Deep Dive Iran #01 The Origins Of The Shia-Sunni Divide

1 minute, you're grand. Then suddenly, there's no milk for tea. And the fridge isn't offering much for dinner. That's usually when I go straight to Super Value online shopping. I order before 12 and it's on my doorstep that same day. A quick top up or the weekly shop, either way, it saves me staring into the fridge, hoping something magically appears. Order at supervalue.ie before 12 noon for same day delivery. Super Value, still super, now better value. Ooooh. Hey, you're blocking my life. [music] Oh, I'll die, let's see. My man. A seal. Oh! [screaming] Present. Suspens! Oh, I am the whistle. Welcome, weirdos. I'm Darren Marlar, and this is Retro Radio, old-time radio in the dark. Brought to you by WeirdDarkness.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 check out WeirdDarkness.com for merchandise, sign up for my free newsletter, connect with me on social media, listen to free audio books 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 WeirdDarkness.com. Now, bolt your doors, lock your windows, turn off your lights, and come with me into tonight's Retro Radio, old-time radio in the dark. The CBS Radio Mystery Theater presents. Come in. Welcome. I'm E.G. Marshall. One cannot be wise and in love at the same time. Said the poet. And what is the implication? That love, obviously, is a pastime and an occupation for fools. Well, poets, in general, seem to have had a sorry time of it with love. When you consider most of their verses on the subject, and yet there would seem to be a melancholy strain of truth in their singing, after all, how many deliriously happy lovers do you know? Lizzy, you have to give him up. I can't. But he's a liar. Yes? A thief. Probably? You betray you. Most likely. He could even kill you. It doesn't matter. How can you say it doesn't matter? Because I love him. Our mystery drama, just to keep busy, was written especially for the mystery theater by Sam Dan and stars Robert Dryden and Judy Lewis. It is sponsored in part by Contact, the 12-hour cold capsule and Buick Motor Division. I'll be back shortly with Act One. A hunter went walking in the fields with his gun one morning and he saw a seagull. Had he nothing better to do, he shot her. The line is from a play by Anthony Chekov and it gives one pause. How true it is that so much of the harm that is done in this world does not result from an evil motive or a bad intention but just out of sheer boredom. Or as the dramatist said, "Pelac, of anything better to do." I'll buy that, Mr. Marshall. It's the story of my friend Woodrow. Woodrow Wallace saw Woody as everyone calls him. Whenever you ask him why he's doing whatever it is he happens to be doing at the moment, why would he just give you that? Yes, I suppose I have to say it. That radiant smile of his and replies, "Oh, just to keep busy." "Just to keep busy." Well, this particular day dawned unadventually enough. The morning was filled with routine chores when Mr. Gilmore, Mr. Woodrow Wallace is here to see you. He doesn't have an appointment. So, all right, he doesn't need one. Yes, Mr. Gilmore. What do you want us just what I need to make the day? Franklin, as long as you're here, come on in and sit down. What kind of a welcome is that? A worn out welcome and I've come here to make you rich. Sure. Hey, hey, hey, now where's that old spirit that'll get up and go? You know, I don't even know why I bother with you. Woody, I have just this moment come to a conclusion. And what is it? I'm finished with here. Oh, you don't mean that, but I do. How can you mean a thing like that? Woody, it happens to all of us. We realize it's time to put away the toys of childhood and assume the attitude of maturity. Oh, now that sounds deep old, pal. Woody, you and I, we've outgrown each other. Now, just what does that mean? When we met, we were children. What have you been smoking, old buddy? We met over in Vietnam. We were both 21 on the same day. Don't you remember? We celebrated our birthday in a foxhole. Ah, we were still children. We were soldiers. What do you suppose soldiers really are? Oh, I knew this was going to be deep. It's a very special bond that holds soldiers together. The shared danger, the absolute dependence on each other. Oh, I need a drink. But let the return to civilian life. That special bond disappears. And the reason, the basis for the friendship vanishes, which is why most of them Peter out. Ah, but not ours, Frankie. Not ours. Not Frankie. Did I say I came up here to make you rich? Forget it. It's gone and forgot. Not just rich, Frankie. All have you rolling in wealth. No, money to burn. No. I refuse to listen. I am deaf to any offers, deals, proposals, propositions in any form, shape, manner. What's so f-f-f-okay? Just to show you there's no red feelings, I'll take you to lunch. I can't go. I'm expecting a call from a client. He can call back. It's important for him to talk to me. You know Frankie, I was coming on you. Now you know how I hate to eat alone. I'm sure something will occur to you. Something just has. That girl you've got out there. The new one, what's her name? Uh, no, what do you mean? No. She's different. Frankie, come on, they're all the same. She's a very naive, sweet girl. That's the best kind. What are you saying? Do you know what's wrong with our society with lost her innocence? People are too jaded, cynical. What a joy to go with someone who's fresh and sincere. But what do you engage? Sure. Sure. And starry is in Europe. Lizzy is a very quietty. Lizzy, is that an A? Yes. Yes. And what I'm trying to say is. I'm in love with the sound of it. She's very quiet, girl. Tell me old combat, buddy. Have you. got a little action going there yourself? Certainly not. I got me a clear field, huh? No, she's not your type. Is she or is she not of the female gender? What I'm trying to tell you is that she's a very vulnerable girl. Uh-huh. Well, tell me is she old enough to vote? Of course. All I'm doing is just giving her an opportunity to cast a ballot. What a thing like this. But what do you want to start it for? Just to keep busy. Yes? It's Mr. Timkins. Oh, yes. He's extremely anxious to talk to you. Yes. Uh. Lizzy. Yes, Mr. Gilmour? Well, oh, buddy, I will leave you here to toil in the salt mines. Bye-bye, Lizzy. Yes, Mr. Gilmour. What is it? What indeed? What could I say to her? Woody Wallace, a notorious rake. They still use that word. Would she laugh at me? Woody Wallace is going to ask you for a date. Say no. Well, I mean, she's only my secretary. Besides, all Mr. Timkins wanted to talk to me. He had two million dollars that he wanted me to invest for him. I couldn't keep him waiting. Besides, Lizzie is a highly sensible girl and she would spot Woody for exactly what he is. Or, Woody. She certainly wouldn't go out to lunch with him. Or Woody. Oh, you're back from lunch. Yes, Mr. Gilmore. It's a quarter to two. Did you have a nice lunch? Very nice. Ray, where'd you have lunch? Oh, I just had a salad and iced tea downstairs in the coffee shop. Oh, that's fine. Your friend, Mr. Wallace? He asked me to lunch. Oh, did he? Yes. I said no. Well, I was very, very busy. But I am going to have dinner with him. You're going to have dinner with him? This evening. Lizzie, you shouldn't. Mr. Gilmore. I realize I may be talking out of turn, but I feel responsible. Responsible? Why? Well, he's a friend of mine. And? If he hadn't come up here to see me, you would never have met him. And I would have been the loser for it. How can you say that? You so handsome and so charming. Lizzie, please, listen to me. You've heard of collectors, stamp collectors, book collectors, art collectors, but Woody Wallace is also a collector. Really? What did he collect? Women. To him, every woman he sees represents a conquest. Where he's made his conquest, he drops her. Do you believe me? Why would you lie to me? Besides, I knew it. And knowing you'd still go out with him? Of course. Oh, I understand. You think you're going to be the one who can conquer him? Well, forget it, Lizzie. All we're doing is going out to dinner. Lizzie. He's engaged to be married. I know that. In other words, Lizzie, there's nothing I can tell you. Do you wear that to dinner that night? That's the next night and the one after. They had lunch together every day. Saturday afternoon I went to the club. They were playing tennis. Sunday morning when I went to the club, they were playing golf. And Sunday afternoon, Woody asked if he could borrow my sailboat and take her sailing. While the change in this Lizzie went worth was marvelous to behold. She'd always been efficient, but now she was effervescent. Mr. Gilmore, isn't it a fantastic day? It's not bad. Do you know who knows how I feel or I should say you? No, who? Robert Browning. Browning? You never heard of Browning? Oh, you must mean John Browning. He invented the machine gun at Bear's name. Robert Browning, the poet. Oh, one of them are related. I always loved poetry, even though I never really knew what it meant until just now. Really? You never knew? My favorite. From Pippa Passes by Browning. The years at the Spring and Days at the Morn. Mornings at seven. The hillside dew-pulled. The lights on the wing. The snails on the thorn. God's in His heaven. All's right with the world. That sounds. Sounds very simple to me. Well, how can you possibly know what it means unless you're in love? In. In love? God's in His heaven. In love? When you're in love, you know God's in His heaven. And how absolutely right the world is. In love with home. Why with Woody? Woody. Oh, no. Oh, yes. And Woody's in love with me. Well, how do you know Woody is in love with you? How I know. Oh, Mr. Gilmore. How I know his son is shining. How do I know my heart is beating? You have misjudged Woody. I have. Well, now Lizzie, just let me tell you this. Why, Mr. Tell me anything? I don't want you to get hurt. Hurt by whom? By Woody. Oh, how little you know Woody. Woody and I were so just together in Vietnam. Nobody knows Woody better than I do. You know the outside of Woody. The front he presents to the world. The hides and protects the real Woody. Huh. Real Woody. The real Woody. The shyness. Tainted Woody. The Woody who's frightened by the world about him. Who desperately needs love. And I know it, Mr. Gilmore, because. Because I'm frightened of the world myself. Woody and I recognize we were kindred spirits. We planned to be married. Married? Well, yes. What happened when two people are in love. You and Woody are getting married. You fight hard to believe. After all, you have so much invested in the Woody who thought you knew. It's hard for you to admit you were wrong. I'm so glad I was wrong. I'm so happy for you. Could I ask you a favor? I don't have any family. Would you give the bride away? Lizzie. I would consider that an honor and a privilege. Mr. Gilmore. I'm so happy. Woody, I came as soon as I got your message. What's up, Frank? I want you to be my best man. Well, then it's true. You are getting married. What else would I need a best man? I'm not sure I can be your best man. What do you mean, my best friend? How can you turn me down? It's not that I don't want to be. It's just that I'm wondering if you're allowed to do both. Both? Both what? Can you be best man and give the bride away? Why would you give the bride away? Because she asked me. I don't understand. We only decided this thing a few hours ago on a transatlantic telephone. You mean she just called you from Paris and asked you to give her away? What about her father? No way. Wait a minute. What are you talking about? Who? Who are you going to marry? And what kind of a question is that? I'm going to marry Sally, my fiancé. Sally? Well, of course, Sally. Who else? Who else? Didn't he promise to marry Lizzie? Well, wait a minute. In the interests of strict accuracy, we did not hear him promise with our own ears. We heard Lizzie say something about the two of them planning it. Or maybe Lizzie heard what she wanted to hear. Well, we'll all hear more about this thing in Act 2. And for those of you who are waiting for someone to get killed, stick around. You know how quickly the game of love can become the game of death. It's an old story. As old as love itself. And as long as love lives, we shall hear it again and again. There are those who give their hearts away too slowly. And there are those who give them away too quickly. And those who never give them away at all. There are those who are born to break hearts. And those who are born to have their hearts broken. And what can be done about it's the way of the world. You? You're going to marry Sally. Well, for it to him have I been engaged on and off these past five years. Yes, but just you know she called me. She said darling my show is a success. They're wild about my designs. I finally arrived. I'm selling like mad. I can now afford to support you. Let's get married. Yes, but what are you? Flying in from Paris on Saturday. Wedding is Sunday afternoon, 2.30 sharp. I've Saint Boat. So be there. What are you? What about Lizzie? Oh, oh, do you think Lizzie would like to come? Why don't you bring her along? Why you? I don't think so. I saw it. It's quite all right, ladies and gentlemen. It's just two old bodies having a different life. - What's the big thing? - Okay, Woody. - You wanna take a sock of me that's last time? - I'll look it into your friend. - All the cold, callous, insensitive things to say. Invited to the wedding. - I know you don't have any morals. We'll catch you at least at some taste. - What are you getting all worked up about? - You know what you did to Lizzie. - Oh, it's Lizzie. - Well, let me set you straight, Frank. - You're gonna set me straight? - You don't live in the real world. - That's for sure. - There is only one world, Frank. And you've been fighting it all your life. It's the world of take what you want. It's the world of. How else can you say it? The world of eat, drink, and be merry because tomorrow. But there is not tomorrow. And once you're gone, who knows? Who cares? What will it have mattered? - I think it will have mattered. - Franky, Franky, it doesn't mean that thing. The rain, it falls on the dust and the unjust alike. What does it have to do with the fact that you've broken in this girl's heart? - In this sense, come on, Franky. - What are you going to tell her? - What do we have to tell her? - That you're going to marry Sally Schaefer? - She'll read about it in the paper, won't she? - To give more to Timkin's father's up to date, and I finished all your letters, I have one or two little things to do, but I won't take a lunch hour. - Why? What's up? - Will you tell me? - What he told you, what? - He told me you were letting him the boat, and it's going to be a great afternoon for sailing. - Sailing? - Yes, I thought if I could leave here at two, we could make a tie at three o'clock. - You're going sailing with Woody this afternoon? - Well, I wouldn't ask for the time off if I didn't have all the work under control. - But how can you go sailing with Woody this afternoon? - Well, I know most people go on Saturday, but what he says to you is something else that he has to do tomorrow. - That's what he told you? He has something else to do tomorrow? - Yes. - He said he had something to take care of this weekend, and so is it all right for me to take the afternoon off? - No. Now it is not all right for you to take the afternoon off. - But Mr. Gilmore? - I very rarely ask for anything. - Who cares? What's it to me what you do? You want to ruin your life? Go, go, go right ahead. But don't say that I didn't warn you. - I appreciate your efforts to shield me from the sad, bad, wicked world. But I'm your secretary, not your daughter. Excuse me, I should have said sister. - That's better. - You have an idea in your head about Woody Wallace. Well, you're wrong. I told you Woody and I were getting married. - May I ask when? - When? - If I'm to give the bride away, I want to put this on my calendar. When are you and Woody getting married? - Soon. - Soon. I see. I have to make a call on my private line. I don't want to be disturbed. - Yes, Mr. Gilmore. - What kind of alleged human being are you anyhow? - Oh, I know who this is. - You're taking your sailing. - Of course, sailing, and then dinner and dancing at the club. - And she doesn't know what's happening on the weekend. - Why should she know it would spoil her evening? - And you're not going to tell her? - Well, I would spoil my evening. - I'll tell her. - You would do that to a girl? - I never want to speak to you again. - You've been saying that every day for ten years, but with still buddies, we always will be. Now, let me give you what true buddies it fights. - I don't want to hear another word out of you. - You tell her. You know what will happen? She'll blame you. - Me. - You know what they used to do with the messenger that brought the bad news in the olden days? They'd cut off his head. You know why? Because it was his fault. So go ahead, tell her. She'll hate you for the rest of her life. - Yeah, most unscrupulous, contemptible. - Go on, lay it on, I love it. - What do you-- I was the one who brought you into the club. - For which? - I thank you for the bottom of my heart. - It's a very conservative place, and you've been bringing Lizzy there constantly. - Why not? - Well, everybody's gotten to know her and liken her, and they think that you two are going to be married. - Well, let me give it to you, old, for what other people think. - But if the two of you show up there tonight, two starry eyed lovers aren't what amounts to the eve of your marriage to Sally, what do people think of you? - Frank, I'd never been concerned with what people think of me. [dramatic music] - I was going to go out there and tell her, but then what good would it do? - He was right. She would always resent me for it. It's how people are. Sometimes the truth is so unpalatable we have to find a scapegoat. - Well, I'd wonder about him in no uncertain terms what more could I do. - What you're about to hear now was told to me by Woody himself. It seems they were out on my boat just drifting, the whole mile or two off the coast, listening to the radio, watching the sunset. - See how the darkness slowly fills the water and how the sunlight seems to flee from it? - See? You know, I never looked at it that way before. - Oh, Woody, does anyone have the right to be as happy as I am? - No one has the right to be more happy. - This is perfect. Just being here. - This is also perfect for you, my darling. - I have never been happier. - Now the day last raised, the sun has gone until tomorrow. - Oh, darling, I wish Frank Gilmore could see us now. - Why? - Who does he get his ideas about you? - You know Frank. - You're so sweet, so loving. You're everything a girl ever dreamed of. - Not only of it's dark now, we'd better be hitting him, huh? - I think I won't be able to see you tomorrow and Sunday. - Two whole days without you, I don't know how I'll get by. - Ah, Lizzie. - What is it, darling? - Ah. - There's something wrong. - He has such an odd tone in your voice. - Ah, it must be getting a bit worse for me. - Evening breeze out of here. - Put him up head right in right now. - Take no time at all. We have a good following breeze. - Now where did you learn how to sail? - My grandfather raised me. - Oh. - Yes, he was an old fishing boat captain. - You would have liked him. You would have liked you. - Who'd we name off first boy, afternoon? - Zachariah. - Zachariah. - I realize old biblical names aren't popular any longer, but they haven't been replaced, but anything better, haven't. - And now it's time again for our special feature of personalities in the news. Today we bring you tidings of one of America's most exciting fashion designers, Sally Schaefer. - She went if we turn that off. - Please let's not. She's my favorite designer. - We just made you the tape telephone interview with Sally in front. - Sally, can you hear me? - Yes, Dad. - I understand you had a great triumph in Paris. - Ha! But I'm coming back to an even greater time to hell. - Are you? - Yes. I'm flying home tomorrow. And can you guess why? - No, but I'll bet it's exciting. - I'm getting married on Sunday. - Your what? - I'm getting married to the great love of my life. What do you all ask? - Why did you turn that off, Woody? - Oh, these celebrity interviews are a bore. - What does she mean? She's marrying Woody Wallace. - Oh, it's not the name she said I didn't hear. - Woody Wallace? - Well, could be a lot of guys by her name. - Is that what you're going to be busy doing this weekend? Getting married? - Oh, well. - The answer is yes, or the answer is no. It isn't. - Oh, well. - Well, let's see. Let me explain. - Explain