):
But I, of course know you are ramsing Justlyn, a
distinguished scientist in the friend of my colleague Gallexy.

Speaker 8 (18:22):
Oh forgive me, Josh. This is Colonel's kill politics, our
guide and interpreter on this visit.

Speaker 12 (18:29):
Interpreter, I always thought you spoke. That's good English, Alex say,
it's not the only scientist that discomference mess.

Speaker 6 (18:36):
To the Jocelyn.

Speaker 12 (18:37):
I apologize for my rudeness, Colonel.

Speaker 21 (18:40):
Apology accepted, and I will leave you two old friends
to your game.

Speaker 12 (18:46):
Alex, I really don't know what came over me.

Speaker 20 (18:49):
Oh, not to worry.

Speaker 8 (18:50):
What you did will work out very well. Now, before
we do anything else, may I offer my condolences. Of
course I should have said something, but I was so shocked.

Speaker 12 (19:05):
How did it happen? Suddenly? Heart cerebral hemorrhage.

Speaker 8 (19:11):
I didn't. I am sorry, I am sorry. I'm say
it must be pain.

Speaker 12 (19:16):
For you, none at all. I have to learn to
be able to talk about it. Maybe if I do,
it will act as an anesthetic dull the pain.

Speaker 8 (19:25):
Ah yeah, yeah, And now I come with my small problem.

Speaker 12 (19:29):
Perhaps you would let me help. It will give me
somebody to think about. And also I want to help.
If you made this decision, something spectacular must have occurred
to make you change your mind. I remember how fiercely
we used to argue about the course of history.

Speaker 8 (19:45):
Yes, yes, still we will be time to explain all that.
But now Ramsey, you must help me.

Speaker 12 (19:51):
I was told to wait for your approach, and we'll
meet here two nights from now, and I will have
a definite schedule for you to f to safety.

Speaker 20 (20:06):
We seem to be off to a fairly good start.

Speaker 8 (20:09):
Now let's hope we're just as happy at the finish.
Why what do you think might derail us? Well, Nick,
I don't know that I'd go as far as saying
we're going to be derailed. But there are certain problems,
and I don't think I can tell you specifically what
they are without betraying a confidence.

Speaker 2 (20:26):
If you know something that could interfere with us helping
alex say to defect, you owe it to your country
to let me know about it.

Speaker 8 (20:32):
Okay, Nick, no lectures, please, I was the one who
clued you in. I didn't have to. It's just that
Ramsey is convinced he's been having conversations with Emily, so
he's finally flipped. Now, wait a minute, I don't think
he's flipped.

Speaker 2 (20:47):
Well, and what do you think you really believe he's
talking to a woman who has been dead for a
couple of months?

Speaker 8 (20:52):
Of course not, Nick. Haven't you ever had dreams?

Speaker 2 (20:56):
Are you trying to tell me that Jocelyn dreams he's
been talking to everybody?

Speaker 9 (21:01):
Dreams?

Speaker 8 (21:02):
How about day dreams?

Speaker 6 (21:03):
What kind of day dreams?

Speaker 8 (21:05):
Well, let's say that you open the back door of
your house suddenly, or not in your own backyard, but
in all sort of an allegian field, and you can
hear and talk with your wife.

Speaker 2 (21:15):
I guess we'll have to get cracking and pray that
we can get Alexei Bergoda out before Jocelyn really cracks up.

Speaker 8 (21:22):
How sure are you that he's cracking up? Nick? Have
you ever thought that he might just be telling the truth.

Speaker 12 (21:36):
I have good news for you. I've spoken to my
people and everything's been ranged. You will never know how
grateful I am to you. I promise you that someday
I will repay forget it, Alexey, you know I'm happy.

Speaker 22 (21:49):
To do it.

Speaker 12 (21:50):
Then where and how it will be at the roundabout
in Luncheon when we make our visit to Eden's farm.

Speaker 8 (21:57):
Ah, that is the day after tomorrow?

Speaker 2 (22:00):
Is?

Speaker 8 (22:00):
If not?

Speaker 23 (22:01):
It is?

Speaker 8 (22:02):
And how? I hope one thing that it is not complicated.
Now it's a soul of simplicity.

Speaker 12 (22:08):
No one knows the exact minute that we'll be sitting
down to lunch because the tour at the farm will
take some time.

Speaker 6 (22:14):
What is this farm?

Speaker 12 (22:17):
Eden Farms produces only natural products grown organically. It's really
a fascinating and instructive project.

Speaker 8 (22:23):
I see. But you'll forgive me if I am more
interested in the arrangements.

Speaker 12 (22:29):
Of course, as I said, it doesn't matter what time
we sit down to lunch. Aha, you will excuse yourself
after the first course has been served and ask for
the men's room. You are allowed to go there unaccompanied,
I hope.

Speaker 8 (22:44):
Ay, well, usually, but there should be a contingency plan.

Speaker 12 (22:48):
There is I'll explain in a minute. Because I've been
to the farm so many times, I shan't be along
on the trip, but I will go to the inn early.
The inn's facilities somewhat rustic. I shall be in the
men's room waiting for you. You will enter and escape
to the window. It is large enough for a man

(23:09):
to go through easily. Ah, And once I am out,
the gravel driveway runs right under the window. There'll be
a car, and you'll be safe and.

Speaker 8 (23:16):
Free, provided that you have a contingency in case I
am accompanied when I leave the table.

Speaker 12 (23:23):
If that happens, whoever it is will be stopped momentarily
by the Mayor d who will have some inconsequential question
to ask.

Speaker 8 (23:30):
Ah, well the scene that everything has been well planned
and you don't sound very happy about Oh, yeah, I am,
But you, of all people, just should understand that to me,
I am giving up a country, a way of life,
and perhaps more importantly, a philosophy by which I have

(23:53):
lived ever since I can remember.

Speaker 12 (23:56):
If you're having second thoughts, the people who have been
briefing me will be very upset.

Speaker 8 (24:01):
No, no nor second thoughts. But I am sure you
will understand that it's only natural for me to be apprehensive. MZ.
I face an unknown future at this time of my life.
That is something to think about. Oh, Josh, sure you're

(24:27):
quiet today.

Speaker 12 (24:28):
I'm not used to this cloak and dagger stuff on
neither am I.

Speaker 8 (24:32):
But at this point there's nothing you to worry about.

Speaker 6 (24:34):
You know what you have to do.

Speaker 12 (24:36):
You're sure everything's been arranged.

Speaker 8 (24:37):
Positive, Car'll be waiting your absence from the tour, and
Edon Farm has been accounted for, and all it remains
is for you to.

Speaker 6 (24:44):
Wait for Alexey.

Speaker 8 (24:45):
But by the way, how did he take the plan? No?

Speaker 17 (24:49):
I hate all this.

Speaker 12 (24:50):
I'm a scientist, not an expert in the ins and
out of defectors.

Speaker 8 (24:54):
Hey, okay, Joss, calm down. There's nothing to your partners now.
All you have to.

Speaker 2 (24:59):
Do is wait until Forgoda shows and then after he's
through the window, just.

Speaker 19 (25:03):
To walk out.

Speaker 12 (25:04):
Well, then why not let somebody else do it?

Speaker 11 (25:07):
Now?

Speaker 8 (25:07):
You know that's a silly question. Can you imagine Foregoda's
reaction if he walked into that room and didn't see you.

Speaker 12 (25:14):
You have a point, But then he wouldn't go through
with it, and maybe he'd be happier.

Speaker 8 (25:20):
Oh, is that the feeling you got when you explained
the plan to him, the feeling that he wasn't one
hundred percent sold on the idea.

Speaker 12 (25:27):
I can't say that exactly, but I imagine he'd be
more enthusiastic than he was that What do I know?

Speaker 6 (25:35):
Your perceptive?

Speaker 8 (25:36):
Your feelings are important?

Speaker 12 (25:38):
How about Emily's feelings?

Speaker 8 (25:40):
Emily?

Speaker 6 (25:41):
Would she got to do with it?

Speaker 12 (25:43):
She's warned me against Alexi.

Speaker 8 (25:46):
Oh, you've seen her again?

Speaker 12 (25:50):
No, I've never seen her. I told you we'd.

Speaker 20 (25:52):
Talk out in your backyard.

Speaker 12 (25:54):
Yes, it happened again after I spoke with you.

Speaker 8 (25:58):
And just when she warned you? Was she specific? Did
she know that Alexey was thinking of defecting?

Speaker 12 (26:06):
From the questions you're asking into fears that you're beginning
to believe in Emily yourself?

Speaker 8 (26:10):
No, not a bit, But I believe in you.

Speaker 12 (26:13):
What does that mean, Chas?

Speaker 8 (26:15):
I know you, and I believe that your subconscious has
picked up some signals from Alexey. You're not sure about
them or yourself, so you've transferred those doubts to have
them voiced by Emily or or your idea of Emily.

Speaker 12 (26:28):
In other words, you think I'm talking to myself.

Speaker 8 (26:32):
Don't you think your foot's a little heavy on the gas?

Speaker 12 (26:34):
Talking to ourselves is one thing, and what I'm experiencing
with Emily quite another. And you damn well know it.

Speaker 9 (26:40):
Josh.

Speaker 7 (26:41):
You're under a strain and.

Speaker 8 (26:42):
You're definitely driving too fast.

Speaker 6 (26:43):
I just wish I could take you.

Speaker 12 (26:45):
With me when I open that back door into the garden,
then maybe you'd believe me.

Speaker 8 (26:48):
Okay, okay, we'll try it sometime. Now, jo slow down.

Speaker 12 (26:51):
I'll drive as fast as I want home.

Speaker 8 (26:53):
On Now, you're being childish because you're treating me like
a child, humoring me and really not believing for a
moment or even opening your.

Speaker 12 (27:01):
Mind to walk.

Speaker 8 (27:02):
Josh, wash it the pucks a boss roll.

Speaker 12 (27:04):
Hang on, I'm going to try to beat him to
the firdul jobs.

Speaker 8 (27:20):
Yes, hello, Steve.

Speaker 24 (27:22):
I called your house first, but they told me you
were still in the hospital.

Speaker 7 (27:26):
I thought you were supposed to get out today.

Speaker 8 (27:27):
Oh I was, and I am just waiting for one
last X ray.

Speaker 7 (27:31):
What time do you think you'll be out?

Speaker 8 (27:32):
Sometime this afternoon? Anything up? Have you heard from our friend?

Speaker 24 (27:37):
Not only the usual courtesy call hoping I wasn't seriously
hurt in the crash. He wasn't alone when he.

Speaker 8 (27:43):
Called Hm, that was to be expected.

Speaker 24 (27:46):
I was hoping you were out because I wanted to
remind you about our promise.

Speaker 8 (27:52):
What promise?

Speaker 24 (27:53):
The last thing they were talking about before the accident. Remember,
I asked you to accompany me when I walked in.

Speaker 8 (28:00):
Oh yes, yes, have you walked since the accident?

Speaker 6 (28:05):
No?

Speaker 7 (28:06):
But I'm most anxious for us both to go.

Speaker 8 (28:11):
Okay, Ramsey, right, I'll come directly to your house from here,
even before.

Speaker 6 (28:16):
I go home.

Speaker 12 (28:22):
You're not scared, are you?

Speaker 8 (28:23):
No, of course not. But maybe there has to be
some kind of preparation like what well, like me thinking
about Emily concentrating on her, and you doing the same.

Speaker 12 (28:34):
I don't see why I never thought about her before,
I mean made an effort. I just opened the door
and there she.

Speaker 8 (28:41):
Was, all right, go ahead, open it.

Speaker 12 (28:46):
I just thought of something. What suppose just suppose that
when I open this door, you see the backyard as
it was always, and I.

Speaker 8 (28:58):
See what I've seen before. Then we at least will
have some kind of an answer, won't we. I suppose, so.

Speaker 6 (29:08):
Well, here it goes Well, nothing, It's just my backyard,
that's right.

Speaker 8 (29:22):
Jos that's all it is. Why don't we take a walk? Okay,
I've got time for just about a five minute stroll, Jos,
and then I think it'll be back to the drawing
board because we still have a commitment to Bragoda. We

(29:42):
walked for the full five minutes through the entire garden,
but nothing changed, and Jocelyn never claimed that he had
heard Emily's voice. Jos and I went back into the
house and I returned home after telling Jos that Nick
James was going to come up with another plan for
Bargoda's defection. I didn't know till Josh told me the
next day that he'd gone back to the garden alone.

Speaker 12 (30:10):
Emily. Emily, maybe I made a mistake bringing Neil. Maybe
it isn't allowed or something. But I didn't do it
for any other reason except to prove to Neil that
I'm not out of my mind. Emily, where are you?
Are you going to talk to me? I'm not going
back until I've spoken with you, my dear love.

Speaker 11 (30:33):
I don't believe you. So when I've met here on
this side said you were an impossible man.

Speaker 12 (30:41):
You didn't let them get away with that, did you?

Speaker 3 (30:43):
Am?

Speaker 11 (30:44):
No, of course, not. I said you weren't impossible, merely improbable.
But that isn't what you wanted to hear, is it?

Speaker 8 (30:53):
You know it isn't.

Speaker 11 (30:55):
I knew about the accident, and.

Speaker 12 (30:57):
You tried to warn me, told me to look out
for Alexei. Not exactly, but you did warn me about Alexei,
didn't you. Yes, And you must have known what was
going to happen.

Speaker 11 (31:09):
Oh, you must stop this, just you must.

Speaker 12 (31:13):
It's terribly dangerous for you, more dangerous than Alexey.

Speaker 11 (31:18):
Oh, yes, much much more. I must go. I swear
by your love for me and mine for you. If
you visit me once more, you can never go back.

Speaker 8 (31:40):
The question remaining to be answered is will a man
as strong minded as Ramsey Joslyn heed the warning. I'll
be back with that answer in Act three, in just
a few moments. Iron Curtain countries have long been interested

(32:06):
in esoteric sciences. ESP and telekinesis have led in experimentation
that has been well publicized, But one may well wonder
whether they haven't.

Speaker 6 (32:19):
Also looked into the occult.

Speaker 8 (32:21):
If this were true as well, it might be then
a dissenting scientist who wished to defect wouldn't be too
upset to find his contact in the United States engaged
in conversation with his dead wife. This opinion, however, isn't
shared by the American government agent masterminding the arrangements for

(32:41):
the defector foul ups.

Speaker 2 (32:44):
That's what you can expect every time you deal with amateurs.

Speaker 14 (32:47):
Hall.

Speaker 8 (32:47):
Look, Mack, I don't see how you can blame an
automobile accident on the fact that Ramsey Jocelyn is an
amateur and espionage.

Speaker 2 (32:54):
He was driving, wasn't he Fox, And according to you,
he was upset about his wife and he wasn't paying
attention to what he should have been thinking about one thing,
only to get to the inn and get for Goda
out of there.

Speaker 8 (33:06):
If the conference ends Friday at three pm, all of
the scientists and visitors will be off the campus. We
just have to come up with something that's workable between
now and three pm Friday.

Speaker 2 (33:16):
Well, that gives us just two days, two days to
get a plan, give it to Joscelyn having contact for Goda,
and then carry it off.

Speaker 25 (33:23):
All right.

Speaker 8 (33:24):
Excuse me for asking what's undoubtedly a stupid question, but
what would be wrong with having for Goda simply walk
up to your office and ask to be taken to
a US consul for asylum.

Speaker 6 (33:35):
Nothing.

Speaker 2 (33:36):
All you have to do is tell me how we
can get up here unescorded. And what reason could Ragoda
give to come to your office. He'd have to invent
something that is people would buy.

Speaker 8 (33:49):
Okay, all right?

Speaker 2 (33:51):
What does that leave us with what we had from
the beginning his friendship with Ramsey Joscelyn.

Speaker 8 (34:01):
At the same time that Nick Chames was outlining the
new plan to a meeting was taking place at the
dormitory that had been assigned to the visitors. I didn't
know it at the time, but it was all too
clear before the end of this affair.

Speaker 21 (34:16):
As you will know, Comrade Lagoda, our superiors don't believe
in acts of God.

Speaker 8 (34:23):
Nor automobile accidents either. Eh, girl, By.

Speaker 21 (34:27):
Whatever names we call it, it is failure, and we
both know how they regard failure.

Speaker 8 (34:34):
There need be no failure here with Jocelyn.

Speaker 21 (34:37):
We are desperately short of fine who says.

Speaker 8 (34:40):
That Jocelyn is so important that we must have him?

Speaker 21 (34:43):
What didn't the original suggestion for the kidnapping of Jocelin
come from you?

Speaker 8 (34:49):
Whether or not Jocelyn is important to us has no
bearing on their attitude about me. You agree that I
am still a number one priority on their books. Here's
I agree show they must renew their efforts to set
up another rendevo, and time also pressures them. I am
going to explain to my old friend Jocelyn that I

(35:12):
have decided it isn't it the cards for me to
be able to defect successfully?

Speaker 16 (35:18):
Very clever?

Speaker 21 (35:20):
Then you expect him to argue with you and try
to change your mind most certainly.

Speaker 8 (35:28):
And during that urgent arguing we will again become very
close and we will talk much more openly about everything,
including his experiments.

Speaker 21 (35:39):
I cannot see any major objections to this proposal.

Speaker 8 (35:46):
What is our agenda for today? Let me see two meetings?
The afternoon conference on whether control data is at Godwin Hall.
As I remember, there is a cafeteria at Godwin. Why
don't we lunch there and allow ourselves to be, shall
we say, discovered?

Speaker 11 (36:06):
I think you should know, Alexey, that you never fooled me.

Speaker 12 (36:11):
For a moment.

Speaker 25 (36:12):
What who is that.

Speaker 11 (36:14):
Emily, the girl you hope to marry. You always had
an underlying streak of treachery, Alexe, and it made you
completely unattractive.

Speaker 8 (36:26):
It's this some trick something.

Speaker 26 (36:29):
Go trick, Alexe, but please remember you may fool Joss,
but you will never fool me.

Speaker 12 (36:43):
This this is ridiculous, gentlemen. May I join you?

Speaker 6 (36:52):
Of God, it's Jos.

Speaker 8 (36:54):
Of course I am delighted to see you so rapidly
recovered from your accident.

Speaker 12 (36:59):
Thank you, Alexei. I too had my pleasure at your recovery.
Thank you. Author. Colonel you're attending this afternoon's conference, then, Alexey.

Speaker 8 (37:07):
Oh I would then the music. Wow, there you are,
Colonel Paulovitch. I'm very glad I've found you. Yes, mister Fox,
my office received a threat just about.

Speaker 20 (37:17):
An hour ago.

Speaker 8 (37:18):
Ordinarly I would have had the campus police handle it,
but this one was partially written in Russian, and so,
of course you were right. I would like to see it.
It will keep till after you finish your lunch.

Speaker 21 (37:31):
Colonel No, no, no, no, I want to look at this immediately.
Comrade Vergoda, we will meet later at the conference in
the usual seat. Of course, there aren't any words to
apologize for what I did to you, Alexey, so.

Speaker 12 (37:45):
I won't say anymore.

Speaker 8 (37:47):
Josh, you mustn't feel that way. An accident. It was
not your fault.

Speaker 12 (37:52):
It could have happened to anyone, but it didn't. Do
you think I could live with the thought that, except
for me, you would have been free.

Speaker 8 (37:59):
Well, it may not have worked.

Speaker 12 (38:02):
A new plan has been formulated.

Speaker 8 (38:05):
Ah oh, that is very kind of you. But I
do not think that there is enough time, or there's.

Speaker 12 (38:11):
Many a time. This may be even a better plan
than the first. I'm giving you a farewell dinner tomorrow
night in my house. Of course, I know that I
also have to invite Colonel Paulovitch, but that is all.
Also present will be Neil Fox, the Proctor, and a
few others, all agents. After dinner is over, you will

(38:33):
announce that you are staying. What can the colonel do?

Speaker 8 (38:37):
Oh? I do not know.

Speaker 12 (38:39):
Oh, come on, Alexey, you know as well as I
there's nothing he can do.

Speaker 8 (38:44):
You are attempting me, But if your house is watched
too closely, Ramsey, it will only serve to a look Pulovich.

Speaker 12 (38:51):
Not with the threat that he's going to read in
Neil's office. That will be the ostensible reason for having
agents around the house.

Speaker 8 (38:58):
Perhaps I see not notifying you that Diet had a
change of mind. But I had no way of knowing
that you would be preparing another plan.

Speaker 12 (39:08):
Lac Alexay, you have every reasona believe that somehow I
may foul this up again and you would be the
one to suffer. But I ask only one thing of you,
be prepared to make a decision when you come to
my house for that farewell dinner.

Speaker 8 (39:28):
So now, Colonel, we go back to the original design.
We take Ramsey just lend back with us.

Speaker 21 (39:36):
But now we have to take him from under the
noses of the men who think you are going to
defect to them.

Speaker 8 (39:43):
They have made a large mistake because of the false
threat they showed you earlier. You have every right to
ask to participate in the security arrangements for the dinner.

Speaker 27 (39:53):
Hm.

Speaker 8 (39:54):
It should be a relatively simple matter to replace their.

Speaker 6 (39:58):
Men with ourshaps.

Speaker 12 (40:00):
Yes, but still I will have to be at the dinner,
and we'll.

Speaker 6 (40:04):
Have to use some force to.

Speaker 12 (40:08):
Get Jocelyn away.

Speaker 8 (40:09):
Yes, a dark gun to incapacitate the edge on Nick James.
I do not think that the Proctor will give us
any trouble, and Jocelyn, if necessary, if we can drug
him as previously planned.

Speaker 21 (40:23):
Ah, we will go to the dinner and adopt your plan.
And excellent you mister Jocelyn.

Speaker 8 (40:37):
Excellent.

Speaker 12 (40:38):
I'm happy here. You say that, Colonel. You see like say,
everything went off as planned at your farewell dinner.

Speaker 8 (40:45):
Not quite, old friend, not quite what?

Speaker 19 (40:50):
No one will move?

Speaker 8 (40:51):
Please, now what a minute, colonel, before you do anything
full as you should know that this house is.

Speaker 21 (40:55):
Surrounded and under surveillance by loyal members of my country,
and that your friend there, Nick James, is a government
agent whom.

Speaker 28 (41:06):
I deal with.

Speaker 8 (41:07):
So what an a lonely for alarm?

Speaker 21 (41:11):
Please, mister James is not dead, merely tranquilized. The same
will happen to anyone else who tries to interfere.

Speaker 8 (41:20):
I swear to you, Alexey. I don't know, Emz it
was all my doing. I don't understand. I never intended
to the fact. I've always been happy with my life.
But old friend, I do believe that you have stumbled
across a discovery that we can put to good use
in my country.

Speaker 12 (41:41):
If you're talking about the last nine, you can forget it, Alexei.
I wouldn't think of either you come.

Speaker 8 (41:47):
With the colonel and me willingly, or we will tranquilize you.

Speaker 12 (41:52):
Emily, she warned me against you this is what she meant.

Speaker 21 (41:57):
Come, Alexei, we waste time and we do not have
enough to waste.

Speaker 8 (42:02):
Emily, she warned you against me. Impossible, you lie. She
was not sure which of us to choose until the
very last moment.

Speaker 12 (42:12):
Oh, I don't mean years ago, I mean now, just
before your visit. But she couldn't pa she is dead. Nevertheless,
she did, and I can prove it. Do you dare
to have it proved to you enough?

Speaker 21 (42:29):
You will come to this side of the table.

Speaker 8 (42:32):
Ramsey, How can you prove it easily?

Speaker 12 (42:36):
Just step out into the garden with me, and Emily
will prove it.

Speaker 6 (42:42):
The garden by that of one moment, Colonel.

Speaker 8 (42:47):
The garden.

Speaker 12 (42:49):
One minute in the garden, and you will have your proof.

Speaker 21 (42:54):
All right, moved quickly, we will be back directly.

Speaker 29 (42:59):
Colonel.

Speaker 8 (43:00):
That is nothing to lose, since we have the house
safety for rounded.

Speaker 12 (43:03):
I give you one minute, Alexey, no more.

Speaker 8 (43:12):
The door closed behind them. We waited. One minute passed,
then two, and then the colonel ordered us all into
the garden, but they had disappeared. Both Ramsey, Jocelyn and
Alexei Vagoda. Neither was ever seen again. The story you've

(43:51):
just heard cannot of course be verified, although we do
know there was such a conference, and we also know
that one member attending the conference was taken ill and never.

Speaker 6 (44:03):
Returned to his homeland.

Speaker 8 (44:05):
As for Professor Ramsay Joslyn, the papers say he died
in an automobile accident.

Speaker 12 (44:12):
All we know is that he is dead. I'll be
back shortly.

Speaker 8 (44:28):
Much has been written about the last frontier space, and
now it seems that we have conquered that. Writers and
social planners bemoan the fact that there are no more
frontiers for man to cross.

Speaker 6 (44:43):
But is that really true?

Speaker 8 (44:46):
The final mystery, Death and life after death still remains
as tantalizing, as frightening, and as full of hope as ever. I,
for one, will be ex floring it right here with you,
seven times a week. Our cast included Gordon Gould, Patricia Elliott,

(45:07):
William Redfield, and Gilbert mac The entire production was under
the direction of Hyman Brown and now a preview of
our next tale. Look, Steve, she knows what we're doing.

Speaker 2 (45:23):
And who do you think told her?

Speaker 8 (45:24):
You think I told her that lousy ghost told her?

Speaker 6 (45:26):
That's a well?

Speaker 8 (45:27):
Whoever she knows, is she gonna blow the whistle? I
don't know. I don't believe she would.

Speaker 2 (45:34):
I do.

Speaker 6 (45:36):
I'm a husband, Steve.

Speaker 8 (45:37):
It's happened before. I think we better make plans. You mean,
pack the stuff back in the van and forget the
whole deal. There ain't a thing that ghost can do
to us without Julie's help. He admitted that last nine Steve,
I got enough trouble without ghosts. What kind of a
plan have you gotta. That ghost is real. You'll have
to take my word for it. But without Julie, he

(45:58):
can't do a thing to us, that one don thing.

Speaker 6 (46:03):
So what's the plan, Steve?

Speaker 10 (46:07):
We get a.

Speaker 8 (46:07):
Hole somewhere down here in the cella with one body
already in it while I make it too Radio Mystery
Theater was sponsored in part by Buick Motor Division.

Speaker 12 (46:18):
This is E. G.

Speaker 8 (46:19):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant Dreams.

Speaker 25 (47:17):
It was a hunt through a jungle of city streets,
with danger waiting at every inter section, until halfway through,
when the hunters became the hunted and death brought an
end to the game.

Speaker 30 (47:29):
From the pen of Raymond Chandler, outstanding author of crime fiction,
comes as most famous character as CBS presents the Adventures of.

Speaker 31 (47:37):
Philip Marlowe.

Speaker 30 (47:47):
Now with Gerald Moore starred as Philip Marlowe, we bring
you tonight's exciting story The Grim Hunters.

Speaker 25 (48:12):
The morning paper at headline prices rising, my bank statement
in the afternoon mail had worn, balance falling, I had
wasted the evening and the half of a client who
ran out on me when I tried to collect, all
of which added up to the end of the day
and me unhappy in my office at ten PM, with
one hand on my check book and the other one
raised in almost solemn mode. I Philip Marlow, private detective

(48:35):
and too often public servants. If I resolved to one
way or another, jockey might budget into something close to equilibrium.
And from this day for Hello Marlow speaking.

Speaker 13 (48:46):
My name is Helen Palmer Marlow. I need your help badly.

Speaker 32 (48:49):
Yeah, but look I'm up at eighty seven hundred Magnolia
Terrace in the Hollywood Hills.

Speaker 15 (48:53):
Now please drop.

Speaker 32 (48:53):
Whatever you're doing is no no.

Speaker 25 (49:05):
I must have let go of the phone, grabbed my
hat and coat open and closed the office door, piled
into my car outside and raced up into the Hollywood
Hills because the next thing I remember after Helen Palmers
screamed was swinging off North Bronson Drive on the Magnolia Terrace.
But a minute later, when I scratched to a stop
away from number eighty seven hundred, scrambled out from nt
of the wheel and started on the run for the
front door, I was no longer sure of anything, because

(49:28):
the house in question of stock Southern Mansion, complete with
stable boy statue and the gravel driveway, which according to
the book should have been as dark and as quiet
as the inside of a coffin, was anything else. But
And when I got to the oversized bronze door knocker
and dropped it hard, I was beginning to doubt that
I had the right address.

Speaker 19 (49:47):
Can I be a some assistant, sir.

Speaker 25 (49:49):
I don't know. I'm looking for a woman named Helen
Palmer who called me at my office said she needed help,
And a second after that.

Speaker 19 (49:55):
She screamed, no, what is your name? An occupation?

Speaker 10 (50:02):
That order?

Speaker 25 (50:02):
Philip Marlow, private detective good for Helen good happy? Aren't you?
What's going on here? What is that?

Speaker 19 (50:09):
Why? It's a party, sir, a scavenger hunt. It looks
like Helen.

Speaker 25 (50:13):
Palmer's Oh wait, I'm a minute laughing boy. I had
a call and was interrupted by pistol shots and.

Speaker 19 (50:17):
I all just part of the place.

Speaker 33 (50:20):
Yeah, Helen Palmy had to bring that one detective.

Speaker 19 (50:23):
Yeah, yeah, you see, Marlow. Each list, aside from the
usual heart to find objects, had a human being on.
That's right.

Speaker 34 (50:32):
I had to bring back a Hoover vacuum cleaner salesman.

Speaker 19 (50:35):
And believe it or not, he's already sol o good
host that he is schooling that he looks smile. Yes,
they did it man. You see, mister Marlow, Helen Palmer
wasn't permitted to actually hire you. That's why she had
to pretend to be in trouble with.

Speaker 25 (50:50):
An that result that I nearly broke my neck getting
up here, mister Grove, Where is miss Palmer? I don't
know for sure, Marlow.

Speaker 19 (50:56):
She called just a vit ago and said that she
only had to catch on to you and one other.
Ite'm going to be back after that.

Speaker 35 (51:02):
What makes the the winter, mister.

Speaker 36 (51:03):
Marlin, because none of us did better than half Ireland.

Speaker 32 (51:06):
Oh, by the bye, you don't have them have the
breechlock of a fifty seven millimeters out of tank gun with.

Speaker 25 (51:10):
You at the moment. No, now do I have time
for scavenger hunters, not even when.

Speaker 19 (51:15):
They most cordially invite you in with the finest servant
of poestyle Southern fried chicken. Imagine the come on, no,
I'm sorry, it's delicious chicken.

Speaker 25 (51:25):
Well, okay, the chicken did it. The inside of Patty
as Groven's house was also a stock Southern matching from
a giant cut glass punch bowl belonged to my mother's
first lady, Atlanta, Georgia. Third to a white and winding
Colonial staircase. It left your expecting the descent of Scarlet
O'Hara at any moment. There was one strange note in

(51:46):
the soft Southern surroundings, filed three feet high in the
middle of the room with the crazy quote results of
evening scavenger hunt, including a wooden cigar store Indian, a
pair of hiccocks, suspenders from a local fire chief, one
red motorscy stuff doll, a set of antlers and more
and behind all that, my counterparts bring him back. A

(52:06):
live items from each list, a streetcar conductor in uniform,
a waiter ball and under forty, a school teacher redheaded
and over fifty. But I was the center of attention.
But that he has introduced one after another of the
guests of the genuine one hundred percent non shrinkable Private Detective.

Speaker 19 (52:23):
And now mister Marlow's a very special friend of mine
at thirty one son, the president of Sample and Clayborne
best building contact is in the city of Los Angeles.

Speaker 25 (52:32):
That's so very interesting, mister Grover.

Speaker 19 (52:34):
Oh, but mister Marlowe Samples made it right to the
top in the past two years.

Speaker 25 (52:38):
Uh huh.

Speaker 19 (52:39):
Ever since old Joshua Clayborne got killed following off a
scaffold he did costs between you and me and the
gate Post. Some folks say it was suicide. Oh, Larry,
that boy. I'd like you to meet mister marlow Private Detective.
Mister marlow Lies, Sam, how do you do allow? Mister Malone,
glad you're with us.

Speaker 37 (52:56):
He Heedeous has run to call it in It last
time I heard from was when we split our list
in two and she headed out after a Latin American
rumber team.

Speaker 19 (53:05):
Well, if she might have to bought you bring it back,
that's rond to like me. We're speaking of mister Marlowe Lies.
Lady Press nicest person. I know because my fiance Helen.

Speaker 25 (53:16):
Helen isn't Palmer, my patron, mister Grove.

Speaker 19 (53:18):
Yeah, go end the scene. Well, we said we have
a lot of fun even if we don't make much
money of all.

Speaker 25 (53:24):
Yeah you sent, mister Grover, did just say money?

Speaker 19 (53:27):
Most surely did more? You know, dollars and ten?

Speaker 25 (53:29):
Yes, Well, gentlemen, you'll excuse me please, but I do
have to run. Good night, mister Sample and mister Grover thought,
it's been a distinct pleasure, thought I did you.

Speaker 19 (53:37):
Goodbye, sir, goodbye your God.

Speaker 25 (53:48):
When I got back to my office, which I had
left flights on and unlocked, my telephone was ringing at
this late hour, gullible meat took faint hope that it
could be a client who might still save the day.
When I picked up the receiver, Harlow, I let go
of that straw fast, Marlowe, it was Detective lieutenanty Barro.

Speaker 31 (54:03):
Marlow Do you know a girl named Helen Palmer?

Speaker 25 (54:05):
Ellen, Hey, Barra, don't tell me. There's a pair of
somewhat flat feet on the lady's scavenger hunt list.

Speaker 31 (54:10):
Very funny, Phil, How do you know her?

Speaker 25 (54:13):
No, not beyond a panic telephone call that ended to
make the Lieves scream in a couple of pistol shots,
all designed to bring me running to a party at
eighty seven hundred magnolia Terras.

Speaker 31 (54:22):
Well, that ads all right, because the only item is
not checked off a list are a night watchman's badge
and one detective private which must be you?

Speaker 25 (54:30):
And is your name?

Speaker 31 (54:30):
Is circle in the classified directory? Here in this phone booth,
Here in what phone booth?

Speaker 25 (54:34):
Where are you? Barra?

Speaker 31 (54:35):
At a close filling station on Vanassaw Hollywood Boulevard.

Speaker 25 (54:38):
Wait a minute, why is a girl's list there with you?

Speaker 31 (54:40):
Because it's clenching a right hand filled and she's folded
up on the floor of this booth dead. No two
bullet holes in her back.

Speaker 25 (54:48):
Oh yeah, but but Ibarra, her call was a gag.
The shots weren't.

Speaker 31 (54:52):
Anyhow, it looks like a stick up since the lady's
purse is gone.

Speaker 25 (54:55):
And why don't we who a whyo we picked up?

Speaker 38 (54:58):
So what?

Speaker 31 (54:58):
He calls a curly headed guy with short legs, do
it and run. Also the wine who says that the
murder had been hanging around for a couple of hours,
like he was looking for a well to do prospect.

Speaker 25 (55:07):
Yeah, I know, but it's still kind of strange me
getting that call. I mean, well, i'll drop around a
headquarters tomorrow morning, Lieutenant. If you need any statement from me,
I think.

Speaker 31 (55:14):
You'd better make that tonight, Phil at the eighty seven
hundred address.

Speaker 25 (55:17):
I'm sending money up there now. Oh but wait a minute,
I borrow. You don't need me, and I do need business.
If you think I'm gonna get it by.

Speaker 31 (55:22):
Phil, huh, Phil, Let's say that I had appreciated if
you'd show for a few minutes.

Speaker 25 (55:28):
Okay, No, well, okay, a few minutes, just so long
as you appreciate it. Goodbye. Driving back to make NODA terrorists,
I used Detective Lieutenant E. Bara as an oversized whipping
boy for the day's disappointments. So when I finally break

(55:49):
to a stop behind a half part squad car, which
meant that police Officer Mooney was already on hand, I
was about back to normal. Then in the next quick
moment I forgot all about it, Bara, because the shadows
ahead sneaking away from a side entrance to number eighty
seven hundred, looking as guilty as Lucretia boys. You're leaving
a corner Pharmacy was a young lady, brunette and beautiful.

(56:11):
She hurried directly to a gray ash parked in the rear,
and without looking back, climbed in and took off following
her had to be more fun in conversation with Mooney.
Ten minutes later, the lady came to a stop in
front of a dark, politely landscaped cottage on North Ogden Drive.

(56:34):
Another two She was inside and the light was on.
When I got to the front door and leaned against
the bell, a cart over it said that this could
be one Ronda Langley, mister Larry Sample's girlfriend. That same
card also gave another name, Helen Palmer. The lady denboo
rang again. When the door opened. Was the brunette still beautiful,

(56:56):
only this time something had been added in her right hand?
Five ugly and pointed straight at my head.

Speaker 32 (57:02):
What do you want?

Speaker 25 (57:04):
One straight answer, Miss Langley? Why did you run away?
Maybe seven hundred Magnolia terrorists. The cop with routine questions, Wait.

Speaker 32 (57:11):
A minute, who are you?

Speaker 39 (57:12):
How do you know my name?

Speaker 25 (57:13):
I'm a private detective label Philip Marlow idem number eight
on the late Miss Palmer's list, and I know about
you because I've already been to Thadeus Girlver's party. How
after you put this gun away? We'll get back to
my question. Why did you run? Come on talk lady
now before I yelled copyll come in night.

Speaker 32 (57:34):
To Marlow, I don't think Helen Palmer's murder was any
run of the mill, Robert, you don't think what. I
stayed just long enough to hear the policeman say Helen
has been killed.

Speaker 25 (57:43):
When I got to youre welcome, mat I was greeted
with a forty five talk some more, Miss Langley, real
playing like that, we have a chance.

Speaker 40 (57:48):
Will you.

Speaker 32 (57:49):
I didn't say anything to the police about this because
I don't want to do any damage before I'm sure
about a few things like what like the kind of
a mess that Helen was in? Mister Marlow, I need help.
I's got to know some facts. Please, what you work
for me, I'll pay you anything.

Speaker 25 (58:04):
Well, at this point, let's call anything twenty five a
d in expensive? Huh about Helen and the Mesha spoke
of how much do you know?

Speaker 32 (58:10):
Very little? Only that I think Helen was blackmailing somebody,
somebody who was at the party tonight by grovery.

Speaker 25 (58:16):
Your boyfriend Larry Sample.

Speaker 2 (58:17):
I don't know.

Speaker 32 (58:18):
You've got to believe me, mister Tomorrow.

Speaker 25 (58:21):
Well, all right, for the time being. I will now,
first of all, had you lash out of this blackmail?

Speaker 32 (58:25):
But yesterday morning I accidentally overheard Helen talking to someone
on the telephone. She spoke of a payoff that was
to be made at Sadius's party. I don't know who
she was talking to, but she warned the person not
to try anything rat she didn't say, but she did
say that she'd already emailed a letter to her lawyers
in San Francisco that would protect her from any harm.
And she laughed about the scheduled scavenger hunt and hung up.

Speaker 25 (58:48):
You said nothing to her about this?

Speaker 3 (58:49):
Huh?

Speaker 25 (58:50):
Was all right? The letter to San Francisco? Do you
see aim mailer?

Speaker 32 (58:53):
I mailed it myself earlier in the day, along with
one of my own. I didn't think about it until
after her call, when she pointedly asked me if I
remember to mail a letter my letter that is which
she knew that i'd written to an aunt I have,
and to say it in New Jersey. Well, that's the
whole story you want me.

Speaker 39 (59:10):
I'll be over at Satty.

Speaker 25 (59:11):
It's it's place that is.

Speaker 32 (59:13):
Yes, he was in love with Helen.

Speaker 25 (59:15):
Yeah, maybe she was a returning me in love with blackmail.
What do you think, Ronde?

Speaker 32 (59:20):
I don't know. The thinking is now your job, mister Marlow.

Speaker 25 (59:29):
But I left Ronda Langley and started back to my cause,
a bona fide private detective with clients, wasn't sure whether
or not I was happy about the whole thing. A
second later, at the sight of a man in the
doctor had half crouched behind a tree, I quit deliberating
the point and get ready for trouble because one I
could see the gentleman in hiding had both the curly
hair and very short legs that he borrow I had

(59:49):
mentioned as a sign of Helen Thomas killer. I kept
walking straight until I was abreast of trees, and I
pivoted sharply, took one step, taught.

Speaker 41 (59:57):
Him, and why you do We haven't got the time
they bleeve me.

Speaker 6 (01:00:05):
If will leave me alone, chair right, we'll after.

Speaker 25 (01:00:08):
You start talking.

Speaker 19 (01:00:09):
Now shut up, okay, okay, don't hit you again. I'll talk.
I'll tell you hey, hey, look, no, no, don't.

Speaker 17 (01:00:20):
Oh that losy Nott.

Speaker 30 (01:00:35):
In just a moment, we will return to the second
act of the Adventures of Philip Marlowe. But first you
can do a lot of singing for fourteen thousand, five
hundred dollars, so they say, And tonight some CBS listener
may be able to speak with authority on the subject,
because fourteen thousand, five hundred is what's waiting for whoever
can solve the mystery behind the new Phantom voice. On

(01:00:57):
CBS's great Saturday Night quiz game, sing It Again, listeners
from coast to coast will be quizzed by telephone about
the new Phantom's identity, and they'll also be given a
chance to win one of the other famous prizes for
solving the riddle songs, which features Sing It Again's hour
of Saturday Night Fun. Here sing It Again on most
of these same CBS Network stations tonight and every Saturday

(01:01:18):
Night Now with our star Gerald Moore, we returned to
the second act of Philip Marlowe and tonight's story The
Grim Hunters.

Speaker 25 (01:01:38):
When the shots crashed out of the darkness, the life
ran out of the little man like air from a
kid's balloon. I couldn't figure exactly where the shots had
come from, and I stopped trying when A pair of
spiked heels clicked fast across the concrete driveway between me
and the house, and a modus started in. A second
lady cod roared by was round the langley at the wheel.
I yelled at it as stop as she went by,

(01:01:59):
and ran out of this tree after and yelled again
at their trading car, but she ignored me. When another
car came round the curve behind me, I tried to
flank it down with the drive. It eat him in
slow up. I just stood there while the two cars
twisted out of sight down the winding street, doing nothing
but silence and a lot of unanswered questions hanging in
mid air.

Speaker 42 (01:02:19):
Walked back to the cops, went over carefully, but there
was no identification, nothing but a gun to indicate how
he fitted into the screwy mosaic of murders, scavenging and blackmail.

Speaker 25 (01:02:31):
Went inside to CALLI Bara. In five minutes of traces,
relays and busy signals went by before I finally got
through to him with my news about Helen Palmer's killer.
What where are you? Marlon? In our house and I've
been drive forty three ten North was shared by Helen Palmer,
my new client, Ronda Langley, did she kill my suspect
marl It could be she left here in a big hurry.

(01:02:52):
Another thing he borrow. There's more behind this business than robbery.
What like blackmail? Maybe?

Speaker 31 (01:02:56):
So we just found a Palmer's Girl handbag in a
trash can, nothing left but a lipstick and two letters. Incidentally,
one is addressed to your client, Ronda Langley. It figures
they shared the hust. So Helen happened to pick up
the day's mail. What's the other letter? It was one
return for insufficient postage? They forgot that airmail is six
cents these days. Well return Wait.

Speaker 25 (01:03:15):
A minute, is that letter addressed to a law firm
in San Francisco?

Speaker 31 (01:03:18):
Oh, it's addressed to Sophie Kilbirdie. Sophie kill Birdie. I say,
New Jersey.

Speaker 25 (01:03:23):
Whyy bora Listen, Helen was blackmailing somebody, and she covered
herself by mailing a letter to a lawyers in San Francisco.
If that letter was returned for insufficient postage, and the
blackmail victim knew it, he'd have no qualms about killing.

Speaker 31 (01:03:34):
Her, right sure, But the letters were in Helen's purse.
Do you think she'd have known her protection was gone. Phil,
I'm going to put out a pickup call in your client.
You get on down here so we can go over
this mess one step at a time.

Speaker 25 (01:03:46):
Where's here?

Speaker 31 (01:03:47):
Still at the gas station and van iasaw off Hollywood Boulevar.

Speaker 25 (01:03:49):
Okay, Bora, how long are you going to be there?

Speaker 31 (01:03:51):
Just until Thadius Grove shows up to identify the body
and give me some answers? Personally about that scavenger?

Speaker 25 (01:03:56):
Hunty threw tonight, what about this curly headed copse I've
got here? Have you gone over him?

Speaker 36 (01:04:01):
Yeah?

Speaker 25 (01:04:01):
Yeah, nothing but a gun? Some small bills down.

Speaker 31 (01:04:03):
Then they'll keep I'll expect you in a few minutes.

Speaker 25 (01:04:06):
Okay, so long you Borrow and I put it on
the phone. I was convinced that a big switch was
you any minute, because finding those letters and Helen Thomas
purse made a lot of sense in one direction and
not a bit in another. I could have made more
heads and tails by flipping a ball bearing than I
got out of the FAXI Borrow had given me. Just then,
the shotover man slid up the walk. I heard a

(01:04:27):
pair of feet on the stairs, two at a time.
It was the wonder Boy executive. I had met at
the party. Better hold it right there, Sample, Marvel, why
the gun so the same thing won't happen to me?
That happened to the dead little guy outside? Another murder,
Marl where's Rnda? Is she all right? She left here

(01:04:48):
as fast as an ate some of the motor wide
open could move just after it happened, and it was Ronda.

Speaker 37 (01:04:52):
I saw on my way over here a speeding car
almost crowded me off the road. It looked like Ronda's,
but I wasn't sure. And Marvel, she was being chased
by an up a car, a fast one chase.

Speaker 25 (01:05:01):
Do you assure yes?

Speaker 37 (01:05:02):
The first car missed me by inches when it swung
around a curve. I don't know yet how she made it.
Then a second car came along and passed the curve,
but it stopped, backed up, and then took the same road.

Speaker 25 (01:05:11):
Randa had taken it, and she got away. I don't know.
I come on outside, Sample, I want to take a
look at this. By the way, how long have you
known Randa?

Speaker 6 (01:05:21):
How about a year?

Speaker 25 (01:05:22):
She's a brilliant girl.

Speaker 37 (01:05:23):
Mallow came out from the east and I gave her
a job as my secretary.

Speaker 25 (01:05:27):
He's more than that. Now huh, I'm in love with her,
that's what you mean? Yeah? Yeah? Oh here it is
o Mallow. What I know? This man?

Speaker 37 (01:05:38):
That's Nate Murdoch. He used to be a foreman with
off firm. He left and went back to Atlanta right
after Clayburne's death.

Speaker 25 (01:05:44):
Atlanta. Isn't your host Thaddius Grover from Atlanta?

Speaker 17 (01:05:48):
Yes he is?

Speaker 25 (01:05:49):
Oh brother? When did you see Grover last?

Speaker 37 (01:05:51):
The police asked him to go and identify Helen's body.
He left the party while the officer was still questioning
the rest of us.

Speaker 25 (01:05:57):
And on the way he could have taken time off
the drop by here kill Murdock can make a try
for Ronda too. Come on, let's get to the phone.

Speaker 37 (01:06:02):
Why Marlow good? Heaven's Grover's our friend. He and Helen
were engaged to be mad all.

Speaker 25 (01:06:06):
Right, so it doesn't make sense. But it's fiance and
his short friends with Atlanta both dead, and Ronda's burning
the tires off a car to keep out of reach.
Those are the facts. Will make sense later. I call
Grover's place in hurry up. That's where she intended to
go when she left here to console him. No less
scavenger hunt My aunt Minnie. Hello, Hello, is mister Grover there?

Speaker 3 (01:06:28):
No?

Speaker 25 (01:06:29):
Well, has miss Langley arrived yet? Oh?

Speaker 6 (01:06:33):
It's the maid Marl round ahead.

Speaker 25 (01:06:35):
What's that?

Speaker 43 (01:06:36):
She's coming up the walk?

Speaker 31 (01:06:37):
Now hold the line a minute least.

Speaker 6 (01:06:40):
She just got there, mardew. What'd I tell her?

Speaker 25 (01:06:41):
Tell her to leave again? Tell her? No, where do
you live? Forty four six odd one? All right? Tell her?
I said for her to wait outside in the back
of the house until you can get over there to
pick her up. Take her to your place and I'll
pin Grover down right. Where are you going? Now? See
lieutenanty Bora and I can get there faster than I
can call him on the phone. Good luck. Sample. Sample

(01:07:06):
was repeating my name over at Groves mate on the
phone as I left. A few minutes later, at the
mobile gas station off Hollywood Boulevard, I found the Bara
looking sad danik in the blinking light from a flying
red Neon horse above his head as he flipped through
a stack of papers on top of an oil drum.

Speaker 31 (01:07:21):
It's about time, Marto.

Speaker 25 (01:07:23):
Where's that client of you?

Speaker 36 (01:07:24):
Now?

Speaker 25 (01:07:24):
Wait a minute, he barrow. I had a peg doll wrong,
She's a pigeon has Stattius Grove have been here.

Speaker 31 (01:07:28):
Yet just left. He's quite a character, that guy.

Speaker 25 (01:07:30):
He didn't let him get away alone. Was what do
you mean get away? Barrow? There's a there's a big
connection between Pattius Grover and Murdoch, the guy who killed Helen.
Now Grover might have hired him for the job, and
now he's trying to get round. Now, Martl, how does
that figure? It doesn't, but so help me, Borrow. That's
the way it is.

Speaker 44 (01:07:44):
Grove was heading for his friend Larry Sample's house, and
he left. Happened nowhere Sample smoke. That's exactly where I
told Sample to take the girl. Forty four h six
odd more. That's great, Mardl. They'll all be together in
one place. I'll pick up a whole crew and.

Speaker 25 (01:07:55):
Right now you're gonna pick up the pieces. You mean
you think there'll be a showdown any minute? A barrow,
it can't miss.

Speaker 31 (01:08:00):
Okay, So we'll take some firepower along and McCallum gray,
let's go come on, Phil.

Speaker 25 (01:08:05):
Look he Borrow. Maybe Sample hasn't gotten home with Ronda yet.
I'll go up the Grovers and try to head them off. Okay, okay, Marlo.

Speaker 31 (01:08:11):
But if you get them before I do bring them
in and a alibis.

Speaker 19 (01:08:14):
I'll see you.

Speaker 25 (01:08:20):
Borrow was grim as he climb in his car and
drove off fast. I headed for my car and as
I turned my arm swept the scavenger list see Barrow
had left on the oil drum off onto the ground,
and I picked them up. Ronda Langley's name was on top.
Her list was as coony as the others, but.

Speaker 45 (01:08:35):
Near the bottom was an item strangely familiar to me
which hadn't been checked off. It was a canceled ticket
from wood Haven Ballroom. All at once I realized why
it was familiar. The sign I'd been half conscious of on.

Speaker 25 (01:08:49):
Top of the big squat building across the street red
wood Haven Ballroom closed tonight. And a hunch I dug
the Helen Palmer's list. Yay Borrow was right thinking about
a night watchman's badge, and one detective private had been
checked off, and that gave me half of the switch.
I knew I had to show up a random my

(01:09:11):
car and headed for that southern mansion in the Hollywood
Hills in the end of a very complicated frolic, and
with every turn of the road I gave myself another
whack for being such a near sighted sucker. I got there.
The big house and magnolia terrace was dark, except for
a light in the servants' quarters. I stepped down the block,
walked back and edged around the patio with the garage,
the hothouse, and the king sized barbecue loomed only as

(01:09:33):
shapeless lumps of shadow. I stood still and watched.

Speaker 6 (01:09:38):
And I saw him move, walking slowly.

Speaker 25 (01:09:40):
Gun in hand, along the fence to the hothouse. I
started told him quietly, just as he found out what
he was looking for.

Speaker 46 (01:09:47):
Oh you're clever, my dear, but it's all over now.

Speaker 19 (01:09:50):
I know you're in there, so come on out with
your hands.

Speaker 32 (01:09:52):
Oh no, you're hanging yourself for murder right now, Larry example,
I've got all the proof I need.

Speaker 37 (01:09:57):
I don't know what good it'll do you, Ronde, I'll
have a pay you was sent for it, you blackmailing tramp.

Speaker 43 (01:10:01):
I'll kill you first.

Speaker 31 (01:10:02):
And that protection letter you wrote to your lawyers was
return Dolly.

Speaker 37 (01:10:06):
I found it accidentally, and Helen's pursed the night at
the party, so no one will know. Come on out
or I'm going in after you.

Speaker 32 (01:10:13):
I wouldn't try that if I were you sampled Marlow?
Do you here any minute now? He called me and
told me.

Speaker 46 (01:10:17):
That was idea you.

Speaker 19 (01:10:19):
I used his name when I talked to the maid.

Speaker 37 (01:10:22):
Oh, I should have done this myself in the first place,
instead of trusting that stupid Murdoch.

Speaker 25 (01:10:27):
Are you gonna come out of there?

Speaker 7 (01:10:28):
No?

Speaker 32 (01:10:29):
And I got a gun.

Speaker 37 (01:10:30):
You can't see me, and I know it. Your white
dress makes a perfect target, your little fool.

Speaker 25 (01:10:35):
Robert Temple. Now let's have that gun.

Speaker 32 (01:10:41):
I'm plaid you got here.

Speaker 25 (01:10:43):
No, No, he's not dead and he won't be from bullets.
Give me your gun too. Come on, I was too
scared to use it anyway. Thanks, I sit down and
shut up. We're gonna wait for a lieutenanty Bar. Then
you're both going to the pokey.

Speaker 35 (01:10:58):
What you know.

Speaker 25 (01:11:00):
I don't go for blackmailers, male or female. Even the
cute one's a rugby lady, very ugly.

Speaker 38 (01:11:04):
Phil.

Speaker 32 (01:11:04):
Wait, you've got to understand something. Two years ago, Larry
Sample killed his partner, Joshua Claiburn. I knew it, but
I couldn't prove it, so I pretended I couldn't blackmail him.
Don't you see if he paid offer or tried to
kill me. That would be proof of his guilt, and
he did.

Speaker 25 (01:11:18):
Marlow, why should you pull a stunt like that.

Speaker 32 (01:11:22):
I'm a divorce a. Marlow Langley is only my married name. Okay,
so what my maiden name was Claiburn Clavern Josh Clavern's daughter.
Oh and I can prove that that reason enough?

Speaker 25 (01:11:35):
WHOA? Why didn't you level with me instead of labeling
Helen a blackmailer?

Speaker 32 (01:11:39):
Helen was already dead now? I needed your health desperately.
I thought I had to lie to get it.

Speaker 47 (01:11:44):
Okay, yeah, okay, baby, anyone care for more coffee?

Speaker 43 (01:12:04):
How about you?

Speaker 20 (01:12:05):
Lieutenant?

Speaker 31 (01:12:05):
Oh no, thanks, mister Grove. All aw, you got it
all to come out even anyway.

Speaker 25 (01:12:11):
Frankly, that's more than I expected.

Speaker 31 (01:12:13):
And I left you with that gas station.

Speaker 25 (01:12:14):
Yeah, yeah, we were lucky, Burr. I yess. I owe
you an apology, mister Grover.

Speaker 48 (01:12:19):
Oh shock, it's all right, sir. There's a shock to
me to be accused of poor Helen's murder. But Wowchodren, now, yeah,
you said it was the scavenger list. Set you straight?
How'd you figure that?

Speaker 19 (01:12:32):
Boy?

Speaker 25 (01:12:32):
Well, there was a wood Haven ballroom ticket on Ronda's list.
So she had to go there for the ticket. You see,
I simple knew that, and he told his killer Murdoch. Coincidentally,
he hired the murder Clayburn two years ago that the
girl who went to the wood Haven Ballroom was his target.
But Helen happened to go there after the night watchman's badge,
which he could have picked up any place in town.

Speaker 32 (01:12:52):
Yeah, terrible coincidence for Helen. That was all that saved
my life.

Speaker 25 (01:12:56):
Really, that's right, honey. Murdoch made mistaken. When he and
Sample discovered it, they made another try at Ronda's house.
I caught Murdoch there, so Sample shot him before he
could talk.

Speaker 32 (01:13:07):
When I left, he followed me in his car. I
knew they were after me, and I thought for sure
they'd killed you, Phil.

Speaker 25 (01:13:12):
That's why I ran, yeah, and threw me for a loop,
and Sample came back to make sure that Murdoch was
dead and sold me a great, big bill of goods
at the same time. It's a terrible, terrible thing, asked
mister Grover.

Speaker 19 (01:13:25):
It is, Lieutenant.

Speaker 6 (01:13:26):
I want to thank you personally for your participation.

Speaker 25 (01:13:29):
Thank you, thank you very much.

Speaker 31 (01:13:31):
Well, I've got everything I need, so I'll say good night.

Speaker 25 (01:13:34):
Yeah, me too, I.

Speaker 32 (01:13:36):
Shall I.

Speaker 49 (01:13:38):
Why yes, I think no, no, no, wait a minute,
you know, honey, with with your knowledge of postal rates,
So why don't you just deliver it in person?

Speaker 32 (01:13:53):
Maybe love to count on it tomorrow.

Speaker 7 (01:13:57):
No.

Speaker 25 (01:14:13):
I drove down from the Hollywood Hills with a check
warming my wallet and the echo of a soft invitation
warming my imagination. You know, that was quite a party
at Grover's house, scavengerhn. People determined to have a good time,
even if it killed him. You know what, it didn't.

(01:14:33):
I know another game associations goes like this Grover's party.
Randa Langley, Randa m hm, date.

Speaker 6 (01:14:46):
Hm hmm.

Speaker 25 (01:14:48):
I wonder if she likes baseball.

Speaker 30 (01:15:08):
The Adventures of Philip Marlowe created by Raymond Chandler, star
Gerald Moore and are produced and directed by Norman McDonald.
Script is by Meldon l. A, Robert Mitchell, and Gene Levitt.
Featured in the cast were Alan Reid, Mary Ship, Jack Moyles,
Richard Benedict and Lorette. Phil Brandt, Lieutenant Detective of bar
is played by Jeff Corey. The special music is by

(01:15:30):
Richard o'uran. He assured me with us again next week.
When Philip Marlowe says.

Speaker 25 (01:15:40):
They were born on the same hour and the same
day of the same parents, and they were identical in
beauty and talent. Only one was deadly and the other
was not. And I couldn't tell which was which until
I found a green purse, a fresh corpse, and a
pair of dancing hens.

Speaker 30 (01:16:00):
Yeah, this is CBS, where ninety nine million people gather
every week, the Columbia Broadcasting System.

Speaker 50 (01:16:44):
Welcome to the Black Mass. One of the foremost right

(01:18:00):
of pure horror and the supernatural is H. P. Lovecraft.
He regarded all his work is based on the idea
that the world was inhabited at one time by another race, which,
in practicing black magic, lost its forethold and was expelled,
yet lives on outside, ever ready to take possession of

(01:18:23):
this earth again. Tonight we bring you one of his
most famous tales, The Rats in the Walls by H. P.
Lovecrafts The restoration of exem Priory had been a stupendous task,

(01:19:54):
for little had remained at the deserted pile but a
shell like ruin. But because it had been the seat
of my ancestors, I let no expense determ me. The
place had not been inhabited since the reign of James
the First, when a tragedy of intensely hideous, though largely

(01:20:22):
unexplained nature occurred. It appeared that my ancestor was accused,
with much reason, of having killed all the other members
of his household in their sleep. This deliberate slaughter, which
included his father as well as three brothers and two sisters,

(01:20:45):
was strangely condoned by the villagers and slightly treated by
the law. With this sole heir nevertheless legally denounced as
a murderer, the estate had reverted to the Crown. The
accused man, making no attempt to exculpate himself or regain
his property. Shaken by some horror greater than that of

(01:21:10):
conscience or the law, and expressing only a frantic wish
to exclude the ancient edifice from his sight and memory,
Walter de la Power fled to the United States, where
by the end of several generations the family had achieved
a proud and honorable, if somewhat reserved, an unsocial Virginia line.

(01:21:37):
After the Civil War, the family moved north, I emerged
and grew to manhood, to middle age, and to ultimate wealth.
Within the grayness of a Massachusetts business life. My wife

(01:21:57):
Emily died shortly after the birth of our only son,
Alfred and Alfred in the aviation Corps in nineteen seventeen.
They both had died, leaving me old, bereaved and aimless.

(01:22:21):
A retired manufacturer, I traveled eventually to England, eventually to Anchester,
eventually to the ancient family seat, ExHAM Priory, itself a
jumble of tottering medieval ruins covered with lychens, perched perilously

(01:22:47):
upon a precipice denuded afflows and other interior features save
the stone walls and the separate towers. The priory had
been allotted to the estate of the Naris family by
the Crown, and now three centuries later, I purchased the
ruin for a surprisingly reasonable figure and resolved to divert

(01:23:11):
my remaining years by restoring restoring my ancestral home. I

(01:23:32):
had secured the interest, assistance, and the friendship of Captain Nuri,
whose knowledge of the place had been increased through the
years by his having accompanied the many architects and antiquarians
who loved to examine the strange Rabbic.

Speaker 51 (01:23:48):
The mind your foot on that big stone over there.

Speaker 52 (01:23:51):
The architecture you see is peculiarly composite, a Gothic tars
resting over there on Saxon or Romanesque substructure.

Speaker 51 (01:24:00):
A foundation is.

Speaker 52 (01:24:01):
Of a still earlier or de friend of orders, I
suppose Roman, or even Druidic or native Symric, if legends
speak truly, and merged on the one side you see
down here with.

Speaker 51 (01:24:12):
The solid limestone of the precipice.

Speaker 50 (01:24:15):
Amiable Captain Norris, the place and its ancestry had an
almost consuming fascination for him. He knew every detail of
its history and its former structure, and became of a
estimable help in the reconstruction.

Speaker 52 (01:24:29):
The priory itself actually stands on the side of a
prehistoric temple, druidical or anti druidical thing which must have
been contemporary of Stone Hinge and age like that.

Speaker 50 (01:24:41):
Well, it's unfortunate that our neighbors aren't all antiquarians, such
as you, Captain Norris. I had not been in Ancestor
a day before I knew I came from an accursed house.

Speaker 52 (01:24:51):
Oh yes, the country folk around here, of their own
sense of tradition. I'm afraid they headed the prior hundreds
of years ago when your ancestors lived here, and they
hate it now with the mass and mold of abandonment
on it, we'll have to go outside of the immediate
vicinity for our workers. You see, it isn't so much
hatred as the the almost unbelievable fear they have of

(01:25:14):
the place, and the scope appears to include both the
priory men. I'm afraid it's ancient family.

Speaker 50 (01:25:21):
Yes, I don't seem to be able to convince the
villagers how little I know of my head.

Speaker 52 (01:25:26):
But to them a lineages beyond a message of knowing
it's in the bone and blood itself. I'm not sure
I disagree, But what do we see after three centuries?
A power has returned to his ancient site to reconstructively
house and for the villagers you come to restore a
simple abhorent to them, rational or not, you know, they

(01:25:47):
view Wexham Priory as nothing less than a haunt of
fiends and well Wood.

Speaker 50 (01:25:52):
Captain Norris, superstitions, superstitions.

Speaker 52 (01:25:55):
Ghosts and go oh no, not quite that, are you say?

Speaker 22 (01:25:59):
They're worries?

Speaker 50 (01:26:00):
Nevertheless, well so would you.

Speaker 51 (01:26:02):
Power. It's not a matter of.

Speaker 52 (01:26:03):
The present, and it's not all superstition. This is an
ancient place power that indescribable rites had been celebrated here.
No one doubts rites of the Sabelli worship. It's the
Romans are introduced. Inscriptions still visible in the subseller of
the priory bar the unmistakable letters and signs of Magna Martyr,

(01:26:24):
whose dark worship was once vainly forbidden to Roman citizens.
About one thousand day d the place is mentioned as
being a substantial stone priory, housing a strange and powerful
monestic order, and surrounded by extinsive gardens. You will see
them right over there. Yes, now, mind that stone there.

(01:26:47):
You know that people didn't need any walls to keep
them out. They were too frightened of the place altogether.
It was never destroyed by the.

Speaker 46 (01:26:54):
Danes of enough.

Speaker 52 (01:26:55):
After the Norman conquest, it must have declined tremendously. There
was no pediment when Henry the third granted the site
to your ancestor, Gilbert de la Poer. He was called
then first baron Exon, and I think twelve years, twelve
sixty words.

Speaker 50 (01:27:10):
Well, then it's the location, the house, not the family
that inherits the bad name.

Speaker 52 (01:27:14):
All they became a lion you see, not so far
as we know, unwillingly true. Before their occupation, the family
bore no evil report, but something strange must soon have occurred,
you know. In one chronicle there's a reference to Adela
Poe as cursed of God. It's a strange phrase. Village

(01:27:35):
legendary had nothing but evil and frantic fear to tell
of the castle. The fireside tales were of the most
grisly description all the minder had done, all the ghastlier
because of their frightened reticence and cloudy evasiveness.

Speaker 51 (01:27:50):
I'm afraid they represented your.

Speaker 52 (01:27:52):
Ancestors as a race of hereditary demons.

Speaker 50 (01:27:55):
But what precisely happened Norwich?

Speaker 6 (01:27:57):
What went on?

Speaker 52 (01:27:59):
Well, there are the vaguer tales, hackneyed spectral law perhaps,
and whales, and the usual howlings heard around the place,
graveyard stench after the spring rains, the servant girl who'd
gone mad at what she saw.