what? - Everything. Now, this thing was arranged before I met you. - Didn't you say you were going to marry me? - Well, you know, being absolutely literal, I said we would always be together. I never actually said the word "marry." - I see. - I, uh. I have to marry Sally. - You have to marry Sally. - Yes, uh. - You see, she has a lot of money, and I'll have more than ever. Don't you understand I need a lot of money? Lizzie, I have expensive tastes. It's not my fault. - No. It's really my fault. - I want you to believe one thing. I love you. - But you're going to marry her. - Well, it doesn't have to be the end of everything. - It doesn't? - No, she doesn't need a husband. - She only wants one for what the kids in school call "show and tell." You know what I mean? We haven't been married till now because she's too wrapped up in her career. - You're going to marry her on Sunday? - Yep, yeah, it's all set, but afterward. - Really? - Woody, don't marry her. - How Lizzie, Lizzie. - Marry me. You're the only man I. I have a. - Marry me, Woody. - Well, I can't, but you understand I'm broke. - I love you, Woody. No woman can ever love you the way I do. That should be worth a fortune. - Well, the fact is, I am not good enough for you. You're so beautiful and intelligence. You're soft and warm white. You're bound to attract somebody who's not a woman. - Please, what are you? - Please! Lizzie, Lizzie, now look, we're both adults, and we should both realize that it was just one of those things. Lizzie? I'm sorry, Woody. I had no right to make things difficult. Under the circumstances, there's really only one thing I can do. And it's the only thing that makes sense to me. Excuse me. Lizzie, what are you going to do? I'm going to kill myself. Now, Lizzie, don't. Don't! Come back! Come back! Lizzie! Lizzie! The cold, dark waters of the Atlantic Ocean close over Lizzie went with. Desperately, Woody Wallace tries to bring the sailboat about in the pressure degrees, and he peers into the blackness of the night. How can he find her? What can he do? Well, what you can do is just try to relax and wait patiently for act three. Love, said the philosopher, begins as a game. Light-hearted, joyous, filled with fleeting moments of bliss. Then, just as the sun shining through the trees sends dAppled shadows playing on the leaves. Love becomes a thing of light and dark. All at once, the doubts arise. Shall love emerge into the light, or disappear into the darkness? Frank Gilmore is telling the story of Lizzie Wentworth and Woody Wallace. Well, the rest of it, you might have read in the papers. He doesn't know how long he sailed about out there trying to find her. Finally, headed back to the club. As he stepped off onto the pier, old Tom Higgins, the dockmaster, was there. Tom told about a very shaken Woody Wallace indeed. There's the rest of it. There's Miss Wentworth. Oh, Miss Wentworth, she is out there in the water, I guess. You guess what she said? What she heard. She fell out of the boat. Well, I'm above. I guess she jumped. What are we staring at here? We gotta get help. Get the coast guard. We gotta get moving. The coast guard turned out. So the school votes from all the neighboring towns. There must have been hundreds of craft searching intently all through the hours of the night and into the dawn. But there was no trace of her. I went out by myself. And I didn't think we'd ever find her. Around the spot where she'd gone over is a current that sweeps out to sea. And it didn't look good for Paul, is he? And it was beginning to look very bad for Woody, too. He asked me to meet Sally at Kennedy Airport and explain. Oh, Frank, how are you, darling? Oh, where's Woody? Well, he couldn't make it. Couldn't make it? Yes, Sally here. I smell a cover-up. You old faithful army buddy. If you're to tell me a mother glues yarn about my Woody. No, no, no, no. I'm not here to cover-up. It's too serious for that. Here he is. Where is Woody? He's in jail right now. In jail? Oh, what is it? I told her on the way into the city. I held nothing back. I was in no mood to protect Woody not this time. I told her all about Lizzie, the full story from beginning to end. She listened. Her face betrayed absolutely no emotion. The poor girl committed suicide. It's regrettable. I know it doesn't make Woody look like a hero, exactly. He really didn't commit a crime. That is a legal crime. So, on what charges he'd be held? Suspicion of murder. Murder? Will the Bureau committee suicide you just said she jumped overboard in an effort? I'm only saying what Woody said. What's the matter? A great many people refused to believe she committed suicide. What? She was a likable girl. Many people would find her lovable. Who is? Go on. At the club, they impressed people as a very loving couple. Oh, yes. Most people didn't know that you and Woody were going to be married. I had just found out about it myself. Do not see what they can have. A murder, Chuck. I say he killed her because she refused to let go of him. She might have threatened to expose their affair to you and break up the marriage. But all this is supposition. Of course. But his reputation is against it. She was a lovely girl. Everybody thought she was too good for him. Everybody wants to believe he murdered her. No, but that's not justice. Woody couldn't kill anyone. They're obviously trying to railroad him. I don't think so. These people sincerely believe he's guilty. And many of them are powerful people, influential politically. And then we have Minerva Lewis. Oh, she. Our brand new district attorney. First woman to hold the job. She thinks she can make this case go. I'll stand by and think. What's true without any doubt is the affair between Lizzie and Woody. Well, that part of it is my problem. But I will stand by him now. They're going to claim that I killed her because she would tell you about. our affair. No. You know, I'm knitting to me that. you did have an affair. Sally, Sally, I'm sorry. It's just. Just what? Well, it's just that when you're not around, I get lonely. You see, I'm loose ends. I just can't help it. It didn't mean a thing. But if you would do this thing for me. Yes. What thing? Say that you knew about it. Say that you knew I was having an affair. I didn't know you were having an affair. That would be a part of your. But you knew that I was having an affair with someone. I did. Yes. In your heart, you knew there would be someone else for me. and took you back. That would not be perjury, Sally. And it would get me off the hook. You want me to say, in a court of law, under oath. that I know the man I intend to marry. has affairs with other women as a regular thing. when I'm not around. Well. Yes. Yes, that's what it comes to. She looked at him very closely. and I think she saw him for the first time. not as a charming, exciting rogue. but as someone who would bring her nothing but misery and heartache. what did she need him for? And so she just walked out of there. walked away from him forever. and took with her any real chance he may have had of saving himself. The indictment was handed down, the trial began. and the district attorney obviously knew what she was doing. Mr. Wallace, you had finally decided to marry Sally Shaper. because she had become suddenly famous and wealthy. No, that isn't true. You've been engaged for five years. Why marry now, suddenly? Never mind. Your silence has answered the question. But meanwhile, there was a problem. You had seduced Lizzie Wentworth. You had promised to marry. No, no, I made no such promise. You did not promise to marry Lizzie Wentworth? No. and that event you may step down. And the people call her their next witness, Mr. Frank Gilmore. Mr. Gilmore, isn't it a fact that Mr. Woodrow Wallace promised to marry Lizzie Wentworth? That's what she told me. It didn't get a fact that she asked you to give her away. Yes. And it didn't get a fact that he jilted her. Well. And it didn't get a fact that this made you so furious that you had a fist fight with him at the bar of the Ensign Club. It didn't get a fact that you were heard to say to him. Do you know what you did to Lizzie? That if she was driving at home for all it was worth. I looked all around the corner. The daughter of a spectator is at the jury, at the judge. The verdict was already in. Ladies and gentlemen of the jury, he lied to her. He said, "Do you know what? They broke her heart. And then, having no more use for her, he tried to cast her aside. But she refused to go quietly. She told him she would expose him for what he was to his fiance. She made the mistake of telling him that on a boat where he could kid her and her body overboard. He has also made the mistake of trying to lie his way out of it and so stupidly, so cleverly, so obviously." "Ironic, isn't it? That someone like Woody should be brought down by a woman. The jury stayed out for two hours. I think they did as they could have lunch." The verdict, guilty. The sentence, "Live." "Fly." "Fly, I tell you, I'm innocent. I may not have been the nicest guy in the world, but I didn't kill her. She killed herself. But you've got to help me. There's got to be justice." "Yeah, yeah, yeah. You believe that now about justice, and right, and wrong." "Don't lecture me. You're the only friend I've got in the world. Help me." "But what could I do to help him?" "I tried to get some people interested in this case, but he was hardly a sympathetic character. And so, the months went by, then a year, two years. And I would get notes from Woody, "Right, you've got to get me out of here. I'll suffocate in this place." "And I felt bad, but what did I do?" Then one day I was on a business trip, and I stopped for lunch at a restaurant in the small southern coastal town. There was a girl sitting at the next table. She was with a very tall, very handsome man. And she seemed so familiar. I must have been staring at her because she got up and came over to my table. Yes, Frank. It's Lizzy. Lizzy. But you're dead. I was almost dead. I wanted to die. But once I was in that cold water, I changed my mind. I struggled. I thought I wanted to live for hours and hours. And just as I was about to give up, a man came by and a boat and he saved me. Well, why didn't you? I must have been in the water a very long time. I was sick. I didn't even know who I was for a while. But the man brought me back to health. The man who's sat the table with you? Yes. You fell in love. Love, Frank. Not the delusion of it that I know with Woody. Not that awful self-destructed madness. But love is meant to be. And now God's truly in his heaven and all's right with the world. God may be in his heaven but Woody's in jail. I know. You could come forth and he'd go free. I know. But Lizzy, he doesn't belong there. Doesn't he? Lizzy, I could tell the authorities you're alive. Well, I'd say that with very much conviction, Frank. Besides, you couldn't prove it. You don't know where I live or what my name is now or how to find me. Do you want to punish him? Someone has to. If he were at large, there would be other Lizies. But all of them would be as lucky as I am. You even let him stay there for the rest of his life? Probably not. How long will you keep him in prison? Oh, I'll think about it. And as far as I know, she still is thinking about it. Now you may say it's wrong for any person to you is a criminal justice system for his or her own private ends. But life has its little irony, doesn't it? There are many guilty people who really don't deserve to be in jail. And many innocent ones who do. And all we're doing is adding to the confusion. I shall return shortly. Just to keep busy. It used to be that keeping busy was never a problem. People worked at backbreaking spirit-crushing labor from dawn to dark. Time never hung heavily on hands. There were those who said that if people were freed from constant toil and were given leisure, they would become philosophers and poets. Why hasn't it worked out that way? Well, you can spend some of your leisure time profitably with us. Our cast included Robert Dryden, Judy Lewis, Larry Haynes, and Evie Juster. The entire production was under the direction of Heimen Brown. And now a preview of our next tale. Why are you doing this to me? I thought sky'd at me. They found your ship. They found you. What do you want from me? No more searching. Your hands are my hands. No. Your eyes are my eyes. It's impossible. Again in the sunlight again we live. No. We share this body. I survive in this body. No more darkness, no more loneliness. You can't take over another person's body. Share this body. It's indecence. But this body must adjust to the heat of this planet. It's too warm. And I'm so hot. We must do something about the heat. What's wrong with me? Radio mystery theater was sponsored in part by Buick Motor Division and Contact, the 12-hour cold capsule. Mrs. E. G. Marshall inviting you to return to our mystery theater for another adventure in the macabre. Until next time. Pleasant. [Music] Feel the energy of the flower. From the 2nd to the 9th of August, Delphast welcomes the cultist Flak Heel Naharan, the world's biggest celebration of Irish music and culture. Enjoy lively pub sessions, street performances and all Ireland competitions on Delphast's historic streets and world class stages. Whether you're a devoted trap follower or a wide eyed first timer, be part of celebrating together. Plan your trip at Flak Heel.ie organized by Cultist and Delphast City Council. You feel it the moment you see it. Power, precision, presence. And now with Cooper approved used vehicles, you can experience intense performance without compromise. Carefully inspected and fully certified, every approved used Cooper comes with a two-year warranty, two years roadside assistance and two years free servicing. Find your perfect pre-owned Cooper at Cooper.com. Cooper approved used, performance without compromise, terms and conditions apply. You look wrecked. Everything all right? Just about. Cooperation taxed you, Vat this week, payroll Friday. And I'm still waiting on the account to combat me about the year end accounts. Ah, so not exactly all right. If you run a limited company, you don't have to do it alone. Tax assist accountants can take care of your accounts, cooperation tax, VAT, payroll and more. With offices across Ireland and over 15 years supporting Irish business owners, we're established, trusted and right where you need us. So next time someone asks how's things. Honestly, great. Switching accountants is easier than you think. Visit taxassist.ie or call into your local office today. And turn just about into great. Quiet please. Quiet please. The American Broadcasting Company presents Quiet Please, which is written and directed by Willis Cooper. And which features Ernest Chatton. For example, quiet please for today is called Northern Light. This is a story about the temporal displacement of mass. It is also a story about teleportation. Do you know what those terms mean? I didn't think you did, but you stay right where you are. I'm my charming friend and you're quite likely to find out. You just stay right there and listen now. Tell you everything you want to know. And maybe, and maybe a couple of things you're not terribly anxious to know. Have you seen Northern Lights? Or are a Borealis is their right name? You don't see them very often below the 50th parallel of latitude in this country, but up in northern Minnesota and Canada, up in New York places like that. But that common of the winter nights. If you're seeing them, you know what they look like if they haven't. There's no use trying to describe them. Sometimes they feel a whole Northern sky with waves of color. Like a fire burning, way beyond the horizon. Sometimes they just learn streamers of fire filling up the whole sky. And another time they look like gigantic, fringed curtains of pure light. Shrained as if some cold, cosmic breeze plucked at them. Waves far off there to the north. And you can hear them too sometimes. Well, maybe not exactly here, but it is a sound, a humming, a crackling summer inside your head. And there are times when you'd swear it's a voice talking to you. Talking in some kind of strange language you can almost understand. Filling your whole being with a kind of desperate, inescapable terror. You know what I mean? At night, in the cold night, voice is talking and saying things to you that you can almost understand. Filling the night sky with signs and portance of the inescapable terror. And nobody. Nobody in the whole world knows what they are. Nobody in this world at least. Except me. And after I get done talking to you, you're in or too. And you won't be happy. Let me show you something now. This is from a recording I made on, let's see, December 13, 1948, a little more than a month or half ago. I started the recorder while ramen and I were just about finished with that work that afternoon here in the laboratory. I just set the microphone on top of the five cabinet there, turned on the machine. Listen, I'm going to play it back for you. The quality isn't so very good, but you can recognize my voice and the norm, and so I think. Here. All right, let's record it. How do I type a knife that I just don't remember? It's almost 6 o'clock. Well, it's dark, I didn't realize the time. I'm ready. Do you have a splite of night just for? How do I know? Been in a splite the last three nights. Well, that was a digger last night, wasn't it? Yeah, the machine wasn't ready. Listen, I didn't even do better in archa. Arch. It's about it. Where'd you put the copper stuff in? All right, how about the thing? Well, I got it. What do you know? Just in the coil. Oh, it looks okay. I'm ready, man. Yeah, it's okay. I'll be right with you. Well, look it up. What do you have to say? You try my secret red lighter. And we'll work anyway. I won't miss it if we don't get it back. I don't know how to say a word when the knife is on shining. Maybe they are shining. They're off the room, guys. Let's see. All right. Pretty early on here. What's the matter? Look. I heard you, man. What's that? It's fine. Where's the sky? Look. Blue and yellow. I never saw those long princes. They never say. Well, said you turn on the recorder? No. Yeah, yeah, it's turning over. Oh, it's fine. Now is the time for all good men to come to the aid of their party. Leave it alone. You about ready now? Funny about the Aurora. Northern Lights? Listen to this. It's my mostly friend. Oh, no, no. Remember what I told you. You can almost hear the darn things. Not here, I mean. It's kind of like somebody talking to you in the language. You can almost understand. I don't know. I mean, you have an audition? Sure. High frequencies, I guess. Something. Oh, for what? We don't understand. Look, you go there and the recording talk is a mic. It's not wrong. Let me just describe what happens for the record. I'm not, not, I'm not. I know you're not. Just say what you see. So we'll have an accurate record. Okay. Now? Go ahead. This is an experiment in the temporal displacement of a solid object. In other words, the first actual demonstration of a time machine. If it works. It works all right. One. Paul is now placing his old piece up to the left lighter on the stage of the hypercute candle later. And he is now sitting in the micro-conometer. Do you tell him how far into the future he's going to send the lighter? Well, how far, Paul? Ten seconds. Ten seconds. Now, at the end of that time, if all the calculations are correct and we hope they are, you say the right lighter will reappear. In that period of time, it will have been into the future. We could send it farther into the future if we wanted to, I guess, but we just have to wait that much longer for time to catch up with it and make it reappear. But ten seconds, well, I mean, we can prove our point by sending it ten seconds into the future just as well as ten years ahead, and this way we don't have to wait for long. Hey, how about don't fall? I go into your commercial. When Paul presses the little button, the cigarette might return to nothing. And that's not right. It'll be here, but it'll be sent to the item. Listen closely, please. Well, now, Mr. Paul McGelligot. A famous mad scientist is about to press the big old button and send his lighter into the future. Ready, Paul? Here we go. Yeah, bye. Look, lies! My god, you're just gone. It just disappeared. Bang, like that. Hold your mouth as close to my falls over with the light. Yeah. The written sign of the lighter. Now, the little stage on which power tries to do empty, and it should appear again in just a second, it's a really good work. Three, two, one. This is fast! This is fast, Paul! It works. We made it. All the matters of a thief's alright. Oh, yeah. Oh, now, look. On a lighter, Paul, it's