Speaker 51 (01:28:13):
In the full light of day.

Speaker 52 (01:28:14):
In the priory, the accounts of vanished peasants are less
to be dismissed, though not especially significant in your medieval custom,
prying curiosity meant death, and more than one severed head
had been publicly shown on the bastions around exem prarie A. Yes, well,
it's difficult. A few of the tales were exceedingly picturesque.

(01:28:36):
For instance, the believe that a legend of bat winged
devils kept witch is Sabbath each night of the priory,
A legend whose sustenance must explain the disproportionate of planets
of coarse vegetables fastest in the gardens. But mistvimid of all,
there was the dramatic epic of the rats, the rats

(01:28:56):
scampering army of obscene vermin, which had burst forth from
the castle a couple of months after the tragedy that
doomed the place to desertion three centuries ago. Now you know,
a lean, filthy, ravenous army which had swept all before
it and devoured fowl, cats, dogs, hogs, sheep, and you

(01:29:18):
know even two villagers before its fury was spent around
their unforgettable rodent army, a cycle of myths revolves. It
scattered among the village homes and brought cases and horrors
in its trainer.

Speaker 50 (01:29:31):
Yes, and that was just three months after Walter de
la Power had murdered his family and fled to Virginia.

Speaker 51 (01:29:36):
Yeah, yes, I should say about it.

Speaker 50 (01:29:39):
You know, one thing puzzles me about that murder. Walter
de la Power must have known for years the sinister
tales about his family, so that this material could have
given him no fresh impulse. I can scarcely conjecture what
discovery could have prompted an act so terrible. What had
he witnessed or stumbled upon?

Speaker 52 (01:29:58):
Oh, take this path down him. The welded general whispered
sentiment seems to have been that he purged the land
of a memorial cares.

Speaker 50 (01:30:22):
Such was the law that assailed me as I began,
with an elderly obstinacy the work of restoring my ancestral home.
While living with Captain Norry's family during the restoration of
the priory, I collected many such tales of superstition or fact,
but it must not be imagined that they formed my

(01:30:43):
principal psychological environment. I was constantly praised and encouraged by
Captain Norris and the antiquarians who surrounded and aided me.

Speaker 6 (01:30:52):
When the task was.

Speaker 50 (01:30:53):
Done over two years after its commencement, I viewed the
great rooms with pride, waine scuttered walls, vaulted ceilings, mullioned windows,
broad staircases. All there all as it had been. Every
attribute of the Middle Ages was cunningly reproduced. The new

(01:31:16):
parts blended perfectly with the original stone, walls and foundations.
The seat of my father's was complete, and I looked
forward to redeeming at last the local fame of the
line which ended with me. The interior of the old

(01:31:36):
house was, in truth wholly new and free from old
vermin and old ghosts. The first incident occurred six days
after I moved into the priory. That night, dispensing as

(01:31:56):
usual with a valet, I retired to the west towerch chamber,
which I had chosen as my own. The room was circular,
very high, and without wainscotting, the stones being hung with tapestries.
I did not draw the curtains, but gazed out at
the narrow north window, which I faced from the canopied
four poster. At some time I must have fallen quietly asleep,

(01:32:23):
for I recall a distinct sense of leaving strange dreams
m I er. As I awoke, I found myself looking

(01:32:51):
intensely at a point on the wall, a point to
which my eye had nothing to market, but towards which
all my attention was directed. Whither the tapestry actually moved,
I cannot say. I think it did very slightly, But
what I can swear to is that behind it I
heard a low, distinct scurrying, as of mice or rats.

(01:33:18):
Then it was gone, some sort of effective echo, perhaps
coming from some other area of the house. There was
no need of my looking behind the arras, for the
walls were of solid stone several feet thick. It was
a while before I could drift back to sleep, and

(01:33:41):
I seemed directly to re enter my earlier dream, except
that this time the vision was clearly horribly before me.
I seemed to be looking down down from an immense height,
upon a twilet grotto knee deep with filth, where a

(01:34:06):
white bearded demon a swineherd, drove about with his staff
a flock of fungus beasts, whose appearance filled me with
unutterable loathing. Then, as the swineherd paused and nodded over
his task, a mighty swarm of rats rained down on

(01:34:29):
the stinking abyss and fell to devouring.

Speaker 6 (01:34:32):
Beasts and men alike.

Speaker 50 (01:34:38):
But suddenly I was awake, wide awake. On every side
of the chamber, the walls were alive, with nauseous sound
to the verminous slithering of ravenous, gigantic rats. I could
see a hideous shaking all over the tapestry, but the
motion disappeared almost at once, and the sound with it.

(01:35:05):
I sprang out of bed and tore asided the arrest
to see what lay beneath it. Nothing, nothing but the
patched stone wall. I stepped out of the room and
stood for a moment at the head of the great
ancient stairway, listening, listening to the house. I could hear them.

(01:35:33):
I could hear them, faintly at first, but coming from
all the walls, And as I descended, the stampeding continued
with such force and distinctness that I could finally assign
to their motions a definite direction. These creatures, in numbers,
apparently inexhaustible, were engaged in one stupendous migration from inconceivable

(01:35:56):
heights to some depth inconceivably below.

Speaker 19 (01:36:01):
Rats.

Speaker 50 (01:36:02):
When I questioned the servants, they said they heard nothing.
I didn't want to alarm them by insisting, no, I
wasn't dreaming, Norris, it was no dream.

Speaker 52 (01:36:13):
But there have been no rats of the priory for
three hundred years, even the field. Mice couldn't be found
in these high walls.

Speaker 50 (01:36:20):
Wherever would they be found in walls of solid stone?

Speaker 51 (01:36:24):
M you say they were headed downward.

Speaker 50 (01:36:31):
Captain Norris helped me explore the subseller, but absolutely nothing
untoward was found. We could not, however, repress a thrill
at the knowledge that this fault was built by Roman.

Speaker 25 (01:36:42):
And you see up.

Speaker 52 (01:36:43):
Here it's not the debased Romanesque of the bungling Saxons,
but the severe and harmonious Classicism of the age of
the Caesars.

Speaker 51 (01:36:51):
No care at these.

Speaker 52 (01:36:52):
Inscriptions Ti m tempdona Lucius prikuus spotify Carterus.

Speaker 8 (01:37:00):
Or is it Etties? Yes, Etties.

Speaker 50 (01:37:05):
The refence made me shiver that I had read Catullus
and knew something of the hideous rites of the Eastern
gart whose worship was so mixed. Were that of Sibili?

Speaker 52 (01:37:16):
Look hold her out plantern up here? No, not not
that one, but by the stone block here. Oh, yes,
I see, yes, you see the design cut into it,
a sort of rayed sun. That's not Roman. No, it's
not Roman at all. It's of an earlier Originies. These
altars had merely been adopted by the Roman priests from
some older, perhaps aboriginal temple on the same site.

Speaker 43 (01:37:39):
Come down here, let's hole up down here.

Speaker 50 (01:37:41):
Nurries and I determined to pass the night in the crypt,
and couches were brought down by the servants. We retired
with the lantern still burning, to await whatever might occur.
The vault was very deep in the foundations of the priory,
and that it had been the goal of the scuffling
and unexplainable rats. I could not doubt.

Speaker 35 (01:38:06):
But why.

Speaker 50 (01:38:08):
Why? As we lay there expectantly, I found my vigil
occasionally mixed with half formed dreams. I saw the twilet
grotto and the swinebird, the fungus beasts wallowing in filth.

(01:38:31):
They seemed nearer, nearer, and more distinct. I could almost
observe their features, beasts, but not exactly beasts. They became
more distinct as I watched, looking up at me, terrifying, terrifying.

(01:38:53):
Hah ah, Dorris, Norris, wake up, Norris, wake up, wake up?

Speaker 51 (01:38:59):
If what what's wrong?

Speaker 6 (01:39:01):
Do you hear?

Speaker 50 (01:39:02):
Did you hear them? Did you hear them?

Speaker 2 (01:39:03):
Norris?

Speaker 51 (01:39:03):
What the rats?

Speaker 19 (01:39:04):
Rats?

Speaker 51 (01:39:05):
I heard? I heard nothing, nothing at all.

Speaker 50 (01:39:07):
Still downward they were, they were going still farther down
There are cellars below us. Norris Norris was an hallucination?
Was it madness? Why have they stopped? Why have they stopped?

Speaker 36 (01:39:18):
Why?

Speaker 50 (01:39:18):
Why is it silent now?

Speaker 7 (01:39:20):
Hmmm?

Speaker 52 (01:39:21):
Perhaps you've been shown what certain forces wished to show you.

Speaker 50 (01:39:25):
They were headed downward in this altar sceneis the landin
the lantern flickers at the crevice here between the altar
and the floor. There must be some kind of Bye, Joe,
there must be some way of descending, some door, some
some kind of.

Speaker 52 (01:39:38):
Entrance, balanced by some sort of counterweight. I expect you've
seen you could he hear the entire stone pivots aside.

Speaker 50 (01:39:51):
By jove, there is your silver power. Oh horr a
horror stone steps descended into an abysmal dark, but scrawled
across them as far as we could see, skeleton, skeletons,

(01:40:11):
attitudes of panic, fear all over them, the marks of
rodent gnawings, a ghastly array of human or semi human bones, cretinism,
semi apedom. We descended the hellishly littered.

Speaker 53 (01:40:30):
Steps, horrifying but extraordinary. Look here out through solid rock.
Notice the strokes here look according to the direction of
this passage must have been chiseled from beneath upward.

Speaker 52 (01:40:46):
No, look at that. Who notices the air? That's a
cool movement of air, Probably some fissure in the cliffs
of bar Yes, look theapa. The stairway ends here. There's
light filtering down from somewhere up here. I can't quite
see it, but hey, it must be mourning outside. You know,
almost enough light to see. It's a sort of grotto enormous,

(01:41:12):
you can just bear.

Speaker 50 (01:41:16):
The descent from reality had almost prepared me for what
was to come. Norris, when I reached him, stared out
with a look resembling that of the skulls at his feet.
Then I followed his eyes over the subterranean world before us.

Speaker 54 (01:41:35):
Dear God, we are must not underestimate the archeological importance
of such a discovery as this pa.

Speaker 50 (01:41:46):
The Twilight Grotto was of enormous height and stretched farther
than any eye could see. There were buildings and other
architectural remains in the center, a circle of monoliths, but
dwarfed everything thing, dwarfed by the spectacle on the ground,
an insane tangle of bones human or nearly so, like

(01:42:08):
a foamy sea. They stretched plastures of demonic frenzy, either
finding off some menace or clutching other horns with cannibal intent.

Speaker 52 (01:42:18):
Yes, these skulls suggest a rather baffling mixture, mostly lower
in the scale of evolution em phithic anthropus delivery case
definitely human. Actually, some of them seem to be supremely
and sensitively developed types.

Speaker 25 (01:42:33):
Horror.

Speaker 50 (01:42:35):
Horror upon all the bones nor altars serving as butchersh
up and kitchen mostly by rats, cauldrons, dining tables, not
all by rents, jo goblets, brown stained and dried.

Speaker 12 (01:42:52):
Horror.

Speaker 52 (01:42:54):
Noticed the stone pens over here for the keeping of herd.
I expect an out of which they must have broken
in their last delirium of hunger or rat fear. Herds
of some primordial human type. Fascinating there a row of
cells nearly rusted through the tenants still locked.

Speaker 50 (01:43:15):
Inside, and on the bony forefinger of one a seal
ring with my own coat of arms.

Speaker 3 (01:43:23):
Hmm.

Speaker 52 (01:43:24):
Strange ideographic carvings here on some of the skulls here,
look at her Look at this bar where I believe
they're fridgein in origin cases of formally arranged bones with
parallel inscriptions in Greek and letting.

Speaker 50 (01:43:41):
Still downward. I could hear them where else where else
could they draw me across the grudder, carrying pits of sword, bones,
picked bones, open skulls, night me chasms, unhallowed centuries, grinning

(01:44:04):
their unnameable fancies. Then then to the edge of a depth,
hideously foreshadowed by my.

Speaker 52 (01:44:14):
Dreams, an apparently boundless depth.

Speaker 36 (01:44:20):
Power.

Speaker 52 (01:44:20):
There's no into it, A great mouth lined with human debris, spewing, swallowing,
yawning out from the prime audio power power.

Speaker 2 (01:44:34):
Stay out of it.

Speaker 51 (01:44:35):
Stay out of it.

Speaker 55 (01:44:36):
Man.

Speaker 50 (01:44:36):
The rats bequesting new horrors, determined to lead me on.

Speaker 2 (01:44:39):
I ran ran, following them.

Speaker 56 (01:44:42):
Following them, I heard voices, and but above all that
insidious scudding, I felt them.

Speaker 13 (01:45:04):
All around me.

Speaker 57 (01:45:06):
I was one of them, part of the rabbin his
army that feasts on the living and the dead. Well,
I shouldn't see that dellat of power as a power
eat forpidden things.

Speaker 50 (01:45:17):
No, no, no, I am not that demon in the
Twilight Grotto. It's not Norri's buddy, I tear apart.

Speaker 58 (01:45:28):
It's a bloody east of pod and flesh.

Speaker 19 (01:45:34):
Pa, you faint and fear it?

Speaker 6 (01:45:36):
What my family dog.

Speaker 58 (01:45:41):
I'll learn you how to God what is the wine
can be his wife, Marginal Margina my hair.

Speaker 57 (01:45:52):
At understand irony, irony.

Speaker 50 (01:46:13):
That is what they said, I said when they found
me in the blackness over the half eaten body of
Captain Narris. Now they have blown up exempriary and shut
me into this barbroom, Matt Hardwell, with fearful whispers about

(01:46:34):
my heredity and experience. When I speak of poor Narries,
they accuse me of a hideous thing. But they must
know that I did not do it. If I did
not do it, they must know it.

Speaker 23 (01:46:47):
Was the rats.

Speaker 59 (01:46:48):
It was the rats who scampering, will never let me sleep,
the demon rats that race behind the padding of this room.

Speaker 50 (01:46:59):
And to begconly done to greater horse than I have
ever known.

Speaker 8 (01:47:09):
The rats.

Speaker 12 (01:47:13):
They can never hear the rats in the walls.

Speaker 50 (01:47:49):
That was The Rats in the Walls by H. P. Lovecraft.
The technical production was by John Whiting. The part of
Captain Norris was played by Bernard Mays. The part of
Dullah Power and the adaptation were by your host of
the Black Mass, Eric Bowersfeld.

Speaker 25 (01:48:10):
And now.

Speaker 2 (01:48:13):
Good night.

Speaker 12 (01:48:56):
It isn't only the ghoul, the vampire, the undead dead,
the screen in the night or similar shafts of fear
selected from the quiver of horror that spell bind the
listener and fascinate the casual turner on the radio switch.

Speaker 60 (01:49:15):
In this tale, there is nothing outwardly ghostly. It is
a story of unease, and we challenge you to make.

Speaker 12 (01:49:25):
Your radio set silent without listening all the way to
shot circuit.

Speaker 8 (01:49:58):
Desolt.

Speaker 6 (01:49:59):
Yes, mister Frostburger, re mind you this time of year.
I mean when when spring comes and in the trees.

Speaker 61 (01:50:07):
Why do you imagine I bought one hundred acres of
garden on which to build a house.

Speaker 6 (01:50:11):
Yes, of course, mister Fosberger. I want desolation, privacy and security.
I can afford to.

Speaker 62 (01:50:17):
Get what I want. Y, let's take a look at
the house, and the two men, Mason and Frostburger, walked
towards the building. The two men walked, each bent unknowingly
upon his own individual journey beyond midnight.

Speaker 6 (01:51:02):
The main structure was completed about three weeks ago.

Speaker 62 (01:51:05):
Since then, the engineers have been installing and testing the
electrical circuits. The final tests were only made yesterday and
the builders they were thrown back to the continent immediately.
The danger of information leaking out is remote, shall we
go in, mister Fasburger. Now, to all intents and purposes,
this lock is an ordinary lock with an ordinary key

(01:51:27):
to Salsburger.

Speaker 6 (01:51:31):
Nobody would suspect.

Speaker 62 (01:51:32):
That the tumblers are actuated by coded magnets in the key,
and that they in turn operate six electronic locks, which
are built into the door and quite inaccessible laminated steel.
You see like the walls and floors. It had stopped
an armor piercing shell. Good actually lights on, and the

(01:52:09):
whole ceiling clows. You see, not just a globe or
collection of clothes. Exact your specification. Naturally, it'll look better
with furniture and in about nine months time when the
decorations are completely Yes, the windows.

Speaker 6 (01:52:26):
To stop, I aren't they You've never imagine that it's
faced for steel shutters to drive across. And you see
here the grass is polarized. You can see out that
nobody can.

Speaker 62 (01:52:35):
See it, and all the windows are the same exactly.
The whole house was built as a precision engineering job.
The moment someone tries to temper over the windows or
the outside doors, the whole of the engineering electronic entertry
comes into play.

Speaker 6 (01:52:48):
House is completely sealed off from the rest of the world.
It's steel footless. That's the big thoughtless.

Speaker 62 (01:52:55):
In The main electricity supply for the whole house comes
in here. That black box carries the power supplies fuses,
but naturally it's sealed and only the company's electricians can
open it. But every other room in the house is
individually fused, so nothing can go wrong, you see. But
now there is an emergency diesel generator in an outhouse

(01:53:18):
at the back, so in the event of the power failure,
you can generate your own electricity.

Speaker 6 (01:53:23):
We've thought of everything, I hope.

Speaker 61 (01:53:25):
So the place is costing me a two and fifty
thous hey one perfection.

Speaker 6 (01:53:31):
You know you're getting it now.

Speaker 62 (01:53:33):
If you care to go into the next room and
watch the window, I'll just show you how rapidly and
efficiently the steel shutters side across. Then afterwards I'll go
outside and pretend to be a burglar. Yeah, Fasburger stood
by the horizontal window and fingered the edge of the
steel frame of his pudgy fingers. The big diamond ring

(01:53:56):
in its fleshy platinum setting glittered richly in the subdued daylight.
Read Yes, it happened so suddenly that his eyes were
completely deceived. One minute, there was a window looking out
on their bleak countryside. Next instant, the window had gone,
and in its place was a sheet of blue gray steel. Curiously,

(01:54:19):
there was an agonizing pain in the middle of his
right hand. Even more frightening, the hands suddenly seemed will
become immovably attached to the window frame.

Speaker 63 (01:54:28):
Mayson, Mayson, I think it's one of the fuses has
blown up. I mean, can't you see my hands caught
in the thing.

Speaker 61 (01:54:43):
It's caught my ring might have lost my hand if
it hadn't cleaned for the diamond.

Speaker 6 (01:54:49):
Yes, I'll go These diamonds harder than steel. Blasted shutter
might have chopped my head off. H m hmmm mm hmmm.

Speaker 64 (01:55:19):
Drimons take.

Speaker 6 (01:55:24):
Then do something about it.

Speaker 61 (01:55:25):
Don't just stand there talking blasted technicalish.

Speaker 38 (01:55:29):
Have you cow?

Speaker 6 (01:55:30):
You take your finger out? If I could take it out?

Speaker 65 (01:55:33):
Why do you think dolls just Unfortunately that shutters edged
with a special alloy that will cut through anything. If
someone tried to smash through the window with a steel
bar that shut, it would cut.

Speaker 6 (01:55:45):
The thing in half. Diamond's too hard, affection of an
inch shy the way and then have been no trouble.

Speaker 61 (01:55:52):
Affection of an inch either way, and I'd have lost
my blasted finger.

Speaker 62 (01:55:57):
That wouldn't have blown the fuse. It's it's the diamond
causing the trouble. The drive motors come to a standstill.
It may even be burning it this moment.

Speaker 6 (01:56:07):
Diffuses on the rated for five then then put in
a bigger shols. It might work. One could only open
the shutter of a section of an inch. Oh m
oh yeah, no mm hmm, I set answer. Oh yeah.

Speaker 7 (01:56:45):
You muh.

Speaker 17 (01:56:54):
H h m hm.

Speaker 6 (01:56:58):
The lights all the lights gone. I am, mister Mason
supremely aware that there is no light. The company's fusures
are blown. This really is a short circuit. Telephone is
a powered company does and to.

Speaker 61 (01:57:12):
Send the electricians here immediately tell them it's urgent.

Speaker 6 (01:57:18):
That's that's impossible, mister Postberg. Telephone isn't connected, you know.
I mean the case you'd better take my car right
was near this town.

Speaker 61 (01:57:29):
Bring back electricians, engineers, a fibery, get any one you like.

Speaker 6 (01:57:34):
But let's have some action. Don't you realize that I
mean freend for pain? All right? I can't get out
of the house. There isn't any power to operate the
doors and windows.

Speaker 17 (01:57:51):
We're sealed in.

Speaker 65 (01:57:53):
Mister pas then starts a diesel engine. The diesels are side.
Unless I can open a door, I can't reach it.

Speaker 6 (01:58:06):
Amazing. What do you propose to do? I asked you
to build a house that couldn't be broken into.

Speaker 65 (01:58:17):
Not when it's impossible to escape from I suppose the
only thing to do is to try and force open
the power company's fuicebox.

Speaker 6 (01:58:27):
The point is that I haven't got any tools.

Speaker 65 (01:58:29):
That fusebox is sealed, and you have to have a
special star shaped screwdriver. All I've got is a pipescrape
and a bunch of ques.

Speaker 6 (01:58:37):
Feel in my right hand house of pocket he will
find a key in as a small gold pen knife attached. Yes,
i'll need.

Speaker 62 (01:58:47):
Light too, it's practically dark here, it'll be completely black.
Back on my coat pocket there is a gold cigarette lighter.

Speaker 6 (01:58:56):
You may use it, yes, yeah, m hm Right, then
I'll do what I can do what you can m
hm m hm.

Speaker 27 (01:59:13):
H m hm hm.

Speaker 62 (01:59:46):
After several hours, when the strip of sky visible through
the gap in the shutter was beginning to darken intnight,
it became obvious that Mason was achieving exactly nothing.

Speaker 65 (02:00:03):
And mister, I can't make any impression at all on
the screws, not without the proper tools.

Speaker 6 (02:00:10):
Oh what are we going to do? I don't know.

Speaker 65 (02:00:15):
I don't know at all.

Speaker 61 (02:00:17):
I can't stand here all night like this. This ring
is almost cutting through the bone of my finger. In fact,
my finger feels.

Speaker 6 (02:00:25):
Quite dead already. Do you suppose I suppose what?

Speaker 17 (02:00:33):
Well?

Speaker 66 (02:00:34):
It might be possible to cut through the ring that
would release your finger. But the rings platinum. You can't
cut platinum with gold. I could try very well. Why, yeah, no, good?

Speaker 6 (02:01:08):
Perhaps perhaps if the diamond could be prized from its
setting it might be difficult.

Speaker 61 (02:01:14):
The diamond alone cost two thousand pounds, and it was
made an exceptionally strong claws to hold it.

Speaker 6 (02:01:21):
I wouldn't want to risk losing it, of course, not.

Speaker 65 (02:01:27):
Again, Si, there is one point. There's a danger of
dislodging the stone if I succeed in opening the clause.

Speaker 3 (02:01:35):
Danger.

Speaker 65 (02:01:37):
You know, mister Fossburger. The house is completely sealed. If
I should dislodge the diamonds, you know, when I release
your finger, my shutter would crovise and we'd lose even
the quarter of an inch we have got. The house
would become a tomb.

Speaker 6 (02:01:55):
It's our ladies, as far as I'm concerned. But we
still have got the gap. Soon later will be missed
and people will come for us. And you mean sooner
or later, two days, perhaps three? The people will miss me.
Nobody will miss me, Mason. I'm a lonely man, always
have been. In that case, it wouldn't really matter if

(02:02:19):
you were to die here in this house. It really
wouldn't matter.

Speaker 10 (02:02:24):
Then.

Speaker 65 (02:02:24):
What I don't understand is why build a house in
the first place. We've concealed safe deposits and all those
elaborate security precautions.

Speaker 61 (02:02:40):
I have an instinct for certain things, Mason, and I
know that the worlds on the brink of what will
be the worst economic crisis in history, Call and see
will lose all its value. Gold would be worthwhile investment
if one could buy gold, But I said, for precious stones,

(02:03:02):
I've sunk nearly all I've got into diamonds, natural sapphires
inwards four million pounds. But when the crisis comes, these
stones will not lose their value. They will increase. There
isn't a bank in the country, I would ask, so

(02:03:23):
I have built.

Speaker 6 (02:03:23):
My own bank, my forfet you're sure, very sure, But
what are you going to do about your finger?

Speaker 61 (02:03:32):
I'll give ten percent of all I have for the
man who can solve this is pretty different.

Speaker 6 (02:03:41):
Five percent, four millions, two hundred thousand. Can I rely
on the.

Speaker 61 (02:03:47):
Word, of course, but the reserves a right to advise
my offers.

Speaker 6 (02:03:54):
The situation develops. But every day, Hassy rejuice it by.

Speaker 65 (02:04:05):
Even after five days, I get nothing.

Speaker 6 (02:04:08):
After five days, we'll both be dead that night past
and the match of the next morning too. It's not
easy to sweep standing up a finger going dead, Mason.

Speaker 65 (02:04:31):
You can't stand there through today and preaps tomorrow like
that with a dead finger.

Speaker 6 (02:04:39):
It'll have to come off.

Speaker 10 (02:04:42):
One of us will have to.

Speaker 67 (02:04:44):
Well, you see, mister Fassburger, all right, you'll have to
use a smaller gold ten nice blunt.

Speaker 6 (02:04:55):
It's all the hair, mister fast Burger. I couldn't. I
is that? Please give me the pen knife. I can't.
It's my blasted finger.

Speaker 52 (02:05:05):
If I want to cut it off, I'm blasted, very
cut it off.

Speaker 6 (02:05:09):
Give me that knife, yeah, m hm.

Speaker 25 (02:05:33):
M h.

Speaker 61 (02:05:35):
If I can google out, I wasn't half away towards
solved the entire problem.

Speaker 25 (02:05:44):
Person, Do you do.

Speaker 6 (02:05:46):
It's only a metal time. Listen only a matter of time.

(02:06:07):
On the eighth day, Mason died.

Speaker 62 (02:06:13):
Fasburger when he could bring himself to move from the
corner in which he lay. After our day after day
watched for a sign of human life through the quarter
inch gap, his one contact with the world Oasberger's hunger
and first became obsessive. His hand was swollen, festering from
some obscure infection. His tongue cracked along its surface. The

(02:06:38):
ninth day dawned with monstrous.

Speaker 6 (02:06:41):
Dreams of food and drink.

Speaker 16 (02:06:44):
Oh.

Speaker 12 (02:06:45):
Yes, of course, Fasberger had thoughts of catabalism. After all,
nothing could hurt Mason anymore, But the millionaire dismissed the
idea as soon as it entered his mind.

Speaker 62 (02:06:57):
Life, yes, but not on those turns. The ninth day passed, Fasburger,

(02:07:17):
managing to mentally elbow thoughts of food and cool clear
water side pondered for a few learned seconds on the
absence of any will, and then big pictures of venison
and wine crowded back, and Fassburger aware of little except
late evening filtered sunlight like a rod through the quarter
inch crack in the shutters prepared to die, and then suddenly,

(02:07:53):
just like that lifeboat at sea, arrival of the cabaret,
Nick of Time, miracle life and limb hanging by a
single thread, just like that.

Speaker 15 (02:08:30):
Would you have another share in mister Pasberger?

Speaker 6 (02:08:33):
Thank you.

Speaker 68 (02:08:35):
I'm so glad I decided on a private funeral for
Held would have hated the relations to have been there,
especially his mother.

Speaker 15 (02:08:42):
He never got on with his mother's n ex change.
Mother and son meet with herald.

Speaker 6 (02:08:48):
How well, thank you.

Speaker 61 (02:08:51):
I would like to give you something which is a
miss and your lip. Husband and I into into an agreement.
It concerns some of money, two hundred thousand.

Speaker 10 (02:09:08):
Pounds to be.

Speaker 6 (02:09:12):
Oh, I have decided to say as the electronic house,
never having Julius, Yes, I have required a new sense
of values.

Speaker 12 (02:09:20):
I sought security only to find insecurity in dan job.

Speaker 6 (02:09:24):
My plans didn't really work.

Speaker 15 (02:09:26):
Life is not an investment, Julia.

Speaker 68 (02:09:28):
You can't really live in terms of profit loss in
the long run life of people.

Speaker 7 (02:09:33):
Just like you and me.

Speaker 6 (02:09:38):
Yes, quite so, I should see it.

Speaker 15 (02:09:43):
I don't think me ago, but may I see it?
The house? I mean before you? I don't think I
just one more bus. It's a short one. I feel
maybe I pease.

Speaker 3 (02:09:57):
Very well.

Speaker 61 (02:10:00):
The lawyers were plumped and fower. Yeah, the money, everything
is satisfactory.

Speaker 6 (02:10:07):
Yes, thank you, Julius. That's nice to it. I don't
expect a lady to fully grasp the intricacy.

Speaker 41 (02:10:19):
Oh but I do.

Speaker 15 (02:10:20):
I understand perfectly. It really is the work of art.

Speaker 6 (02:10:23):
But it has painful memories for you, so I.

Speaker 68 (02:10:26):
Yes, of course, Oh Julius, I forgot. I want you
to have this, JP it now later, thank you later
when you're alone.

Speaker 69 (02:10:40):
Yes, all right, well I just caused the shutters, you know,
despite what happened here, despite say.

Speaker 6 (02:11:02):
Maybe hmhmm, let's.

Speaker 25 (02:11:07):
Go now, maybe where are you?

Speaker 6 (02:11:14):
I think we leave now.

Speaker 61 (02:11:18):
My man's enjoyed the usefulness of two hands on than
forty years keeping fimilated one had.

Speaker 19 (02:11:24):
Wow, maybe.

Speaker 29 (02:11:28):
Where are you?

Speaker 11 (02:11:39):
You look me?

Speaker 3 (02:11:42):
Calm fast guy.

Speaker 6 (02:11:44):
Yeah, it's an accident, something wrong. It's all explosion. But
what she does with a calendar, it's blow and fuse everything.
I'm shut in where she does this? I said later,

(02:12:09):
and she gave me I can't see.

Speaker 68 (02:12:28):
When you read this, mister passberga you will it all
goes well. Be standing alone in your electronic monstrosity the
house which.

Speaker 15 (02:12:38):
Became my husband's too.

Speaker 68 (02:12:41):
Always supposing I have managed by the time you read
this to see you in the house and cut off
the power, I shall return.

Speaker 15 (02:12:50):
In perhaps three weeks. Oh, I have a strong summer.

Speaker 6 (02:12:55):
Believe me.

Speaker 68 (02:12:57):
I shall destroy the letter you are reading now. Wherever
you decide to hide it as evidence, I shall find it.
You see, I love for Herald, and I hold you responsible.

Speaker 15 (02:13:12):
For his death.

Speaker 70 (02:13:15):
Therefore, I think it is only.

Speaker 15 (02:13:18):
Fair that you should share his faith. And after all,
no one will miss.

Speaker 46 (02:13:24):
You will name.

Speaker 15 (02:13:26):
Thank you for the two hundred thousand pounds. Goodbye, Mabel.

Speaker 62 (02:13:36):
No Beyond Midnight is presented every Friday night at half
past nine by Biotechs, The New Soap and The pre
Washed Powder. The program is adapted for broadcasting and induced

(02:14:00):
by Michael McKay.

Speaker 36 (02:15:06):
Welcome to a half hour of mind waves and short
stories from the worlds of speculative fiction. This mind Web

(02:15:33):
story is from the Best from Fantasy and Science Fiction
twelfth series, edited by Abram Davidson. It's a tale by
Theodore L. Thomas titled Test Robert Proctor was a good
driver for so young a man. The turnpike curved gently
ahead of him lightly traveled on the cool morning in May,

(02:15:56):
he felt relaxed and alert. Two hours of driving had
not yet produced the twinges of fatigue that appeared first
in the muscles at the base of the neck. The
sun was bright, but not glaring, and the air smelled
fresh and clean. He breathed it deeply and blew it
out noisily. It was a good day for driving. He
glanced quickly at the slim, gray haired woman sitting in

(02:16:18):
the front seat with him. Her mouth was curved in
a quiet smile. She watched the trees and the field
slip by on her side of the pike. Robert Proctor
immediately looked back at the road. Enjoy it.

Speaker 71 (02:16:31):
Mom, Oh yes, Robert, very pleasant to sit here. I
was thinking of the driving I did for you when
you were little. I wonder if you enjoyed that as
much as I enjoyed this.

Speaker 36 (02:16:43):
Oh, sure I did. His mother reached over and patted
him gently on the arm, and then turned back.

Speaker 20 (02:16:49):
To the scenery.