cold, Paul. Ooh, here, here. Take it, Paul. Take it, Paul. Take it, Paul. What do you know? Look, the darn thing's like a piece of ice. What is it? The difference is the bone is bent in that camp right? No, wait, friend. That's not the payoff yet. Listen, time's caught up with it. It's back, but. Hey, Paul, look. Where did that come from? What? They are on the stage where the lighter was. In the middle of winter. What? What is it? Oh, okay. It's a caterpillar pole. A brown and black caterpillar. Hmm. Where do you suppose it came from? It wasn't there, loud. I'll tell you where it came from, Paul. What? It came from the same place where the cigarette lighter went. What? Let's see it, Paul. Let's see what's for it. See? It's as cold as ice, too. A caterpillar. A little brown and black caterpillar. The kind they call woolly bears. You know, lava of the tiger morph the icy as a bell. In the dead of winter and as cold as ice. Where did it come from? Huh? You want to know. Incidentally, you know, the old timers say that the. Woolly bear caterpillar is a weather prophet. The brown bands on his fur are narrow. There's a severe winter ahead. If they're wide, it's going to be a mild winter. Maybe. This one. You can hardly see the brown bands. Tough weather ahead. That's what the old timers would say. But where'd she come from? She wasn't there when we put the cigarette lighter on the stage. One time caught up again. There she was. She? Sure, there's a bell. I see it. There's a bell over there. Don't you remember? Well, she was wiggling happily once she arrived from somewhere in the future. But as she warmed up, she seemed to go into a trance. Almost a death-like trance. So Norman said, "Put her in the deep freeze. Maybe she'll come to again in the cold." So he put her in the deep freeze. Hand in half an hour when we looked in at her she was wiggling happily. At ten degrees below zero Fred. Can you tie that? My goodness she should have been frozen solid. Well nothing special happened for a couple of days. Not you remember was a month and a half ago December 13th 1948. Where were you in the night of December 18th? I've had a deny the week before Christmas. I've been Christmas shopping in the afternoon I remember I came back to the laboratory to check up on some stuff. Norman was there fiddling with things. Hi Norm I said how's Isabella? You know something funny for? What's the matter with you? Me? He looks so pale. You sick? Eat something disagreed with you? Paul is a Bella singing. Singing what? Isabella singing. I hear Dottie. She's singing the caterpillar singing. My tap dancing I hope. I'm not kidding you. I cut it out. Open the deep freeze and listen. You've been at the C2H50H. I haven't had a drink in 39. Well now what? No kidding? No kidding. Well we don't know where she came from. I won't be surprised at anything. And low is the belly. You don't do that. The matter of friendship has to be back. Well I don't know what. Hello Isabella. Hey you're singing. I told you. Shh. I don't hear anything. Now listen Paul. I haven't lost my button. I've been hearing it all afternoon. I couldn't figure out what was doing it. And then I noticed it was louder alongside the deep freeze here. So I opened it up. It stuck my head inside and it was coming from her. What is sound like? Well I don't know. I mean it's kind of like a AEI. AEI? Didn't she say AEI or you and sometimes W and Y? Well don't rid me. I tell you I heard it. I think you better take a Christmas vacation. I'm not not. No kid. I know but listen. I think I was in pretty deep cosmic secrets. We've managed temporal displacement. Where nobody in the world has ever done so. Maybe we both need a rest. You know what I think Paul? What? I think we've managed teleportation too. And we don't know it. teleportation? You mean like Charles Ford talks about? I mean transporting tangible objects from one place to another without any mechanical need. Electronically. I don't know for. But the other way is that that cigarette lighter was someplace where it was off the cold. And it wasn't cold here in this room. World. And where did that caterpillar come from? I don't know. It came from wherever that cigarette lighter went Paul. But where? I don't know somewhere. And you know what? I'm going to find out where it came from. You are. And how may I ask you? I'm going to modify this gadget of ours. This hypercucamulator so it'll carry a man. And then my dear boss, I'm going to sit down in it and have you send me out there somewhere in time and space and come back and tell you all about it. That's all for tonight, bud. Come on, I'll take you out and buy you a drink. I'm not fooling Paul. Okay, okay. You're not fooling me. Get your hat and coat and come on. I prescribe hot buttered rum. Well, turn off the lights. We are looking to meet for. Turn off the lights. I want hot buttered rum. Okay, okay. Guys, look out of that window. That northern light. That are really bright tonight. Sure are. Look out the pole. Up, down, up, down. Norm. Up, up. Look at the deep trees there in the dark. What about? You see it? Light pole. Light, it's it. I see it, Norm. It's right in step with the northern lights. The same color. Red, red. Blue, blue. Up, down, up. Coming on the deep trees for our little friend Isabella was singing to you. Now, what do you call it? Why don't you let him? We never did get that hot buttered rum. We stayed there in the laboratory for a long time listening to the voice of a thing in the box, and personally repeating a IOU, the vowel sounds of our speech. Watching the light that poked up from the deep trees and perfect rhythm of the flickering of the northern lights we watched the wind. And we thought long, long thoughts that I remember, and we took clearly not. I do know we both of us thought of ways to perfect our little mechanism our time machine. How machine that brought back a little cold brown and black caterpillar from. somewhere. And when it was morning, on the lights of faded from the northern skies, we found that our machine was very different. The stage where we found the caterpillar was larger now. I had only a vague recollection of what had happened in the night I said to Norm, Norm and I said it. What do we do last night? I don't know for sure, Paul. Did we rebuild that thing? Make it larger? I don't know. I think I dreamed I was working on it. I think I hit my finger with a hammer. I see. Hmm. It comes all bruised. It certainly looks it. Nobody could have gotten in here the door is locked. The machine is certainly different. This coil I think looks as if we were in different. Can I do that? My head hurts. I can't. I can't do it. Hmm. I don't get it. I don't either. I wish I could. Listen, Norm. What? Maybe we did change it. But how could we have done all that by ourselves? I got an idea. What? Why maybe Isabella helped us? Are you happy? Oh, let's see, shall we? Open the deep freeze. Well, I opened it. It was empty. There wasn't any brown and black caterpillar in the deep freeze. We took a flashlight and looked over every inch of it. We stood there and looked at each other. We were a whole minute. The woman said, well, I just shook my head. I mean, it went over and sat down. All of a sudden I said, I found it, Norm. And here she was. There was little Isabella, the caterpillar, crumpled up, stoned dead on the floor of the laboratory. And you know, caterpillar has a little tiny paws. And one of Isabella's paws was the end of a long piece of wire. It ran up to the generator coil. Well, how did she get out? I said the thing couldn't be opened from the inside. I said it was passing down tight when I took the lid off just nothing. But she did get out. Maybe she did help us, Norm, I said. And he just sat there and stared at me. And I got up and put on my overcoat. Where you going? Where you going, Paul? I said I'm going to find out something on me. Where I'm going, it's cold, I said. I know that, and I'm going to find out what's been going on and where that caterpillar came from. Norm got goled at me. I stepped on the stage of the machine that was to take me away somewhere in the time of space. I said Norm, turn it off. My name is, he reached over and touched the switch. He didn't say a word. And I braced him myself. I nodded at him. Go ahead, I said. I had to press the switch. Nothing happened at all. Nothing. Why? I know, Paul, I know. It's daylight. I know aren't any Northern light. Well, it was just as well. I had a chance to think about it a little and I realized that just an overcoat wouldn't do me any good where I might be going. And so when it was dark night again, Northern lights were flickering and dancing in the sky. I put on a high altitude aviator's tooth that had its own source of heat supply. Norman shook his head as I got back on the stage. I nodded for him to press the switch. Cold. You've never been cold. Dark. You wouldn't know how dark it can get. I was standing on an immense plainless sky. I've got so far into the distance of plainness, snow and eternal ice. A dead, cold, white world with the blackest sky above me. And the Northern Lights reach from horizon to horizon. Even through the high altitude, a cauldron could feel a fighting cold. Now the freight should be objectively afraid. The streamers of the Northern Lights reach down toward me and wrapped about me. I hear the sound of voices screaming into my mind like I could understand them. I wish, hardly, I'd ever played around with cosmic forces. I yelled inside the heavy hummin' and yelled, "Ramen! Roman, bring me back!" And there was nobody to hear me. No, I don't know what I was, another planet. Maybe even not cold. Maybe the lights were all around me, maybe that's where it was. The most terrible awful cold lonely place you can imagine in a hundred years. The lights, the flickering, the living lights crawl open me and beat up me. I could almost understand if they'd say. And then the crash. The sudden blackness. I was standing again in the laboratory. I'd left only a few short seconds ago and normal was tearing at the fastings of my student beating up me with both hands. I wondered what in the world he was doing until I got the helmet off. He was rushing cataclysm to solve me. Thousands of cold, freezing cold, brown and black, you the belly catabiller. I was in bed for a week or more right on the hull on. Wherever it was I'd been, I'd barely prosened to that in those short seconds. And at last I was able to come back to the laboratory. I sat there that night with Norman. And outside the windows the northern lights were brighter than they'd ever been before. Purple, green, yellow, black lights even. And there was a new rhythm tonight. What kind of cold? Almost words, thoughts, not quite formed yet, curiously disturbing. Norman no, didn't seem to be as disturbed as I was. He just sat quietly. Looked at me. Where did those caterpillars come from for? I don't know. Where I was that's all I know. Did you. did they attack you or I don't know? They came from the lights. The lights. The northern lights. Where are they, Norman? The caterpillar? Yes. Where are they? In the deep freeze. Where is it, Ella? Where is it, Ella? What's the matter with you, Paul? I'm listening. Listening to what? Don't you hear them? Don't you? Listen. Turn on the recording machine. See if we can pick up their voices. There isn't anything. Turn it on. Turn it on. I want to record it quick. Quick, Norman. They're talking to us. Listen, friend. I want to play another recording. This is what came out of our tape recorder that night when I was listening to the voices. And Norman couldn't hear anything. Just listen. I still don't hear anything, Paul. He's still listening. I tell you, I listen. What's that? Look at the deep freeze. The top's coming open. Look at the light around it, Paul. Be quiet. Watch. How did they. Good work. Look. The caterpillars are coming out of Paul. Look at them. There's millions of them. He's still, Norman. But, but, Paul, you're. You're voice. He's still, I said. What's the matter with your voice? We wanted to talk to you. You are? You said we. Why, of course, Norman? We call it for that. It is Paul's voice, Norman. Paul's voice. Voice. But it is not Paul speaking. Listen. We speak to you. Paul. Not Paul. We the people of the lights. We from the cold. We are speaking to you with Paul's voice. I tell you that. Paul's voice will tell you what to do when the time comes, Norman. We go to the machine now. Paul's mind is ours for a little time now. We go to the machine. The machine that brought us to your world from the world of the lights. Who are you? Who are the people of the lights? To take over this world of yours. Only this world of yours is so hot. We must have the cold world. And we know how to make it cold. What's the matter, Paul? Paul. So, not. No, no. Quick, Norman. Turn on the machine. Send us the places in your world. No, our world. We're a. So hot. We're a. We're a. Turn on the machine. [Screams] [Screams] That's the end of the recording. No, I don't know. I don't have any recollection of it at all. But the recording there is not that. Must be what happened. Anyway, when I woke up, Norman was gone. There were no caterpillars in the place here. And my machine. My machine that took people and things away in the time and space. Was wrecked. I don't know what they came from. You heard what they said about my voice. They're going to take over this world and make it a cold world. Like the one they came from. Whatever that is. And wherever they went. No, I don't know where they went, where the machine sent them. I do have my pieces. Yes. Where are you cold? It's freezing in here. And just for example, you read the papers, look at the newsreels. Did you see the pictures of the snow in Los Angeles? In sub-tropical Los Angeles, where it hasn't snored for so many, many years? I wanted to buy it too. I wonder if anybody saw any brown and black, who would eat their caterpillars in Los Angeles? The flower of the tiger morn place. Yes, about that. The title of today is Quietly Story, It's Northern Life. It was written and directed by Willis Cooper, the man who spoke to you was Ernest Chappell. And my laboratory assistant, Roman, was played by Dan Sutter, the voices of Isabella and her friends, which that of Cecil Roy. As usual, music for Quietly is played by Albert Burman. Now for a word about next week? I'll write it directly by Good Friend Willis Cooper. Thank you for listening to Quietly. For next week I have a story for you that comes from the steel mill, about South Chicago way. It's called "Captor Heat" or "Dance". And so until next week at the same time. Quietly or is Ernest Chappell? And now a listening reminder. How are your predictions of things to come? What's your batting average? Compare your average with a man who has made predicting his business. Listen to Drew Pearson tonight on ABC. It's the ABC, the American Broadcasting Company. WJZ, New York's first station, AM and FM. Stand by now for inside news and startling predictions by Drew Pearson, one of the most famous reporters in America. See the amazing new Ben Rous and durable watch, stronger, really shock-resisting. Hey there, looking for car insurance that's simple fast and comes with a little extra? That's RedClick. You can save up to 300 euro when you quote online. That's up to 300 euro when you're back pocket. Insurance that's easy, insurance that's quick. Visit redclick.ai. Online discount buys to new private car policies only. Maximum discount 300 euro, subject to minimum premium applied before optional covers, acceptance criteria, TCC supply. Generally, Spanish Esecorese Esecorese SA trading is right click in general, is authorized by the general directors of insurance and pension funds in Spain and is regulated by the central bank of Ireland for consumer protection rules. There's nothing like the American Express Platinum Card. Find out your welcome offer after you apply, which could be as high as 175,000 points. Learn more and find out your offer at americanexpress.com/explore-platinum, term supply. The monitor, flatlines, the doctor's work fast, the paddles charge, his family watches from the corner of the room, and Bob Frisbee, husband. "Father, lifelong pilot, feels something, snap." He wakes in a room he doesn't recognize. No windows, a door with no handle, light with no source, and seated across a carved, antique table is a man with a file, an impossibly thick file, who introduces himself only as Mr. O. "You're in the waiting room," he says, "and we have a great deal to get through." Everything Bob has ever done is in that file. Every person he wronged and never faced. Every wound he carried that quietly poisoned the people around him. Every dark corner of life that looked from the outside perfectly ordinary. Of them, a golden wheel appears, and the spokes that are dark are the ones that matter most. But this isn't just a life review. Behind the veil of the world Bob thought he knew, something has been moving. Ancient, deliberate, with a face that doesn't belong on anything that was ever human. There are forces here that don't want Bob to finish what he has started, and the waiting room has an escape tunnel, but Mr. O. won't tell him where that leads. The waiting room, a novel by L.A. Marzouli, a researcher who has spent decades pulling back the veil on the supernatural world most people pretend isn't there, narrated by Darren Marlar. You die. Then, the reckoning begins. The waiting room by L.A. Marzouli, a new audio book available now on the audio books page at WeirdDarkness.com. Ladies and gentlemen, here is Harry W. Junquins. Thank you, Fred Collins. And welcome everyone to the first broadcast of the second series of plays under the Radio City Playhouse banner. For those of you who are not familiar with Radio City Playhouse as it was presented on Monday nights for the past year, may we say that our aim is to bring you adult entertainment in the form of good stories expertly told and expertly acted. Our story today is about a young and attractive woman with a speech in pattern. The leading role is performed by Miss Inga Adams, whose versatility, talent and charm have won her a host of friends and admirers. Co-starred with her is the brilliant young actor currently appearing in the New York hit Detective Story, Alexander Scorby. Here then is our show, Inga Adams as Palley Hayden, Alexander Scorby as Alan Hunt in Affliction, attraction 54 on Radio City Playhouse. High in the sorrows of the world is an affliction that tortures the wound at heart and fills the chest with tears in the same constricted gasping breath that draws from fools their gaping chuckling leards. Her name was Tally Hayden, an odd soft-sounding name that he said over and over to himself. The way they met was strangely unfortunate. On a lonely country road she ran over his little terrier with her car. It was autumn in a park near the ocean. The hot dog stands were nailed up like coffins burying the summer. But the air was full of tang and promise. Alan Hunt had taken Nick his little terrier pup for a run in the woods. "Sick him Nick, I said!" "Oh, well a dumbest dog a man ever on." "But you know that squirrel climb trees?" "It's dopey." "Sick, stay away from the road!" "Sick, let's go ride!" "Sick, let's go ride!" She was out of the car kneeling beside the whimpering little dog before he got there himself. She had a strange effect on him. He could see through this lovely face that was filled with agony at the suffering she had caused a little dog. And wise that looked upon the world through a cloud of despair, Tally Hayden stuttered. "I didn't even see him. He just ran right out in front of the car." "I think his legs broke." "I didn't try to miss him but he just ran right in front of me." "You couldn't help it. Take it easy Nick." "Get him to a doctor or something." "I'm afraid it's not much use." "Please, we've got to try. Maybe a vet could save him. I'm so scared. Terribly sorry." "Nick, take it easy. Take it easy." "Can't we find a vet somewhere? I'll drive you. You can't just let him die on the road. Get to do something. Let's try to save him. Please." Nick had a broken leg and the veterinarian suggested that he be gently done away with. But the girl with the great sad eyes and the lovely face pleaded as though her very life depended on it. So the vet, because he loved people who loved dogs, sat Nick's leg. And for long Nick was better, but he now walks with a strange dignified limp that reminds Alan of a slightly drunken duck. One Sunday a month later, Alan took a little dog around to Tally Hayden's house, just to prove to her that he was almost as good as new. Sit up Nick. Sit up. That's it. She answers the door sticky poor. Now hold it. Yeah? Oh, you must be Mrs Hayden. Yes, I am. Quite, Nick. I'm Alan Hunt. Hunt? Well, yes, Tally didn't tell you about me? No, she didn't. Well, is she in? What did you want to see her about, Mr. Hunt? Well, I wanted to show her Nick. Didn't she tell you about the accident? Accident. Yes, she hit Nick in her car, broke his leg. Well, she felt so badly about it. I wanted to see that he's all better. He waddles a bit, but he's as good as new. I thought maybe she'd like to know that's all. Well, I'll give her the message. I don't quite understand it, but Tally doesn't tell me very much anymore. That's the way with children sometimes, Mr. Hunt. I'll give her your message. Was there any reason why I shouldn't tell her myself, but she's in that area? Well, she's lying down at the moment. Well, would you mind telling her I'm here? All right, Mr. Hunt. Come in. Thank you. Good, but I'd like to see her very much. Sit down, the living room, Mr. Hunt. Tally's upstairs. I'll tell you here. I don't think she'll be lost. No, hurry. Sit down and keep quiet. You're mutton. I don't think the old drill approves of dopey-looking creatures. Shh, not quiet. The onion best behavior for once. Well, hello. I'm Jean Hayden, Tally's sister. How do you do? Please sit down. Tally's upstairs. She'll be down in a few minutes. Mother said something about an accident. Oh, it wasn't serious. Nick got in the way of her car and had his leg broken. That wanted to do away with him. But Miss Hayden-- There's no reason why you shouldn't call her Tally, is there? Well, no, I suppose there isn't. Well, anyway, she pleaded so vehemently that we decided to set the leg and see how it works. I thought she might be pleased to see how well Nick looks. She didn't tell us anything about it. Really? It was probably my brother's car. Tally borrows it occasionally. Mother's forbidding her to drive. And I suppose she didn't want us to find out. She seems like a very good driver. She drove me back to the vet. The accident wasn't her fault. It isn't bad. It's just that Tally's-- well, rather strange sometimes. Strange? You must have noticed. Not a spot. Her speech, you must have noticed that? Well, of course I did. I didn't think there was anything strange about it. Actually, if she'd speak before she speaks, she wouldn't have so much trouble. Sometimes I don't think she realizes how frightfully embarrassing it is to other people to have to listen to it. Do you realize how embarrassing it must be for her? She's used to it by now. She started everything I can remember. Don't you like your system, Ms. Hayden? - Liker, Tally? But of course I like her. I'm a sister. I love her very much. And I'm terribly sorry for her. - I'm sure you are. I think she's the best looking girl I've ever met. - She is, isn't she? Except when she talks. Sometimes it's worse than others. She was in a play once at school. And once she got on the stage, she was fine. The minute she came off, the stuttering started in worse than ever. - I'm so sorry to keep you waiting, Mr. Hunt. Tally'll be right down. She insisted on doing her hair up. I told it was only a casual Sunday call, but you know what girls are. - I'm learning something every day. - So this is Nick. Put a little dog. Here, little dog. Oh, my God. I don't think he likes me. - Tally says you're a writer, Mr. Hunt. - Yes, I am. - What sort of things do you write? - Almost anything as long as I get paid for it. - I always had the opinion that authors had long hair and refused to shave. - Nothing. - Ridiculous, isn't it? - No, you're entitled to your opinion. - Well, yes. Oh, here she is. Come in, Tally. - Come in, dear. - Sit over here, darling, beside me. - Hello. - Thought you'd like to see Nick. He works like an elephant in high heels, but otherwise he's fine. - Hello, Nick. - Put your poil. Shake hands just to show him his hate and his no hard feelings. - At the point. - Isn't that the cutest thing? - Just the cutest thing. - I love dogs, myself. He looks like asked in the movies. Don't you think so, Tally? - Well, say something, Mr. Hunt dear. I'm very glad that Nick's all right. I was slowly dear, slowly. Think about what you say. I felt very badly. - Well, it wasn't your fault. - Say something about a little dog. Yes. - That's so pathetic. Yes. - Look, Tally, walk around the block with us, will you? It's a lovely afternoon. We could go over to Central Park. - I think that would be lovely. Tally gets out so seldom. Why don't you go here? - All right. I'll get a coat. Take mine. That brawman of yours looks terrible. - Oh, if you'd like to go along, Jean, why don't worry about me. I've lots to do here in the house. - Oh, I think Mr. Hunt feels that Central Park is a place where people go in couples. Don't you, Mr. Hunt? I think sometimes it has its advantages. [MUSIC PLAYING] - Isn't that a riot the way you run? - I think it's mean to laugh, Adieu. - Oh, he doesn't care. - Sorry, this bench is so hardy. You comfortable? - I'm fine. - Look at him go pull and make. - You shouldn't laugh? - Cool. You'll hurt his feet. - I think he's proud of it. Make him stand out among every dog in the park. - Wonder if he likes to stand out. - Tally, can I ask you a question? - What? - Are you that sensitive about it? - No, not really. Not anymore, right? - Does it bother you to talk about it? - No. [BARKING] - Have you always started that? - Since I was about 10, sometimes it's worse than others. I was going to play once and the moment I got on the stage, I was fine. Mostly it's with strangers. If I go into a group of people, I don't know. But it doesn't seem to be much logic to it. - I don't think wrong with your throat. I mean, is it a physical thing? - But doctors say not. - Your speech organs are normal. - Yes. - Then it's some sort of psychological thing, is it? - Don't feel sorry for me. I'm used to it. I'm a lot to be thankful for. Good health, my family, no money troubles. I'm happy, really I am. - Can I say you again? - You want to? - Could we go dancing some night? - I'm not very good at it. I'm out of practice. I haven't been dancing for years. - You're not that old yet, Tally. - 26? - And out of practice of dancing? - Well, to be perfectly honest. I don't get asked very often. - Hello? - Mrs. Hayden is. Tally there, please. - Who is this, please? - It's Ellen Hunt. - Oh, that's a minute. Tally, it's for you. - All right, Ellen. - Hello? - Tally, have dinner with me tomorrow night. - I'd love to, Ellen. - I'll pick you up at your house at 5.30. - That's a long way for you to come. Why don't I meet you? - All right, same place. - And about quarter to six. - See you then. Bye. - Goodbye, Ellen. What do they want? Me to have dinner with him. Aren't you seeing quite a bit of Mr. Hunt? - Yes, I guess I am. - Baby, there's no use getting into something you can't finish. You might just as well face it. Having dinner with him isn't getting into anything, but you like him, don't you? - Of course I like him. Does he want to marry you? - Mother, don't be ridiculous at all. He's been going out with him for six months. - Tally, you know I love you. I hate to see you hurt. I don't quite know how to say this, but I'm telling you he won't marry you. No man would marry a girl that, "Oh well, you know what I mean. You might just as well content yourself with staying home. We can have a good time getting old together. After all, I'm still pretty young. I'll probably live as long as you will. You'll never be alone and you'll never be hurt. This way you'll, but you'll be hurt. - Mother, don't cry. - But you know you're getting involved. You fall in love with him and you might just as well face it. You'll never get himself tied up. Nobody said anything about getting tied up. - But you're thinking about it. - I'll stop singing in Cali. I'm telling you Alan Hunt isn't the type of man to marry a woman that's daughters. - That was wonderful. I wish they'd play that tune again. - I think to remember you're saying once that you weren't very good at dancing. - With you, I'm fine. - You know why? - Why? - I'm quite a keep quiet. You're one of those people who can't dance and talk at the same time. When you talk you walk all over my feet. (laughing) - That's been fun, hasn't it, Alan? - Yes. You've been kinder to me than anybody I've ever known. - Kind. I haven't been kind. But don't endown me with virtues I don't possess. You do that, you know. You're so intense about everything. I think if you're sorry for the sidewalk when you have to walk on it. - Alan, you do. You never just like something. You either love it or hate it. Must be awfully tiring. - I think it's time I went home. It's after 1 o'clock, isn't it? - 10 to. - Mother will be worrying. - I'll bet. - Why do you say that? - She's worrying, all right. I can just see her. - You. - Don't like mother, do you? - No, I don't. - Why? - They tell you down. She and Jean. And you don't even know it. The very word mother brings you out in a flush. Mother's weren't made in heaven, Talley. They're human beings, just like you and me. Deep down, I think you know this. - Mother may have a. - But she loves me very much. - She hates you. - Alan. - Unconscious, hey, for the horrible breaker of the human spirit. She's broken you, Talley. - I'd be. - Go sit here and have your insult, my mother. She's good and. - Kind. - She isn't good and kind. Not now, sit still and listen to me. I knew a rich man once who had a son at college. The father had pots of money, millions. He was so afraid the kid might turn out to be just a rich man son that he gave him an allowance of $5 a week. Didn't want him to be shifters, one of them to work hard, to be tough, a real man. As a result, the boy had to pick up jobs and spare time between the study and the outside work. The kid had a breakdown. It was too much for him. You really think the father loved him? Now, Talley, that's not love. That's hate. - I won't let you talk that way. - Got my mother. - Did you ever notice how you start to stutter the minute the subject's brought up? - Alan's topic. - I'm going home. - Sit down. You're not going home. Not until I've said this. I'm in love with you, Talley. I want you to marry me. That's why I'm telling you, your mother and Gina back of this. There's nothing wrong with your throat. It's as normal as mine. Nothing wrong with your tongue or your teeth. Your mother, Talley, you've got to leave her. - Leave her. - Yes, and get a job. Work. Sitting around that house all day with your mother is enough to drive anybody crazy. - Sure. - You could do it, Talley. I know you don't need the money, but it would be so good for you. - I'd never be able to do it. Do it. Never. Mother wouldn't let me. - What do you mean, let you? You're a adult. Just Talley, you're getting a job. Slowly, layer on layer, confidence and sureness were piled on the soul of Talley Hayden. Like all living things, she responded to tenderness and consideration. and channel. And again, like all living things, Alan Hunt discovered that by giving of himself to another, giving without stint and without thought of return, he was laying an unshakable foundation for love. He never mentioned her mother because he knew she found it painful and because he knew the building up of Tally Hayden could not be done overnight. It had to be done slowly, gradually. So first, Alan Hunt got her a job. Tally, over here. Well, I did just what you told me. I did everything you said in it work. Did you get the job? I stopped Monday. I'm sure the green one. No, no, no, no, calm down. Tell me from the beginning. You want a drink? In a minute. I saw Mr. Williams. I did everything you told me. Every time I felt that awful constrictive feeling, I just thought of Pahra, like he said, and her limb and flat and calm it is. And then I'd realized. Good girl. I told him I had a tendency to start it and he said he didn't make any difference. I stopped this Monday. Tally, I'm so glad. I worked for him as hardly. He said he had bookkeeping. Right at the beginning. Tell me you have a little trouble with your speech and your hopes you'll be patient. I don't have to talk much. Just use the adding machine. Don't be terrific. They'll be crazy about you. Come on. Let's have that drink. [Music] [Music] I've finished those totals and talkies. Then let's do our check and get out of here. I've got a date. By the way, you call your totals out to me. The top of the column is Hayden. The first one's 3-21-47. Yes. And hurry up. Let's go. I've got a date in 15 minutes. I have. 3-21-47. What's the next one? 7-0-1-22. Check. [Music] 7-4-31. Check. Hurry up, Miss Hayden. [Music] [Music] [Music] Are you nervous? I'm like, "Who relax? Nobody's going to hurt you." "You start her? You start her, that's all." "Well, I don't know why Mr. Williams can send me somebody." "Oh well, never mind. I'll do the calling, then. Here, give me your sheet." [Music] Sorry, Miss Harkin. Give me the sheet and I'll do the calling. 4-57-61. [Music] Check. 9-08-65. [Music] Well, if I haven't said it, just nod your head then. If they knew the amount of work I'd have to do in this department. They'd have set me somebody normal. [Music] [Music] Well, I told you, Talley. I told you exactly what happened if you persist in this idea of working. You just tell it to me. I guess I can't. It isn't as though we needed the money. But it's so much to do now. Well, tell them you're quitting. We've enough money to last us as long as we live. You know, I think we better take a trip. Yes, just you and I together. I knew that Alan Hunt had no idea how sensitive you are and how terrible it is for you to suffer from such an affliction. [Music] Mother wants me to resign, Alan. And are you? I guess so. After all, we don't need the money. Money? Who said anything about money? Look, darling. This is what you've got to do. You've got to go back there tomorrow and pretend nothing happened. Miss Hartley was nasty. Cruel. Even forget about it. She probably won't upset you. Well, let her. Minics you. Even let her. What do you care? People like Miss Hartley aren't worth bothering about. It's you that matters. But we can lick it, Talley, together. But please don't give up now. There are all kinds of Miss Hartley's in the world. You see them everywhere. Thought the selfish people that. Talley, it doesn't matter, don't you see? Please don't let your mother make you quit. Go back to work tomorrow. For me, Talley, please. Will you? All right, Alan. I'll go back. Promise? Promise. Good. Now, I've got something to tell you. The book's coming out a week from Friday. They're having a reception for me at the Waldorf. I want you to come. Alan. I want you to get a new dress and pile your hair up on top of your head and be the assistant guest of honor. Oh, no, Alan. Not with you. I'd embarrass you. Beating a lot of people like that. Important people. Talley, please. I just feel as though somebody was stuffing. gotten that and not my throat. Don't ask me, Alan, please. Don't you see, Talley, this is important. It's important to me and it's very important to you. Wouldn't be right. It would be ashamed of you. It's a week from Friday, Talley. And you're coming. But I. Couldn't. Mother would. Look, Talley. Someday, before very long, you're going to have to choose between me and your family. I'm not going to wait forever. [Music] Don't eat so fast, Talley. You'll get into gestion. Oh, I wish you'd change your mind, Talley. Going down there tonight will upset you dreadfully. You've tried to do this before and you know what's happened. You'll embarrass yourself and you'll embarrass Alan. I'm. You. Going, mother. You know what you like with strangers? You choke up and go red in the face and start to disperse. Talley. Well, you wish you were dead before the evening's over. First, Teein. She's dressing. You're going to know me with John some new play. And don't try to change the subject. Mother. Don't cry, Teein. Don't cry, Teein. Will I get help it? I know how miserable you are being. Oh, we could make some candy and read and have a real relaxed pleasant evening. And. I think we're going to mess again and find anything mother-where in my way. My dress! Find you dress! Mine is loaning it to me, Talley. You knew I bought it for tonight and you deliberately took it. Don't get yourself into a knot, Talley. She's not going anyway, are you, Talley? Take it off! No! Shut up, Talley. Take it easy. Why are you turning it off or I'll rip it off? She hit me. Mother, she hit me. You're like leeches, both of you. You knew I had a special date with Alan tonight. You just took it. And you knew I'd bought that verse especially. Talley, put that tape down. Talley, have you gone crazy? It's got half a dozen men. That isn't enough. You like Alan? Two, wouldn't you? We have and don't think I couldn't get out. Tests, you're both of you. So do I. I hated you for a long time. Just as you hated me. Alan told me the truth. Tee-e-me-down, both of you. Tee-e-me-down until there's nothing left. Keep me frightened. The friend and the frayed use me for company, for a door that, for anything. But I'm through. Huh. I'm going to marry Alan and me, the one of you can stop me. Talley. Tee-na, I'll give you one minute to get out of that dress. If you're not, I'll rip it off your back. [Music] Oh, you look wonderful, wonderful. Now just think of porridge. Limp, flabby, relaxed, hm? Ready? I'm ready. Let's go in. Love me. Love you all. Oh, ladies' astin. May I present my fiancee Miss Hayden. This is ladies' astin darling. Oh, what you do, Miss Hayden. How do you do? And her husband is Hayden. How do you do? How do you do, Miss Hayden? Alan's a lucky fellow. And this is my special friend, Maryam Woodell. She's the best actress in New York, Talley. Maryam. Hello, Talley. It's so nice to meet you. Alan, tell me how wonderful you are. It's nice to meet you, Miss Wadal. Everything's like this, so you act. I've wanted so much to talk. Just the way you do. [MUSIC PLAYING] You have just heard a fliction. Attraction 54 on Radio City Playhouse. Talley was played by Inga Adams. Alan was Alexander Scorpie. Other players in the cast were Anne Elsner, Marilyn Erskine, Connie Lemke and Frank Milano. The music by Arlo. The script was written and directed by Harry W. Junkin. [MUSIC PLAYING] This is Harry Junkin again. Next week on Radio City Playhouse, a tense absorbing story called Conqueror's Isle, starring one of Radio's outstanding young actors Bernard Grant. That's next week at the same time Conqueror's Isle. attraction 55 on Radio City Trainhouse. The The The The The The The The The The This is most of a cloud, the man with the story. In the stillness of the night, the sound of the door buzzer seemed strident and demanding. There was a pause, then it rang again. Tommy, Tommy wake up. There's someone at the door. Tommy, I'm so I answered. Oh, dear. Oh, right. I'm coming, I'm coming. Where is he? Who? Don't stall, sister. There's blood on the doorstep. He came in here. There's no one here, and I'm going to close the door. I'm going to close the door. Oh, dear. Give me a moment. What's right of you to come in here like this? I'm going to another skull out of you, and I'll slap you silly. Okay, Joe, I'll start the place. Well, I'll tell you of this midnight encounter in just a moment. [Music] [Music] [Music] Blood on the doorstep. [Music] Who's there? Sheila sat up in bed. She listened. Moonlight poured in through the open window, bathing her bare shoulders and rippling, jet-black hair with a silvery glow. Holding her breath, she listened. [Music] She was heart-pounded madly. Except for this intruder, she was alone in the house. Her mother and dad were away on their vacation. Again, there was a slight noise. This time from the stairs. She watched the door of her room with Darrell Terrah. For the first time in her life, she wished the family hadn't bought this lonely house, die mother lake. What good was a lovely garden and the cool lake breeze, if one were going to be murdered. Sheila opened her mouth to scream and found she couldn't utter a sound. And now, the door opened. [Music] The moonlight illuminated at a disheveled swing, grim-faced young man in a stained white shirt and dark trousers. Sheila, Sheila, I. Tommy! Tommy, what is it? Tommy! Sheila, I'm sorry. I have to come here. Tommy, what happened? I. I've been shot. [Music] Sheila ran into the bathroom and returned with iodine and bandages. The will-ring thoughts racing through her head. What was happy and say running away from? And what's this? What was Tommy? The quiet, friendly, cheap designer of space aircraft, doing with a gun under his arm. She smoothed down the last piece of adhesive tape, decided that the bleeding had stopped, and started for the telephone to call the police. But wait! Suppose Tommy was running away from the police. She shatted and slipped on a negligee. What