Speaker 36 (02:16:51):
He listened to the smooth purr of the engine. Up ahead,
he saw a great trucks putting the guys of the
smoke as it sped along the turnpike. Behind it not passing.
It was a long blue convertible content to drive in
the wake of the truck, and Robert Proctor noted the
arrangement and filed it in the back of his mind.
He was slowly overtaking them, but he would not reach

(02:17:13):
them for another minute or two. He listened to the
purr of the engine, and he was pleased with a sound.
He had tuned that engine himself over the objections of
the mechanic. The engine idled rough now, but it ran
smoothly at high speed. You needed a special feel to
do good work on engines, and Robert Proctor knew he
had it. No one in the world had a feel

(02:17:36):
like his for the tune of an engine. It was
a good morning for driving, and his mind was filled
with good thoughts. He pulled nearly abreast of the blue
convertible and began to pass it. His speed was a
few miles per hour above the turnpike limit, but his
car was under perfect control. The blue convertible suddenly swung
out from behind the truck. It swung out without warning

(02:17:58):
and struck his car on the near right front and fender,
knocking his car to the shoulder and the left side
of the turned bike lane. Robert Proctor was a good driver,
too wise to slam on the brakes. He fought the
steering wheel to hold the car on a straight path.
The left wheel sank into the soft left shoulder, and
the car tug and pulled to the left and crossed
the island and entered the lanes carrying the cars heading

(02:18:19):
in the opposite direction.

Speaker 25 (02:18:21):
He held it.

Speaker 36 (02:18:22):
Then the wheel struck a rock buried in the soft dirt,
and the left front tire blew out.

Speaker 25 (02:18:26):
The car slewed, and it was.

Speaker 36 (02:18:28):
Then that his mother began to scream. The car turned
sideways and skidded part of the way out into the
other lanes. Robert Proctor fought against the steering wheel to
straighten the car, but the drag of the blown tire
was too much. The scream rang steadily in his ears,
and even as he strained at the wheel, one part
of his mind wondered coolly how a scream could so

(02:18:49):
long be sustained without a breath. An oncoming car struck
his radiator from the side and spun him viciously full
into the left hand lanes. He was flung into his
mother's lap, and she was thrown against the right door
it held with his left hand. He reached with a
steering wheel and pulled himself erect against the force of
the spin. He turned the wheel to the left and

(02:19:10):
tried to stop the spin and careen out of the
lanes of oncoming traffic. His mother was unable to right herself.
She lay against the door, her cry rising and falling
with the eccentric spin of the car. The car lost
some of its momentum during one of the spins.

Speaker 20 (02:19:26):
He twisted the.

Speaker 36 (02:19:26):
Wheel straight and the car, wobblingly, stopped spinning and headed
down the lane. Before Robert Proctor could turn it off
the pipe to safety, a car loomed ahead of him,
bearing down on him. There was a man at the
wheel of the other car, sitting rigid, unable to move,
eyes wide and staring and filled with Fright alongside the
man was a girl, her head against the back of

(02:19:48):
the seat's soft curls, framing a lovely face, her eyes
closed in easy sleep. It was not the fear in
the man that reached into Robert Proctor. It was the trusting,
helplessness in the face the sleeping girl. The two cars
sped closer to each other, and Robert Proctor could not
change the direction of his car. The driver of the

(02:20:08):
other car remained frozen at the wheel. At the last moment,
Robert Proctor sat motionless, staring into the face of the
on rushing sleeping girl, his mother's cry still sounding in
his ears. He heard no crash. When the two cars
collided head on at a high rate of speed, he
felt something pushing to his stomach, and the world began
to go gray. Just before he lost consciousness, he heard

(02:20:32):
this scream stop, and he knew then that he had
been hearing a single, short, live scream that had only
seemed to drag on and on. There came a painless wrench,
and then darkness. Robert Proctor seemed to be at the
bottom of a deep black well. There was a spot
of faint light in the far distance, and he could

(02:20:53):
hear the rumble of a distant voice. He tried to
pull himself toward the light and the sound, but the
effort was too great. He lay still, the out of
himself and cried again. The light grew brighter in the
boy's uttered. He tried harder again, and he drew closer.
Then he opened his eyes full and looked at the
man sitting in front of him.

Speaker 20 (02:21:14):
You all right, son.

Speaker 36 (02:21:15):
The man wore a blue uniform, and his round, beefy
face was familiar. Robert Proctor tentatively moved his head and
discovered he was seated in a reclining chair, unharmed and
able to move his arms and legs with no trouble.
He looked around the room, and then he remembered the
man in the uniform, saw the growing intelligence in his eyes.

Speaker 72 (02:21:38):
No harm, dun son, You just took the last part
of your driver's test.

Speaker 36 (02:21:44):
Robert Proctor focused his eyes on the man, and though
he saw the man clearly, he seemed to see the
faint face of the sleeping girl in front of him.
The uniformed man continued to.

Speaker 72 (02:21:55):
Speak, we put you through an accident under hypnosis, Dood.
Everybody these days, before they can get their driver's licenses,
makes better drivers of them, more careful drivers the rest
of their lives.

Speaker 36 (02:22:09):
Remember it now, coming in here and all. Robert Proctor nodded,
thinking of the sleeping girl. She never would have awakened.
She would have passed right from a sweet temporary sleep
into the dark, heavy sleep of death. Nothing in between.
His mother would have been bad enough. After all, she
was pretty old. A sleeping girl was downright waist. The

(02:22:32):
uniformed man was still speaking. So you're all set.

Speaker 72 (02:22:36):
Now, you pay me the ten dollar fee and sign
this application, and we'll have your license in the mail
and are day or two.

Speaker 36 (02:22:44):
He did not look up. Robert Procter placed a ten
dollar bill on the table in front of him, glanced
over the application, and signed it. He looked up to
find two white uniformed men standing, one on each side
of him, and he frowned in annoyance. He started to speak,
but the uniformed man spoke first.

Speaker 20 (02:23:04):
Sorry, son, you failed. You're sick. You need treatment. The
two men lifted Robert Procter.

Speaker 25 (02:23:12):
To his feet, and he said, take your hands off me.

Speaker 2 (02:23:15):
What is this?

Speaker 36 (02:23:17):
The uniformed man.

Speaker 72 (02:23:18):
Said, nobody should want to drive a car after going
through what you just went through. It should take months
before you can even think of driving again. But you're
ready right now. Killing people doesn't bother you. We don't
let your kind run around loose in society anymore. But
don't you worry now, son, They'll take good care of

(02:23:38):
you and they'll fix you up.

Speaker 36 (02:23:41):
He nodded to the two men and they began to
march Robert Procter out at the door. He spoke, and
his voice was so urgent the two men paused. Robert
Proctor said.

Speaker 6 (02:23:52):
You can't really mean this.

Speaker 12 (02:23:54):
I'm still dreaming, are't I?

Speaker 6 (02:23:56):
This is still part of the test, isn't it?

Speaker 20 (02:24:01):
How do any of us know?

Speaker 36 (02:24:05):
And they dragged Robert Proctor out the door, knee stiff feet,
dragging his rubber heels, sliding along the two grooves born
into the floor. That story was titled Test. Written by
Theodora L. Thomas, appeared in a collection by Avram Davidson,

(02:24:30):
The twelve Series of the Best from Fantasy and Science Fiction.
Joining me in the reading were Cliff Roberts, Jay Fitz,
and Carrie Frumpkin. This story comes from the volume science

(02:25:53):
Fiction Hall of Fame, The Greatest Science Fiction Stories of
All Time, a book edited by Robert Silferberg, based on
stories selected by members of these Science Fiction Writers of America.
It's the tale that first appeared in nineteen fifty three
Arthur C. Clark's The Nine Billion Names of God. This

(02:26:16):
is a highly unusual request. As far as I know,
it's the first time anyone's been asked to supply a
Tibetan monastery with an automatic sequence computer. You don't want
sound inquisitive, but well, I should hardly have thought that
your while your establishment had much use for such a machine.

(02:26:36):
Could you explain just what you intend to do with it,
gladly replied I Llama, readjusting his silk robes and carefully
putting away the slight rule that he had been using
for currency conversions. He went on to say, Doctor Wagner,
your A Mark five computer can carry out any routine
mathematical operation involving up to ten digits. However, for our work,

(02:26:59):
we're interested in letters, not numbers. As we wish you
to modify the output circuits, the machine will be printing words,
not columns of figures. I don't quite understand, well. This
is a project on which we have been working for
the last three centuries since the Lamissary was founded. In fact,

(02:27:21):
it is somewhat alien to your way of thoughts, so
I hope you will listen with an open mind while
I explain it naturally. It is really quite simple that
we have been compiling a list which shall contain all
the possible names of God. I beg your pardon. We

(02:27:42):
have reason to believe that all such names can be
written with not more than nine letters in an alphabet
that we have devised. And you have been doing this
for three centuries. Yes, we expected it would take us
about fifteen thousand years to complete the task. Oh, I

(02:28:03):
see now why you wanted to hire one of our machines.
But exactly what is the purpose of this project? The
Lama hesitated for a fraction of a second. Doctor Wagner
wondered if he had offended him. If so, there was
no choice of annoyance in the reply. Call it ritual
if you like, But it is a fundamental part of

(02:28:25):
our belief. All the many names of the Supreme Being God, Jehovah, Allah,
and so on, they are only man made labels. There
is a philosophical problem with some difficulty here, which I
do not propose to discuss. But somewhere among all the
possible combinations of letters that can occur are what one

(02:28:47):
may call the real names of God by systematic permutation
of letters. We have been trying to list them all. Oh,
I see, you've been starting at a aaaa and working
your way up to zzzzzzz z. Exactly, Doctor Wagner. Though

(02:29:10):
we use a special alphabet of our own. Modifying the
electromatic typewriters to deal with this is, of course the trivial.
A rather more interesting problem is that of devising suitable
circuits to eliminate ridiculous combinations. For example, no letter must
occur more than three times in succession three. Surely you

(02:29:31):
mean two three is correct? Doctor, I'm afraid it would
take too long to explain why. Even if you understood
our language, I'm sure it would go on well. Luckily,
it will be a simple matter to adapt your automatic
sequence computer for this work, since once it has been

(02:29:51):
programmed properly, it will permute each letter in turn and
print the result. What would have taken us fifteen thousand
years is be able to do in one hundred days.
Doctor Wagner was scarcely conscious of the faint sounds from
the Manhattan streets far below. He was in a different world,

(02:30:12):
a world of natural, not man made moderns. High up
in their remote areas. These monks had been patiently at work,
generation after generation, compiling their lists of meaningless words. Was
there any limit to the follies of mankind?

Speaker 25 (02:30:29):
Still?

Speaker 36 (02:30:30):
He must give no hint of his inner thoughts. The
customer was always right. There is no doubt that we
can supply the mark vive to print list of the
nature you speak of. I'm much more concerned about the
problem of installation and maintenance. At getting out to Tibet
in these days is well, it's not going to be easy.

(02:30:53):
We can arrange that, doctor. The components are small enough
to travel by air, and that's one reason why we
selected your machine. If you can get them to India,
we will provide transport from there. And you want to
hire two of our engineers, yes, for the three months
that the project should occupy. I've no doubt that personnel

(02:31:16):
can manage that. There are just two other points. Before
he could finish the sentence of the Lama, I produced
a small slip of paper. This is my certified featt
balance at the Asiatic Bank. Thank you. It appears to
be adequate. The second matter is so trivial I hesitate

(02:31:38):
to mention it. But it's surprising how often the obvious
gets overlooked. You know what sort of electrical energy?

Speaker 2 (02:31:45):
Do you have?

Speaker 36 (02:31:47):
A diesel generator providing fifty kilowatts at one hundred and
ten volts. It was installed about five years ago, doctor,
and it is quite reliable. It's made life at the
monastery much more comfortable. But of course it was really
installed to provide power for the motors driving the prayer wheels. Oh,
of course I should have thought it. At the view

(02:32:15):
from the parapet was were tigenous. But in time one
gets used to anything. After three months, George Henley was
not impressed by the two thousand foot swooping of the
abyss or the remote chequerboard of fields in the valley below.
He was leaning against the wind smoothed stones and staring
morosely at the distant mountains whose names he had never

(02:32:36):
bothered to discover. This thought, George, was the craziest thing
that had ever happened to him. Project Changri lah Some
went back at the labs at Christendo. For weeks now,
the Mark five had been churning out acres of sheets
covered with gibberish. Patiently, inexorably. The computer had been re
arranging letters and all their possible combinations, exhausting each class

(02:32:58):
before going on to the next. As the sheets had
emerged from the electromatic typewriters, the monks had carefully cut
them up and pasted them into the enormous books in
another week. Having been praised, they would have finished just
what obscure calculations had convinced the monks that they needn't
bother to go on to words of ten twenty or

(02:33:19):
one hundred letters. Oh, George didn't know. Some of his
recurring nightmares consisted of, well, there might be some change
of plan that the high Lama, whom they'd naturally called
Sam Jaffy, though he didn't look like him a bit,
would suddenly announced that the project would be extended to
approximately AD twenty sixty. They were quite capable of it.

(02:33:42):
George heard the heavy wooden door slam in the wind
as Chuck came out onto the parapet beside him. As usual,
Chuck was smoking one of the cigars that made him
so popular with the monks, who had seemed were quite
willing to embrace all the minor and most of the
major pleasures of life. There was one thing in their favor.
They might be crazy, but they were not blue noses.

(02:34:02):
Those frequent trips they took down to the village, for instance, Listen, George,
I've learned something that means trouble. Well, what's wrong, isn't
the machine behaving? That was the worst contingency George could
imagine my delays would turn. Nothing could be more horrible
the way he felt. Now, even the side of a

(02:34:23):
TV commercial would seem like mina from Heaven. At least
there would be some link with home. No, it's nothing
like that, George. I've just found out what, well, what
all this is about?

Speaker 25 (02:34:35):
Well? What do you mean?

Speaker 36 (02:34:37):
I thought we knew. Yeah, we know that the Marks
are trying to do something, and we know what it is,
we think, but we don't know why. See, it's the
craziest thing. Tell me something new. But you see, old
Sam's just come clean with me. You know the way
he drops in every afternoon to watch the sheets roll out. Well,
this time he seemed rather excited, at least as near
as he'll ever get to it. And when I told

(02:34:58):
him that we were on the last cycle, Yes to me,
if i'd ever wondered what they were trying to do,
I said sure, And he told me we'll go on.

Speaker 25 (02:35:05):
Oh buy it.

Speaker 36 (02:35:07):
Well, they believe that when they've listed all his names
and they reckon it, there are about nine billion of them,
God's purpose will be achieved. A human race will have
finished what it was created to do. And it won't
be any point in carrying on. In fact, the very
idea is something like a blasphemy. Then what did it
expect us to do? Comitt suicide? There's no need for that.

(02:35:28):
When the list's completed, God steps in and simply winds
things up, you know, bingo, that's it. Oh yeah, I
get it. When we finish our job, it will be
the end of the world. Well that's just what I
said to Sam, And you know what happened. He looked
at me in a very queer way, like I'd been
stupid in class or something, and said, it's nothing as
trivial as that. Hmmm, well that's what I call taking

(02:35:51):
a wide view. But what do you suppose we should
do about it? I don't see that it makes the
slightest difference to us, you know, after Oh we already
knew they were crazy. Yeah, but don't you see what
may happen when the list is complete and at last
Trump doesn't blow or whatever it is they expect. We
may get the blame. See it's our machine they're using.
I don't like the situation one little bit at all. Yeah. See,

(02:36:15):
well you've got a point there, But this sort of
thing's happened before. You know, when I was a kid
down in Louisiana, Chuck, we had a crackpot preacher once
that the world was going to end next Sunday. And
now hundreds of people believed them, even sold their homes.
Yet when nothing happened, they didn't turn nasty as you'd
expect now. They just decided that he'd made a mistake
in his calculations, and they went right onbelieving. I guess

(02:36:36):
some of them still do.

Speaker 3 (02:36:38):
Well.

Speaker 36 (02:36:38):
This isn't Louisiana, in case you haven't looked, George, there
are just two of us and hundreds of those monks.
I like them, and I'll be sorry for old Sam
and his life worked back fries on them. But all
the same, I wish I was somewhere else. I've been
wishing that for weeks. But there's nothing we can do
until the contracts finished in the transport arrives to fly
us out. Of course, we could always try a bit

(02:36:58):
of sabotage, like how we could that would make things worse,
not the way I met George.

Speaker 25 (02:37:04):
Look at it like this.

Speaker 6 (02:37:05):
The machine will finish.

Speaker 36 (02:37:06):
It's run four days from now on the present, twenty
four hours a day, basis the transport calls in a week. Okay,
then all we need to do is find something that
needs replacing during one of the overhaul periods. You know,
something they'll hold up the works for a couple of
days and we'll fix it a course, but not too quickly,
and if free time matters properly, we can be down
at the airfield when the last name pops out of
the register and they won't be able to catch us.

(02:37:27):
Then No, I don't like it. It'll be the first
time I ever walked out on a job. Besides, it
would make them suspicious. Now, Chuck, I'll sit tight and
take what comes seven days later is the tough little
mountin ponies carry them down the winding road. George said,

(02:37:50):
I still don't like it. And don't you think I'm
running away, because I'm afraid. I'm just sorry for those
poor old guys up there. I don't want to be
around when they find what suckers they've been.

Speaker 25 (02:38:01):
How.

Speaker 36 (02:38:01):
I wonder how Sham will take it. It's funny, you know,
but when I say goodbye, I got the idea he
knew we were walking out on him, that he didn't
really care because he knew the machine was running smoothly,
that the job would soon be completed. After that, well,
of course, for him, there just isn't any after that.
George turned in his saddle and started back up the

(02:38:22):
mountain road. This was the last place from which one
could get a clear view of the lamissary. The squad
angular buildings were silhouetted against the after globe. The sunset
here and there lights gleamed like portholes in the side
of an ocean liner. Electric lights, of course, sharing the
same circuit as the Mark five. How much longer would

(02:38:42):
they share it, wonder George. Would the monks mash up
the computer in their rage and disappointment, or would they
just sit down quietly and begin their calculations all over again.
He knew exactly what was happening up on the mountain
at this very moment. The High Lama and his assistants
would be sitting in their silk robes, inspecting the sheets

(02:39:03):
as the junior monks carried them away from the typewriters
and pasted them into the great volumes. No one would
be saying anything. The only sound would be the incessant patter,
the never ending rainstorm of keys hitting the paper. The
Mark five itself was utterly silent as it flashed through
its thousands of calculations. A second three months of this,

(02:39:25):
thought George, was enough to start anyone climbing up the wall. Hey, hey, George,
there she is. Ain't she beautiful? She certainly was, George thought.
A battered old DC three lay at the end of
the runway like a tiny silver cross. In two hours
she would be bearing them away to freedom and sanity.

(02:39:46):
It was a thought worth savoring, like a fine the cure.
George let it roll around in his mind as the
pony trudged patiently down the slope. The swift night of
the high Himalayas was now almost upon them. Fortunately, the
road was very good as Rhodes went in that region,
and they were both carrying torches. There was not the

(02:40:07):
slightest danger, only a certain discomfort from the bitter cold.
The sky overhead was perfectly clear, and the blaze with
the familiar friendly stars. At least there would be no risk,
thought George, of the pilot being unable to take off
because of weather conditions. That had been his only remaining worry.

(02:40:30):
George began to sing, but gave it up after a while.
This vast arena of mountains, gleaming like whitely hooded ghosts
on every side did not encourage such bulliance. Presently, George
glanced at his watch. Chuck should be there in an hour.
I wonder if their computers finished its run. It was

(02:40:51):
due about now. Chuck didn't reply, so George swung around
in his saddle. He could just see Chuck's face. A
white oval turned toward the sky. Hey, George, look. George
lifted his eyes to heaven. There is always a last

(02:41:13):
time for everything. Overhead, without any fuss, the stars were
going out. You've heard the Nine Billion Names of God.

(02:42:13):
A story written by Arthur C. Clarke, first published in
nineteen fifty three. It appears in the collection edited by
Robert Silverberg Science Fiction Paul of Fame. This is Michael
Hanson speaking. Technical production for mind Webs by Steve Gordon.
Mind Webbs is produced at WHA Radio in Madison, the

(02:42:34):
service of the University of Wisconsin Extension.

Speaker 2 (02:43:01):
Ellowy Queens Minute Mysteries. This is ellery Queen with a
case I call the Deserted Island. While vacationing on the
Gulf of Mexico, I tagged along with the local police
as they chased a jewel thief would escape by private plane.
He was spotted out a deserted island just off the

(02:43:21):
coast of Honduras. The police and I went ashore and
arrested him. He smiled, if you can't arrest me, this
is a deserted island off Honduras. You need extradition papers
to take me. That's perfectly true. I replied, If this
deserted island were foreign soil, my friend, you're under arrest.

Speaker 20 (02:43:37):
In a moment, I explain how we took the man in.

Speaker 2 (02:43:40):
In a case of the deserted island, the thief didn't
realize the island so close to Honduras was an American possession.
Little Swan island, so small it hardly appears on the maps,
but it's there, and it's American soil. And again Durolo
re Queens, Minute Mysteries.

Speaker 34 (02:44:13):
And now the Molay Mystery Theater presented by M. L. L. E.
By Molay the Heavier Brushless shaving Cream for Tender.

Speaker 25 (02:44:24):
Skin, Good Evening.

Speaker 73 (02:44:43):
This is Jeffrey Barnes welcoming you to the program that
presents the best in mystery and detective fiction. Tonight's play
is a modern melodrama with the emphasis upon terror and suspense.

Speaker 16 (02:44:56):
It's entitled The Creeper and is the star of a mysterious.

Speaker 73 (02:45:01):
Killer of that name, an unknown madman who terrifies an
entire city by a series of murders.

Speaker 19 (02:45:07):
And just who is the Creeper?

Speaker 11 (02:45:10):
Well?

Speaker 73 (02:45:10):
Answering that question is the challenge of Tonight's play, and
Joseph Ruskoll, the author, has cleverly fashioned a story deliberately
designed to fool you.

Speaker 25 (02:45:19):
So be on your guard.

Speaker 10 (02:45:20):
You've had fair warning.

Speaker 34 (02:45:22):
Gee, mister Bines, I'm scared before we even get started.
Allen say that reminds me. Man, if just the thought
of shaving gives you the willies because you have wiry,
hard to cut whiskers or tender skin, try this shave
with Molay, the heavier brushless shaving cream. Yes, sir, with Molay,
it's smooth, so smooth, it's sleck sol slig.

Speaker 9 (02:45:47):
It's a smooth, smooth, sleck slag.

Speaker 34 (02:45:49):
Shave you get with Mllli Molay, the heavier brushless cream
for tender skins. That's right, Molay is the shaving cream
that's heavier, the cream that's especially good for a wily,
hard to cut beard or a tender skin.

Speaker 9 (02:46:05):
Because Molay is heavier.

Speaker 34 (02:46:06):
It not only softens your whiskers, it stands them up straighter,
and your razor clips them off clean as a whistle.
So you shave faster, closer, easier, and you shave painlessly
with Molay, the heavier brushless cream for tender skins. Molay
an alpu Tonite's Molay Mystery The Creeper.

Speaker 73 (02:46:47):
In the kitchen at of a New York apartment, a
man and his wife listen to a morning news broadcast
New York.

Speaker 74 (02:46:53):
The unknown killer called the Creeper has struck again, adding
a third female corpse to his tomb. Virginia peters Many,
waitress was found strangled to death in her third floor
apartment early this morning while her radio blair. As in
the previous murders, A note was found scrawled on the
wall with the victim's lipstick and the plea, for Heaven's sake,
catch me before I kill more.

Speaker 38 (02:47:14):
I cannot control myself.

Speaker 75 (02:47:15):
Police insists, why did you.

Speaker 3 (02:47:17):
Turn it off?

Speaker 13 (02:47:19):
Awful and in this very neighborhood.

Speaker 12 (02:47:22):
Let's hear the rest It intrigues me.

Speaker 13 (02:47:24):
Oh, you don't go turn that radio against Steve Grin
I've heard enough. Go out of my mind for heaven's sake.

Speaker 12 (02:47:30):
That's it.

Speaker 76 (02:47:31):
That's a good, solid clue. What is for heaven's sake?
How many men have used that expression? Oh shut up, okay, missus,
grant past the biscuits, my little pigeon.

Speaker 13 (02:47:43):
Past the biscuits, Eat, eat, eat.

Speaker 77 (02:47:46):
Three women in three days, murdered in cold blood by
a mad fiend right here in the heights.

Speaker 13 (02:47:51):
I'm too sick to go out to scare, to stay
in the locks broke. And he says they're eating eating
path of biscuits.

Speaker 12 (02:47:57):
There's nothing wrong with my appetite.

Speaker 13 (02:47:59):
Of course, that's because you're a job on the police force.
When I even think of it, some.

Speaker 3 (02:48:05):
Men drink to escape.

Speaker 13 (02:48:07):
I eat escape?

Speaker 76 (02:48:09):
What what an ugly tongue of beautiful face and a
rolling eye and short of white.

Speaker 13 (02:48:17):
See you're stunning that again? You when you're crazy jealous?

Speaker 12 (02:48:20):
Maybe that's the creepiest way of escaping too.

Speaker 13 (02:48:22):
Georgia, No, shut app go ahead and get a divorce,
Go ahead?

Speaker 75 (02:48:28):
Can I help it?

Speaker 13 (02:48:29):
If men look at me, I don't know why to
come home at all?

Speaker 9 (02:48:34):
Where do you go?

Speaker 13 (02:48:36):
What do you do with yourself? Where were you this morning?
And why'd you come back anyway to eat?

Speaker 76 (02:48:42):
Someday I'll lose my appetite for that too. When I do,
my dear, there'll be no escape. I'm off again. Kiss
still using stage lipstick, I'll wipe it off. How many
times would they tell you you're married?

Speaker 2 (02:49:00):
Now?

Speaker 4 (02:49:00):
Steve?

Speaker 9 (02:49:00):
Wait?

Speaker 13 (02:49:01):
Yeah, at least go buy me my medicine.

Speaker 10 (02:49:04):
No time.

Speaker 13 (02:49:05):
Don't live here alone. Stay home this afternoon.

Speaker 12 (02:49:09):
Please, don't be sleep.

Speaker 75 (02:49:13):
Nothing will happen to you.

Speaker 76 (02:49:15):
You've a dormant here an elevator boy, missus stone across
the hall of phone.

Speaker 12 (02:49:20):
It's safe enough.

Speaker 13 (02:49:21):
But the night lock it doesn't work.

Speaker 75 (02:49:22):
You can't lock me out anymore.

Speaker 13 (02:49:24):
Something's happened to it since last night.

Speaker 9 (02:49:26):
It doesn't catch get a no one.

Speaker 13 (02:49:28):
I can't get a locks mean, I tried all morning.

Speaker 78 (02:49:33):
Please all right, I want to phone you where with
your beab out?

Speaker 9 (02:49:40):
Good Bye, my dear, take care of your cold well

(02:50:02):
well well, Steve Brand, huh, well, if it isn't old
pearly chase here.

Speaker 79 (02:50:06):
You got thrown off the force, Steve, you got thrown
off the news Burly you heard wrong.

Speaker 55 (02:50:11):
I wasn't fired, I was just worn.

Speaker 12 (02:50:13):
I wasn't firedy, that just suspended for three days. I
eat too much.

Speaker 8 (02:50:18):
That's my trouble.

Speaker 55 (02:50:19):
I drink too much.

Speaker 79 (02:50:21):
Here you're living up at the hight, Steve, Ah, that's
funny me too. Here you're married now to a beautiful
and lovely young.

Speaker 55 (02:50:31):
With admiration.

Speaker 17 (02:50:34):
I say that again.

Speaker 12 (02:50:36):
Used to be on the stage, you know.

Speaker 55 (02:50:37):
Yeah, I think I knew it wasn't a stage name.

Speaker 9 (02:50:39):
Georgia Dixon, that's her.

Speaker 76 (02:50:42):
I love that one. But women was a guy handle them.
Maybe the creeper has the right, mester.

Speaker 35 (02:50:50):
Thank you for taking the words right out of my mouth.

Speaker 7 (02:50:54):
Who is the creeper?

Speaker 55 (02:50:55):
Steve at the Angles?

Speaker 12 (02:50:57):
You tell me, and I'll split the reward with you.

Speaker 79 (02:51:01):
There's one thing, though, and I don't think even the
police have put it together yet.

Speaker 3 (02:51:05):
Yeah.

Speaker 79 (02:51:06):
In all three cases, just before the creepers struck, the
door locks had already been tampered with.

Speaker 3 (02:51:12):
I don't sir.

Speaker 76 (02:51:13):
Yeah, you got a theory, sure, I mean take that
note on the wall, for heaven's sake, in every case,
for heaven's sake, catch Peo before I kill more.

Speaker 35 (02:51:24):
I cannot control myself right now.

Speaker 12 (02:51:27):
What man uses an expression like that?

Speaker 9 (02:51:29):
How long and short of it?

Speaker 16 (02:51:30):
Is this?

Speaker 12 (02:51:31):
The creeper is a woman a roofs.

Speaker 79 (02:51:34):
Just like the height of the message from the floors
are rooms six feet and yet I lay yards the
creepers no more than a guy.

Speaker 35 (02:51:40):
Your heights say your mind five nine.

Speaker 55 (02:51:42):
Just like us, you and me on the crazy.

Speaker 9 (02:51:46):
How do you figure that?

Speaker 55 (02:51:48):
How do I figure thats?

Speaker 40 (02:51:49):
As?

Speaker 35 (02:51:51):
How do I know where the creeper is going to
strike next?

Speaker 9 (02:51:54):
You d s the creepers? Not so smile.

Speaker 17 (02:51:57):
He's just crazy.

Speaker 79 (02:51:58):
You play along crazy, see and you're one to jump
ahead of him. That's the trouble with the police. Why
they're up a tree.

Speaker 35 (02:52:05):
You expect logical clues from a madman. Now you play
along crazy, make out you're the creeper.

Speaker 13 (02:52:10):
What's your compulsion?

Speaker 9 (02:52:11):
Go ahead, let's see, all right?

Speaker 79 (02:52:14):
The victims are all redheads. Everyone you've noticed that it
course three and three days. They all lived in the heights, right,
Agnes Martin, Jane Krutsky, Selma Davis. What was the number
of the apartment in each case? Agnes lived in one A,
Jane two B, Selma three C. Don't ask me the wire,
the wherefore, don't ask me the logic. Just play along crazy,

(02:52:36):
You see what I mean? See where he's gonna strike
next get The next victim of the creeper lives in
the Heights. She's a redhead, a night block's been tampered with.
She's gonna get hers today, and her apartment number is
four D.

Speaker 55 (02:53:00):
Are you staring at me? You don't like my arithmetic?

Speaker 43 (02:53:03):
Why are you staring?

Speaker 76 (02:53:06):
My wife's are reader proe. We live in the heights.
Our apartment number is A.

Speaker 12 (02:53:14):
You're just a boozy reporter.

Speaker 8 (02:53:30):
Your apartment number for D?

Speaker 55 (02:53:33):
I told you for D.

Speaker 80 (02:53:35):
Of course I'll have it delivered. I was busy buying
your lipstick, missus Grant. I've nothing like it did in
stock for D. I should have guessed it anyway. Why
her face is a number? Believe me, since you've moved
into the neighborhood, missus grant, for me, it has a
it has a special number like double Dandy Delicious Dream

(02:53:57):
for D.

Speaker 13 (02:53:58):
You see, I'll bet you tell that every customer female.

Speaker 80 (02:54:04):
I'm a lady's man, like the creeper.

Speaker 9 (02:54:06):
Oh what did I say?

Speaker 6 (02:54:08):
Well?

Speaker 9 (02:54:08):
What's going on in this block?

Speaker 20 (02:54:10):
Raw nerves you?

Speaker 19 (02:54:10):
You can't joke the creeper.

Speaker 20 (02:54:12):
The creeper.

Speaker 80 (02:54:12):
That's all I hear all day. It's Macesteria. There ain't
such an animal.

Speaker 13 (02:54:17):
I don't think so.

Speaker 80 (02:54:18):
I assure you, missus, Grandy is the fairy tale for
circulation of the tabloids. I'll send you a prescription.

Speaker 7 (02:54:24):
Up with the boy.

Speaker 13 (02:54:24):
No, no, no, I just wait here, for it'll.

Speaker 9 (02:54:27):
Take some time.

Speaker 80 (02:54:28):
You should go right home and stay there. If you're
getting over the floud, believe me, I'll deliver it myself.
It'll be a pleasure.

Speaker 78 (02:54:35):
No, I'll wait. I I mean, I go right back.
Don't want to be there all alone. I'm afraid.

Speaker 25 (02:54:42):
Oh, very well, suit yourself.

Speaker 80 (02:54:45):
Have a seat, for heaven's sake, Stop me before I
kill more. I cannot control.

Speaker 35 (02:54:56):
Wait that creeper's note I had referenced to.

Speaker 10 (02:55:00):
I'll such a very tip.

Speaker 50 (02:55:01):
Wait, missus, spiritual prescription.

Speaker 13 (02:55:06):
Where it is bad? Oh ah ah, shure, it's just
down caught. You're hurry, dear. I just got to just
scare since all these awful murders in this neighborhood. Yes,
isn't it terrible?

Speaker 78 (02:55:20):
You're walking home?

Speaker 13 (02:55:21):
Huh?

Speaker 35 (02:55:22):
I guess so I'll go with you.

Speaker 13 (02:55:24):
It's good we live in the same house. I wished
if I had a double lock, but the night one
doesn't work. You can't get a locksment. They're also busy,
but don't you worry.

Speaker 81 (02:55:32):
We'll stay together this afternoon until our husbands come home.
Think of it, we've never visited that we lived right
across the hall from each other. Isn't that like a
big city, for heaven's sake, Oh you Rabbi had dropped
in on you?

Speaker 35 (02:55:44):
Huh and make it yours in?

Speaker 13 (02:55:46):
Isn't it terrible?

Speaker 81 (02:55:47):
The guess, the things they're saying, the theories. One doesn't
know what to expeck next. You believe the latest, the
latest that maybe it's the woman, the creeper, a woman.

Speaker 12 (02:55:56):
Can you beat it?

Speaker 81 (02:55:56):
I can't imagine on the world of police figured back,
for heaven's sake, can you? H?

Speaker 13 (02:56:01):
I don't know. I am just thinking of something my
husband said.

Speaker 81 (02:56:04):
Though I can see where a married woman, now, if
her husband was faithless say, oh that's only week no
will of his own against the five cheap thing in skirts.
And if the wife say it's merely getting at those
female homebreakers, well I can understand such a theory because
you take.

Speaker 23 (02:56:21):
My husband down.

Speaker 81 (02:56:23):
You've met mister Stone, haven't you? Why missus Grant, why
on earth are you staring.

Speaker 13 (02:56:29):
At me like that? For heaven's sake, I don't feel well.
I must get home at once. I feel faint, But
missus grant.

Speaker 73 (02:56:52):
As the curtain falls on it. Well of tonight's Morley mystery,
the big question is is the creeper a man or
a woman? Come to think of it, a man wouldn't
use the expression for heaven's sake.

Speaker 12 (02:57:04):
Put he do well, no, mister Barnes.

Speaker 9 (02:57:06):
But there are times when he might say a lot worse.

Speaker 34 (02:57:09):
For instance, sometimes he's at to say something like geep,
I watch your language. Well, I was only going to say, jeepers,
I'd rather face a firing squad than shave and say.

Speaker 10 (02:57:20):
Man.

Speaker 9 (02:57:20):
If that's the way you feel about your morning shave.

Speaker 34 (02:57:23):
Chances are you've got wiry whiskers or a tender skin.
So try Molay, the heavier brushly shaving cream for tender skins, and.

Speaker 35 (02:57:31):
Get a shave that's smooth as a waltz.

Speaker 34 (02:57:34):
Yes, Molay is a heavier cream, the cream that not
only softens your whiskers, but holds them up like a
blade of grass and lets your razor mown down easily.
With Molay, you shave faster, closer, easier, and you shave painlessly.
Try it and see if you don't say it's smooth,
so smooth, it's slag so slack. It's a smooth, smooth

(02:57:58):
slake slag shave.

Speaker 9 (02:57:59):
You get m o hel Alie.

Speaker 34 (02:58:03):
Olay, the heavier brushly shaving cream for tender skins Molay.
And now back to Jeffrey Bonds and Act two of
The Creeper.

Speaker 73 (02:58:29):
Georgia Grant is in terror that she is to be
the next victim of a mad killer known as the Creeper.
She suspects everyone she meets, both men and women. Now
in panic, she dashes through the streets unnerved after an
encounter with a neighbor, Missus Stone.

Speaker 82 (02:58:54):
Good afternoon, ma'am out shopping?

Speaker 13 (02:58:58):
Oh you have a new door man?

Speaker 82 (02:59:01):
Huh yeah, just relieving. Charlie, a nice weather out. Help
you with your packages?

Speaker 17 (02:59:08):
Thank you?

Speaker 82 (02:59:09):
Let me ring the elevator for you.

Speaker 13 (02:59:10):
No, you don't have the trouble.

Speaker 6 (02:59:11):
Oh no trouble man.

Speaker 82 (02:59:14):
There popland four?

Speaker 13 (02:59:17):
D uh I yes, how'd you know?

Speaker 82 (02:59:21):
It doesn't take long.

Speaker 25 (02:59:25):
Going out?

Speaker 11 (02:59:25):
Yes?

Speaker 35 (02:59:26):
Yes, up and down, up and down, the ups and
downs of life.

Speaker 17 (02:59:35):
That's me.

Speaker 35 (02:59:36):
I'm a living milkshake.

Speaker 7 (02:59:37):
Missus Grant.

Speaker 13 (02:59:39):
Ah uh uh, what's wrong?

Speaker 8 (02:59:41):
Jimmy stuck.

Speaker 79 (02:59:44):
Imagine getting stuck between the second and third with a
production like you.

Speaker 13 (02:59:50):
Get going Snadi.

Speaker 35 (02:59:52):
You want me to report you?

Speaker 79 (02:59:54):
Okay, okay, can't you take a joke? Maybe I uh,
I misconstrued that smile you always give me. Maybe you
should not have smiled that way?

Speaker 8 (03:00:11):
Fourth floor.

Speaker 79 (03:00:11):
I may if I drop in later, would you be
more receptive?

Speaker 11 (03:00:18):
Oh?

Speaker 13 (03:00:19):
My, thanks goodness at the last. Must be going out
of my mind. Keep there's my cheek, the dark luck.
It is dark lock. Hello, there's the locksmith in yet.

(03:00:45):
I don't want to know how when I can get
my luck changed, because of course I left my own.

Speaker 55 (03:00:48):
Hello, Georgia, don't foolish me. They want the whole house
to hear. Yeah, that's better.

Speaker 13 (03:01:00):
How are you doing here?

Speaker 55 (03:01:01):
I'm playing along crazy.

Speaker 13 (03:01:03):
You're talking about how'd you get in here?

Speaker 55 (03:01:07):
Alias Pearly Valentine. Take it easy. You haven't a thing
to worry about. I've come to protect you.

Speaker 23 (03:01:13):
Give me the phone.

Speaker 55 (03:01:15):
Hello, never mind about the lock?

Speaker 23 (03:01:18):
Thank you?

Speaker 55 (03:01:21):
Yeah, a long time, no seed, Georgie.

Speaker 78 (03:01:23):
What do you want, Pearly me.

Speaker 55 (03:01:28):
A headline? Your husband wants too, He wants I should
keep an eye on you.

Speaker 17 (03:01:32):
Watch that shoe.

Speaker 35 (03:01:34):
You didn't think Steve and I were acquainted, did you?

Speaker 2 (03:01:36):
Yeah?

Speaker 55 (03:01:37):
From way back? Just met him at a bar.

Speaker 13 (03:01:39):
I don't believe you. What do you mean keep an
eye on me, just.

Speaker 55 (03:01:42):
In case the creature?

Speaker 12 (03:01:45):
Oh you've heard of the character?

Speaker 6 (03:01:48):
You're mad?

Speaker 13 (03:01:50):
You've always been mad. Pearly Chase, where is he? Why
should he send you? Why should you think the creep
will come here? What are you doing here?

Speaker 55 (03:01:57):
Oh you're playing along crazy?

Speaker 13 (03:02:00):
Got a drink, you're drunk now and you're getting right
out of here. You're nothing, but I know good rumming.

Speaker 10 (03:02:04):
You're nothing but I no good die you finished.

Speaker 79 (03:02:09):
When I took the drink, it was to drown you off,
and you know it. I'm still a rumpot angel, which
means I haven't.

Speaker 9 (03:02:14):
Got rid of you yet.

Speaker 35 (03:02:16):
Get out, you little to timing rid head.

Speaker 9 (03:02:19):
You're all the same, you read.

Speaker 35 (03:02:20):
Why you haven't changed?

Speaker 13 (03:02:21):
Have you?

Speaker 79 (03:02:22):
Even a wedding ring can't do that to you. Oh,
come on, don't play the innocent.

Speaker 43 (03:02:26):
My business is snooping.

Speaker 35 (03:02:28):
I make a living at it between drinks.

Speaker 79 (03:02:34):
So your new mottos, love thy neighbor, mister Stone across
the hall, Poor dumb steep, Why are you drinks.

Speaker 55 (03:02:48):
Just play along with me, well, I play along.

Speaker 35 (03:02:51):
Crazy shit down, It's just like we're expecting company.

Speaker 55 (03:03:00):
Now, I must be crazy doing this.

Speaker 25 (03:03:03):
Why wait here for the creeper?

Speaker 79 (03:03:04):
Why not one hundred other streets, a thousand other apartments
of media out the dames.

Speaker 55 (03:03:08):
Because I'm riding my hunts.

Speaker 3 (03:03:09):
That's why.

Speaker 7 (03:03:12):
Let's have some music.

Speaker 8 (03:03:14):
Don't just sit.

Speaker 19 (03:03:15):
Let's have some music.

Speaker 23 (03:03:18):
Turn on the radio.

Speaker 55 (03:03:19):
Let's dance.

Speaker 25 (03:03:24):
That's it.

Speaker 55 (03:03:26):
Now, let's dance.

Speaker 35 (03:03:28):
Give me your calm.

Speaker 17 (03:03:29):
Let's dance.

Speaker 35 (03:03:33):
M yes, sir, just like old times, around then around.

Speaker 55 (03:03:43):
Just like my brain.

Speaker 83 (03:03:46):
Why you're trembling. I still love you, you little fool.
Come on, ask me why I love you. I love you,
I love you, I love you. You lovely read it.
I could kid you when you discern it.

Speaker 25 (03:04:03):
Put the radio on.

Speaker 55 (03:04:04):
You could scream and nobody would hear.

Speaker 35 (03:04:06):
I could put my hand on your throat like this sea,
and I could strang.

Speaker 23 (03:04:11):
Don't.

Speaker 55 (03:04:12):
Why are you crying?

Speaker 35 (03:04:16):
Stop it?

Speaker 55 (03:04:18):
I'm here to protect you.

Speaker 43 (03:04:19):
Stop crying.

Speaker 9 (03:04:21):
Cut it, cut it, cut it, cut it.

Speaker 13 (03:04:23):
I can't stand it.

Speaker 50 (03:04:23):
I never could.

Speaker 43 (03:04:26):
Okay, okay, you want me to leave, you.

Speaker 35 (03:04:29):
Want me to leave, all right?

Speaker 9 (03:04:31):
I will.

Speaker 17 (03:04:31):
It's your funeral.

Speaker 2 (03:04:32):
What am I saving you for?

Speaker 55 (03:04:33):
Anyway? Where's my head?

Speaker 2 (03:04:34):
In a few minutes there'll be a knock or a ring,
or the door will just open, see and you'll be
lying in a pool of blood, just like the other three.

Speaker 43 (03:04:42):
Goodbye, my worth. Let's give my regards to the creeper.

Speaker 13 (03:04:51):
Look in his eyes like a madmins. What if he
comes back.

Speaker 11 (03:04:58):
On to kim.

Speaker 12 (03:05:00):
Someone wants to kill me.

Speaker 13 (03:05:03):
Like another three? Pool of blood like the other three,
like the other three. Any minute now he'll be enough.
Hoorrien ah.

Speaker 73 (03:05:27):
Ah, this is Jeffrey Barnes again. In just a moment,

(03:05:49):
we'll bring you Act three of the creeper.

Speaker 84 (03:05:52):
Thousands of people who suffer the social and business handicap
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(03:06:14):
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so remarkably efficient, many hospitals use it, and I all
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(03:06:38):
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hair preparations can't compare with its dandriff combating effectiveness. If
you are not satisfied, return the empty bottle and get
your money back. Buy double danderine at your druggists.

Speaker 85 (03:07:05):
Ah, yes, this is the door man, This is Grand. Yes,
the druggist is here with the medicine. Shall I let
him come up?

Speaker 13 (03:07:19):
Medicine my shirt? Let him? Oh, and don't let that
man up?

Speaker 7 (03:07:23):
Want me to bring it up?

Speaker 13 (03:07:25):
No, no, no, I'm perfectly all right. I don't need
it your here? Do day I come up on? Anyone
sucks smith? Oh please please must have a change right away?
My lock, my door lock.

Speaker 77 (03:07:45):
Yes, this is missus Grand. If I do want it,
of course, anyone can get in here. Anyone do want
to murder me?

Speaker 13 (03:07:50):
But I don't know who. It's the creeper. You'll come
right away, thank you, thank you so much. Hurry please hurry,
I'll go out of my mind.

Speaker 8 (03:08:02):
Thank my lord.

Speaker 13 (03:08:04):
If it doesn't come in time like the other three.
A pull of blood any minute now, be a knock hoorring?

Speaker 32 (03:08:18):
Who's there?

Speaker 13 (03:08:19):
It's me, dear miss his Stone. Oh what do you want?

Speaker 4 (03:08:23):
Why I've been worried about you?

Speaker 19 (03:08:25):
Are you ill?

Speaker 65 (03:08:26):
No?

Speaker 13 (03:08:27):
Now I'm all right, mister storm. Feel fine, open up there.
Don't you bother me to keep your company?

Speaker 78 (03:08:33):
And now thank you?

Speaker 35 (03:08:33):
I was just stop it.

Speaker 13 (03:08:35):
Oh let me in stilly, No, no, no, go.

Speaker 21 (03:08:37):
Away, I'm going to sleep away any away.

Speaker 7 (03:08:44):
Hello, Oh Georgia.

Speaker 77 (03:08:45):
All right, Steve, Steve, I've been so afraid to get
so good to hear your voice.

Speaker 13 (03:08:49):
Where are you.

Speaker 77 (03:08:55):
Not when I I don't want to get mobile me
all day? I've been imagining things still my nerves.

Speaker 7 (03:09:02):
Give me for this morning, darling. It wasn't myself. My
job had me down.

Speaker 77 (03:09:07):
Christ forgive me, Steve. I've been bad, bad, wicked. If
you know what I've gone through today, the most dreadful state.
And then that, Steve, did you send someone here today
early Chase?

Speaker 7 (03:09:21):
And you did keep your company isn't he still with you?

Speaker 13 (03:09:25):
I know I just got rid of him.

Speaker 18 (03:09:27):
I wish you hadn't. He's an all right guy, smart reporter,
lives in the neighborhood too. I mean, I know it
sounds cock out. I mean, Early's theory, but I was
a bit worried when I got to thinking. So listen, Georgia.
Don't let anyone in the house to like at home,
not anyone, do you hear?

Speaker 7 (03:09:44):
Not anyone?

Speaker 77 (03:09:46):
Wait, Steve, Wait Steve, it's oh, thank goodness, at last night,
I can brea easy just a minute, dear.

Speaker 7 (03:09:55):
Oh Georgia, Georgia, hello, Gega, Oh thank goodness.

Speaker 13 (03:10:02):
Please stip and it's the lock on this door. I
want just in all. My husband's on the phone, Steve,
what happened something else? I want to Oh, it's all right,
everything's all right now, Steve. You needn't worry.

Speaker 7 (03:10:14):
Not just tear you talking to someone.

Speaker 13 (03:10:15):
That someone at the dark It was knowing, Steve, just
mister Frank the locksmith.

Speaker 17 (03:10:18):
Oh what a lovetsmith.

Speaker 7 (03:10:20):
George. Listen, listen, Georgia, That's what I was gonna tell you.

Speaker 14 (03:10:23):
What is it?

Speaker 7 (03:10:24):
The police are on a new trail. They think maybe
a locksmith Georgie, you're listening.

Speaker 43 (03:10:28):
It maybe that the creek was a election.

Speaker 7 (03:10:30):
Get him out quick?

Speaker 12 (03:10:31):
What nice lipstick you use, missus?

Speaker 17 (03:10:33):
Gregg?

Speaker 86 (03:10:41):
George, George, George, Georgia, answer the phone, George, Hello, Georgia, George,
answer the phone, baby, what's the.

Speaker 7 (03:10:54):
Matter where I.

Speaker 17 (03:10:57):
Hello?

Speaker 3 (03:10:59):
Hell?

Speaker 17 (03:11:01):
Catch me before I kill more?

Speaker 40 (03:11:04):
For Heaven's sake.

Speaker 79 (03:11:17):
Hello, City Desk, Purly Chase, I shut up and listened
on that creeper story. I just gave you had this, though,
the reward for his capture goes to the elevator boy.
He heard Georgia Grant scream and call the cop. The
creeper was shot running from the building. Yeah, it's ironical,
isn't it. Imagine the locksmith was the killer, the one

(03:11:38):
man Georgia thought would protect you.

Speaker 35 (03:11:42):
What an ending to a lovely, lovely redhead.

Speaker 73 (03:12:01):
And now this is Jeffrey Barnes bringing down the final
curtain on tonight's presentation of the Creeper. Join us again
next week when we present a hard boiled crime story
entitled Spanish Blood and written by one of the greatest
names in detective fiction, Raymond Chandler. Mister Chandler is known
to all of you as the writer of the recent
hit movie Murder My Sweet. So don't miss a real

(03:12:25):
hard hitting, hard boiled melodrama next week when we present
Raymond Chandler's Spanish Blood.

Speaker 34 (03:12:47):
The original music for the Mule Aimstery Theater is composed
and conducted by Alexander Sandler. The Creeper was written by
Joseph Russkoll and Charlotte Manson was featured in tonight's program
This is Seymour saying good night until next Friday at
the same time when the Mystery Theater presents Spanish Blood.

Speaker 9 (03:13:19):
This is NBC, the National Broadcasting Company.

Speaker 2 (03:13:34):
Mister District Attorney, champion of the people, defender of truth,
guarding of our fundamental rights to life, liberty.

Speaker 28 (03:13:42):
And the pursuit of happiness.

Speaker 2 (03:13:51):
Mister District Attorney, is brought to you by two famous
Bristol Maya's products Vi Talas and sal Hpatica Vi talis
for hair that's well groomed, sal Haupatka for the smile
of health Vialas sal Hpatika.

Speaker 87 (03:14:15):
And it shall be my duty as District Attorney, not
only to prosecute, for the limit of the law, all
persons accused of crimes perpetrated within this county, but to
depend with equal vigor the rights and privileges of all
its citizens.

Speaker 9 (03:14:44):
The case of the Deadly Train.

Speaker 2 (03:14:47):
Our story opens tonight in the station master's office of
a Chicago Railroad terminal, just off the main waiting room.
I think you know the members of my party, mister Billings,
and this is miss Miller, my secretary of the Billings.

Speaker 20 (03:15:01):
How do you do?

Speaker 87 (03:15:02):
And this is my chief special investigator, mister Harrington. How
I am, mister Harrington. And this is Tom Niles. And
mister Billings is the conductor of the train we're taking
back home.

Speaker 25 (03:15:11):
Niles.

Speaker 12 (03:15:11):
Oh ahead, Niles, you can talk in here.

Speaker 16 (03:15:14):
Look, can we get going?

Speaker 2 (03:15:15):
I mean, isn't it time to get on the train.

Speaker 16 (03:15:17):
He's handcuffed to you, mister Harrington.

Speaker 88 (03:15:19):
Yeah, that's right, just a precaution, conductor. This is one
trip we're going to be sure to make, can't you.

Speaker 87 (03:15:24):
I've told mister Billings the importance we attached to getting
Niles back home with us. Harrington, I might say again,
while we're all here, however, that we will stop at
nothing to make sure of it. I read in the
papers how important he is going to identify that killer
for you in your trial. Isn't that it as Niles
has agreed to make the identification. Unfortunately, the newspapers have
also printed the fact that he is the only witness

(03:15:45):
I have against Johnny Galena, and so the publicity isn't
helpful at all.

Speaker 39 (03:15:49):
The journal gave it the front page this morning.

Speaker 11 (03:15:51):
Chief, did you see it?

Speaker 41 (03:15:52):
Harrington?

Speaker 12 (03:15:52):
Yeah, I say I did.

Speaker 88 (03:15:54):
They hit it right on the nose too, said the
district attorney considered Niles so important he came out here
personally two extra items. Hey, look care we held kok Niles.
Calm down, Calm down, there's nothing to worry above.

Speaker 2 (03:16:07):
Don't worry about it, you crazy.

Speaker 89 (03:16:09):
Johnny Gollena's got friends any you think they're gonna let
me identify him.

Speaker 9 (03:16:13):
If they can stop me, they'll do nothing.

Speaker 87 (03:16:15):
Niles, You're in my protection now, and I'll keep my
promise to you. There's the train ready, mister Billings. I've
got everything arrange.

Speaker 90 (03:16:22):
You'll keep your promise.

Speaker 9 (03:16:23):
They let me out of jail here to go back
with you.

Speaker 2 (03:16:25):
Sure, and all I get out of it is to
be a targeting herring.

Speaker 88 (03:16:30):
Yeah right, Chief, Come on, Niles, and remember when we
go out that door, don't look to the right.

Speaker 25 (03:16:35):
The left.

Speaker 87 (03:16:36):
See, just follow the conductor here. I'll take them directly
to the drawing room.

Speaker 20 (03:16:40):
B Is that right?

Speaker 3 (03:16:41):
Fine?

Speaker 17 (03:16:42):
If you have your ticket to miss one.

Speaker 39 (03:16:44):
Right, Chief bedroom, h I'll get on lest the way
you said.

Speaker 43 (03:16:47):
I'll be mister Harrington.

Speaker 12 (03:16:48):
Let's go, Niles.

Speaker 87 (03:16:49):
I'll check with you later, Harrington, as soon as I
get to my own bedroom.

Speaker 2 (03:16:53):
Passengers, just remember, yay, you're responsible for me, Niles.

Speaker 87 (03:16:58):
I assure you you won't be out of my for
a moment, not until I've got you safely on the
stand against Galina. All right, harringson, gone right, let's go.
You wait a few minutes, Miss Munner, and then board
with the crowd outside.

Speaker 16 (03:17:11):
All right, Yeah, I know what to do with Chief.

Speaker 87 (03:17:13):
I'll find you when I need you. In the meantime.
Don't recognize me on the train. It's better if we're
not seen together.

Speaker 39 (03:17:18):
Chief. Yes, you're worried about this trip, aren't you.

Speaker 17 (03:17:22):
Frankly, Miss Munner, I am.

Speaker 41 (03:17:24):
Now.

Speaker 87 (03:17:24):
This is my only witness in a trial. That means, well,
you know what it means. I've got to get that
man there to testify, yes, and in condition to testify
it too.

Speaker 17 (03:17:35):
So let's hope for the best.

Speaker 91 (03:17:55):
Well, around the train all right. DA's assistant has no
drawing room.

Speaker 43 (03:18:01):
B Harrington.

Speaker 17 (03:18:03):
Is that the name on the orders?

Speaker 39 (03:18:05):
Yeah, the pictures in the hole in.

Speaker 91 (03:18:07):
My mind, Elsie, it's him all right. Niles was handcuffed
to him. They're in b right, in this car.

Speaker 7 (03:18:15):
The DA's with him.

Speaker 17 (03:18:16):
He's in bedroom alone this car too. The boy sure
work that, all right, we're right between them.

Speaker 39 (03:18:23):
Johnny's got money, you know, why shouldn't he get things
work right?

Speaker 17 (03:18:27):
He will get me to pull this job for him.
Was the smartest thing he.

Speaker 13 (03:18:30):
Ever did, getting us Ben, I come in on that fee.

Speaker 12 (03:18:35):
Don't forget?

Speaker 17 (03:18:37):
Aren't you always coming in on what I do? Baby?

Speaker 3 (03:18:40):
Oh?

Speaker 39 (03:18:40):
Sure I got washed out blonde in the lobby last night.

Speaker 7 (03:18:45):
Oh I was just a kid, Elsie.

Speaker 17 (03:18:47):
Forget it.

Speaker 39 (03:18:48):
Forget it.

Speaker 81 (03:18:49):
You'll leave me sitting in that lousey hotel room for
two solid hoursand when I come.

Speaker 17 (03:18:53):
Down there, yay, okay, forget it, will you?

Speaker 9 (03:18:56):
We got work to do one of these days, so
help me.

Speaker 25 (03:18:58):
Yeah, shut up.

Speaker 17 (03:19:00):
You've been hopping them out that dame all day.

Speaker 7 (03:19:02):
Well why not?

Speaker 13 (03:19:03):
If I hadn't come down for that movie magazine when
I did, you'd probably be with her.

Speaker 31 (03:19:06):
Yes, just a kid.

Speaker 17 (03:19:09):
You pipe down. We got plans to make sure.

Speaker 39 (03:19:12):
Sure you want the ticket stubs?

Speaker 13 (03:19:16):
Huh, the guy collected while you were out.

Speaker 17 (03:19:19):
No, no, keep, I get plans to make I said,
let's have it. I'll look the way I figure it.

Speaker 6 (03:19:27):
We Well, you stop clearing at me.

Speaker 17 (03:19:32):
How can I work with you shooting out your face
all the time? All right, go on, what's the plan?
All right?

Speaker 91 (03:19:41):
Well, there are all three on this car, see Harrington,
Niles and a da himself. The best thing is to
get over with it fast, e'l sie. That way we
can get off it till he'll be back in Chicago
before they.

Speaker 25 (03:19:51):
Know what hit him.

Speaker 13 (03:19:52):
Back to the blonde as.

Speaker 17 (03:19:54):
When you listen, Elsie and get this straight.

Speaker 91 (03:19:57):
I got a job to do now, A big job
for Johnny Gillen to the biggest guy in the record.

Speaker 17 (03:20:01):
I know that, so I don't fool around.

Speaker 43 (03:20:03):
Get it.

Speaker 17 (03:20:04):
Shut up and listen to your orders, baby, because this
is one show I'm gonna run right.

Speaker 7 (03:20:24):
Excuse me? May I get through Pea?

Speaker 43 (03:20:26):
Yes?

Speaker 16 (03:20:26):
Certainly?

Speaker 17 (03:20:27):
Oh here I love him?

Speaker 14 (03:20:28):
The door for you?

Speaker 13 (03:20:30):
Is anything?

Speaker 11 (03:20:31):
All right?

Speaker 19 (03:20:31):
Chief?

Speaker 17 (03:20:32):
So far, so good, miss madame.

Speaker 87 (03:20:34):
The conductor's collected all the tickets in our car, and
he reports everything seems in order.

Speaker 17 (03:20:38):
Harrings is in the drawing room with Niles.

Speaker 87 (03:20:40):
Yes, I'm going to relieve him while I get some dinner.
In the meantime, I think you might circulate a little.
See if anyone strikes you as out of the ordinator,
I will chief.

Speaker 39 (03:20:48):
I was just going into the ladies dressing room when
I saw you in the aisle.

Speaker 17 (03:20:51):
Yes, I see.

Speaker 87 (03:20:52):
They might try the club car later on too. You
know what to do, right, I'll wait here a moment
until you're out of sight. If you need me, I'll be.

Speaker 13 (03:20:59):
In the drawing room with all right, cheep.

Speaker 92 (03:21:01):
If I can't get back to you without being seen,
I'll send a note by the porter.

Speaker 6 (03:21:04):
All right, it's fine.

Speaker 87 (03:21:05):
I'm be careful and it's going to be just as
careful as you can.

Speaker 39 (03:21:13):
Oh, pardon me? Are you using this dressing table?

Speaker 38 (03:21:15):
Oh?

Speaker 39 (03:21:16):
I go out ahead, thank you. I'm just going to
see if I can do anything with my makeup.

Speaker 92 (03:21:21):
Honestly, the way your face can get dirty, isn't it
something you're going all the way through?

Speaker 38 (03:21:27):
Are you?

Speaker 39 (03:21:28):
That's right?

Speaker 11 (03:21:28):
Derry?

Speaker 39 (03:21:30):
Say you don't happen to have an extra cleansing tissue,
do you?

Speaker 13 (03:21:33):
Well, yes, yes I do.

Speaker 39 (03:21:34):
It's right here in my thanks. There you are.

Speaker 3 (03:21:38):
Come on.

Speaker 11 (03:21:39):
Oh, I'm terribly sorry.

Speaker 32 (03:21:40):
The Twains train swerved and I must have knocked your
purse on the floor.

Speaker 35 (03:21:44):
Don't worry.

Speaker 13 (03:21:44):
Yeah, I'll get it, I said, let my person along,
but I was only never mind.

Speaker 39 (03:21:51):
You can have the makeup table if you want it.

Speaker 6 (03:21:53):
I'm finished.

Speaker 39 (03:21:54):
I'm sorry about your purse. Surely you don't think.

Speaker 13 (03:21:56):
I would so long derry?

Speaker 39 (03:22:00):
Thanks the tissue. Yes, you're quite welcome. Oh porter, Oh
down here please and hurry.

Speaker 17 (03:22:26):
Ah, here's a seat, young lady.

Speaker 19 (03:22:28):
Idea.

Speaker 39 (03:22:28):
Oh thanks you sure it ain't taken.

Speaker 17 (03:22:31):
And if you wanted a name, best seat in the club?
Guard gives your view of the where you've just been.

Speaker 39 (03:22:37):
It's exciting, ain't it.

Speaker 17 (03:22:39):
That's Indiana? Nothing exciting about that.

Speaker 39 (03:22:42):
Oh I don't know ever been in Gary.

Speaker 17 (03:22:45):
We just passed through it.

Speaker 25 (03:22:46):
Man.

Speaker 36 (03:22:47):
Huh.

Speaker 17 (03:22:48):
Hey, anybody he drink after a while?

Speaker 82 (03:22:52):
Maybe?

Speaker 11 (03:22:52):
Oh?

Speaker 39 (03:22:53):
I got such a head from last night. I don't
think I can look at one.

Speaker 17 (03:22:57):
Uh Gary, Huh. You're in business in Jerry.

Speaker 39 (03:23:02):
I'm in business wherever I hang my hat.

Speaker 17 (03:23:04):
Mister, Yeah, what kind of business?

Speaker 39 (03:23:08):
Why don't you guess?

Speaker 7 (03:23:10):
Well?

Speaker 25 (03:23:11):
Let me see.

Speaker 17 (03:23:12):
Could be a model, you know, get the looks for thanks,
but you're not.

Speaker 92 (03:23:19):
I guess you'd call me a booster. Huh, always sticking
up for the hometown. That's one definition in it.

Speaker 17 (03:23:26):
There are others, you know, like choplasy. Yeah, so I've
heard what trade handles kid? Mine's Ben Ben Mott Hi.

Speaker 92 (03:23:39):
Smith Edith Smith. I bet girl's gotta be careful, Ben.
She can't go around spilling her name, can't she?

Speaker 17 (03:23:48):
Kenn As she's out from the wall.

Speaker 39 (03:23:51):
Maybe she ain't.

Speaker 17 (03:23:53):
Ever been nailed any by the cops.

Speaker 39 (03:23:56):
Yeah, in Denver?

Speaker 13 (03:23:58):
Yeah, where den in the shed railroad station?

Speaker 25 (03:24:03):
To you?

Speaker 17 (03:24:03):
I know the lingo that was the rat booste.

Speaker 92 (03:24:08):
I was doing the hook for the troop. It was
a go back deal and I end up with a batman.

Speaker 17 (03:24:13):
You know the lingo yourself. Uh, Saint Paul, you think.

Speaker 39 (03:24:20):
What are you doing?

Speaker 11 (03:24:20):
Kidding me?

Speaker 39 (03:24:21):
Then nobody but a lampster give Saint paula play. This
was Denver. The fix was in, so here I am.

Speaker 13 (03:24:29):
You know me?

Speaker 17 (03:24:29):
The Yeah, you're okay? Really okay?

Speaker 39 (03:24:36):
Oh sure, I'm in great shape.

Speaker 8 (03:24:38):
I am.

Speaker 39 (03:24:40):
I said the fix was in, didn't I What do
you think happened?

Speaker 17 (03:24:42):
To my fall, though you were got any plans? D Oh,
the big city.

Speaker 92 (03:24:50):
I thought maybe if I spend my last buck on
a train like this, I couldn't line up or mark.

Speaker 17 (03:24:55):
Whofore traveling with somebody?

Speaker 39 (03:24:57):
No, No, I'm alone.

Speaker 92 (03:24:59):
I just thought I'd getting a new troop faster if
I arrived with a sucker all set.

Speaker 17 (03:25:03):
Yeah, they would it. Then they're smart, I.

Speaker 39 (03:25:07):
D you know it sounds so dumb yourself. Ben, Hey,
I'll take that drink now, sure.