should she do? [Shrieking] Tommy, Tommy, wake up! There's someone in the door. Tommy! Show my answers. Here. All right. I'm coming. Just a moment. [Shrieking] Where is he? Who? Don't stall, sister. Look, there's blood on the door. Stavy came in here. Grab a joke. Don't give me a moment. I'll write a view to break in here like this. Another squall got a view, and I'll slap you silly. Okay, Joe, search the place. Okay, of course. Now you. In there. Go on. Now. Switch on the light. Nostalgia. You're not the police. Are you okay? When we get this guy, we'll clear out of here, and you can go back to bed. Who? Who are you? Talk. There's blood on the floor upstairs. It looks like this thing has been patching up. We eat there. Onsence, go back and find him. If he makes a move, shoot. Who can he watch? So you are in on this too, eh? What do you mean? Where is he? I don't know. No. We'll get him. He's here. He got cold. All right, good. Drag him down here. No. He's badly hurt. Shut up. Bring him down, Joe. Okay. No, we're getting somewhere. You're killing him like this. No, what? We want them drawings. Here we are, boss. All right, set him. I have, boss. They're not on him. I got his gun, though. He must have given it to the game. Yeah. That's what I've been wondering. Look, babe. He was them drawings. And we'll scram out of here. But I don't know anything about them. Probably they have planned to upstairs. Joe, turn her home inside and out. Okay, no. You'd save yourself a lot of grief if you'd tell us whether he didn't. Your friend here will probably congaon if he doesn't get to a hospital. So how about it? What makes you think he carries such things around in his pockets? They look they're drawings up in the vault at the plant. He's been working on this design at home in the evenings. He was working on it tonight when we called on him on a porch in a tray. He slipped through our fingers and took the drawings with him. Where did he put them? I don't know. Oh, when he regains consciousness, I'm afraid we might have to hurt you a bit. So force him to be reasonable. Providing, of course, that Joe doesn't locate him. Very much time. What are you going to do? No, we might have to cut your pretty face up a bit with a pen knife. That's for the rouse. If she will raid, don't you think? Are you making out, Joe? Not yet. And that's where I thought. Well, your friend looks like he's coming to. Want to see the knife? There it is. Yep. There you go. No. No. No. No. (upbeat music) (upbeat music) Now back to Sheila Duck and the unconscious Thomas sprawled on the floor. (upbeat music) Sheila shuddered when she tensed. Hat time he moved. She tried hard not to look directly at him. Let's Duck notice too. Yes, he had shifted his arms slightly. Then he sighed. Duck turned and met over him, gun poised. Sheila stealthily reached out and picked up a heavy bronze bookend. She sprang to her feet and crashed it down on Duck's head. He sang to his knees and a limp he. Hat that girl, Sheila. Tell me, I thought you were dead. Oh, I'm just a bit groggy that's all. When that smoothie held you in front of him, I didn't know what to do, so I pretended to faint. It seemed to take care of things for the moment. Gosh, it was mighty hard to keep still when he was pushing you around. Crack about cutting you up right with me too much. Oh, shit. What? It doesn't matter if that bronze bookend. Yes. You know what I know? Huh? Now, pretend Duck is giving you the work, see? I'll make slaps. We are here. Oh, stop it! You're hurting me! Stop it! [SCREAMING] Hey, Dad, let me take this for the next smoothie. Now we can talk. Oh, boy. [SCREAMING] Oh, darling, we did it. Well, that's that. Now for the police. You know, Sheila, when we get married, there'll be no heavy objects around. You ain't too straight for a woman. Oh, hello, please. Russian ambulance and the doctor as well as a squad car over to the Hull residence, how to the turnpike. Right? Don't tell me I told you we'd never get out of this. Yeah. That's thanks to you, dear. Tell me, what about those drawings? I hit them under one of the flex stones, the front door. One of the flex stones? Yes. I know which one, because I dripped some blood on it. [MUSIC PLAYING] Well, Rita? Well, Marisa, what about those drawings? That's a matter. Didn't know that I could draw, eh? I'll give some drawings yourself, eh? Pretty as a picture, aren't you? Well, I'm not as bad as I'm tainted. I think it's etching to save that. I'm framed again. Well, there's always friends. All cadets have been played by Rita and myself. And as Rita says, good-bye. I say, I'll be telling one of the soon. This is yours truly, "Merce a MacLeod, The Man With The Story." [MUSIC PLAYING] Saturday night, yes, sir. The following program is brought to you courtesy of the BBC. We presented "Dashall Hammets, the Multi-Sportcan," dramatized by Michael Baker. In the role of Sam Spade, Tom Wilkinson, Richard O'Shaughnessy, Jane L'Ampotere, Mr. Gutman, Peter Paul, and as Joel Cairo, Nicholas Grace. Sam Francis Goh, 1928. That you like a cup of coffee? Thank you, sweetheart. Put it down, will you? What are you reading? Celebrated criminal cases of America in default of anything coming my way, anything new? No, Sam. No missing husbands are unfaithful wives who need tailing. You should be grateful for that, Lisa. Where is Miles anyway? Oh, he went out a couple of hours ago. Didn't say where he was going. Oh, I expect that thing now. [SIGHS] [INAUDIBLE] [INAUDIBLE] There's a girl who wants to see you. Her name's Wonderly. Customer? Yes, so you don't want to see her anyway. She's a knockout. Sure, I'm dying. Sure. Will you come in with more of this? Oh, thank you. Won't you sit down, Miss Whirney? Thank you. Now, what can I do for you? Mr. Spade, could you-- I thought-- well, that is-- [SIGHS] I suppose you'd tell me about it from the beginning. And I will know what needs doing. Begin us far back as you can. Oh, that was in New York. Yes. I don't know where she met him. I mean, I don't know where in New York. She's five years younger than I am, only 17. And we didn't have the same friends. I don't suppose we've ever been as close as sister should be. Mama and Papa, and in Europe, it would kill them. I've got to get her back before they come home. Yes. And they're coming home on the first of the month. I didn't know what she had done until her letters came. There wasn't anyone I could go to for advice. I didn't know what to do. And what could I do? But then her letter came. Yes. And I sent my telegram to General Delivery at the post office here. I waited a whole week. But no answer came. So I came to San Francisco to get her. I wrote her I was coming. I shouldn't have done that. Should I? Maybe not. It's not always easy to know what to do. You haven't found her. No, I haven't. I wrote her that I would go to the St. Mark. And I begged her to come and let me talk to her, even if she didn't intend to go home with me. But she didn't come. She didn't even send a message. It was horrible. I wrote her another letter to General Delivery. And yesterday afternoon, I went to the post office. I stayed there until after dark. But I didn't see her. I went there again this morning, and I saw Floyd Thursday. He wouldn't tell me where Karine was. He wouldn't tell me anything except that she was well and happy. But that's what he'd tell me anyway, isn't it? Sure, but it might be true. Well, he wouldn't take me to see her. He said she didn't want to see me. I can't believe that. He promised to tell her he had seen me and to bring her to see me if she would come this evening at the hotel. He promised to come himself if she wouldn't. He said, "Ah, excuse me. I didn't realize." So I miles come in. Miss Wonderly, this is Miles Archim, my partner. Miss Wonderly. Hello. Miss Wonderly's sister ran away from New York with a fellow named Floyd Thursday. They're here in town. Miss Wonderly has seen Thursday and has a date with him tonight. Maybe he'll bring the sister with him. The chances are he won't. Miss Wonderly wants us to find the sister and get her away from him and back home, right? Yes. That's right, Mr. Spade. Oh, wow. We're always happy to help a lady in distress. I always see him. He shouldn't have any trouble with it. It's simply a matter of having a man at the hotel. This evening to Shadow him away when he leaves and Shadow him until he leads us to your sister. Yeah. Let me can manage that for you, Miss Wonderly. Oh, but you must be careful. He's a dangerous man. I honestly don't think he'd stop it anything. I don't believe it, he'd hesitate to kill a Korean if he thought it would save him. He sure he hasn't married him. Oh, he has a wife and three children in England. Oh, they usually do, though, not always in England. What does he do for a living? I don't know. I haven't the faintest idea. What time is he coming to see you? Oh, after eight o'clock. All right, Miss Wonderly. We'll have a man there. It'll help if you could meet him. Mr. Spade, could you or Mr. Archer, could either of you look after it personally? I mean, I don't mean that the man you'd send it wouldn't be capable of. Why I'm so afraid of what might happen to Korean. Could you, I'd expect to be charged, of course, $200. What the hell? - Happy enough? - Yeah, good. And I'll look after it myself. Oh, would you, Mr. Orchard? Thank you. Thank you, Mr. Stade. No, no, it'll help some if you either meet Thursby Don Stairs, or let yourself be seen in the lobby with him at some stage. I will. And don't look out for me. I'll see you all right. Thank you, Mr. Orchard. Goodbye. Goodbye, Miss Wunderley. Goodbye. Happy? Would you show Miss Wunderley off? Two hundred dollars. They're right enough. They had brothers in a bag. Well, don't dynamite her too much. What do you think of her? Sweet. You should tell me not to dynamite her. Maybe you saw her first time, but I spoke first. You'll play hell whether you will. You got brains. But go easy on her. [Music] Hello? Yes, Spade. What about Miles? Bird Street. Well, how's that? Off Bush Street. Sure I know. It'll take me 15 minutes. [Music] Five minutes after two. [Music] Stop right there. What do you want? Sam Spade, Tom Poehouse Funding. Sure you are. I didn't know you at first. But back there, bad business. [Music] Hello, Sam. You didn't waste any time. Hello, Tom. I figured you'd want to see Miles before we took him away. Where is he? He's down there on the boulder. The shot must have knocked him right through the fence. He took a stretch of it with him. Is that the gun? Uh-huh, a Webly. You wish, ain't it? Yeah, a Webly Fossberg automatic revolver. They don't make him anymore. How many gun out of it? One fell. He must have been dead when he cracked the fence. And we were standing just about where you are now. Right? It was back to the fence. Yeah, that's right. The man that shot him stood about here. Let some habit Miles goes back, taking the top off the fence and going on through and down to the rock catches him right. That's it. The blast burned his coat. Who found him? The man on the beach showing. He was coming out in the bush and just as he got here, a car turning through headlights up here. He saw the top as off the fence. So he came up to look at it, found Miles. What about the car that was turning around? A damn thing about it, Sam. She wouldn't pay any attention to it, not knowing that anything was wrong then. He says, "Nobody didn't come out of here while he was coming down from power." Or he just seen them. Fogs got the ground, saw again. The only mocks were Miles sleep down and where this year gun rolled. Anybody here that shot? Well, a god, Sam. We only just got here. You coming down for a look at Archery for me moving? No. You're sure? You've seen him. You'd see everything I could. His gun must have stuck to one of his head. Hadn't been fired. His oval coat was buttoned. There's 161 bucks in his clothes. Was he working, Sam? Yeah, he was. Well, he was supposed to be tailing a fellow named Floyd Thursby. What for? What for? Well, he was an Englishman maybe. I don't know what his game was exactly. We were trying to find out where he lived. Well, don't crowd me, Tom. I'm going to break the news now to Miles' wife. It's tough him getting it like that. Miles had his fault, same as the rest of us, but I guess he must have had his good points to him. I guess so. Good night, Tom. Happy? Now listen. Miles has been shot. Yeah, he's dead. Now don't get excited. Yeah. You'll have to break it to Iver. No, I'm damned if I will. You'll have to do it. That's a good girl. And tell her to keep away from the office. Tell her I'll be around to see her, but don't tie me to anything. That's the stuff. You're an angel. Bye. Oh, Jesus. For God's sake, Tom, it's 430. Just you let us in, Sam. I see you brought your keeper with you. Hello, Dundee. Hello, Swerve. Well, you better come in. Take a seat. I'm drinking Bacardi. That do? That'll be fine, Sam. Success to crime. Sam, did you break the news to Miles' wife? Uh-huh. How did you take it? I don't know anything about women, Tom. What the hell you've done? What kind of a gun do you carry, Spade? I don't carry a gun. I don't like him very much. Of course, there are some in the office. I'd like to see one of them. You happen to have one here? No. Get sure of that. Look around, turn the dump upside down. If you want, I won't squawk if you got a warrant. Oh, Sam, what the hell? What do you want, Dundee? Talk turkey. Who the hell do you think you are coming in here in the middle of the night and trying to rope me? All right, sit down, listen. I'll sit or stand as I damn well, please. I warned you, your foot was gonna slip while you stayed. Everybody's foot slips sometimes. And this is yours. I don't like this, Dundee. What are you sucking around for? Tell me or get out and let me go to bed. Who's Thursday? I told Tom all I knew. You told Tom, damn little. I knew damn little. Why were you paling him? I wasn't. Miles was. For the swell reason that we had a client who was paying good United States money to have him tell. Who's the client? You know, I can't tell you that until I talk it over with the client. You'll tell a familiar, you'll tell a having court. This is murder and don't forget. I'll tell her not as I damn well, please. Don't be reasonable, Sam. How can we tell her anything on Miles is going if you won't give us what you've got? You needn't get a headache over that. I'll bury my dead. I thought you would. That's just exactly why we came to see you. That's not Tom. That's it, senior boyfriend now. Just this. First, we will shut down in front of this hotel. Just 35 minutes after you left Beret Street. Your god damn paws off. Tom says you weren't too much of a hurry to even stop for a look at your partner. And you didn't go to watch his house to tell his wife. We called up and that girl in your office was there. And she said you sat there. Okay. I give you 10 minutes to get to a phone and do your talking to the girl. I give you 10 minutes to get the Thursday hotel. You could do it easy in that time. And that gives you 10 or 15 minutes of waiting before he showed up. So, what time did you get home? 20 minutes to four. I walked around thinking things over. Where did you do your walking out push street way and back? Did you see anybody? No, no, no witnesses. Ha, ha, ha. Oh, sit down, Dundee. You haven't finished your drink. Get your glass, Tom. No thanks, Sue. I'm sorry I got on my hind legs, but you birds coming in and trying to put the works on me made me nervous. Having miles knocked off bothered me. It's all right. Now I know what you're up to. Forget it. There's be dye. Yeah. Tell me how do I kill him? I forget. He was shot four times in the back with a 44 or a 45 from across the street when he was going into the hotel. Nobody shot, but that's the way it figured. And he was wearing a logo in a shoulder hole state. Haven't been fired. What do the hotel people know about him? Nothing except it had been there a week. Along? Along. What did you find on him or in his room? What do you think we find? Something to tell you who he was. What his store was. We thought you could tell us out. I've never seen Thursday be dead or alive. We've asked what we came to us. We've told you more than you've told us. You know me, Spade. If you're dirty, you're dead and killing me. You'll get a square deal out of me. I don't know that I blame you however loud. But that wouldn't keep me from nailing you. Fair enough. But I'd feel a whole lot better about it if you drink your drink. Morning, sweetheart. What's eating you? She's in there. Iva? I'm afraid so. I thought I asked you to keep her away. You asked but you didn't tell me how. Don't be clanky, Sam. I had her all night. Oh, I'm sorry, Angel. I haven't had much sleep either. And I've drawn a blank with a Wonderly woman. She's checked out of her hotel. She left a fording address. The ambassador, Los Angeles. You might give her a try. You never know. I will, Sam. Well, here we go. Hello, Iva. Sam, I must talk to you. I know. I know. Poor darling. Look, I don't have much time. Who's Sam? Did you kill him? Who put that bright idea into your head? I thought it was possible. Be kind to me, Sam. You killed my husband, Sam. Be kind to me. Be kind to me. Jesus Christ. No, Iva don't. He shouldn't have come here today precious. It wasn't wise. He can't stay. He ought to be home. You come tonight. Not tonight. Soon. Yeah. How soon? As soon as I can. Goodbye, Iva. What did you kill him? Jesus Christ. Well, how are you in the room? She thinks I shot Miles. So you could marry her. The police think I shot Thursby. Who do you think I shot? The guy Miles was supposed to be taly. Did you try to ambassador? Yes, they have no reservation for him. Are you going to marry Iva? Don't be silly. Well, she doesn't think it's silly. Why should she, the way you played around with her? I wish to God, I'd never seen her. Oh, maybe you do now, but there was a time. I never know what to do or say to women except that way. And then I didn't like Miles. Do you suppose she could have shot him? You're an angel, a scatterbrained angel. Oh, am I? Well, suppose I told you that your Iva hadn't been home many minutes when I arrived to break the news at three o'clock this morning. Are you telling me? She kept me waiting at the door while she undressed. I saw a clothes where she dumped them on a chair. Her singlet was still warm. I hear a detective donning, but she didn't kill him. That allows, once to marry you, Sam. Did you see a last night, Sam? No. Honestly? Honestly. Don't act like Donnie, sweetheart. Look at me, Sam. Oh, you worry me. You always think you know what you're doing, but you're too slick for your own good and someday. You're going to find that out. I'll get it. Spade. It's about time. Where are you? The coronet, 2001. What did you say? Leblanc. I'll be right over. That was our Miss Wonderly. Or Leblanc, because she now calls herself. Have the spade, and Archer taken off the door, and Samuel spade put on. Don't you think it's a bit soon? That's the way it is, dear. [Music] Good morning. Come, Mr. Spade. I'm sorry, everything is in such a mess. I haven't finished unpacking. Please, sit down. So? Mr. Spade, I have a terrible, terrible confession to make. The story I told you yesterday was all a story. All that. We didn't exactly believe your story. You didn't? Then why would we-- We believed you're $200. I don't know what you mean. I mean that you paid us more than if you'd been telling the truth. And even now you'd still be willing to help me? That depends. The hell of it is, Miss. Is your name Wonder Lear LeBlanc? It's really O'Shaunasey. Bridgid O'Shaunasey. The hell of it is, Miss O'Shaunasey. That a couple of murders coming together like this makes the police all stirred up. Makes everybody hard to handle an expensive. Mr. Spade, tell me the truth. Am I to blame for last night? Not unless there are things I don't know about. You warned us the thirteenth be was dangerous. Thank you. But I always blame myself. Mr. Archer was so lying. There's no time for worrying about that now. Out there, a flock of policemen and district attorneys are running around with their noses to the ground. What do you want to do? I want you to save me from-- From at all. Mr. Spade, do they know about me? Not yet. That's why I've been stalling them till I could see you. But must they know about me at all? I think I'd rather die than that Mr. Spade. I can't explain now, but can't you somehow manage so that you can-- I don't have to answer that question. Maybe. But I'll have to know what it's all about. I haven't lived a good life. I've been bad. Worst than you could know. But I'm not all bad. Look at Mr. Spade. You know I'm not all bad, don't you? Then can't you trust me a