Speaker 17 (03:25:15):
Thing I remember. I'll wait a minute. We can go
back to my compartment and have a rail drinker.

Speaker 39 (03:25:24):
You got a view of Indiana back there.

Speaker 17 (03:25:26):
I got a plan a d I think maybe you're
just the kid would go for it too.

Speaker 39 (03:25:31):
How's the score?

Speaker 17 (03:25:32):
Plenty?

Speaker 91 (03:25:34):
Matter of fact, this is a business trip, big business. Oh,
I got a partner already, but uh, you know how
it is the way my business runs.

Speaker 6 (03:25:44):
I need new blood, you know.

Speaker 92 (03:25:46):
Ben, Yeah, I got plenty of blood. Let's go back
to your trap and uh have that drink.

Speaker 12 (03:25:57):
I won't be long cheap, but Eily, the diner shouldn't
be crowded.

Speaker 87 (03:26:13):
It's all right, take a time, Harrington.

Speaker 17 (03:26:15):
I'll stay here with Niles until.

Speaker 25 (03:26:17):
You get back. What about me?

Speaker 43 (03:26:18):
When do I get to eat?

Speaker 87 (03:26:19):
I don't think it would be wise to take you
into the diner, Niles. We'll have something brought back here
later on.

Speaker 12 (03:26:24):
Yeah, I'll take care of a cheap run. Say is
miss Miller in her bedroom?

Speaker 87 (03:26:29):
She's checking the train. Oh, and it'll be safe for
all around it all right, take a time, safe for
all around.

Speaker 8 (03:26:36):
And you do think somebody might.

Speaker 87 (03:26:38):
Take it easy? Niles, take it easy. Nothing's going to
happen to you.

Speaker 25 (03:26:42):
I'm scared.

Speaker 9 (03:26:42):
I tell you it was a pool of tull award
and I do relax.

Speaker 87 (03:26:46):
I said, there's nothing to worry about it.

Speaker 43 (03:26:48):
Sure, that's easy for you to say.

Speaker 4 (03:26:50):
I'm a guy.

Speaker 9 (03:26:51):
They want to shut up.

Speaker 10 (03:26:52):
They won't.

Speaker 87 (03:26:54):
I've told you the trial in which you're going to
testify means just about everything to mean.

Speaker 3 (03:26:58):
So help me.

Speaker 87 (03:26:58):
I'm going to see what you do.

Speaker 47 (03:27:15):
Kay.

Speaker 17 (03:27:16):
He sent her in to get some food.

Speaker 39 (03:27:18):
She oh, I see, yeah? What's the matter?

Speaker 14 (03:27:23):
Ben?

Speaker 39 (03:27:24):
She cramp your style?

Speaker 17 (03:27:27):
You wouldn't would you eat?

Speaker 39 (03:27:29):
What do you think? What's the job?

Speaker 8 (03:27:32):
Then?

Speaker 25 (03:27:33):
Not so fast, lady.

Speaker 17 (03:27:36):
Let's see who you know first.

Speaker 39 (03:27:38):
Well, let's see did you ever hear of a swede?
Lars out of Cincinnati.

Speaker 93 (03:27:43):
Wait out, man Kugler runs a cannon mob and shad, well,
how about a big boy, Eadie say, like Johnny Galina.

Speaker 39 (03:27:55):
He's standing the rap, ain't he won't.

Speaker 91 (03:27:57):
Be a rap if Tom Miles doesn't identify him with
to try it.

Speaker 39 (03:28:00):
Yeah, that's what I heard.

Speaker 17 (03:28:03):
What would you say if I told you Niles is
on this train.

Speaker 92 (03:28:07):
And that's the job Tom Niles. Maybe you must be
big yourself, Ben, doing a job for Johnny Galena.

Speaker 17 (03:28:16):
I'm big enough to take care of you. Id the
two of us a long long time. Why you love Elsie?
I thought you were in the diner. Yeah, I bet
you did well that tide.

Speaker 16 (03:28:34):
It's huh, Look, why you poor fool?

Speaker 52 (03:28:37):
That's the dame I was telling you about Jess, the
one gave my person once over in the ladies room.

Speaker 17 (03:28:42):
Why that's true.

Speaker 13 (03:28:43):
But I told you you'd make a false move.

Speaker 51 (03:28:45):
Ben.

Speaker 13 (03:28:46):
Now you've blown it for good.

Speaker 12 (03:28:48):
Shut down, Elsie.

Speaker 51 (03:28:49):
Let's straighten this up.

Speaker 11 (03:28:50):
Yeah. Do you think I'm nuts?

Speaker 46 (03:28:52):
She's probably got the train swarming with cops.

Speaker 7 (03:28:54):
I'm getting out.

Speaker 13 (03:28:55):
Shut and stay for the wrapper.

Speaker 50 (03:28:56):
Kind of a pool do you think I am?

Speaker 39 (03:28:57):
I Wait a minute, there's been a mistake.

Speaker 50 (03:29:00):
Say there's been a mistake, Derry him.

Speaker 7 (03:29:02):
I should have pulled out longer.

Speaker 17 (03:29:04):
I warned you, Elsie said, go on your.

Speaker 50 (03:29:06):
Two timing, Bob.

Speaker 7 (03:29:09):
I'm going to see to what did you get yours?

Speaker 17 (03:29:10):
Once and for all, Elsie put.

Speaker 10 (03:29:12):
That gun down.

Speaker 39 (03:29:13):
I knew she had a gun in that bag.

Speaker 13 (03:29:14):
That's right, Dearry.

Speaker 12 (03:29:16):
How he is where you get off the joy ride,
Ben and right into the.

Speaker 35 (03:29:19):
Arms of the law.

Speaker 12 (03:29:20):
Look, honey, calm down a minute minute.

Speaker 13 (03:29:22):
My back is too You know that.

Speaker 17 (03:29:24):
Ain't true, Elsie. I've always come back to you, haven't.

Speaker 13 (03:29:26):
Yeah, You've always come back. But that's not good enough.

Speaker 17 (03:29:28):
Look, Elsie, this dame don't mean a thing to me.
And she's not hooked up with the cops. She's a
booster out of Denver.

Speaker 39 (03:29:33):
That's right, Elsie. I'm not after your guy.

Speaker 11 (03:29:35):
I'll get out of.

Speaker 43 (03:29:35):
This, Elsie.

Speaker 12 (03:29:36):
Look at me, babe.

Speaker 51 (03:29:37):
I love your honey.

Speaker 17 (03:29:39):
You know that, don't you, don't you?

Speaker 15 (03:29:41):
Oh?

Speaker 19 (03:29:41):
Bet?

Speaker 2 (03:29:42):
If I can only believe you know.

Speaker 51 (03:29:43):
Me, baby, why, I'm all for you, always have been.

Speaker 17 (03:29:46):
Oh come on, come on, let me have that, oh.

Speaker 81 (03:29:50):
Ben, If you only play square with me, I get
all riled up like this, and I don't know what
I'm doing that, my girl.

Speaker 8 (03:29:57):
Now let me have the gun.

Speaker 10 (03:30:01):
You take it.

Speaker 43 (03:30:02):
That's right, thanks, you see ben, Oh, don't don't. I
haven't even started on her.

Speaker 17 (03:30:09):
Pull a gun on me?

Speaker 41 (03:30:09):
Will you?

Speaker 6 (03:30:11):
What else?

Speaker 51 (03:30:13):
Nice and noisy?

Speaker 50 (03:30:14):
So the whole train could hear adjudge my temple?

Speaker 17 (03:30:17):
Yeah, well I do, wed kid, I do that loud
mouth of yours, once and for all.

Speaker 11 (03:30:21):
Then look he's got.

Speaker 43 (03:30:24):
Come on.

Speaker 38 (03:30:25):
Here is where we say goodbye.

Speaker 64 (03:30:33):
You you kill her.

Speaker 12 (03:30:36):
It's like we said, he you blood for old.

Speaker 17 (03:30:40):
I'll come on.

Speaker 25 (03:30:41):
Let you and me straighten this out.

Speaker 12 (03:30:43):
You've got questions to answer, little girl.

Speaker 17 (03:30:45):
And while you're talking, just keep your eyes.

Speaker 91 (03:30:48):
I'll just note.

Speaker 2 (03:31:04):
We'll see what your district attorney makes of this in
just a moment. But first, a definition of an optimist.

Speaker 16 (03:31:10):
An optimist is a man who takes the worst of
it and makes the best of it.

Speaker 2 (03:31:13):
Now, a man is certainly getting the worst of it
when he wakes up in the morning feeling sick and
a headachey due to the need of a laxitive.

Speaker 16 (03:31:19):
But if he's an optimist, he makes the best of it.

Speaker 2 (03:31:22):
Yes, chances are he reaches for his sal japatica for
you see a sparkling glass of salhapatica when you get
up brings quick gentle relief, usually within an hour. That
means you don't have to risk feeling miserable all day
waiting until night to take a laxative.

Speaker 16 (03:31:37):
And that's not all. In addition to quick gentle relief,
Salhapatka brings you another important advantage. This famous saline helps
sweeten an upset stomach by helping to reduce success gastric acidity.

Speaker 2 (03:31:49):
So friends, be sure that you too keep a bottle
of salhapatica handy.

Speaker 28 (03:31:54):
Remembering this caution us on is directed noon or night.

Speaker 2 (03:31:58):
See how much faster you feel better thanks to gentle
speedies sal hapatica. Now back to mister district Attorney.

Speaker 16 (03:32:31):
I'll take another look through the train at the district
attorney if you think.

Speaker 25 (03:32:34):
That will help.

Speaker 87 (03:32:34):
Yes, I wish you would, mister Billings, I can't understand
where she is.

Speaker 12 (03:32:38):
Oh, just something would happen, I know, wipe down Niles.
Hey chief, you sure missus Miller ain't in her bedroom?

Speaker 25 (03:32:44):
Positive?

Speaker 16 (03:32:45):
Suppose I have that look at the other card.

Speaker 25 (03:32:46):
Will you be here?

Speaker 36 (03:32:47):
No?

Speaker 87 (03:32:48):
I think I'll go back to my bedroom, mister Billings,
you'll find me there. She'll turn up. I'm sure one thing.
She can't get off the train. Yeah, chief, I don't
like this at all.

Speaker 12 (03:32:59):
You ain't seen since she started back for the club
car before dinner.

Speaker 7 (03:33:02):
Did you hear the conductory said she couldn't get off
the train.

Speaker 12 (03:33:05):
Well she couldn't. It must be doing seventy through here.

Speaker 43 (03:33:08):
She could get pushed off, couldn't.

Speaker 17 (03:33:10):
That'll be enough of that, Niles, it's scared.

Speaker 7 (03:33:11):
I tell you you promise to take care of him.

Speaker 12 (03:33:13):
Shut up, Niles, shut up.

Speaker 23 (03:33:15):
You're all right.

Speaker 87 (03:33:16):
I'll go back to my bedroom, Harrings, and I don't
like to stay in here with you too long. All right,
we'll see what the conductor's search reviews, and if he
doesn't find miss Miller, then we will, Harrington, I promise.

Speaker 19 (03:33:25):
You we will.

Speaker 87 (03:33:45):
Yes, yes, come in, Oh, come in, miss Miller.

Speaker 16 (03:33:49):
She's not in sight of the district attorney. I cover
the whole train.

Speaker 87 (03:33:52):
I see, but this turned up, yeah, seen as a
young lady gave the porter a note for you before dinner.

Speaker 17 (03:33:56):
Miss Miller.

Speaker 16 (03:33:57):
I think so, sir. Yes here it's written on the
back of a ticket store.

Speaker 17 (03:34:00):
Let me see.

Speaker 16 (03:34:01):
The port had been warned about this car. You see,
I told myself to be careful.

Speaker 87 (03:34:06):
You say she gave him this note before dinner. He
held it, Sir, he was afraid to deliver anything without checking.
We gotta get out of her conductor. Which way is compartment?

Speaker 23 (03:34:14):
Geez?

Speaker 16 (03:34:14):
Do you left four down?

Speaker 43 (03:34:15):
Wait for me?

Speaker 2 (03:34:16):
I may need your help.

Speaker 43 (03:34:17):
Excuse me?

Speaker 62 (03:34:18):
What you?

Speaker 19 (03:34:18):
Please me?

Speaker 17 (03:34:18):
I get through, get easy, but just let me get
out of your way. I'm sorry, but I'm going to hurry.

Speaker 25 (03:34:22):
Who sure are?

Speaker 17 (03:34:23):
Thank you?

Speaker 19 (03:34:23):
Excuse me? Please, I've got to get through.

Speaker 34 (03:34:44):
I tell you, I can't stop Taple like Johnny Galena,
Hilton winey oh.

Speaker 12 (03:34:48):
Look nine, you've been whining ever since we left.

Speaker 25 (03:34:51):
Chitkago. Will you shut up?

Speaker 7 (03:34:52):
Take off my handcuffs, Harrington, change you this way.

Speaker 16 (03:34:55):
I haven't got a chain.

Speaker 12 (03:34:56):
Look for the last time. My job is to protect you.
Do you understand these cuffs?

Speaker 25 (03:35:01):
Steak kid?

Speaker 16 (03:35:02):
You win me real cozy like?

Speaker 12 (03:35:04):
I'm scared, you said Dad. If I were you, i'd look.

Speaker 64 (03:35:09):
Hey, it's right, hang on, Nile, call me, let go
turn it over. I got blow it up, Harry, Hey, Nile,

(03:35:33):
I am Are you all right?

Speaker 7 (03:35:40):
I can't move from this beam.

Speaker 25 (03:35:43):
It's on my chest.

Speaker 9 (03:35:45):
I can't move.

Speaker 19 (03:35:46):
My tell you, Harrington, shut up, shut up.

Speaker 18 (03:35:49):
There's no need to.

Speaker 19 (03:35:50):
Get in a panic. Get me out of here, Come
me out.

Speaker 6 (03:35:54):
I can't move either, I tell you.

Speaker 94 (03:35:56):
If you ain't hurt, just shut up. He Hey, they're
coming in first already to hear them. They must be
used in the act.

Speaker 19 (03:36:08):
We're all right. Just just cut this beame off it.
You in there, Niles, I'm pinned.

Speaker 43 (03:36:17):
I can't move.

Speaker 58 (03:36:19):
Just keep coming. I can see the light where you
broke the side. Keep coming, keep coming through the side,
see through the side of the car.

Speaker 51 (03:36:33):
Don't worry, I'll get Just take it easy.

Speaker 12 (03:36:39):
Yeah, hey, hey, wait a minute, who are you.

Speaker 2 (03:36:44):
You'll find out, Harrington, your pinned iron Niles, Harrington.

Speaker 6 (03:36:49):
Don't get panicky, Niles.

Speaker 12 (03:36:51):
Wait, the light reached from my gun.

Speaker 19 (03:36:53):
Just stay where you are. I take care of you.

Speaker 43 (03:36:57):
Harry.

Speaker 25 (03:36:58):
It's been my He's gonna kill me.

Speaker 19 (03:37:00):
I remember him from Chicago. I can't can't beat my goodness.

Speaker 7 (03:37:04):
I will just beam if I can only push this beam.

Speaker 43 (03:37:07):
Up Ericton, you're such a protect me.

Speaker 19 (03:37:10):
Here you are right skimming and down. I'll be there
and to look.

Speaker 25 (03:37:13):
He's got a knife, drop drop dead knife dropping the heart.

Speaker 41 (03:37:19):
Right, your little padd Oh my dog, hard I warn you,
I'll do nothing cover.

Speaker 51 (03:37:27):
I just like finished with him.

Speaker 10 (03:37:29):
No, not bad place, plate, bas I got your Harry
can help me?

Speaker 7 (03:37:35):
Help me?

Speaker 19 (03:37:36):
I can't Johnny.

Speaker 9 (03:37:37):
Yeah, here's where you.

Speaker 19 (03:37:42):
Harrington?

Speaker 25 (03:37:43):
Oh, cheap?

Speaker 43 (03:37:44):
All right in there.

Speaker 19 (03:37:46):
I can't see over this body.

Speaker 17 (03:37:47):
Yeah, you got him, cheap.

Speaker 19 (03:37:49):
It's okay. Now just lie quietly, Harrington.

Speaker 43 (03:37:53):
We'll be through to you in a minute.

Speaker 61 (03:37:54):
Right, Hey, Nile, Nile.

Speaker 19 (03:37:58):
Nile, So you all right, I'm all right, he's dent.

Speaker 52 (03:38:04):
All right, man's got away.

Speaker 79 (03:38:06):
This be.

Speaker 8 (03:38:09):
Chief.

Speaker 19 (03:38:09):
That was close.

Speaker 25 (03:38:12):
Here's a doctor out on the track, sir.

Speaker 19 (03:38:14):
I'm okay, cheap, No, I'm dead or hurt.

Speaker 79 (03:38:16):
Cheap.

Speaker 39 (03:38:16):
This is the only car that went over. The train
hit an empty truck.

Speaker 26 (03:38:19):
On the road.

Speaker 50 (03:38:20):
Oh good, miss Miller.

Speaker 25 (03:38:21):
Where does she go?

Speaker 87 (03:38:22):
Well, it's quite a story, Harrington. Well first, let's get
you and Niles outside. We've got a trip to finish
it all, all right.

Speaker 19 (03:38:29):
Man, let's go.

Speaker 2 (03:38:37):
Your district attorney will return in just a moment to
explain his rescue of Harrington and Niles.

Speaker 28 (03:38:43):
But first, here's a young lady who seems to be
very happy.

Speaker 13 (03:38:45):
Indeed, hallelujah, my guys come back.

Speaker 2 (03:38:48):
Well, glad to hear he's back, young lady. And you know,
in lots of other ways too, life is getting settled again.
For instance, vy Tellis is back, yes, back on drug counters.

Speaker 13 (03:38:58):
Everywhere, by kallas. What's bye talis vi?

Speaker 28 (03:39:00):
Talis is for keeping dry, unruly hair under control?

Speaker 13 (03:39:04):
It is well, then I guess that guy of mine
must be using Vitalis. His hair is always well.

Speaker 28 (03:39:09):
Groomed, well groomed in a natural masculine way.

Speaker 2 (03:39:12):
That's right, well groomed, yet free from that patent leather shine, Yes, sir,
that's Vitalis, all right. What's more Vitalis and the sixty
second workout stimulates circulation, prevents scalp dryness, routes embarrassing loose standard,
helps retired excessive falling air. And that's why we say
to men to look your best tomorrow. Get a bottle

(03:39:34):
of Vitalis tonight. Now here is your district attorney.

Speaker 87 (03:39:46):
I want to say, personal, ladies and gentlemen, that Tom
Niles went on the stand in my prosecution of Johnny Galina,
and because of his testimony we were able to secure
another very important conviction in our war against crime.

Speaker 16 (03:39:57):
Yeah, I still say that was close.

Speaker 25 (03:39:58):
Chief.

Speaker 88 (03:39:59):
If you hadn't right behind Ben in that wreckage, he'd
have killed Nile Shore.

Speaker 39 (03:40:04):
Chief.

Speaker 92 (03:40:04):
I think you'd better explain just how you knew Ben
was making his way through the wreck to Harrington and Nile.

Speaker 87 (03:40:09):
It was your note that did it, Miss Miller. The
note the porter delayed delivering until just before the wreck,
when you were in a lady's dressing room with Elsie.
That started the whole thing.

Speaker 92 (03:40:17):
When her purse fell Harrington, I noticed it was heavy,
too heavy for an ordinary lady's hand.

Speaker 10 (03:40:22):
Ben.

Speaker 12 (03:40:22):
Oh, she was carrying a gun.

Speaker 39 (03:40:23):
Huh huh, say she was.

Speaker 92 (03:40:25):
Fortunately when I picked up the bag, her compartment receipt
fell out. I wrote the note to the Chief on
the back of it.

Speaker 87 (03:40:30):
As soon as I got the note, I went immediately
to that compartment. As Miss Miller had written, the occupant
seemed suspicious.

Speaker 39 (03:40:38):
That's a mild word for Benchi. After he tied me up,
I thought I was done for Yes.

Speaker 12 (03:40:43):
So you found Miss Miller in Ben's compartment.

Speaker 87 (03:40:46):
Yes, Harrington and Elsie's body. Miss Miller told me Ben
had started for you, and so I followed him. Fortunately,
neither of us was hurt in the wreck. And Ben
managed to get out of the car first, but I
wasn't far behind it. Boy Am I glad you stayed
on his tail?

Speaker 23 (03:40:59):
Hey next week.

Speaker 87 (03:41:00):
The next week, ladies and gentlemen, our story concerns one
of the most unusual and interesting criminals in our files.
It's the case of the Dangerous Clown. And I invite
you to join us for and until then, Thank you
and good night.

Speaker 2 (03:41:27):
The names of all characters in the Night's dramatization are fictitious,
and any resemblance to names of living persons or actual
places is purely coincidental. Our stars were Jay Jostin in
the title role, Lan Doyler's Harrington, and Vicky Valla as
Miss Miller. The music was under the direction of Peter
Van Stephen, and the authors were Edward Byron and Robert Shaw.

(03:41:48):
And remember Vi Talas for a hair That's well groomed,
sal Hupatika for the smile of health. Vi Talas and
sal Hupatika, two famous Bristo Maaya's products which each week
bring you, mister District Attorney.

Speaker 28 (03:42:18):
Men, So often the girls say, what a man if.

Speaker 13 (03:42:22):
Only he had that clean, shaven, masculine look.

Speaker 2 (03:42:25):
But many men say their faces are too tender for
close clean shavings.

Speaker 79 (03:42:29):
And girls say no alibis please, And I say no
alibis necessary.

Speaker 2 (03:42:35):
Not when you rely on Ingram shaving cream. That rich
Ingram ladder helps condition your face for the razor. You
get cool soothing shaves in comfort. Remember, men, comfort means coolness.
Coolness means Ingram. I am gram Ingram, the cooler shaving cream.

Speaker 28 (03:42:57):
Try Ingram yourself.

Speaker 25 (03:43:02):
This is NBC, the National Broadcasting Company.

Speaker 95 (03:43:27):
Murder ah me, you're lying, Donner.

Speaker 38 (03:43:39):
You know you're lying. You know it won't do you
any good, because this time I'm going to pass judgment myself.

Speaker 96 (03:43:51):
Fifteen years I've been thinking about this, dreaming about it.
My fingers around your throat, digging into that flappy wind.

Speaker 7 (03:44:03):
Pipe of yours, tighter and tighter until you stop struggling him.

Speaker 17 (03:44:14):
Yes, and now.

Speaker 38 (03:44:19):
I've got a nice grave already and waiting for you,
right next to your friend.

Speaker 6 (03:44:30):
Burd A mid night.

Speaker 33 (03:44:38):
Three graves yawning on a lonely fog bown Island, waiting
for whom you'll learn the answer in just a moment.
In Tonight's story, The Island of the Dead, and now
our story, The Island of the Dead, an original radio

(03:45:01):
play by one of radio's best known mystery writers, Robert Newman,
the story of a dead man who came back. It's
a small island, flat and barren, lying in the middle

(03:45:21):
of the river, and it's truly an island of the dead.
Red's the city's potter's field. It's here that the name
is dead are buried those who have no relatives to
claim them, those who are too poor to pay for
burial Elsewhere. At one end of the island is the
pier where the city launchdocks. At the other end of

(03:45:44):
the island, in the midst of the shallow graves, is
a squat stone building where the watchman lives.

Speaker 25 (03:45:53):
It's eleven thirty at night.

Speaker 33 (03:45:54):
Now he's sitting in the office, reading a paper and
listening to the river sounds.

Speaker 43 (03:46:00):
Well, who's there? Who's that? I said, who's there? Who
the devil?

Speaker 11 (03:46:16):
Are you?

Speaker 43 (03:46:16):
What do you want?

Speaker 38 (03:46:18):
I think that this is where I'm supposed to come?

Speaker 43 (03:46:21):
What do you mean?

Speaker 97 (03:46:23):
Hey, wait a minute, are you the nether relief man?
My name is Simon time Hardy. Now on, lay off
that stuff, will you? This place is bad enough without
you spooking around, not answering when someone talks to you
and the crying bells. You know what the job is,
don't you, Perceiving the stiffs that they send out, keeping

(03:46:44):
the records and digging the graves. Go'd be all alone
except for Joe, the guy that runs the launch at
the other end of the island. He only comes out
when he has to. Yes, I know, well go change me,
shot and blow. I didn't think they're going to be
able to get a relief man until next week. I'm
sure glad you got out here tonight. This place was

(03:47:06):
really starting to get me down it.

Speaker 43 (03:47:09):
I'll be out in a couple of minutes. Simon, Simon,

(03:47:32):
will over here. I didn't know where the places had
gone time. What in funder are you doing?

Speaker 23 (03:47:41):
Digging?

Speaker 20 (03:47:42):
Digging some graves?

Speaker 43 (03:47:44):
I see that three of them?

Speaker 3 (03:47:46):
What for?

Speaker 38 (03:47:48):
Because they'll be needed before the night is over.

Speaker 43 (03:47:53):
You mean they called up and told you to get
them ready.

Speaker 25 (03:47:55):
It's funny.

Speaker 43 (03:47:56):
I didn't hear the phone.

Speaker 38 (03:47:58):
No, no one.

Speaker 43 (03:48:01):
Then why are you doing it?

Speaker 97 (03:48:02):
I told you I think they'll be needed, you think. Look,
I'm going right now. I'd be back tomorrow night, as
I decided not to come back at all.

Speaker 19 (03:48:21):
Wait a minute, Hardy, I don't get it. Who are
you talking about?

Speaker 43 (03:48:26):
And when did I see him? The new relief man
just came out about a half hour ago. You must
have seen him. This is the only way you can
get out to the island. That's why I don't get it.

Speaker 19 (03:48:36):
If anybody did come out to the island, I'd be
bound to see him. I know, what did that tonight?

Speaker 2 (03:48:43):
What?

Speaker 95 (03:48:44):
What do you mean?

Speaker 43 (03:48:46):
I mean I only made one trip out tonight. I
didn't have no passages. We snapped flag ones. All I've
brought out was this stiff.

Speaker 38 (03:49:11):
Oh, mister Marsh, yes speaking? Is this mister Alec Marsh
the attorney?

Speaker 25 (03:49:18):
Attorney?

Speaker 7 (03:49:19):
Well, I used to be one and I haven't practiced
BN over ten years.

Speaker 38 (03:49:24):
Is this This is the watchman of the city cemetery
out on Channel Island. I'd appreciate it very much if
you'd come out here, immediately, come out there, look of
the night? What for do identify a body?

Speaker 36 (03:49:40):
Oh?

Speaker 7 (03:49:40):
What makes you think that I identify it?

Speaker 38 (03:49:42):
I have reason to believe that you are one of
the few people who can identify it. It's quite urgent.
If you take the launch at River Street, I'll meet
you at this end. Will you do it well?

Speaker 7 (03:49:55):
I don't know. It's a funny business man. Well, all right,
I'll leave right away.

Speaker 43 (03:50:12):
Is it much further to the island. Nope, you can't
see it because in a fact, but it's just right ahead.

Speaker 98 (03:50:17):
There is this something new, getting people to go out
to the island to identify bodies.

Speaker 43 (03:50:23):
Don't they usually do it down at the morgue?

Speaker 23 (03:50:25):
Yeah?

Speaker 10 (03:50:25):
Mostly, but I went in a while to get some
dope after the body's been shipped out to the island.

Speaker 98 (03:50:31):
Well, I don't like it any part of it, getting
a man out of middle of the night, this trip,
especially with a river like this, not being able to
see anything, just the whistles, the dog horns, and then
landing there on the island where for two cents i'd
go right back with you, not go ashore at all.

Speaker 40 (03:50:56):
Hell, here we are.

Speaker 19 (03:50:57):
Just let me make it fast.

Speaker 98 (03:51:01):
Okay, Well we get not I don't know. I'll tell
you what the man that phone said he'd meet me.
I uh, I'll go up to the end of the dark.

Speaker 64 (03:51:15):
It is not there.

Speaker 38 (03:51:17):
I'll come back, okay, mister Mark we yes?

Speaker 17 (03:51:28):
Was it you who phoned me?

Speaker 25 (03:51:30):
Yes?

Speaker 38 (03:51:30):
Can you follow me this way?

Speaker 43 (03:51:35):
How the dickens?

Speaker 7 (03:51:36):
Can you see where you're going when it's.

Speaker 38 (03:51:38):
So dark, you get used to it, just as you
get used to anything. As a matter of fact, it's
probably just as well it is a dark Why it
couldn't be worse even than daylight when you can see
the grades.

Speaker 43 (03:51:52):
But how did you happen to call me on this business?

Speaker 25 (03:51:55):
Anyway?

Speaker 38 (03:51:55):
I told you because you're one of the very few
people who can be of any help. Weren't you the
attorney for the defense in this Sloane case?

Speaker 46 (03:52:05):
Sloan Sloane?

Speaker 38 (03:52:08):
I can't remember I.

Speaker 43 (03:52:12):
Simon Sloane.

Speaker 7 (03:52:13):
Yes, I'm not sure if I was.

Speaker 38 (03:52:17):
It was a long time ago, more than fifteen years,
but you should remember.

Speaker 25 (03:52:23):
Yes, yes, I think I was.

Speaker 98 (03:52:26):
He was convicted on a charge of murder in the
second degree and got twenty years with time off for
good behavior.

Speaker 7 (03:52:32):
He's probably out now.

Speaker 38 (03:52:33):
And wait a minute, is that who.

Speaker 7 (03:52:36):
You want me to identify?

Speaker 6 (03:52:38):
Is he dead?

Speaker 26 (03:52:40):
Here?

Speaker 3 (03:52:40):
We are.

Speaker 38 (03:52:47):
Watch the step going in.

Speaker 7 (03:52:54):
Well, what are you waiting for? Aren't you going to
put on the light?

Speaker 99 (03:52:57):
No?

Speaker 20 (03:52:58):
Not yet?

Speaker 55 (03:53:00):
What was that the door?

Speaker 2 (03:53:02):
You?

Speaker 46 (03:53:03):
You locked the door?

Speaker 20 (03:53:04):
What's the idea?

Speaker 43 (03:53:05):
But what are you trying to do?

Speaker 38 (03:53:07):
That's just so we won't be disturbed disturbed.

Speaker 7 (03:53:11):
Well, who's going to disturb us? I insist you put
on the right open that door.

Speaker 38 (03:53:15):
Immediately we were talking about the Sloane case. You admitted
that you were the attorney for the defense. Do you
feel that you did a good job of defending him?

Speaker 10 (03:53:25):
How do I know?

Speaker 7 (03:53:27):
How do you expect me to remember the fact that
he was convicted doesn't mean that it was my fault? Besides,
what's that got.

Speaker 3 (03:53:33):
To do with you?

Speaker 38 (03:53:34):
Did you think that he was guilty?

Speaker 7 (03:53:36):
How do I know what I thought?

Speaker 25 (03:53:38):
What difference does it make?

Speaker 38 (03:53:39):
He he pleaded guilty, he wasn't guilty, He didn't want
to plead guilty. Who made him change his plea? If
I did so?

Speaker 35 (03:53:49):
What?

Speaker 41 (03:53:50):
Very well?

Speaker 25 (03:53:53):
There were?

Speaker 14 (03:53:55):
It?

Speaker 22 (03:53:55):
Ha you?

Speaker 43 (03:53:57):
It's it's you. You're a Simon's soul.

Speaker 20 (03:54:08):
A dead man.

Speaker 43 (03:54:09):
The Island and the dead three waiting graves.

Speaker 33 (03:54:15):
As the clock moves steadily towards the witching hour, repair
yourself for.

Speaker 38 (03:54:22):
Burd A midnight.

Speaker 33 (03:54:46):
Now to go on with the story of the Island
of the Dead. It's just a moment later, there is
silence in the small bare room. It's marsh stares at
the strange figure that stands uposite him and slowly, his
face pale and drawn, he sinks into a chair.

Speaker 43 (03:55:09):
You shouldn't have done this to me.

Speaker 25 (03:55:13):
I told you I'm not well.

Speaker 43 (03:55:15):
I've got a bad heart.

Speaker 38 (03:55:16):
Why did you do what you did to me? Why
did you make me change my pleader guilty? I had to?

Speaker 100 (03:55:23):
Why because because Donna, the district attorney, made me. He
wanted the conviction to build up his record, and he
had something on me and attempted bribery in another.

Speaker 20 (03:55:34):
Case, What are you going to do to me?

Speaker 43 (03:55:38):
I've got to get away from here. I'm a sick man.

Speaker 38 (03:55:40):
I tell you I'm not going to do anything to you.
You can go now if you can there, the door's open.

Speaker 43 (03:55:54):
Why why are you looking at me like that? You
think I can't make it, don't you? Mh And that's
why you're letting me go.

Speaker 38 (03:56:03):
Well I'll show you.

Speaker 43 (03:56:05):
I'll show you.

Speaker 19 (03:56:06):
Just have to take it easy.

Speaker 38 (03:56:08):
And no, I didn't think you would make it. That
is why I am not angry at you.

Speaker 14 (03:56:20):
Now.

Speaker 38 (03:56:20):
I have a place for you right outside here, for
you and for some others too. Hello, mister Donna, this

(03:56:47):
is the watchman at the City Cemetery out on Channel Island.
We have a body out here that we'd very much
like you to look at the body. We think that
possibly you may be able to identify it.

Speaker 43 (03:56:58):
And what makes you think that?

Speaker 38 (03:57:00):
Well, after all, you were a district attorney for several years.

Speaker 7 (03:57:04):
Why I haven't been.

Speaker 43 (03:57:06):
What's that got to do with it?

Speaker 38 (03:57:08):
It may have a great deal to do with it.
Will you come? The launch leaves from the foot of
River Street.

Speaker 43 (03:57:16):
Something very strange about this, but all right, i'll come.

Speaker 38 (03:57:20):
There be someone to meet me at the other end. Yes,
mister Donna, I'll meet you. I'll be waiting for you.

Speaker 97 (03:57:36):
Did the usual to have someone try and identify a
body when it's already in a grave?

Speaker 10 (03:57:40):
Oh?

Speaker 38 (03:57:40):
No, it's very unusual, but this was a rather special case.
I'm sorry. I haven't any flashlight, but I do have
a candle.

Speaker 75 (03:57:52):
There, But good luck.

Speaker 25 (03:57:55):
Then.

Speaker 38 (03:57:55):
You do know him?

Speaker 4 (03:57:57):
Yes, yes, I know him as marsh Alec marsh this
but about ten years ago?

Speaker 43 (03:58:05):
When did he die?

Speaker 38 (03:58:07):
About an hour ago?

Speaker 98 (03:58:08):
But that's impossible.

Speaker 43 (03:58:10):
See, he couldn't have gotten me as.

Speaker 38 (03:58:11):
So quickly, and not if he was dead. But when
he came here he was still alive.

Speaker 43 (03:58:16):
I don't understand why should he have come out here
in the first place?

Speaker 38 (03:58:21):
Because I owned him. I asked him to come out,
just as I asked you to come out. You see,
I wanted to talk to him about this Simon Sloan.

Speaker 6 (03:58:31):
Case, the Sloan case.

Speaker 43 (03:58:33):
But what how Wait a minute, let's that candle up. Whew,
you are slow, Yes.

Speaker 38 (03:58:42):
Doc, I'm slow. What's left to him after fifteen years
in jail? And you're the man who sent me there
when you knew I wasn't here, So you.

Speaker 43 (03:58:52):
Can't blame me for that. After all, it was my
job to prosecute.

Speaker 4 (03:58:55):
And when I did find out the truth, you did
find it out.

Speaker 43 (03:58:58):
Pay when I did, it was too You've already been
convicted and set up, and I've got to get away
from here.

Speaker 13 (03:59:06):
No, not yet.

Speaker 38 (03:59:11):
There are a few more things you are going to
tell me.

Speaker 7 (03:59:13):
First, how did you find out I wasn't guilty?

Speaker 4 (03:59:18):
The detective in the case told me the tap named Richards,
Bill Richards.

Speaker 38 (03:59:22):
Richards, Yes it would be Richards. But afterwards you found
out the truth.

Speaker 7 (03:59:28):
You could have ordered a new fire and getting me out,
but you didn't.

Speaker 43 (03:59:32):
You let me stay there, and no, no, no, I couldn't.

Speaker 10 (03:59:36):
There was just Richards.

Speaker 43 (03:59:38):
He said he wouldn't testify.

Speaker 38 (03:59:39):
Your lying gonna You know you're lying, and you know
it won't do you any good. Of course, this time
I'm going to pass judgment myself.

Speaker 6 (03:59:53):
Fifteen years.

Speaker 96 (03:59:56):
I've been thinking about this, dreaming at it, my fingers
around your throat, digging into that rappy wind pipe of yours,
tighter and tighter.

Speaker 7 (04:00:15):
Until you stop struggling.

Speaker 23 (04:00:18):
And yes, now I've got.

Speaker 38 (04:00:24):
A nice gream already and waiting for you.

Speaker 43 (04:00:30):
Over here, right next to marsh.

Speaker 23 (04:00:34):
And one more.

Speaker 6 (04:00:36):
But I've been recut.

Speaker 43 (04:00:56):
Let's allad it out. Yes, now you wait right here
for us, Joe.

Speaker 19 (04:01:00):
See that the you hardy, I will if you have
had a belly full.

Speaker 43 (04:01:05):
Look who's talking me?

Speaker 101 (04:01:06):
I've got to go trapes and all over this bloody
island just because your friend here comes into the station
house with his story.

Speaker 31 (04:01:11):
Know what to believe except the captain.

Speaker 43 (04:01:13):
We're crying, Belle Richards. Do you think I made it up?
What about those two other guys Joe said he brought
out here? What about those three graves this.

Speaker 25 (04:01:21):
Guy Simon was digging? They did you dream them up too?

Speaker 43 (04:01:24):
I didn't dream anything that bridget right over here?

Speaker 101 (04:01:28):
Mmm, I do look like Graves. I gotta match you
at someplace. It's like a look at him, good, good lord.

Speaker 43 (04:01:38):
There's a body in this one and then this one
here too.

Speaker 20 (04:01:41):
I see them.

Speaker 75 (04:01:43):
This one here looks like what is marsh? Helck Marsh?
And that's John Donner?

Speaker 43 (04:01:50):
Now am I crazy?

Speaker 3 (04:01:52):
Now?

Speaker 43 (04:01:52):
Was I making things up?

Speaker 7 (04:01:54):
This guy that came out here, he said his name
was Simon, Yes, was he?

Speaker 101 (04:01:58):
Let's see, must be about fifty fifty five now, probably
looks older, tall, thin faced, gray hair.

Speaker 43 (04:02:06):
That's right, that's him. Do you know him?

Speaker 8 (04:02:08):
Yeah?

Speaker 9 (04:02:08):
I know him.

Speaker 101 (04:02:09):
Look I was revenue before. But that man's dangerous killer.
I'm going to stay here and try and find him,
but probably need help. You and Joe take the launch
back to shore. Get hold of the captain. I'm having
to send out three or four more men fast.

Speaker 43 (04:02:21):
Okay, that's just right away. Sam, where are you? I
know it's you, and you know you can't get away?

Speaker 75 (04:02:41):
That building went in there?

Speaker 38 (04:02:43):
One of he's got a gun.

Speaker 25 (04:02:45):
Yeah, so see.

Speaker 43 (04:02:54):
Stick him up, Sloane. I'll let you have it preached, Jeremy.

Speaker 6 (04:02:58):
Yes, Richard, hear you.

Speaker 20 (04:03:04):
But on a light.

Speaker 38 (04:03:05):
There isn't any light in here, but I got a
candle just a second, so.

Speaker 101 (04:03:14):
It really is you I heard you rather astern. I
was sure it was as soon as I saw Marsh
and Dunner out there. You kill them, didn't you?

Speaker 2 (04:03:23):
Yes?

Speaker 20 (04:03:24):
I killed.

Speaker 75 (04:03:26):
This is really funny.

Speaker 7 (04:03:28):
I'd like to hear someone now say.

Speaker 75 (04:03:30):
There isn't such a thing as fate.

Speaker 38 (04:03:32):
Yes, it is funny. I tried to get you on
the phone, just the way I did Marsh and Dinner,
but of course I couldn't. Then you come out here
on your own.

Speaker 75 (04:03:43):
You thought you'd get me too. Huh, Well, that's okay.

Speaker 101 (04:03:47):
I try to get you, and I would have that
jury hadn't gone so panty wasting, given you just twenty years.

Speaker 75 (04:03:53):
You know that it was me the franger, don't you.

Speaker 25 (04:03:56):
Yes, I know it.

Speaker 23 (04:03:59):
I don't know why.

Speaker 101 (04:04:01):
Why, Because I've always hated you. That's why I was
just a flat foot and you were a gambler playing
big door. I never could touch you on the level.
That's why I hated you. That's why frame you.

Speaker 3 (04:04:14):
Well.

Speaker 75 (04:04:16):
I didn't get you then fifteen years ago, but I've
got you now, have you?

Speaker 38 (04:04:21):
Richard?

Speaker 7 (04:04:23):
I guess maybe you ought to look around see where
we are.

Speaker 12 (04:04:27):
M What do you mean?

Speaker 38 (04:04:30):
We're in the room where they keep the stiffs until
they're buried kind of an ice box. And if you'll
notice there's no handle on the side of the door,
that means there's no way of getting out.

Speaker 20 (04:04:43):
What why you.

Speaker 3 (04:04:46):
So what?

Speaker 75 (04:04:48):
Someone will be along sooner.

Speaker 38 (04:04:49):
Later, or when anyone does, it'll be too late because
that door is air tight. That means that as soon
as we use up the air that's in here. Now now,
we're finished, both of us. And it's starting to get
bad already, feel it.

Speaker 102 (04:05:09):
You tracked me, You got me a head deliberately. Well,
they won't get away with us, no good Richards.

Speaker 38 (04:05:25):
That won't hurt me, not anymore than I'm hurt already.
You see, I'm all gone inside. That's why they released me.

Speaker 99 (04:05:38):
I must have passed out in the street last night
and my heart was so bad that they thought I
was dead.

Speaker 7 (04:05:45):
They sent me out here for burial. But I wasn't dead.

Speaker 38 (04:05:52):
I couldn't die and feel like even things up and
waited until put me ashore. I don't gotten all three
of you. Oh no, there must be some way out.
So yeah, yeah, the smoke I can't bring, no Richards,

(04:06:22):
it's getting there's no way out.

Speaker 2 (04:06:27):
That can go up.

Speaker 99 (04:06:29):
That's our life, you see. When that goes out. We're
finishing and it's starting.

Speaker 6 (04:06:38):
To flicker, turnble already.

Speaker 10 (04:06:42):
Help.

Speaker 43 (04:06:44):
Help somebody, please, There.

Speaker 7 (04:06:49):
Is no help, Richards.

Speaker 47 (04:06:51):
This is it.

Speaker 96 (04:06:54):
There, the candle is going out. You might just as well.
I dominated quietly like me. There's just one thing, little thing,
you see. I only done three graves, three of you.

Speaker 7 (04:07:22):
Now someone else will have to dip.

Speaker 6 (04:07:29):
Mine.

Speaker 33 (04:07:44):
And so as two gasping bodies dropped to the floor,
the mission of Simon Sloan is completed. First March, then Donner,
and finally Richard's succumb to k murder.

Speaker 28 (04:08:03):
Ah Me.

Speaker 33 (04:08:32):
Remember to be with us again when death stalks the
wicked as the clocks strike twelve war.

Speaker 19 (04:08:41):
Murder ah Me.

Speaker 10 (04:09:17):
Experience.

Speaker 90 (04:09:52):
This is Awson Wells speaking from London.

Speaker 89 (04:10:04):
Here in the Grimstone structure on the Thames, which houses
Scotland Yard, is a warehouse of souvenirs where everyday objects
a broom, a vase, a lamb, shade, all are touched
by murder.

Speaker 20 (04:10:23):
Now this tan shoes, a bro good leather.

Speaker 89 (04:10:26):
Expensive make, with the dark stain near the heel, wasn't
put there by the manufacturer.

Speaker 2 (04:10:31):
A tan shoes left foot. What do you make of
this day? It looks to me like blood.

Speaker 20 (04:10:43):
Today that shoe can be seen in the Black Museum.

Speaker 9 (04:10:56):
From the annals of.

Speaker 103 (04:10:57):
The Criminal Investigation Department of the London Police. We bring
you the dramatic stories of the crimes recorded by the
objects in Scotland Yard's Gallery of Death, the Black Museum.

Speaker 89 (04:11:25):
And here we are in the Black Museum, Scotland Yards
Museum of Murder. Here lies death, violent unexpected death. Here
in the objects that line the shelves and fill the
room are the stories of murder. Is a birthday card
to Margaret with love. A present went with a card,

(04:11:47):
of course, the present was death. This glass a man
was drinking from it when he died. Most unnaturally, the
glass fell from his hands. The murder at comp forward
instinctively to catch it. He caught it and left a
fingerprint that sent him to the gallows.

Speaker 20 (04:12:06):
Ah, here we are. Here's the ten shoe, a left
foot shoe.

Speaker 89 (04:12:10):
The darkish stain near the heel inside and out couldn't
be disguised as polish, but there was no stain on it.
That morning of May the twentieth, nineteen thirty, when the
two men, one wearing this particular shoe, walked along the
platform at Newcastle station. It was a few minutes before
train time, so they made their way along the platform.

Speaker 2 (04:12:32):
H tilly, John, My firm regard me most highly.

Speaker 22 (04:12:35):
I'm sure they do many tat bridge, Not.

Speaker 2 (04:12:37):
That I care to boast, but their attitude speaks for
itself in what way? Well as you know? They allow
me to travel with the colliery wages each Friday from
the banking Newcastle to our office at almost It's a
very responsible task.

Speaker 22 (04:12:52):
How come, my friend? Admit the truth? What truth?

Speaker 46 (04:12:55):
John?

Speaker 2 (04:12:55):
But they really don't aly you to travel?

Speaker 104 (04:12:57):
I'm escorted with so much money in that Oh yes
they do, but there's no guard cunningly posted.

Speaker 2 (04:13:04):
Someone else on the train to watch you, none whatsoever?

Speaker 17 (04:13:08):
You see?

Speaker 2 (04:13:08):
They placed great trust in me, mark my words. I'm
in line for a colliery managership one day and you
deserve it, my dear chap. Ye should it be a
fine reward for twenty years work? Oh morning Collins, Good morning,
fine Chap. He's a club with a neighboring colliery. Now work,
Come on, John, I think this is our carriage. It

(04:13:35):
seems to be empty splendid. We can have a good
talk during the hour journey to Walmuth now come on,
sit down and make yourself at home.

Speaker 89 (04:13:49):
And with these few words, the friends smilingly took their
places in the empty railway carriage. It was quite a
change for mister Bennett to have someone to talk to.
One is usually loanly courier service. More often than that
he was alone with his small black bag, for it
was not his habit to trust strangers when carrying a
large sum of money.

Speaker 20 (04:14:06):
But this chap seemed a decent sort.

Speaker 2 (04:14:09):
And John, you simply must come home to dinner and
meet the wife.

Speaker 25 (04:14:12):
A very nice old chap.

Speaker 2 (04:14:13):
That's good, Well, shall we say Friday night? Delighted here.

Speaker 89 (04:14:20):
It's a very decent sort. Then it didn't take easily
to people, but this chap seemed to be his kind.
It only met him in Newcastle a week ago, but
he'd warmed to him at once, and then away did
with few people. So the train sped along the Northeastern line,
eaton Stannington, Morpeth, small station stops along the line. At

(04:14:42):
Marpeth the train took up water. A few people got
out to stretch their legs. Some passed through the barrier
and gave up their tickets.

Speaker 90 (04:14:50):
Among them was a man in a gray overcoat its face.

Speaker 10 (04:14:54):
Take it?

Speaker 2 (04:14:56):
They uh, you won't say say you're to each Oh, yes,
I've changed my mind.

Speaker 22 (04:15:02):
I'm getting off here.

Speaker 25 (04:15:03):
Thank you rich.

Speaker 89 (04:15:06):
Four minutes later the train left Morpus and went on
its way to Almouth. There, the passengers alighted the journey
was over. A porter then proceeded to clean the train
as was usual, but in one of the empty carriages
he made a gruesome discovery.

Speaker 22 (04:15:28):
Hey, watch this blood on the floor.

Speaker 89 (04:15:31):
A stream of blood running from under the seat. He
bent down to look and found the carriage not so
empty as he'd imagined.

Speaker 40 (04:15:38):
Help please, somebody's been murdered.

Speaker 20 (04:15:57):
Somebody had indeed been murdered.

Speaker 89 (04:15:59):
The next larger step, after the local police had been
hurriedly brought to the scene of the crime, was to
send for Scotland Yard.

Speaker 43 (04:16:19):
Inspector.

Speaker 41 (04:16:19):
Mortons from Scotland Yard Inspector coming glater and new your acquaintance. Oh,
thank you, sard that we are Yes, yeh, sit down,
sit down well. In answer to your question, I'm worried.
Do you sit worried about the murderer? Yes, they all
come to the Chief Constable of the county. The railway

(04:16:42):
is telling me that no one will travel by train
unless the killer's caught.

Speaker 22 (04:16:46):
I see the point.

Speaker 25 (04:16:47):
Yeah, but that's only one of them.

Speaker 41 (04:16:48):
Then there's the colliery insisting that we find the murderer
of their employee and the man's wife.

Speaker 22 (04:16:54):
Of course, yes, I know.

Speaker 2 (04:16:56):
Well you can hand all that sort of thing over
to me now and I can't.

Speaker 20 (04:17:00):
I'm sorry.

Speaker 2 (04:17:01):
First of all, sir, would you supply me with some
preliminary facts? How much do you know about the murdered man?

Speaker 89 (04:17:07):
The Chief Constable explained it all at the London Detective
The dead man's name was Wallace Bennett, a meek and
faithful little man. The past twenty years, he'd worked with
the leading colliery in the district. For the past five
years he'd been their paymaster, traveling with his cash bag
to pay the minus wages each week in Almouth.

Speaker 20 (04:17:25):
Well there it is, Inspector.

Speaker 41 (04:17:28):
He took the train as usual as Friday, but he
arrived at almost dead.

Speaker 2 (04:17:33):
And the bag in which he carried this moneycer it
was missing.

Speaker 89 (04:17:41):
The inspector wanted to find out first about that missing bag,
most of all how much money it contained.

Speaker 20 (04:17:48):
He went to the colliery manager.

Speaker 2 (04:17:50):
Now, sir, I'd like to have your help and connection
with the murder of Bennett. Well, anything I can do
to helper who can count on me? Well, first, I'd
like to find out how much the bag who was
carrying with them contained.

Speaker 103 (04:18:01):
The person who can answer that question is Miss Robertson
in our count's department.

Speaker 2 (04:18:10):
Well, Miss Robertson, I expect you have a record of
the amount that mister Bennett drew from the bank on
the morning of his death.

Speaker 70 (04:18:16):
Oh, yes, Inspector, I have a note of it here.
The amount is exactly four hundred pounds, eight shillings and fourpence.

Speaker 22 (04:18:26):
And how was the money made up?

Speaker 70 (04:18:28):
In various denominations, Inspector. You see it was required for
paying the men at the colliery, but the greater part
in pound notes. And Inspector, I thought that you'd be
making inquiries, so I was in touch with the bank
this morning. Yes, the money was paid out in used notes,
and the bank has no trace of the numbers.

Speaker 2 (04:18:49):
Oh bad luck. Well, thank you, Miss Robertson. You've saved
me a disappointment and a wasted visit.

Speaker 90 (04:18:58):
Now there were other things other people to see, among
them the doctor.

Speaker 104 (04:19:04):
Yes, Inspector, I was called in by the look of
police when the body was discovered, and.

Speaker 22 (04:19:08):
What did you determine is the cause of death?

Speaker 25 (04:19:10):
Doctor?

Speaker 104 (04:19:10):
And there were four bullets in the body, one of
which hinted the left lung and won the heart.

Speaker 22 (04:19:15):
Yes, the other two were lodged in the brain. A
killer took no chances, none at all.

Speaker 104 (04:19:22):
A scowl was also factured by a heavy blows such
as might be made by the butt of a revolver.

Speaker 22 (04:19:27):
I see, Oh, thank you doctor.

Speaker 89 (04:19:30):
The motive was clear enough robbery. Somewhere was a bag
and four hundred pounds, and there also was a murderer.

Speaker 20 (04:19:37):
But where who was it?

Speaker 89 (04:19:39):
Morton found it hard those first few days, hard because
there were no leads. There was a body, missing, cash bag,
and four bullets.

Speaker 20 (04:19:45):
That was all. The bullets were duly tested and traced.

Speaker 2 (04:19:50):
Nickel capped bullets are unusual style five from a point
three to revolver.

Speaker 25 (04:19:55):
Any hope of tracing the gun, Morton.

Speaker 22 (04:19:57):
Over working on it. NASA.

Speaker 2 (04:19:58):
The train was studdled at search no sign of the gun.
But I'm having a very thoroughsearch made along the railway
track to see if we can uncover anything there good.

Speaker 22 (04:20:06):
I just think it likely the killer might have thrown
the gun out of the window.

Speaker 2 (04:20:09):
Well, let me know as soon as you enter the report,
Spector Martin, what's that You found a gun?

Speaker 10 (04:20:24):
All right?

Speaker 2 (04:20:24):
Send it along as quickly as possible and we'll have
it examined by the expats. Yes, sir, it's the murder
webin all right. I've compared it with the bullets and
they were fired from this same revolver. And I suppose
there's no means of identification. The revolver number removed and
all the usual precautions. Oh no, sir, the number can
be distinguished. What's more, I've made inquiries and we've traced

(04:20:45):
the owner. Good sounds a little too simple, though.

Speaker 22 (04:20:49):
Where is the owner?

Speaker 2 (04:20:50):
Well, he's a foreign gentleman, saying, living here in Newcastle.
They are getting hold of him now. Now I want
you to identify this revolver according to the gun license.

Speaker 22 (04:21:04):
It's one that belongs to you.

Speaker 25 (04:21:06):
Let me see.

Speaker 2 (04:21:07):
Yes, that's my revolver all right.

Speaker 104 (04:21:09):
Oh I can't tell you how great im to you,
Inspector for getting me back.

Speaker 2 (04:21:13):
Oh my wife will be pleased. I never expected to
see it again.

Speaker 22 (04:21:16):
You mean it was stern?

Speaker 11 (04:21:17):
Yes?

Speaker 2 (04:21:17):
So what three months ago?

Speaker 8 (04:21:18):
I must pull my wife and tell us back.

Speaker 104 (04:21:20):
Oh she was so upset you see, my house was
burgle and this was missing, among other things.

Speaker 2 (04:21:26):
I reported it to the local police. I see just
one other question, mister Roccini. Can you give me some
medication of your movements during.

Speaker 22 (04:21:33):
The last seven days.

Speaker 105 (04:21:35):
Oh, that's very simple, inspector. I only arrived home this
morning on a business trip from the continent. If I've
been in Paris for the last fortnight. But please don't
let my wife on that. If you want any witnesses,
that's very easy. I've been working in the Paris office
of my company all the time.

Speaker 2 (04:21:51):
Don't be suspicious on me, all right, mister Roussini, just
as a matter of routine, will check your statement, but
I don't think we'll need to see you again.

Speaker 90 (04:22:02):
Dead Ends wherever they looked dead ends.

Speaker 89 (04:22:07):
With the inquest pending, it looked as if a verdict
of murder by a person or person's unknown would be certain.
And yet that was not to be a twist of fate.
A new chance witness was to revive the investigation, set
it back on the trail which led to the murderer
and the bloodstained shoe, that same tan shoe which you
can be seen today in the Black Museum. The witness

(04:22:43):
came in on the third day, the morning after the funeral.
He was a short, dark haired man whose name was Collins.
He asked to see the inspector in charge of the case.

Speaker 2 (04:22:56):
Come in here, mister Collins, we can talk about interrupt
or take you, inspector.

Speaker 22 (04:23:01):
Now, what was it you wish to see me about?

Speaker 46 (04:23:04):
About Bennett's about his murder?

Speaker 106 (04:23:07):
Yes, I met him on Newcastle station that morning before
he boarded the train.

Speaker 22 (04:23:12):
You saw him them? Was he carrying his cash bag?

Speaker 19 (04:23:15):
Yes?

Speaker 46 (04:23:16):
He was. I seen Bennett travel down to Olnath every Friday.

Speaker 106 (04:23:19):
For years, but this morning I particularly noticed him before
because he usually traveled alone.

Speaker 22 (04:23:26):
Wasn't he alone last Friday?

Speaker 106 (04:23:28):
No, he had someone with him. They were walking along
the station together. I saw them get into the same compartment.

Speaker 89 (04:23:39):
Now for the first time, Bennett's train companion, added the
case inspector Morton wanted to know more, a lot more.
Was the man a friend of Bennett's? Did he Collins
know him?

Speaker 36 (04:23:51):
No?

Speaker 46 (04:23:52):
I didn't know the man, Inspector.

Speaker 2 (04:23:54):
He was a stranger to me, and it sounded like
he would be a close friend of Bennett.

Speaker 43 (04:23:59):
I think so.

Speaker 46 (04:24:00):
Of course, his wife, I mean widow, would be the
one to tell you about that.

Speaker 2 (04:24:05):
I'll check with her now. Mister Collins, you've been very helpful,
but can you help a little more? Yes, how, inspector,
can you give me a description of this man?

Speaker 10 (04:24:15):
Well?

Speaker 2 (04:24:16):
I noticed he was shortish about my height, that's five
foot seven, yes, anything else?

Speaker 46 (04:24:24):
He was fair, small, mustache good and his clothes.

Speaker 106 (04:24:30):
He was wearing a gray overcoat, gray soft felt hat
and a dark gray suit. Least I could see his
dark gray trousers, a red tie, I think, oh yes,
and tan broke shoes.

Speaker 2 (04:24:43):
You're very observant, mister Collins. Did you buy any chance
in letters when he left the train? Yes, at Morpeth,
you're sure of that. It's certain. I got out to
stretch my legs when the train took up water.

Speaker 25 (04:24:56):
There.

Speaker 46 (04:24:57):
I saw him go through the barrier and give up
his ticket.

Speaker 20 (04:25:01):
Out of the blue, A witness and a lead at last.

Speaker 89 (04:25:05):
It happens that where a person remembers some incidents, some
unusual detail, and the trail begins.

Speaker 20 (04:25:17):
Missus Bennett.

Speaker 12 (04:25:19):
Yes, I'm from the police.

Speaker 107 (04:25:21):
I'm sorry to trouble you at a time like this,
But Inspector Morton, I'd like you to answer a few
questions I'll do it, thank you, missus Bennett. Now, your
husband left home at the usual time on that particular morning, yes,
carrying the black bag containing the money.

Speaker 11 (04:25:39):
Yes.

Speaker 13 (04:25:41):
I was always worried about that bag.

Speaker 2 (04:25:43):
Yeah.

Speaker 107 (04:25:44):
And do you recall on this particular morning whether your
husband was planning to meet a friend or anybody in particular.

Speaker 13 (04:25:52):
If he was, he never mentioned it to me. He
always traveled by himself as far as I know.

Speaker 107 (04:26:00):
It's your husband's acquaintances. Is there any men you can
recollect a shortish five foot seven, fair hair, small mustache.

Speaker 8 (04:26:11):
No, No, I can't think of anybody like that. He
definitely wasn't a close friend of my husband's.

Speaker 13 (04:26:17):
Of that, I'm sure.

Speaker 20 (04:26:19):
Inspector Martin hurried to Mark with an interview the ticket.

Speaker 41 (04:26:21):
Collector, a man in a gray overcoat last Friday, said, sir.

Speaker 2 (04:26:28):
Yes, a short fell man, dark gray suit and a
small mustache.

Speaker 22 (04:26:31):
Do you remember him only?

Speaker 41 (04:26:33):
I do remember. He had a ticket almost but he
gave it up here. Yes, he said he changed his mind.

Speaker 2 (04:26:41):
Or smit, did you notice that he was carrying a
small black bag.

Speaker 41 (04:26:45):
I couldn't say what it was, see he had it
inside his coat cover up.

Speaker 2 (04:26:50):
He looked bulky. Inside his coat. Thank you, thank you
very much.

Speaker 89 (04:26:57):
A casual question had brought an encouraging, unexped elected answer.
The man who had left the train that Morpeth was
concealing something bulky beneath his overcoat. The black cash bag
was missing, and this man had traveled in the same train,
according to a witness, in the very same compartment.

Speaker 20 (04:27:12):
All they had to do now was find him. The
thought was not too comforting.

Speaker 89 (04:27:19):
Find one man who might be anywhere in England, one
man who had left almost no trace behind him, and
then fate, strange, incredible fate intervened.

Speaker 20 (04:27:28):
Or was it fate? Perhaps it was stupidity or.

Speaker 89 (04:27:31):
The unconscious urge to brag that lies hidden in every murderer. Anyway,
it happened that same week at a hotel bar in London.

Speaker 104 (04:27:41):
Come on, have another George now, who No, thanks mighty,
I're gonna be going kill one hel pay, but you've
already paid for three.

Speaker 52 (04:27:49):
What's that man's I've got money, look limey, one pound,
no chundreds of them.

Speaker 19 (04:27:55):
I tell you I'm rich.

Speaker 8 (04:27:57):
Come on, have another Two men thinking in a bar,
two casual acquaintances.

Speaker 89 (04:28:02):
It may never have happened, but it did. Happen, and
when one of them is mine? Filled with misgivings and doubts.
When to the police the next morning, Scotland Yard was
speedily informed.

Speaker 22 (04:28:12):
Ah, let's hear the story. Your name's Blake, is it?

Speaker 2 (04:28:16):
That's right, sir. I'm a bus driver. This fella I
was drinking with he used to work for our company once.

Speaker 22 (04:28:22):
Do you know him well?

Speaker 11 (04:28:23):
Well?

Speaker 2 (04:28:23):
Now, hardly at all. I met him in the pub
last night and he kept on buying me drinks. Then
he brought out this great fistful of money.

Speaker 22 (04:28:31):
How much money would you say, oh, two or three
hundred quid?

Speaker 25 (04:28:34):
I think what?

Speaker 2 (04:28:35):
Maybe I misjudged him so, but well I heard about
the murdering Newcastle and the money being pinched. Did the
right thing, Blake, I don't worry about that. What's the
man's name? Linkman, John Linkman?

Speaker 6 (04:28:45):
I think it is.

Speaker 22 (04:28:46):
Do you know where he lives?

Speaker 19 (04:28:47):
Now?

Speaker 2 (04:28:47):
I'm not the factist idea about that, but you'll find
him most knights down at the Roundeed, answer in the bar.

Speaker 89 (04:28:53):
The round Head Arms, a small pub on a London
side street, a long way from the scene of the murder.
But here that same evening went Inspector Morton what will.

Speaker 22 (04:29:05):
It be for you, sir, I'll order it in a minute.

Speaker 2 (04:29:07):
Miss, thanks, I'm waiting for a friend. Okay, you might
have to na him. He's one of your regular customers.
John LINKMLN.

Speaker 39 (04:29:13):
Johnny Linkmann, Yes, I know him.

Speaker 2 (04:29:16):
The funny thing I came in here last Friday to
have a drink with him and seemed.

Speaker 22 (04:29:19):
To miss him. Oh that's no wonder.

Speaker 2 (04:29:21):
You should have asked me Johnny was away.

Speaker 39 (04:29:23):
He was away about a week.

Speaker 22 (04:29:24):
Oh that explains it.

Speaker 39 (04:29:25):
Yes, some business trip, he said.

Speaker 70 (04:29:28):
Muster done all right too, because he's pretty flash.

Speaker 2 (04:29:30):
Now. Nice to hear of an old friend doing so
well here he is now just coming in.

Speaker 19 (04:29:34):
Hello Johnny Love Hello Rubie, find it bit?

Speaker 70 (04:29:38):
Better make it too, You've got a friend waiting for you.

Speaker 2 (04:29:41):
Never mind the drinks, Miss John LINCMLN.

Speaker 17 (04:29:45):
Yes, who are you?

Speaker 22 (04:29:46):
Inspector Morton from Scotland.

Speaker 2 (04:29:48):
Yard, Scotland Yard.

Speaker 20 (04:29:51):
What do you want with me?

Speaker 22 (04:29:52):
One or two questions? I want to ask you?

Speaker 89 (04:29:55):
Outside with a firm grip on his quarries, Arm Morton
left the hotel bir outside a car was waiting. Mortland
Linkman were driven to Scotland Yard.

Speaker 104 (04:30:08):
In here, mister Lincoln, do you expect to you. You
must be out of your mind. What's the meaning of
this treatment?

Speaker 22 (04:30:14):
Where were you last Friday?

Speaker 20 (04:30:16):
Mister Lincoln?

Speaker 19 (04:30:17):
Minding my own business?

Speaker 2 (04:30:18):
Comes for that attitude journey wasting our time?

Speaker 14 (04:30:21):
Oh?

Speaker 2 (04:30:21):
I was on a business trip, if you must know
where in the Newcastle district.

Speaker 22 (04:30:25):
I'm a salesman. What firms did you deal with that?
And what firm do you represent? I'm a private trade.

Speaker 25 (04:30:30):
I saw no firms while I was there.

Speaker 22 (04:30:32):
None. No, my trip was a failure.

Speaker 2 (04:30:34):
And where did you get the very large summer money
you've been carrying with you lately?