little? I've got nobody to help me. If you overhelp me, I know I'm not all bad. You overhelp me. I know I've no right to ask you to trust me if I won't trust you. But I can't tell you. I don't mean I don't trust you, but I trusted Floyd and I've nobody else Mr. Spade. If I hadn't believed you could save me, I would have run away instead of saving for you. If I thought anyone else could save me, would I be down on my knees like this? Be generous, Mr. Spade. Don't ask me to be fair. I've no right to ask you to help me blindly, but I do. You can't help me. Help me. You won't need much of anybody's help. You're good. You're very good. It's cheap for your eyes, I think, and the throb you get into your voice when you say things like, be generous Mr. Spade. I deserve that. I deserve it, but. Oh, I do want your help so much. And the lie was in the way, I said it. Not at all, in what I said. It's my own fault if you can't believe me now. Now you're dangerous. Then you won't help me. What happened last night? Floyd came to my hotel at nine o'clock and we went out for a walk. I suggested that, so Mr. Archer could see him. We stopped at a restaurant in Geurie Street, I think it was, for supper and to dance. And came back to the hotel at about half past twelve. Floyd left me at the door and I stood inside and watched Mr. Archer following down the street on the other side. Do you know what they'd be doing in the neighborhood of Bush and Stockton, where Archer was shot? Isn't that where Floyd lived? No, it was nearly a dozen blocks out of his way. What did you do after they'd gone? I went to bed. And this morning when I went out to break the thigh slow the headlines in the papers. I had an automobile and went back to the hotel for my luggage. After I found my room had been searched yesterday, I knew I would have to move. I'd had found a place yesterday afternoon, so I came up here and then I'd telephone Geurie. Your room at the St. Mark was searched. Yes, while I was at your office. I didn't mean to tell you that. That means I'm not supposed to question you about it. I'm afraid so. I've got nothing against trusting you blindly, except that I won't be able to do you much good if I haven't got some idea of what this is all about. For instance, I've got to have some sort of line on your Floyd Thursby. I met him in the Orient. We came here from Hong Kong last week. He had promised to help me. He took advantage of my helplessness and dependence on him to betray me. Betrayer, how? Why did you want him shadow? I wanted to find out where he was staying. I wanted to find out what he was doing, whom he was meeting, things like that. Did he kill Archie? Yes, certainly. He had a luger in his shoulder holster. Archie wasn't shot with a luger. He had a revolver in his overcoat pocket. You saw it. I've seen it often. I didn't see it last night, but I know he never wears an overcoat without it. Why all the guns? Well, he lived by them. There was a story in Hong Kong that he had come out there to the Orient as bodyguard to a gambler who had to leave the States. I'm not the gambler, it's since disappeared, I don't know. I do know that he always went heavily armed and that he never went to sleep without covering the floor around his bed with crumpled newspaper. So nobody could come file me into his room. You picked a nice sort of playmate. I'll bat a hole at you actually in. This bad is good be. Physical danger. I'm not heroic, Mr. Spade. I don't think there's anything worse than death. Then it's that. It's that. As soon as I'm sitting here unless you help me. I'm not God. I can't work miracles out of thin air. Who killed first? I don't know. How is he supposed to be helping you? Why did you bring him here from Hong Kong? Oh, this is hopeless. I can't do anything for you. I don't know what you want. I don't even know if you know what you want. It's no use. You won't go to the police. Then they've been running me ragged since four o'clock this morning. I've made myself God knows how much trouble standing them off. For what? For some crazy notion that I could help you. Well, I'll tell them what I know and you'll have to take your chances. It is hopeless and useless, I suppose. I'll have to take my chances. How much money have you got? I've got about five hundred dollars left. Give it to me. There's only four hundred here. I have to keep some to live on. Can't you get any more? No. You must have something you can raise money on. I've got some rings, a little jewelry. The remedial is the best place, mission in fifth. Then here's the rest. It's all I have. Thanks. I'm going out to see what I can do for you. I'll be back as soon as I can with the best news I can manage. I'll ring four times, long short, long short. You needn't go to the door with me. I can let myself out. I've got Mr. Wise on the line for you, sir. Sir, I think I'm going to have to tell a coroner to go to hell. Can I hide behind the sanctity of my client's secrets and whatnot? I'll let you have the details. Dundee's getting snotty and maybe it is a little thick this time. There's a man who wants to see you. Here's his card. Joel Cairo. Sheepra. This guy is queer. Oh, and what are they, darling? Okay. Mr. Cairo? Thank you. I sit down as to Cairo. Thank you. What can I do for you, Mr. Cairo? May a stranger offer condolences for your partner's unfortunate death. Thanks. May I ask, Mr. Spade, if there was as the newspapers inferred a certain relationship between that unfortunate happening and the death a little later of the man turns be? A bigger pardon, Mr. Spade. More than idle curiosity made me ask that. I am trying to recover an ornament that has been shall we say, mislate. I thought and hoped that you could assist me. The ornament is a statuette, the black figure of a bird. I am prepared to pay on behalf of the figure's rightful owner the sum of $5,000 for its recovery. $5,000 is a lot of money. Come in. Is there anything else? No, good night. Lock the door when you go out, will you? Sure. Good night. Good night. You will please close your hands together to back your neck. And tend to set your offices, Mr. Spade. I warn you that if you attempt to present me, I should certainly shoot you. Go ahead. I should first have to make sure that you are not armed. As you wish. (Groans) He's still got a lot to learn. Let's see what you got on you. Wallet containing $300 and $5,000. Greek passport. A page of hotel velvety or writing paper with my name in the Department of Antras. Are you feeling better? I could have shot you, Mr. Spade. You could have tried. I did not try. I know. Then why did you strike me after I was disarmed? Sorry, but imagine my embarrassment when I found that $5,000 offer was just hoey. You are mistaken, Mr. Spade. That was and is a genuine offer. What the hell? I am prepared to pay $5,000 for the figure as to return. You have it. No. Well, if it is not here, why should you have risked serious injury to prevent my searching for it? I should sit around and let people come in and stick me up. You got my apartment address. You been there, yeah? Yes, Mr. Spade. I am ready to spend $5,000 for the figures to return. But surely it is natural that I should try first to spare the owner that expensive possible. Who is it? You will have to forgive me for not answering that question. Well, I. If you wish some expression of my sincerity, I could offer a retainer with that serve. It, my. You would take, say, $100. I'll take $200. Here's your wallet back. Oh. Your first guess was that I had the bird. There's nothing in that. What's your second? That you know where it is. Or if not exactly that, you know it is where you can get it. What sort of proof can you give me that your man is the owner? Very little, unfortunately. But nobody else can give you any authentic evidence of ownership at all. It might be better all around if we put our cards on the table. I do not think it would be better. Right. So you're not hiring me to do any murders or burglaries for you, but simply to get the black bird if possible in an honest and lawful way. If possible. And in any event with discretion, I confidently expect the greatest mutual benefit from our association, Mr. Spade. May I have my pistol? Sure, I'd not need it here. You would please keep your hands on the top of the desk. I am going to search your offices. I'll be damned. All right, go ahead. I won't stop you. Mr. Spade, do you mind me good news? Let me take your coat. We won't have to make anything public that hasn't already been made public. But please, won't have to know about me? No. How ever did you manage it? Most things in San Francisco can be bought or taken. And you won't get into trouble. Oh, do sit down. I don't mind a reasonable amount of trouble. You aren't exactly the sort of person you pretend to be, are you? I'm not sure I know what you mean. School girl, man, are stammering and blushing and all that. I told you this afternoon that happened bad. That's what I mean. You told me this afternoon in the same word, same tone. It's a speech you've practiced. Very well, Mr. Spade. I'm not at all the sort of person I pretend to be. I'm an 80 years old, incredibly wicked and an iron molder by trade. But it is supposed, it's one I've grown into. So you won't expect me to grab it entirely, will you? Oh, it's all right. Only it wouldn't be all right if you actually were that innocent. They never get anywhere. I won't be innocent. I saw Joe Cairo tonight. You know him? I saw him tonight. It's chilly. I'll put another log on the fire. Sit down. You're good. You're very good. What did he say? About what? About me. Nothing. Well, what did he say? He offered me $5,000 for the black bird. Are you not going to go around making up the fire and striking the room again, are you? Well, I won't. What did you say? Oh, surely. You're not really considering it. Mr. Spade, you promised to help me. I trusted you. Don't let's try to figure out how much you've trusted me. I promised to help you, sure, but you didn't say anything about any black bird. You won't. You can't treat me like that. If I'm more than I could ever offer you, if I must bid for your loyalty. That's good coming from you. What have you given me besides money? Have you given me any of the truth? Any help in helping you? If I'm peddling my loyalty, why shouldn't I let it go to the highest bidder? I've given you all the money I have. Without your help, I'm utterly lost. What else is there? Can I buy you with my body? I'm thinking over. Christ, there's no sense in this. I don't care what kind of tricks you're up to, but I've got to have something to show me that you know what you're doing. Okay, trust me just a little longer. How much is a little? And what are you waiting for? I was talking to Joe Cairo. You can see him tonight. We can get him on the phone with the bell. He can't come here. I can't let him know where I am. I'm afraid. My place. Do you think he'd go there? He'd go. All right. Shall we go now? That's him. There's a boy out there watching the house, Mr. Spate. What am I to understand from that? I came here in good faith with no thought of tricks or traps. You're asking good faith, but I ought to have guessed he'd have showed up. Where is he? Outside. In the shop doorway. Oh, a kid has been trying to tell me around town all evening. Cairo thought I put him there. Oh, come in. There's no you standing here talking to all the neighbors. This boy. Did he follow you to my apartment? No, I shook him off before that. And I suppose he came back here to try to pick me up again. I am delighted to see you again, Miss O'Shoen and see you. I was sure you would be, Joe. So I'm told me about your offer for the Folkum. I assume you can have the money ready. It is ready. In cash? I can be quite prepared to give you this money at, say, half past 10 a morning. Would that suit you? But I haven't got the money. I'm not talking. Then why would you? I'll have it in a week at the most though. Where is it? Where Floyd hid it? And you know where that is? I think I do. Then why must we wait a week? Well, perhaps not a whole week. Who am I abiding at for a joke? I told Mr. Spate for it, Ona. Oh, you went back to him. Naturally I did. I should have liked to have seen that. Exactly what happened to Floyd? G. I see. You see here? I don't know. What is it, mate? It might make a world of difference to, let us say, to Mr. Spate. Or me? Or you? Exactly. And shall we say more certainly, the boy outside? Yes, unless he's the one you had in Constantinople. The one you couldn't make. Stop that, Cairo. And drop a gun. I don't need it. This is the second time you put your hands on me. Yeah, when you're slapped, you'll take and like it. What? What? What? What? What reason? How should I know? Keep quiet. I'll go see what it's all about. Hello, Sam. We thought you wouldn't have gone to bed yet. A lot of talk to you, Spate. Well, I'll go ahead and talk. We don't have to do it standing here, do we? You can't come in. I would pay you to play along with Spate. You got away with plenty. But you can't keep it up forever. Stop me when you can. That's what I'll do. There's talk going around, but you and Arches wife were cheating on him. That sounds like something you thought up yourself. But talk is. That's why he was put in a spot. You oughtn't to try to pin one murder on me at a time. Your first idea that I knocked Thursday off because he killed Miles falls apart. If you blame me for killing Miles too. You haven't heard me say that you killed anybody. You're the one that keeps bringing that up. I hope he got something better to do besides popping hair early every morning and asking me damn full question. And death damn lying answers. Hey, kiddie. If you say there's nothing between you and Arches wife, you're a liar. And I'm telling you so. Is that the hot tip that brought you here at this ungodly hour of the night? That was one of them. And the others? Let us end. No chance. All right, Spate. We'll be able to see you now, Adam. Not you're right and fucking us. Think it over. I guess we're going in. I guess you are. Please. All right, Perry. Drop the gun. What are you up to? She scratched my face. Look at it. Did you do that? I had to. I was all alone here with him when he attacked me. Oh, I couldn't make myself sure of him. You dirty, filthy liar. She's lying openly. I came here in good faith. I was attacked by both of them. And when you came, he went out to talk to you, leaving her here with this pistol. And then she said they were going to kill me up the unit. And I called for help so he wouldn't leave me out to be murdered. And then she struck me with a pistol. Now, let's get that straight. What are you doing here? He sent for me. He called me on the telephone and asked me to come here. What did he want you for? He said he wanted to. They wanted to see me. I don't know what's about. Wow. What happened, Adam? They attacked me. She struck me first. And then he took me and took the pistol out of my pocket. I don't know what they would have done if you hadn't arrived. Now you're making a choice. Hey, where are that now? He's impulsive. Yep. What do you want us to think the truth is? Not what he said. Not anything he said. Right. Don't look at me. I was out in the kitchen mixing an omit when it happened. Well, Tom, I don't think we're going wrong. Pulling them all in. Don't be in a hurry. Everything can be explained. Oh, but Miss O'Shaughnessy, Mayor of present Lieutenant Dundee, and the sake of Sergeant Poehaw's, Miss O'Shaughnessy is an operative in my employ. That's not true, does he? I hired him very recently. Yesterday, as a matter of fact, this is Mr. Joe Cairo, a friend and acquaintance at any rate of Thursby's. He came to me this afternoon and tried to hire me to find something Thursby was supposed to have on him when he was bumped off. It looked funny the way he put it to me so I wouldn't touch it. Anyway, after talking it over with Miss O'Shaughnessy, I thought maybe we might get something out of him about miles and Thursby's killing. So I asked him to come up here. Maybe we put the questions to him a little rough, but he wasn't hurt in. Well, where you go, sir, to that? I don't know what I should say. Try telling the facts. What's going? All you've got to do is swear a complaint that they took a poke at you. Go ahead, Cairo. Tell him you'll do it, and we'll swear to one against you, and he'll have a lot of it. That's enough. Get your hats. Well, boys and girls, we put it over nicely. Get your hats. Don't you know when you're being kidded? Huh? I dare you to take us in, Dundee, we'll laugh at you in every newspaper in San Francisco. When the bell rang, I said, "It's those damn bulls again. They're getting to be a nuisance." Let's play a joke on them. When you hear them going, one of you start to scream and we'll see how far we'll enshring it along. How did he have to say him? Where did the coloners have a mouth come from? Ask him. Maybe you cut himself shaving. I feel we were pretending to struggle for the pistol. Horsefathers. You can't get away with that. I'll tell you how many times I've got to take him. No sir, it was a joke. I'll take you along for a pack and I've gone anyway. Don't be a saft, Dundee. It's part of the plan. It's one of mine. Too bad it's only a 32 or you could find it was one of the thirs being miles were shot with. Bastard! Why you? Just try. Just try. We know some for God's sake. Get him out of here quick. I've had enough of this. Let's take it easy, Sam. Is that all, Lieutenant? I'm going to if Mr. Spitz will be kind enough to give me my coat. So, it was all in fun. But you're afraid to be laughed here with us. Not at all. But it's quite late and I'm going. I hope to God you know what you're doing, Sam. You're absolutely the wildest person I've ever met. Do you always carry on so high handed? I didn't hit me, didn't I? Oh yes, the police of this. Wasn't that? It was that an losing his head and slugging me over played his hand. Well, you've had your talk with Cairo now you can talk to me. Well, I'm listening. Oh, just look at the time. Oh no, it's been a busy evening. I must go. This is terrible. Not until you've told me about it. Besides, there's the kid outside. Let's talk. You're the most insistent person. What's this bird? This falcon that everyone seems so steamed up about? Oh, I'm so tired of it. And I do hate having to talk about it. Wouldn't it be just as well to wait and let you learn about it? I don't know. My way of learning is to heave a monkey wrench into the machinery. It's all right with me if you're sure none of the flying pieces will hit you. I'm afraid of you. And that's the truth. That's not the truth. It is. I know two men I'm afraid of. And I've seen both of them tonight. I can understand you being afraid of Cairo. He's out of your reach. And you aren't? Not in that way. It's a black figure, as you know. Smooth and shiny of a bird. A hawk or a falcon about a foot high. What makes it so important? I don't know. They never tell me. They promised me five hundred pounds if I helped them. Help them, huh? Help them to get it from the man who had it. A Russian named Kemedov. This was in Constantinople. In Mamora. Go ahead. What happened then? Well, that's all. We found that Cairo meant to desert us, taking the falcon with him. So we did exactly that to him first. But then I wasn't any better off than I had been before. Because Floyd had any intention of paying me. He said we would go on to New York where he would sell it and give me my share. But I could see he wasn't telling me the truth. And that's why I came to you to help me to learn where the falcon was. And suppose you got it, what then? Then I'd have been in the position to talk to him. That makes it worth all the money. What's it made of? Porsal under, black stone. I'd know. I've only seen it once for a few minutes. Floyd showed it to me when we first got hold of it. You are a liar. I am a liar. I've always been a liar. Don't brag about it. It's childish. Was there any truth of the all in that year? Some. How much? Not very much. Well, we've got all night. I'll put some more brandy and some more coffee and we'll try again. Oh, I'm so tired. So tired of it all. Of myself. Of lying and thinking up lies. And of not knowing what is a lie. Not truth. I wish I were. Kiss me. [Music] No. [Music] Mr. Joe Cairo in room 635. No, sir. He's not in the hotel. Any idea what time he left. He didn't return last night, sir. He's seen. Sorry, I can't help you any further. That's all right. I just spotted somebody who can. Where is he? What where is he? Ferry What do you think you do Jack don't pretend you don't know what I'm talking about you've been tailing me all over town Shabwaf You'll have to talk to me before you're through sunny some of you well and you can tell