Speaker 6 (04:30:38):
Money?

Speaker 19 (04:30:39):
What money?

Speaker 2 (04:30:40):
I think you know to what I'm referring? May I
see the contents of your pocket?

Speaker 25 (04:30:44):
Certainly?

Speaker 22 (04:30:45):
Not, then you'll force me to go through the formality
of such warrant.

Speaker 2 (04:30:48):
Oh, all right, here a pen? Yes, some silvers and this.

Speaker 22 (04:30:58):
One pound notes at a guess about three hundred of them.

Speaker 89 (04:31:02):
Linkman was held in custody. Meanwhile, Morton and a sergeant
went to search his home.

Speaker 2 (04:31:08):
I'm sorry, I but we have a search warrant. Shall
I start on the bedroom? Sir?

Speaker 22 (04:31:12):
Yes? Sardon?

Speaker 2 (04:31:13):
But what is my husband done?

Speaker 11 (04:31:15):
Why are you here?

Speaker 2 (04:31:16):
We're just making a preliminary investigation, Mam, there's no cause
for alarm yet.

Speaker 89 (04:31:21):
They searched the bedroom, a cramped lounge room with its
fading wallpaper, the bathroom, the kitchen, pursued and harassed by
distraught missus Linkman then in the second bedroom.

Speaker 2 (04:31:34):
But what has he done? Inspector, You've got to tell me.
I'm sorry, there's nothing I can tell you yet, Missus Lincoln,
this is awful. I've got something, Inspector, A ten shoes, sir,
left foot. What do you make of this day? It
looks to me like blood. We'll take it back with
us and have it tested.

Speaker 90 (04:31:57):
In the laboratory at Scotland Yard. They found out it
was blood.

Speaker 89 (04:32:01):
The bank in Newcastle identified the notes in a police
line up. Collins identified Linkman as the man who had
shared a compartment with Bennett that fatal Friday morning, and
then the.

Speaker 95 (04:32:12):
Game was up.

Speaker 22 (04:32:14):
Well, mister Lincoln, have you anything to say?

Speaker 2 (04:32:16):
This is all a ridiculous mistake. I can explain everything.

Speaker 22 (04:32:20):
Can you explain this?

Speaker 2 (04:32:22):
Ah, yes, you must have found it in my flat.

Speaker 20 (04:32:25):
It's one of my shoes.

Speaker 2 (04:32:26):
And can you explain the stain here just by the
toe cap. Somebody seems to have been trying to cover
it with shoe polish, not very successfully, I'm afraid.

Speaker 104 (04:32:36):
Oh, come along, mister Lincoln. Can you explain that? And
I've never noticed the stain before. It's probably some oil
or something, mister Lincoln. It's not oil.

Speaker 22 (04:32:46):
I have the laboratory report here. It's a blood stain.

Speaker 2 (04:32:50):
All right.

Speaker 25 (04:32:51):
You know everything, don't you?

Speaker 22 (04:32:52):
Not everything, mister Lincoln.

Speaker 20 (04:32:53):
But enough?

Speaker 22 (04:32:55):
Would you like to make a statement now?

Speaker 20 (04:32:57):
Very well?

Speaker 25 (04:32:58):
I'm glad it's over. Glad I condear somebody the truth.

Speaker 89 (04:33:01):
At last, confronted with all this and the evidence of
the stain on the shoe he'd vainly tried to cover
up with shoe polish, Linkman confessed to his crime, and
today that same shoe can be seen occupying a place
in the Black Museum.

Speaker 2 (04:33:25):
Orson Wells will be back with you in just a moment.

Speaker 89 (04:33:29):
The trial was held at Newcastle, with an eminent counsel
retained to defend the prisoner, but inevitably the sordid details
of the crime emerged. Linkman, being out of a job
and needing money, a chance to make the acquaintance of
Wallace Bennett and Newcastle learning his new friend carried large
sums of money by train every Friday. Linkman carefully planned
his crime, but he learned, much to his eternal sorrow,

(04:33:51):
that care must be preserved both before and after murder.
A moment's lapse, a few drinks, and it meant the
thirteenth steps in the rope one morning. Not long afterwards,
As the Lord Justice said in sentencing the prisoner, the
scales of justice are now balanced.

Speaker 20 (04:34:08):
And now until we.

Speaker 89 (04:34:09):
Meet next time in the same place, and I tell
you another story about the Black Museum, I remain, as
always obediently yours.

Speaker 108 (04:35:03):
Mutual presents the Mysterious Traveler.

Speaker 10 (04:35:15):
This is the Mysterious Traveler, inviting you to join me
on another journey into the realm of the strange and terrifying.
I hope you will enjoy the trip, that it will
thrill you a little and kill you a little. So
settle back, get a good rip on your nerves, and
be comfortable if you can. As you hear the story
I call.

Speaker 23 (04:35:37):
The Man who Dies twice.

Speaker 10 (04:35:51):
Tonight we're going to delve into a murder most strange,
one that confused many of the greatest legal minds of
our days. My story begins in the mansion of Judge Marshalls,
situated high on a hill overlooking a large New England city.
It is early evening and Judge Marshall, one of the

(04:36:11):
state's foremost curious, is sitting in his library reading a
legal brief.

Speaker 23 (04:36:17):
As he intently reads, the French.

Speaker 10 (04:36:20):
Door leading to the port slowly and silently swings open,
revealing a huge, white haired man standing in the doorway.
His tremendous bent frame shows the remains of a man
who's been a giant in his youth. Suddenly, the judge
becomes aware that he isn't alone. He quickly turns and.

Speaker 23 (04:36:40):
Sees who who are you?

Speaker 10 (04:36:45):
What are you doing here? Don't you remember me? Judge? No,
I can't say that.

Speaker 79 (04:36:50):
I do.

Speaker 10 (04:36:52):
Think back, Think back sixteen years when you were judge
as a murder trial. Sixteen years, my good man, I
presided over a great many murder trials, as you call them,
and I still don't know who you are. Just keep
looking at me, Judge, and think back, think back. You

(04:37:15):
you do look familiar. I'll help you.

Speaker 23 (04:37:17):
Remember.

Speaker 10 (04:37:19):
My name is Adams. Luke Adams, Luke Adams. Yes, yes,
now I remember. I sentenced you to prison for twenty
five years for killing a man. Yeah, yeah, for killing
a man. You know your age, so that's why I
didn't recognize you. Yeah, it's hard to believe. I'm only

(04:37:40):
forty five, isn't it. I presume you've been parobed.

Speaker 3 (04:37:43):
Yes, what do you want?

Speaker 10 (04:37:46):
I want to tell you my story, Judge. I want
to tell you all the things I never got a
chance to tell you at my trial. As far as
I'm concerned, mister Adams, the case is closed now if
you don't mind, I.

Speaker 3 (04:37:56):
Will reopen it.

Speaker 10 (04:37:58):
I've come to tell you my story and yoga to
listen very well in as Treadams.

Speaker 6 (04:38:03):
So now thank you.

Speaker 10 (04:38:07):
I don't know if you recall, Judge, but my wife,
Millie was a beautiful woman.

Speaker 23 (04:38:12):
Yes, I remember.

Speaker 10 (04:38:14):
She had the kind of beauty a man can't forget. Yes, yes,
And I suppose that's what caused it all. Billy and
I grew up together, and I guess I loved her
from the moment we met. The only reason she married
me was because of the money I'd inherited, and when
I lost it in twenty nine, things were never the

(04:38:34):
same again between us. She hated living in a small village,
trying to stretch one dollar into two. Sometimes I think
her smiling and other men was her way of getting
revenge on me for the way we had to live.
The angrier eye got, the more she flirted, till she
almost drove me out of my mind. Things went on

(04:38:59):
like that, day after day month. That dumb money it comes, Luke. Hello,
Luke getting home from work a bit early today. Huh Yeah,

(04:39:19):
missus and I were just talking about how hot it is. Yeah,
you want to find it fair breaking all of the
quarry in the heat. Huh Well, I've gotta be going
see you again. What was he hanging around for?

Speaker 109 (04:39:37):
He just happened to be going past.

Speaker 11 (04:39:39):
Stop saylo rning wrong in that?

Speaker 10 (04:39:43):
It's funny every time I see you talking to someone,
that's always a man. How Come I never see you
talking to women.

Speaker 109 (04:39:48):
Because all the women in the cellags are a bunch
of cats they hate because I'm beautiful man.

Speaker 10 (04:39:54):
All right, but I'm warning you, I don't want to
see Chuck Riker or any other men hanging around here.
If I do, there's gonna be troubled. The days went by,
and then they hardly spoke to me. Nothing I said
or did seem to please her, And yet, just knowing

(04:40:17):
she'd be there when I got home.

Speaker 3 (04:40:19):
Was enough to me.

Speaker 10 (04:40:22):
And one day I come home from work, she wasn't alone.
Oh hello, Luke?

Speaker 3 (04:40:27):
Oh?

Speaker 23 (04:40:27):
Early answered?

Speaker 10 (04:40:29):
What's he doing here?

Speaker 109 (04:40:31):
Chuck was going past stopped him to say hello?

Speaker 10 (04:40:34):
Just like that. I thought, I told you not to
let this happen again. If just wants to call on me,
why shouldn't he?

Speaker 3 (04:40:40):
Right?

Speaker 6 (04:40:40):
Chuck?

Speaker 10 (04:40:41):
Sure? After all, Loop, there's no use being old fashioned,
well known each other since we were kids. What harm
is there an.

Speaker 3 (04:40:49):
Old friend dropping in?

Speaker 10 (04:40:50):
And why you look at me like that? There's lipstick
on your cheek. You better let me wipe it off
for you.

Speaker 3 (04:40:57):
How wait a minute, Luke, I can explain. There's no
use fighting was.

Speaker 23 (04:41:03):
Get up?

Speaker 3 (04:41:04):
I'll wait him in a low can't we get up?

Speaker 10 (04:41:07):
Talking won't help. You'll have to fight your way out.

Speaker 3 (04:41:09):
That's it.

Speaker 10 (04:41:10):
Pick up that poker. Come on, come on? What are
you waiting for?

Speaker 3 (04:41:14):
Okay?

Speaker 19 (04:41:14):
Your last for it?

Speaker 6 (04:41:15):
You're gonna get it.

Speaker 10 (04:41:21):
Let's to learn. You have to hang around with him
AND's wife before I'm through what you No woman will want.

Speaker 23 (04:41:26):
To look at you?

Speaker 64 (04:41:28):
Stop it?

Speaker 15 (04:41:28):
He got stop it?

Speaker 10 (04:41:31):
How does he look at you? Anomaly? I'll tell him
out then you and I will settle. A few things
come on you.

Speaker 23 (04:41:36):
How you go.

Speaker 10 (04:41:39):
There's a push to start on your way. Now we
come to you.

Speaker 109 (04:41:47):
You think I'm afraid of you?

Speaker 11 (04:41:50):
Go ahead, ruin met up?

Speaker 29 (04:41:52):
So no, man, lover, want to look at me?

Speaker 10 (04:41:53):
Go ahead, really, I'll talk like that. You know how
much I love you? Why you're doing this to me?
I know I haven't been able to give you all
the things you want, but that's no reason to treat
me this way. I won't stand with Milly. You go
your way, Noma, No, no, I couldn't live without you.
You know that I'll never let you go. Your mind,

(04:42:16):
your hair, Milly, don't turn away from me, all right,
but I'll never give you up.

Speaker 6 (04:42:25):
Never.

Speaker 10 (04:42:33):
Lilli just stood there, looking at me contempt in her eyes.
I knew we were through, and yet I couldn't give
her up. I clung to the small hope that something
would happen, It would change her, make a feel towards
me as I felt about her. Long lonely week went by,
I knew that Milly and I had been the scandal

(04:42:54):
of the village ever since the day I'd beaten Chuck
Rocket at the quarry. The men whispered doing each other
when they thought I wasn't looking, and I could only
give vent to my rage by smashing rocks into a
thousand small pieces. Then one day in the autumn, an
opportunity came, an opportunity to escape the villages and their

(04:43:15):
got relly Melly Ria here.

Speaker 3 (04:43:21):
What is it, Milly?

Speaker 10 (04:43:23):
You've always wanted to get away from the village. Now
we have a chance. Well, I met mister Anderson this morning.
You remember him. He's an old friend of my father's.
What about Lee owns a small farm which he's willing
to sell for only three hundred dollars down. Do you
mean you want to buy it? Yeah? Just figure it, Milly.
A place of our own, twenty miles out of the country,
away from the village in a gossip.

Speaker 109 (04:43:41):
You really think I'd move to a farm, cut myself
off from everything.

Speaker 10 (04:43:47):
Oh it's what you need, Milly, a home of your own,
a place to work and build. You'd love it, Milly,
I know you would.

Speaker 15 (04:43:53):
You mean you would.

Speaker 10 (04:43:55):
Don't think I don't know what's going on in that
head of yours.

Speaker 109 (04:43:58):
You want to cut me off from everybody.

Speaker 79 (04:44:00):
Take me someplace, raking, keep an irony day and night.

Speaker 109 (04:44:03):
Well, I'm not having any part of it.

Speaker 10 (04:44:05):
But Millie, you said yourself, you're not happy here.

Speaker 13 (04:44:07):
Yes, but I don't want a farm.

Speaker 11 (04:44:10):
I want to live in a city. I want to
have everything that other women have.

Speaker 10 (04:44:14):
But we can't go to the city. There's no work
to be had.

Speaker 6 (04:44:17):
We're living in a depression.

Speaker 109 (04:44:18):
Well, if you can't give me what I want, there
are plenty of other men who can.

Speaker 10 (04:44:25):
They'd better not try. I'm warning you, Millie, I'll kill
any man who tries to take you away from me.

Speaker 14 (04:44:31):
Ooh.

Speaker 10 (04:44:37):
Weeks went by, weeks in which Millie scarcely spoke to me.
We lived as strangers in an uneasy cruise. I worked
from dawn to twilight at the quarry, and as I worked,
I could sense the men gossiping about Milly and myself.

Speaker 23 (04:44:54):
I would think of Milly.

Speaker 10 (04:44:56):
I wonder what she was doing at that very moment. See, yeah, Baby,
I can't stand it anymore.

Speaker 23 (04:45:04):
If I can't go on living with Luke, he scares everyone.

Speaker 109 (04:45:09):
Those big cow like guys is watching every movie.

Speaker 10 (04:45:12):
Make well, you just have to go on putting up
with it for the time being right for you.

Speaker 4 (04:45:16):
To say that you don't have to live with them.

Speaker 109 (04:45:19):
Sometimes I wonder if you really loved me.

Speaker 23 (04:45:22):
Oh, don't talk like that, baby. You know I love you.

Speaker 10 (04:45:26):
Would I be putting my neck out like this if
I didn't. Nobody knows we're a meeting secretly maybe not,
but sooner or later someone will see us together and
then they'll really be trouble. Pay I've never run away
from my fight yet. I don't mind telling you. I
wouldn't like to mix with that gorilla husband of yours. No,
I know, Steve. You've gotta be careful, Oh worry, I
intend to be. Just let me raise some dull baby,

(04:45:48):
figure out one or two angles, and you and I'll
be off with a big city.

Speaker 6 (04:45:52):
What about Luke?

Speaker 15 (04:45:53):
Be sure to follow.

Speaker 10 (04:45:55):
You don't know what he's like, Steve.

Speaker 29 (04:45:56):
He never rested he found us.

Speaker 10 (04:45:57):
And when he did, yeah, yeah, they don't have to
draw me a pictures.

Speaker 23 (04:46:01):
I know that type.

Speaker 10 (04:46:03):
If we run off, we'd never have a minute's peace.
We'd always be wondering when he was going to catch
up with it.

Speaker 29 (04:46:10):
Oh, Steve, what are we going to do?

Speaker 10 (04:46:12):
I don't know, baby, I don't know. We'll just have
to sit type for the time being and be careful
not to be seen together. Oh cheer of baby, we'll
make that big city yet, until then, we've got this.
Oh yeah, yeah, well, thank you family.

Speaker 3 (04:46:47):
You are me.

Speaker 4 (04:46:47):
Yes, I've moved all your.

Speaker 109 (04:46:50):
Things up to the attic.

Speaker 11 (04:46:51):
I want you to sleep there from now on.

Speaker 10 (04:46:53):
What because you're keeping your way half the night when
you're talking and turning and.

Speaker 23 (04:46:57):
You're talking, you sleep, I talk sleep?

Speaker 15 (04:47:01):
What do I say keep yelling my names?

Speaker 10 (04:47:03):
If I was murdering yours to something?

Speaker 23 (04:47:05):
Oh, Millie, you'll be all right in me at it?

Speaker 10 (04:47:09):
Yes, Lillie, if Millie, can I talk to you for
a minute?

Speaker 11 (04:47:13):
What is it?

Speaker 10 (04:47:14):
I saw mister Anderson again to day, Millie. He says
he's willing to let us live free for a year
on his farm so we can see how we like it,
and if we do, we can buy it.

Speaker 109 (04:47:22):
I told you before, I'm not going to live on
any farm.

Speaker 10 (04:47:25):
But Millie, why can't we just try it? It won't
cost us anything. We don't like it, we can give
it up.

Speaker 35 (04:47:29):
No, I call you.

Speaker 109 (04:47:30):
I won't let myself be trapped.

Speaker 28 (04:47:31):
I guess you're perfectly willing.

Speaker 109 (04:47:34):
To take a chance on farming, but you won't consider
going to the city.

Speaker 10 (04:47:37):
But there are fifteen million men out of work. What
chance would I have for getting a job in the city.

Speaker 109 (04:47:41):
If you had an ounce of courage. You're trapped, you know,
your man like Steve Hopkins fighting about the depression. I'm
trying to make excuses.

Speaker 29 (04:47:48):
For saying in this miserable hole Steve Hopkins, I do.

Speaker 10 (04:47:52):
So that's it. You've been seeing Steve Hopkins.

Speaker 11 (04:47:55):
No, no, I haven't been seeing.

Speaker 10 (04:47:57):
You're wrong, You're It's written all over your face. You're afraid,
aren't you. You're afraid of what I'm going to do
to Steve.

Speaker 109 (04:48:05):
I tell you there's nothing betweene them myself.

Speaker 10 (04:48:07):
When I'm finished with him, you'll never want to look
at him again. What you've got to the village tavern?

Speaker 29 (04:48:11):
He's always there on sat You'll come back, come back, Hopkins.

Speaker 10 (04:48:39):
I want to talk to you. Well, go ahead, Luke.
No one's stopping you. You've been making a play for
my wife and I don't like it. You're either drunk
or looking for a fight. I haven't spoken to your
wife in a year.

Speaker 6 (04:48:48):
Go lying.

Speaker 10 (04:48:49):
I know you've been seeing in these past weeks while
I've been working. You better take it easy, lou You're
getting to the point where you're suspicious of every man
in the village. Don't try to smooth talk me. I
know you've been seeing her in it. You try seeing
her again, I'll kill you.

Speaker 9 (04:49:02):
You don't frighten me, Luke.

Speaker 10 (04:49:04):
And if I wanted to see your wife, not you
or anyone else could to stop me too.

Speaker 29 (04:49:08):
I'll show you glad anyone.

Speaker 3 (04:49:11):
But do me.

Speaker 10 (04:49:12):
But hold on them boys a little share for this village.
I had to drive you to take it easy, I'll
kill I don't like that kind of talk. Now, man
your manners. You spend the night in the lockup. No
man's going to make a fool out of me, and
lived I get hold of yourself. If Steve was seeing
your laugh, it'd be calm and gossip in no time
and all that. He may have fooled you folks, Sheriff,

(04:49:33):
but I know better. You can protect him here, But
just wait until I catch him alone.

Speaker 3 (04:49:37):
Just wait.

Speaker 10 (04:49:46):
When I got home that night from the tabin, Millie
was in her room, her door locked. Coming up to
the attic and tried to sleep, but I couldn't. I
kept seeing Steve Hopkins's face, the way he had smiled
at me in the tabin. He might have fooled the others,
but I knew that he knew that I did. Hours later,

(04:50:07):
I managed to fall asleep. I thought that I was
alone with Steve. When we were fighting, he kept hitting me,
but I couldn't feel his punches. All I could feel
was my fist smashing again and again into his laughing face.
I woke to hear church bells ringing for Sunday morning.
All that day except for me, as Millie avoided me.

(04:50:30):
After supper, she went to her room and I went
down to my workshop in the cellar. Next morning, when
I arrived at the quarry, the men were standing around
in small groups, talking to each other. They stopped when
they saw me. Then from one of the groups I
saw Sheriff Roden coming towards me. Look, I ought to

(04:50:51):
talk to you. What about number of things? Is your
sledge hammer? For sure? That's my initials from a handle?

Speaker 29 (04:51:00):
Why did I all wrapped up until I'll ask the questions?

Speaker 25 (04:51:02):
Luke?

Speaker 10 (04:51:04):
Where were you last night around eleven o'clock seven o'clock?
Didn't my workshop in the basement? Why anybody with you?

Speaker 11 (04:51:11):
No?

Speaker 10 (04:51:12):
I was alone, Luke, you're underrest under the arrest What
for the murderer Steve Hopkins for the murder of Steve
hot Yes, his body was found in his cabin an
hour ago. He'd been brutally beaten to death last night
around eleven with this sledgehammer. It was found at the
scene of the crime.

Speaker 23 (04:51:33):
You mean you think I did it?

Speaker 10 (04:51:35):
It sure looks that way. Let's go looke. No, No,
I won't. I didn't kill Steve. I'm getting your chance
to prove you didn't.

Speaker 23 (04:51:43):
Now, let's go.

Speaker 3 (04:51:44):
No.

Speaker 29 (04:51:44):
I didn't know what I tell you.

Speaker 10 (04:51:45):
How innocent driver man?

Speaker 6 (04:51:47):
Let's call me.

Speaker 23 (04:51:48):
That's him?

Speaker 29 (04:51:49):
Ohe him while I get these capsule on him.

Speaker 19 (04:51:50):
I didn't show what I tell you. I didn't know it.

Speaker 40 (04:52:06):
Silence in the courtroom.

Speaker 10 (04:52:09):
Proceed mister King Sheriff, Will you tell the jury, in
your own words, the time and circumstances under which you
were notified of the death of Stephen Hopkins. On October twelfth,
the last year, I received a phone call at seven
o'clock am from Sam Lawres said that he'd just stopped
by a Steve Hopkins cabin to pick him up for

(04:52:31):
work and had found him murdered. I told Sam not
to touch anything. I got to the cabin fifteen minutes later.

Speaker 3 (04:52:40):
Will you tell the jury what you found.

Speaker 10 (04:52:43):
Well, so that cabin looked like a slaughterhouse. I don't
want to upset anyone with the details, so all I'll
say is that Steve Hopkins had been beaten so badly
the body was beyond recognition. You said the body was
beaten beyond recognition, Then how were you able to identify

(04:53:05):
it as being Steve Hopkins. Well, first by the ring
and wrist watch that was on the body, but most
important of all, by the tattooing.

Speaker 3 (04:53:13):
By the tattooing.

Speaker 10 (04:53:14):
Yes, Steve was quite a tattoo artist, and on his
left arm he tattooed a heart with his initials and
some girls on it.

Speaker 23 (04:53:23):
I reckon.

Speaker 10 (04:53:24):
Just about everyone in this courtroom saw that tattoo on
his arm at one time or another. And although the
body was beyond recognition, the tattoo was clearly identifiable. Yes, sir,
no question about that.

Speaker 3 (04:53:37):
Sheriff. When had you last seen the deceased Saturday.

Speaker 10 (04:53:41):
Night, October tenth at the village tavern? Did anything unusual
take place at the tavern that night? Yes, Luke Adams
commit the tavern around nine o'clock, he accused Steve Hopkins
the hanging around missus Adams threatened to.

Speaker 23 (04:53:57):
Kill him, Sheriff.

Speaker 10 (04:53:58):
Can you remember Luke adams exact words when he made
that threat. Well, his last words before he left the
tavern were just wait till I catch him alone. Just wait,
I see, sheriff. When you arrived at the scene of
the crime, did you find the death weapon? Yes, Sir,
Steve Hopkins had been beaten to death with a sledgehammer.

(04:54:20):
I found it in the cabin, covered with blood. Was
there any identification on the sledgehammer?

Speaker 95 (04:54:26):
Yes?

Speaker 10 (04:54:27):
On the handle were carved the initials LA. Now, Missus Adams,
you say there was no justification whatsoever for your husband's
suspicions now at all. In other words, he was mistaken

(04:54:49):
when he accused Steve Hopkins of forcing his attentions on you. Yes,
he I see. Now your husband has testified. But on
the night of the murder, he was working in the
cellar of your home. Where were you that night, Missus
Adams dead room?

Speaker 3 (04:55:05):
Did you see your husband at all that night? Now?

Speaker 40 (04:55:08):
I didn't.

Speaker 10 (04:55:09):
Would it have been possible for him to have left
the cellar that night without your knowing about it?

Speaker 3 (04:55:15):
Yes?

Speaker 2 (04:55:15):
It certainly?

Speaker 40 (04:55:15):
What silence in the courtroom.

Speaker 10 (04:55:31):
The prisoner will rise, Luke Adams you have been found
guilty of murder in the first degree, with a recommendation
for mercy. The court hereby sentences you to twenty five
years imprisonment and mistake penitentiary.

Speaker 6 (04:55:58):
Twenty five years in prisoner.

Speaker 23 (04:56:01):
Yes, judge, that was your sentence.

Speaker 10 (04:56:04):
The towering iron gates of the penitentiary closed behind me,
and I no longer had a name, only a number.
A year after I was in prison, I was informed
that Milly had divorced me and disappeared. With that my
last tie with the outside world was gone. Years passed,

(04:56:26):
world shaking events took place, and scarce reached the prison workshop,
where I spent long days repairing shoes. Then one day
I was notified by the warden that I'd been paroled.

Speaker 23 (04:56:38):
I was free.

Speaker 10 (04:56:40):
The gates of the penitentiary opened, and once again I
joined the living. I came to the city a stranger
and found employment in a shoe repair store. Day after
day I stood by the store window, repairing shoes, watching
the hurrying crowds. Then late one afternoon, I saw a

(04:57:02):
woman pass a woman who was a stranger and yet wasn't.
With a sudden shock, I realized that Milly had just
passed throwing down my tools. I rushed out of the
shop and down the street after it.

Speaker 23 (04:57:17):
I found in the crowd and followed.

Speaker 10 (04:57:20):
She had hardly changed it all in the sixteen years
that had gone by. There were streaks of gray in.

Speaker 23 (04:57:27):
Her hair, but.

Speaker 10 (04:57:29):
She was as beautiful as ever.

Speaker 23 (04:57:32):
I followed a block.

Speaker 10 (04:57:33):
After block, and soon we were in a residential section.
She turned up the path to a large cottage, unlocked
the front door, and went in. A Moment later, I
was ringing the doorbell.

Speaker 23 (04:57:48):
Yes, what is.

Speaker 10 (04:57:51):
Don't you recognize me?

Speaker 38 (04:57:53):
Now?

Speaker 10 (04:57:53):
I'm afraid Now it's me, Belly, it's me here.

Speaker 11 (04:57:56):
You force me in your life?

Speaker 10 (04:58:01):
No, really, Luke, after all these years, I was paroles
six months ago.

Speaker 109 (04:58:12):
Why m h, I'm glad to hear that, Lucas. Yes,
you must leave now under thease right now.

Speaker 10 (04:58:21):
I can't no way.

Speaker 3 (04:58:24):
Who you're talking to?

Speaker 2 (04:58:26):
Who's he?

Speaker 6 (04:58:29):
Steve, Steve Hoopkins.

Speaker 23 (04:58:32):
Oh you're here.

Speaker 10 (04:58:33):
You're mistaken. The name is Reed Robert Rady.

Speaker 23 (04:58:36):
It's Luke.

Speaker 6 (04:58:38):
Luke.

Speaker 17 (04:58:39):
You're not dead. You're not dead.

Speaker 10 (04:58:42):
The body in the cabinet wasn't yours. No, no, I
went to prison for your murder. But you're alive, I said,
I killed you, but you're alive. Yes, you let them
put me in prison. You'll frame me. Look you must
look into me, you'll frame me.

Speaker 8 (04:58:58):
No, looke, don't.

Speaker 6 (04:58:59):
I didn't Rickime? You frame God?

Speaker 10 (04:59:04):
Don't look? Don't Whose body was that they found in
your cabin? A young hobbo I picked up by the
railroad tracks. But the tattooing on the arm after I
killed him with your slash hammurai, I tattooed his left
arm to look exactly like mine. I I put my
wrist watch and ring on the body, and then beat

(04:59:26):
him beyond recognition. And then you ran away, leaving me
to stand trial for murder.

Speaker 109 (04:59:31):
Look what are you going to do?

Speaker 10 (04:59:32):
What am I going to do? You remember Judge Marshall,
don't you? Millie? Yes?

Speaker 38 (04:59:36):
I remember him well.

Speaker 10 (04:59:37):
I've read in the papers a few weeks ago that
the judge lives here in a fine mansion overlooking the city.
What do you get here, Steve and I are going
to visit Judge Marshall? No, look, no, you know what
that would mean.

Speaker 11 (04:59:49):
Look, we have the money.

Speaker 109 (04:59:50):
If you'll just forget what's happened, we'll give you money,
Patty as where we'll give you ten thousand dollars twenty thousand.

Speaker 10 (04:59:56):
I'm not interested in money. Come on, Steve, you can't
do this coming you ca and you once loved me
for my sake, Come along, Steve.

Speaker 19 (05:00:03):
No, I won't go it.

Speaker 10 (05:00:04):
If they find out about that hobo, they'll they'll hang me.

Speaker 19 (05:00:06):
I wouldn't have a chance.

Speaker 10 (05:00:10):
To come, Steve, one way or another, understand, yes, yes, yes, judge,

(05:00:30):
he didn't want to come here, but in the end
he came. In the end, he came. Incredible, simply incredible.
The man is a monster to have done what he did.
Where is this man, Steve Hopkins? Now he's out on
the porch, Judge, bring him in, mister Adams, and I

(05:00:50):
want to see that man all right, Judge? Why are
you carrying him? He can't walk?

Speaker 6 (05:01:11):
And walk?

Speaker 10 (05:01:12):
What's wrong with him? He's dead, yeah, Judge, dead, yes, Judge,
but I understood he was alive. He was up until
a half hour ago. You mean you, yeah, Judge. I

(05:01:34):
put my hands around his throat and squeezed, squeezed until
he was dead.

Speaker 6 (05:01:41):
I killed him.

Speaker 10 (05:01:43):
And there's nothing you can do to me, Judge, nothing.
Remember you sent me to prison for killing Steve Hopkins
for sixteen years I rotted in prison. I've paid my
debt to society for Steve Hopkins' debt.

Speaker 3 (05:01:56):
I've paid it.

Speaker 10 (05:01:58):
There's nothing you can do to me now nothing. This

(05:02:27):
is a Mysterious Traveler again. Did you enjoy our little trip?
What happened to Luke Adams? Well, his case became one
of the most celebrated controversies of the day. Some legal
minds claimed he couldn't be set to prison again he'd
already been punished. How a legal expert consisted he should

(05:02:48):
be tried again.

Speaker 23 (05:02:50):
But in the midst of this raging controversy, poor Luke
Adams died in this case was never designed. What do
you think? Should Luke Adams have been tried for murder again?

Speaker 10 (05:03:04):
By having already served sixteen years for Steve Hopkins murder?
Should he have gone free? I should like to know
what you're verdict. Send your letters to the Mysterious Travelers,
care of Mutual Broadcasting.

Speaker 23 (05:03:21):
System, New York eighteen, New York.

Speaker 108 (05:03:40):
You've just heard The Mysterious Traveler, a series of dramas
of the strange and terrifying. All characters in today's story
were fictitious, and then he resemblance to the names of
actual persons was purely coincidental.

Speaker 10 (05:03:52):
In today's cast were Maurice.

Speaker 108 (05:03:54):
Toplin, Art Connie Alsbeth, Eric, Frank Barns, and Jackson Beck.
Original music was played by Paul Topman. Mysterious Traveler is written,
produced and directed by Bob Arthur and David Cogan. Listen
next week to a tale titled The Ivory Allison, another

(05:04:16):
strange and suspenseful tale of the Mysterious Traveler. This program
has come to you from our New York studios. Another
program of tense and dramatic action will follow in just
a minute.

Speaker 10 (05:04:35):
Stay tuned to.

Speaker 108 (05:04:36):
The station for official detectives Paul Trusso speaking.

Speaker 3 (05:04:41):
This is mutual.

Speaker 6 (05:04:42):
Broadcasting syst.

Speaker 1 (05:05:04):
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

(05:05:27):
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

(05:05:51):
for joining me for tonight's retro radio Old Time Radio
in the Dark

Speaker 20 (05:06:01):
F

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