G. I said so You keep asking for it you can I get it? I told you that Shabwaf nice Shabwaf people lose teeth talking like that Now you just be a good boy and run along to G and tell him what I said I Won't forget you There was a man looking for you morning I know what happened to you sir. It looks like a slept in it good morning Mr. Spid Let's go someplace we can talk you will please excuse me Mr. Spid Our conversations in private have not been such the time anxious to continue them Puzzle me speaking bluntly, but it is true. You mean last night. What else and how could I do? I thought you'd see that if you pick a fight with Miss O'Shaunasey or let her pick one with you I got a throw in with her. I don't know where that damn bird is you don't either she does How in the hell are we gonna get it if I don't play along with her? You have always I must say a smooth Explanation what do you want me to do? Carol learn to stutter? Let's go over there Now tell me what happened to Dundee take you down to the hall. Yes. How long do they work on you until a little while ago? I'm very much against my will I should certainly take the matter up with the consular general of Greece and with an attorney go ahead and see what it gets you What did you let police shake out of you? Not a single word, Mr. Spid I Here to the course you indicated earlier in your rooms though. I certainly wish to have devised the more reasonable story I felt decidedly ridiculous for beating sure, but its goofiness is what makes it good He sure you didn't give him anything may rely upon this Mr. Spid I did not you'll be hearing from Dundee again Stay dummyed up on him and you'll be all right and don't worry about the story's goofiness a sensible one would have had us all in the cooler I you may be right and I know you'll be wanting sleep if you've been standing up under a police storm all night. See you later Cairo Morning sweet. No, no, no, no, yeah, no. I'll have him call you soon as you get sent Iber That's the third time she's called this morning. She sounds frantic. Uh-huh Your miss oh showness is in there. What else? A man called G called up What did he say? He said when he comes in when he please tell him that G who got his message phone and we'll phone again Thank you, darling Damn Somebody had been in my apartment. It's all up to take down anything taken. I don't think so. I don't know I was afraid to stay you must have let that boy follow you. Oh angel But he was watching your place when he was there. There's no reason to think he's working alone But we've got to find a new home for you. I won't go back there. I thought of a way wait here a minute Happy How is your woman's intuition today? What? What do you think of Miss oh shanise? Oh, I'm for her. I think no matter what kind of trouble she's gotten into She's alright. Are you strong enough for her to give her a lift? How could you put her up for a few days? What you mean at home? Yeah, her joint's been broken into it'll be better for her. She wasn't alone It would help me a lot if you could take her in. Well, she really in danger Sam. I think she is That would scare mine to a green hemorrhage I'll have to tell her she's a surprise witness or something that keeps him under cover You're a darling. I'm better take her out there now. Okay. No You oughtn't to be seen leaving together you take a taxi home and I'll send her out another in a little while making sure she isn't followed Don't worry. I'll look after the office after you both gone Hello Yeah, this is spade I've been waiting to hear from you Mr. Gutman Know the sooner the better 12c right Hello, I'm a honey hello Sam forgive me I said those policemen around last night I was sitting in the car waiting outside your apartment when you went in with that woman I was mad crazy with jealousy and I found them that if they'd go there they'd learn something about my health as murder Did you tell them who you were? No, no, but I told them you were having an affair with With mouth is wife. There was a dumb trick that it's done now. You better run along home. I'm sorry. I know you won't forgive me Up there's just one thing yes, Sam. Where were you the night miles with shot home? No, I know you weren't If they bring told you that I saw her looking at my clothes and snipping around where were you? I was following miles Jesus he told me he had a date with a girl if I wanted to get a divorce now was my chance I followed him to the St. Marks and saw he was shadowing a man and a girl the one you were with last night I realized he was just kidding. I went round to your apartment that you weren't there time was that around 10 30 then I couldn't go home. I didn't want to be there when miles got back I went to a movie that there's a place in power street that's open to a one Then I went and had a meal and then I went home But miles wasn't there it's stupid, but I was mad. He wasn't on first So I took the car out of the garage again and went back to your place I which time I was looking at miles as body Jesus would have swelled a lot of married going around driving Then what then I went home again. I was just undressing whenever you arrived. Oh do you believe me? Sure I do Now run along I got in the point Beat it I Spade nice to see you again, sonny. Thank you. Well, now you can leave us now Mr. Spade. How do you do, Mr. Godman? Sit down. Let me get you a drink. Kill whiskey. Thanks We begin well sir. I distrust a man that says when He's got to be careful not to drink too much it's because he's not to be trusted when he does Well, sir here's to Plain drinking and clear understanding You're a close mouth man. Not at all. I like to talk better and better. I distrust a close mouth man He generally picks the wrong time to talk and says the wrong things Talking something you can't do judiciously unless you keep in practice will get along so that we will see guys. Thank you Now sir We'll talk if you like and I'll let you know right out that I'm a man of likes talking to a man with likes to talk Well, will we talk about the black bird? We will you're a man for me sir a man cut along my own lines now beating about the bush but straight to the point I like that way of doing business. Let us talk about the black bird That first Answer me a question please you're here as Mrs. Sheldos is represented to do Depends on what if I knew what it depends on I could say yes or no maybe it depends on your kira maybe You could say then that the question is which of them you'll represent you could put it that way It will be one or the other I didn't say that who else is there there's me It's wonderful so wonderful I do like a man that tells you right out he's looking out for himself I don't trust a man that says he's not let's talk about the black bird let's Mr. Spade have you any conception of how much money can be made out of that black bird no Oh, I'll share if I told you but get if I told you half you'd call me a liar no not even if I thought it But if you won't take the risk just tell me what it is now figure out the province you mean you don't know what it is No, I know how I know what it's supposed to look like I know the value you people put on it. I don't know what it is She didn't tell you uh-uh no a lovely girl She must know And kairo didn't either kairo is cagey he's willing to buy it But he won't risk telling me anything. I don't know already much as he willing to buy it for $10,000 Not even pounds. That's the Greek for you And what did you say to that I said if I turned it over to him. I'd expect the ten thousand. Nicely put, sir. They must know. Do they know what the bird is? So what's your impression? There's not much to go by. Cairo didn't say did. He didn't say didn't. She said she didn't, but I took it for granted. She was lying. That was not an ind�icious thing to do. Maybe they don't. Or if they don't, I'm the only one in the whole sweet white world who dies. I'm glad I came to the right place. Oh, my God, sir, you're glossy and stiff. Ah, sir, this kind of medicine will ever hurt you. [LAUGHS] Here's the plain speaking and clear understanding. Ah! [LAUGHS] Oh, well, sir, it's surprising, but it may be a fact that nobody in this whole sweet white world knows what it is, saving and accepting your humble servant, Caspar, Dr. Fannesquad. Well, and when you've told me, there only be two of us. Mathematically correct, sir, but I don't know for certain that I'm going to tell you. Don't be a damn fool. You know what it is. I know where it is. That's why we're here. Well, sir, where is it? You see, I must tell you what I know, but you will not tell me what you know. That is hardly a critical, sir. And no, no, I did not think we can do business along these lines. I think again, and you think fast. I told that punk of yours, you'd have to talk to me before you got through. I'll tell you now that you'll do your talking today or you are true. What are you wasting my time for? You and your lousy secret. Maybe it could have gone along without me if you'd have kept clear of me. You can't now, now in San Francisco. You'll come in or you'll get out and you'll do it today. [GUNSHOTS] And another thing I don't want, you keep that gumsle away from me while you're making off your mind. He makes me nervous. I'll kill him the first time he gets in my way. I won't give him an even break. I won't give him a chance. I'll kill him. Wow, sir, I must say you have a most violent temper. Temper. [GIGGLES] You think it over. And think like hell. You've got till 530 to do it in. And you're either in or out for keeps. 530. And the curtain. Sam, what happened? What happened? Where? This is so sure of us. Why didn't she come? She didn't get there? I waited and waited and she didn't come. I couldn't get you on the phone so I came back here. Did you send her out in the taxi? Of course I did. And you sure she? Someone was the following. Nobody followed her. What do you think I am? A goddamn school boy? I'm going out to talk to the taxi drivers. I'll find her if I have to dig up sewers. Stay here till I'm back or you hear from me. Yeah, sure. I remember. I told you to take her to a 9th Avenue number. Where did you take her? I took her to the ferry building. But I told you to take her on. When we got to Polk, she wrapped on the glass and said she wanted to get a newspaper. So I stopped on the corner and whistled for a newsboard. Which paper did she get? The call. Then we went to Sacramento. And just after we crossed the van, she knocked on the glass again and said to take her to the ferry building. Anybody waiting for her there? I didn't see them if there was. Did she take the newspaper with her? She tore a sheet out. Do you have the rest? Yeah, I kept it. It's here. Thanks. Get yourself a smoke. Thanks, Mr. Spade. Oh, let's miss. 35 and 36. That's birth's marriages. Come on, Spade. Good one once yet. Well, wow. I didn't expect to hear from you to 525. You keep on writing me and you're going to be picking iron out of your navel. The cheaper the crook, the gaudier, the patent. Well, let's go. He's trying to knock out of me this spade. You know the way. You have to keep on poking that thing in my back. Hey, how long you been off the Gooseberry Lake, kid? Look here, you die. I'll take the gun. Any other one? Come on. I'll put you in solid with your boss, kid. Well, well, what's this? You shouldn't let him run around with these. We'll get himself hurt. Oh, God, you're a chap with. No, you're an amazing character. Come in. Come in. A shit dog. Give me a hat. You may leave this, will you? A drink, sir. Thanks. You know, sir, I hope you'll let me apologize. I remember my man. Let's talk about the Blackbird. Oh, well, sir. Let's. Yeah. Thanks. What do you know, sir, about the order of the hospitalist, John of Jerusalem, later called the Knights of Rhodes and other things? Not much. Well, I remember from history in school, Crusaders or something. Very good. Now, you'll remember that Salaman, the magnificent, chased them out of Rhodes in 1523. No. Oh, well, sir, he did, and they settled in Crete, and they stayed there for seven years until 1530, when they persuaded the Emperor Charles the Fifth to give them Walter, Gozo, and Tripoli. Yes. But with this condition, they were to pay the Emperor each year the tribute of one falcon in acknowledgement that Walter was still under spain, and if they ever left it, it was to revert to Spain, understand. Yeah. Have you any conception of the extreme, the immeasurable wealth of the order at that time? If I remember, they were pretty well fixed. Pretty well, sir, he's putting it mildly. They were rolling in well, sir. You've no idea. None of us has any idea. For years they'd prayed on the Sarasans, that take a nobody knows what spoils of gems, precious stone, silks, ivory. Well, now what could be more natural than for these immeasurably wealthy knights to look around for some way of expressing their gratitude to the Emperor? Well, sir, that is exactly what they did, and they hit on the happy thought of sending Charles not an insignificant lifebird, but a glorious, golden falcon, encusted from a head-to-foot with the finest jewels in their coffers. Well, sir, what do you think of that? I don't know. Well, those are facts. It's gotacle facts, not schoolbook history, not Mr. Wells' history, but history, nevertheless. The bird was sent in a galley commanded by a French knight named Cormier or Coveir, a member of the order. It never reached Spain. You know Boba Rosser, Redbeard, Cairidine? No. A famous admiral of Buckeniers, sir. He took the galley and he took the bird. The bird went to our years. That's a fact. A murder remained for a hundred years until it was carried away by an English adventurer who was with the Buckeniers for a while, Sir Francis Verne. There's nothing said about the bird in Lady Francis Verne's memoirs of the Verne family during the 17th century. I looked. And Verne didn't have it with him when he died in Messina in 1615. He was stony, brok. But, sir, it did go to Sicily. According to Corruci, the author of "Storea del Veno de Bitorio, Amadeo II," it was one of Victor Amadeus' wedding gifts to his wife. He turned up next in the possession of a spaniard who'd been with the army that took Naples in 1734 and there's nothing to show that it didn't stay in his family, Monino everyone though, until the carless walls, when it turned up in Paris. During the carless troubles it had been painted or enameled over to look like nothing more than a fairly interesting black statuette. And in that disguise, sir, it was, you might say, kicked around Paris for 70 years by private owners and dealers to stupid to see what was under the skin. A football in the gutters and parrots. Until 1911, when a Greek dealer named Carrellarus Constantidis found it in an obscure shop, he recognized it for what it was and it didn't take him long to acquire it. I got a win of it and finally forced most of the history out of him. But for once in his life he wasn't in a hurry to convert his find into money, but your class is empty, sir. You begin to believe me a little. I haven't said I did. Here. Thanks. Well, sir, one year to the very day after he had acquired it, I picked up the times in London and read that his establishment had been burglarized and he murdered. I was in Paris next day. The bird was gone. But that's how I was wild. A great quantity of stuff had been stolen. That made me think that the thief had simply taken the bird along with the rest of his plan done of knowing what it was. [Sighs] Well, sir. It took me 17 years to locate that bird, but I did it. I wanted it, and I'm off a man that's easily discouraged when he wants something. I traced it to the home of a Russian general when he came off in a constant and noble suburb. He didn't know what it was, but his natural contraire in us kept him from selling it to me when I made him an offer. Perhaps he might even as I was a little unskilledful, though not very. So I sent some agents to get it. Well, sir, they got it, and I haven't got it. But I'm going to get it. Your glass! Then the bird doesn't belong to any of you, but to General Kameda. Well, sir, you might say it belonged to the King of Spain, but I don't see how you can honestly grab anybody clear title to it, except I write a possession. Then it's Miss Alshonis's now. No, sir. Except as my agent. There's no doubt she's got it now. Not much. Where? I don't know exactly. But you said you did. I mean, I know where to get it when the time comes. Oh, where is that? When I'm ready. Mr. Spade, where is Miss Alshonis now? In my hands, safely tucked away. Trust you for that, sir. Well, now, sir, before we sit down to talk prices, answer me this. How soon can you, or how soon are you willing to produce the falter? A couple of days. That is satisfactory. But we forget our nourishment. Thanks. Well, sir, here's to a fair bargain and profits large enough about this. What's your idea of a fair bargain? I have two proposals to make, sir, and I that is fair. I will give you $25,000 when you deliver the falcon to me and another $25,000 as soon as I get to New York. I will give you $1,25% of what I have realized on the falcon. There you are, sir. An almost immediate $50,000 or a vastly greater sum within, say, a couple of months? How much, greater? What would you say, sir, to half a million? You think the dingus is worth two million? In your own words, why not? That's the hell of a lot of dough, and that's the absolute rock bottom minimum. And minimum, huh? How much is the maximum? The maximum? I wish you were together. You fixed the drink, God damn you. Well, ma'am. Okay, sir. Say, let's see if you can make it to the door. Get out of my way. Bastard. Bastard. Bastard. Bastard. Bastard. Get away, Wilma. A gentleman never hits a man when he's down. What the hell? I thought you were a hitman. I saw the light under the door. No, you finally got back. Oh, what time is it? Six o'clock. Well, you told me to stay until you got back a phone. Well, so you've been here all night. You're the sister of the boy who stood on the breading day. Your head! What happened? I don't know whether I fell or was slugged. I went visiting. It was fed knockout drops and came two 12 hours later. I'll spread out in the man's pool. You'll have to get a doctor. You can't walk around with a headlight, sir. No, as bad as it looks except for the headache. Cold water will help. Anything turned off after I left? Yeah, the District Attorney's Office phone. You wanted to see you. I'm self. That's the way I understood it. I think he means business, Sam. On Tom Poehouse rang. He wants to have lunch at the state's Hoffbrow. Anything else? A boy came with a message from Mr. Gutman. I got it. That's how I got this. I don't know, sweetheart. He didn't slip me the drops until after I told him. I mean, have to wait for a couple of days for what he wanted. Maybe he figured he could get it without my help in that time. He didn't get any word from the old Shaughnessy. No, Sam, nothing. Is this got anything to do with her? Something. Look, sweetheart. I'm going back to freshen up. And you better go home and get some sleep. And I'd better drop in on the DA. Did you buy the call yesterday? No, Sam. Why? Just a thought. I'll call out their business off. See you later. [MUSIC PLAYING] Can I have a copy of yesterday's call, please? Certainly. Thanks. 35. First, marriage is death. Whether it be anything. Shipping arrivals. 517 AM to Heady from Sydney and to Pete. 605 Admiral Peoples from Astoria. 805 Lopoloma from Hong Kong. That's it. It's got to be Bridget and Thurse became from Hong Kong. Is there a phone I can use? Sure. Right there. Thanks. Hello, shipping office. Can you tell me where the Poloma is, Doc? They came from Hong Kong yesterday morning. Uh-huh. It's what? Jesus. The Bachelor of the Life is brought. Tell me one thing. Whatever you like. How is it that whenever we eat together, we always eat pickle picks, please. Well, guys, it's because we always come here, Sam. What else would we eat? Don De Senya? You know he didn't say it. Ain't you ever going to grow up? What have you got to be about? We didn't hurt you? What's the sense of making a grudge of it? Wrong. You see the boat on fire in the bed? I saw the smoke. Look. Now, be reasonable, Sam. Don De was wrong. And he knows it. Now, why don't you let it go at me? Well, you think I oughta go around and tell him I hope my chin didn't hurt his fist? All right. He said, cut it out. Don De didn't think you shot my eyes, but what else would he do except from bullied, dumb? You did the same thing in his place. Ain't you know it? Yeah. Well, maybe think I didn't do it. What makes you think I didn't do it? Or don't you? Thursby shot my eyes. You think he did? He did. The slug in my eyes came out of a whirily and a billboy fisted his hotel had seen it in his room that morning. And that makes thursby the only one I killed. Nope. Nope. For Christ's sake. Ain't you ever going to forget that? I'll tell you one thing, Tom. I'm glad I'm not that pissed off. Don De knows it's out. How does he know? We dug out a record on Thursby. Yeah? Who was it? Oh, you mean it's telling me you didn't know it. I wish it was. I knew half as much about this business as you smart guys think I do. Oh, I wish we all did. Well. He was a St. Louis gunman the first we hear of him. He was picked up a lot of times back there for this and that, but he belonged to the Egan mod. So nothing much was ever done about any of it. They got him once in New York for knocking over roast us games and he did a short H&J with it for pistol withing a quiz to the give him a needle. But after that he took up with Dickson on the hand and didn't have any trouble getting out whenever he happened to get in. Dickson was almost as big a shot as Nick the Greek in Chicago. This Thursday was Dickson's bodyguard and he took the run out with him when Dickson got in line with the rest of the boy. There was some gambling decks. Oh, that was a couple years back. This is the first time Thursby's been seen since. And Dickson? Nobody seen anything. Let's see who knows something. This is all new stuff to me. I guess it is. Where did you pick up all this news about Thursby? Some of it's on the records, the rest will. Well, we get it here and there. From Cairo for instance. Not a word of it. You poisoned that guy for us. Give me a couple of high-class loops like Human Dundee worked on that lily of the valley all night and he couldn't crack him. What do you mean all night? We worked on him for less than a couple of hours. We saw him getting nowhere and we let him go. Is that so? I'll get the check. I got a date with the DA this afternoon. He sent you? Yeah. You won't be doing me any favor by telling him I've talked to you about this. Well, Mr. Spade, I hear that you and the police haven't been hitting it off. too well lately. Nothing serious. Dundee gets too enthusiastic. Now, if you'd prefer not having a stenographer here, we can dismiss him. He's here simply as a matter of convenience. I don't mind him a damn bit. I'm willing to have everything I say put down, and I'm willing to sign it. I don't intend to ask you to sign anything. I wish you wouldn't regard this as a formal inquiry at all. And please, please don't think I've any belief in those theories the police seem to have formed. I'm glad of that. So, uh. Who killed Thursday? I don't know. Well, perhaps you don't know, but you could certainly make an excellent guest. Maybe, but I wouldn't. Not even an informal talk. Why shouldn't you? If you've got nothing to conceal. Everybody has something to conceal. And you have? My guest is for one thing. What's your theory? Well, you tell me the name of the client, Archie, was shadowing Thursday before, and I'll mighty soon know who killed Thursday. I don't exactly get that. You know? Well, then suppose I put it this way. Where is Dixie Monahan? Putting it that way doesn't help much. Who in the hell is Dixie Monahan? Like, we know Thursday was Monahan's bodyguard. He was with him when Monahan vanished from Chicago, leaving something like $200,000 worth of bets that he'd wealthed on. And we all know what's likely to happen to a gambler who welches and to his bodyguard when his creditors find him. It's happened before. Well, what do you think? Did I kill him for his creditors or just find him for them to do their own killing? No, no, no, you misunderstand me. I hope I do. No, I only mean that, uh. Well, you might have been involved in it without knowing what it was. Oh, I see. You don't think I'm naughty. You just think I'm dumb. You're wrong. Nobody ever hired me to do anything about Dixie Monahan. But by your own admission, somebody did hire you to do something about his bodyguard Thursday. His ex bodyguard. You mean he was no longer associated with Monahan? You know that positively? I don't know anything positively except that my client wasn't interested in Monahan. It's never been interested in Monahan. And that opens another angle. Monahan's friends could have knocked Thursday off for ditching Monahan. Dead gamblers don't have any friends. Yeah. It narrows down to three things. Number one. Thursday was killed by the gambler's Monahan had well-stanned in Chicago. Number two, he was killed by friends of Monahan. Or number three, he sold Monahan out to his enemies and then fell out with him and they killed him. Or number four, he died of old age. You're not serious, are you? In one of those three categories lies the solution and you can give us the information that will enable us to determine the category. You wouldn't want the kind of information I could give you, Brian. You couldn't use it. It would put the gambler's revenge scenario for you. You're not the judge of that. Right or wrong, I am nonetheless the district attorney. I thought this was an informal talk. I am a sworn officer of the law 24 hours a day spade and neither formality nor informality justifies you with holding from me evidence of crime. Except the course on certain constitutional grounds. You mean if it might incriminate me? Well, I got better grounds than that. A grounds that suit me better. My clients are entitled to a decent amount of secrecy. Maybe I can be made to talk to a grand jury or even a coroner's jury. But I haven't been called before either yet and it's a sin, I'm not going to advertise my clients business until I have to. Then again, you and the police of both accuse me of being mixed up in the other night's murders. I've had trouble with both of you before. As far as I can see, my best chance of clearing myself of the trouble you're trying to make for me is by bringing in the murderers all tied up. And my only chance of ever catching them and tying them up and bringing them in is by keeping away from you and the police. Because neither of you show any signs of knowing what the hell this is all about. Are you getting this down alright, son? Are my going too fast for you? No, sir, I'm getting it alright. Good work. Now, Brian, if you want to go down to the board and tell them that I'm obstructing justice and ask them to revoke my license, hop to it. You've tried it before and you didn't get anything but a good laugh all around. Now, look here, Spain. And I don't want any more of these informal talks. I've got nothing to tell you or the police and I'm goddamn tired of being called names my every crack part on the city payroll. If you want to see me pinch me or subpoena me or something and I'll come down with my lawyer. I'll see you at the inquest, maybe. How'd it go? I'd what go? The district attorney. Well, he didn't kiss when we parted. He got snotty but so did I. He means trouble. Have you found out where Mito's showing to see you, Sam? I know where she went. Where? She went down to a boat in the harbor, the Paloma. She went there? But that was the boat that caught fire. They had a toyed out from the pier. Was she.? She's alright. At least she left the boat before the fire started. What happened? She went straight there after leaving the cab at the ferry building. But she had to hang around till early evening because the captain, the guy named Jacobi, wasn't around. When he came back, she ate with him in his cabin. After the meal there were three more visitors, Guttman Cairo and the kid who delivered Guttman's message to you yesterday. It's hard to get anything out of the crew but they had a row. And somewhere around 11 o'clock a gun went off and the captain's cabin. The captain told the watchman that everything was alright shortly after midnight. The captain and the four of them left the boat. The captain hasn't been back since. What car? I don't know. It was discovered in the whole late this morning. The chance is on. What the hell? There! There! Spade! On space. Here. You know. Regent. Oh, show me. See. Oh, wow! Oh, look! Ah! Lot the door. You see? Yeah. Yeah, he shot through the chest maybe a dozen times. Oh, I didn't wait to call. It's too late for a doctor now. I got to thank before we do anything. Let's have a look at the bungalow he was carrying. That's heavy enough. Is that what they were looking for? Well, soon enough. A great black bird. We got the damn thing, Angel. Get it. Hello. Yes? Hello? Oh, yes, yes. Hold the line. Hello? Hello? Hello? It was me so shown to see. She's in danger. Her voice was awful, Sam. 26 Anko, she said. A burning game. Where the hell is that? Oh, you've got to help him. I've got to take care of this fella first. No, you've got to go to her. Don't you say he was helping us, so they killed him. And now she. You've got to go. All right. As soon as I got on phone, the police. Right. Tell it, is it happened? But forget he had a bundle. And you don't know anything about anyone else having any connection with this fella. Yes, Sam. Do you know who he is? I guess he was Captain Jacobi, Master of the Paloma. What are you going to do with the bird? Leave it where nobody can get hold of it. But you better not know where it is. You're a damned good man, sister. No where Anko Avenue, a road or Boulevard is in a burning game? But if she's there, we can find her. Let's do that. Hop in, Mr. Spade. We look pretty married now. Third or fourth mouse on the other side. Okay, drop me here. And keep the engine running. We may have to leave in a hurry. Six. For sale of rent. Can't 31. Good evening. Good evening. I'd like to get the key to 26. Juicy is none. You can't see anything. I got a flashlight. Detective. We got a tip. There might be something hidden there. Nobody's been to me for the key for a couple of months. I'll get it for you. Nothing? Nothing. A plant? Something like that. Where'd you know Mr. Spade? Home. I've had enough. The partner got knocked off, didn't he? Uh-huh. She's a tough rocket. You can have it for mine. Well, that driver's don't live forever. Maybe that's right. But just the same. It'll always be a surprise to me if I don't. Where'd you? I'm sorry, he's never come. Let's get inside. Can you wait for me? Yes. In a doorway. Up the street. Can you make it to the elevator? Shall I carry it? I'll be alright. Well, I can get work and sit down. Just hold on. I wouldn't try to run for it if I were you. Wilma has you covered. So have I, Mr. Spade? Well, sir, as you can see, we're all here. Why don't we sit down and be comfortable and talk? Sure. We'll talk. Just a minute, Spade. Get away. You're not going to frisk me. Spade? Still, at your show. But you're shod on me, and I'm going to make you use the gun. Ask your boss if he wants me shot before we talk. Never mind, Wilma. You're such a little must-hits strong into the duel, my dear sir. Let's miss seated. I told you I didn't like that punk. Sit by me, sweetheart. Well, sir, let's get down to business. Let's do that. How soon are you ready to make the first payment and take the fork and off my hand? Well, sir, it's to that. Yeah. $10,000. We were talking about more money than this. I guess that we were, but this is genuine coin of the realm, and there are more of a speed taking care of now. In short, sir, the situation has changed. Sure. You and Cairo together now. But I've got the fork. I shouldn't think it would be necessary to remind you, Mr. Spade, that though you may have the fork and we certainly have you. I'm trying not to let that worry me. We'll come back to the money later. There's one other thing I want to have taken care of. We've got to have a fall guy. I don't think I understand, you said. The police have got to have a victim. Somebody they can stick for those three murders. Those two only two murders, Mr. Spade. There's the undoubtedly killed your partner, all right, too. What difference does it make? The point is we've got to toss the police a victim. Somebody they can hang the work somewhere. Well, sir, that may be the way you work to the past. And it's the way I intend to go on. The first time I can't march into headquarters, pushing a victim in front of me, saying, "Here you are, you chumps. Here's your criminal. My name's mother." But this just happens to be a case where your system and it's got a lot to recommend. It's just isn't possible. And I don't mind telling you that I think you're being very well paid for making an exception. You'll manage it. You're not a man that's afraid of a little bit of trouble. I know what I'm talking about. This is my city and my gang. I could manage to land on my feet, sure, this time. But the next time I tried to put over a fast one, they'd stop me so fast I'd swallow my teeth. You birds will be in New York, a constant hope or someplace. I'm in business here. But surely. Let's give them the punk. He actually did shoot both of them. Thursby and Jacobi didn't. That's pin the necessary evidence on him and turn him over to him. Yes, sir. You're a character. That's you. Yes, sir. There's never any telling what you'll do. I'll say next except that it's bound to be something to study. There's nothing funny about it. It's our best bet. With him in their hands the police might get mad and can't you see? I feel towards Wilmer just as exactly as if he were my own son. I really do. But if I even for a moment thought of doing what you propose, what in the world would keep Wilmer from telling the police every lost detail about the Falcon and all of us? If we had to, we could have him killed resisting arrest. But we won't have to go that far. If I let him talk his head off, I promise you nobody will do anything about it. It's easy to fix. How? What do you think of this Wilmer? Funny, eh? Thank you. Bastard! You get up on your feet and don't get beat up. I take it all the writing I'm going to take. I get up and shoo it out if you've got that gun. I know. We'll know if we don't have any of that. We shouldn't let yourself attach so much importance to these things. You play arpeggio then. I'm going to fog and let the king sit up and there won't be anything that'll stop me from throwing. Now Wilmer, your plan is not at all practical. Let's not say anything more about it. Let's get this straight. Am I wasting my time talking to you? I thought this was your show. Should I do my talking to the punk? I know how to do that. No, sir. You're quite right in dealing with me. All right. I've got another suggestion. It's not as good as the first, but it's better than nothing. You want to hear it? Let them give them Cairo. Give the police Cairo. What about Gats? Suppose we get the new Mr. Spade. Oh, he's so sure to see. How about that if you're so sick on giving them somebody? You people want the falcon. I've got it. A fall guy is part of the price I'm asking. Ask for Miss O'Shaughnessy if you think she can be rigged for the part. I'm perfectly willing to discuss it with you. Oh, see you. Gats, you are a cat. Just a minute. Mr. Gutminton. What is it, you? I can't see the matters to keep them real. Two to one, they're selling you out, kid. Hey, gut them. I hope you're not letting yourself be influenced by the guns these pocket-edition desparados are carrying. I practice taking them away from both of them so there will be no trouble there. The punk. All right. No, no. Give me the gun, Will. Did you hear it? Oh, I said, they're crabby, so they're all Cairo. Don't do that, you madons. That aside. You hurt you. You big coward. Jesus, you're a pig. Let's look at the punk. Nothing cracked. We'll spread him on the sofa. Give me a hand, will you? Okay. There's your fall guy. Now you'll either say, yes right now, or I'll turn the falcon and the whole goddamn law of you in. I don't like that, sir, so you don't like it? Well, you can have him. Please don't do this thing with the gutminton. He must have yielded. I don't like it either, but we can't help ourselves now. What are you doing, Cairo? I'm in a rush. Can I choose? You can, but you ought to know that if the answer is out, we'll give you to the police with your boy. Come, Mr. Spay. Well, which? You give me no choice. I come in good. Then we can all sit down. It's two o'clock. I can't get the falcon till daylight. You've got plenty of time to arrange everything. I think it would be best for all concerned if we did not get out of each other's sight until our business has been transacted. You have the envelope. I think Mr. Sean has the envelope. Yes, I have it. I picked it up while you were all trying to. It's all right. Hang on to it. We won't have to lose sight of each other. I can have the falcon brought here. That would be excellent. Then, sir, in exchange for the $10,000 in Wilma, you will give us the falcon and then I'll have to have grace. Sir, we won't be in the city when you surrender him to the authorities. I can hold him here all day if you want. Let's get the details fixed. Why did he shoot Thursday? And why and where and how did he shoot Jacobi? Now, come, sir. You can't expect that. I do expect it. The fall guy is what I asked for and he's not a fall guy unless he's a sense to take the fall. You are an uncommonly difficult person to get the best of. I begin to think you made a mistake in not letting you alone from the very first bite. I do. You haven't done so bad. You're staying out of jail and you're getting the falcon. Why did he kill Thursday? First, there was a notorious killer and Mr. Sean is his ally. His removal might make a stop and think that perhaps it will be best to patch up our differences with us after all. You didn't think he might have the falcon. We had the advantage of knowing Mr. Sean as if he were too well for that. Though we didn't know then that he had given the falcon to Captain Jacobi in Hong Kong to be brought over in La Paloma. While they took a faster boat. He didn't try to make a deal with him before he gave him the work we certainly did. Wilma brought him over to see me, presumably after he had killed your partner. But we could do nothing with him. He was quite determinately loyal to Mr. Sean. Well, Wilma followed him back to his hotel and did what he did. Sounds alright. Now Jacobi. Captain Jacobi's death was entirely Mr. Sean. That's a lie. Tell me what happened. Well, kind of as you know, got in touch with me after his encounter with Mr. Sean. And yourself he'd seen the notice of the arrival of La Paloma and being a man of nice judgment. He guessed just what had happened. But Mr. Sean as he had given the bird to Jacobi to bring here for her. Jacobi did not know what it was, of course. Mr. Cara and Wilma and I called on Jacobi and were fortunate enough to arrive while Mr. Sean as he was there. In many ways it was a difficult conference. But by midnight we had persuaded him as to Sean as he to come to terms us so we thought. We set off a hotel where I was to play Mr. Sean as he and received the bird. But on route she and Captain Jacobi and the bird slipped through our fingers. How did the boat catch fire? That's sort of something of a mystery. Wilma had been trying to find the falcon while we were talking and the cabin no doubt he was careless with matches. Something was left smoldering. Alright. Now about the shooting. Well, eventually so we were the kitchen Mr. Sean as his apartment. They were talking together. But Jacobi got wind of us and left with the falcon by the fire escape where he ran into Wilma. He shot Jacobi him on once but Jacobi is too tough to add a fall or drop the falcon. He knocked Wilma down and ran on. So much for Wilma. Go on. We persuaded, that is the word. Mr. Sean as they to tell us that he had told Jacobi to take the bird to you. It seemed unlikely that he lived to go that far and so we will persuade him Mr. Sean as it upon your office and an attempt to draw you away before Jacobi got there. Unfortunately it had taken so long to persuade Mr. Sean as it to cooperate with us that you had the falcon before we could contact you. Oh, you're coming round. Will you have my dear? Good, you're not. Now listen, kid. If you come over here and start cutting up, I'm going to kick your face. Well, well, man, I'm sorry indeed to lose you. I couldn't be found there of you if you were my own son. Well, if you lose your son, it's possible to get another. But there's only one more he's for you. [LAUGHTER] When you're young, you'll understand. Kid, Bridget, I think it will be swell if you can see what you can find us to eat in the kitchen with plenty of coffee. Will you do that? I don't like to leave my guests. Good, be good, too. Adjust the moment, my dear. And you better leave the envelope in here. You don't want to get good spots on it. And still his? Here, sit on it. You're afraid of losing it. Oh, you may understand me. It's just that business should be infected in a business like men. For instance, there are only nine bills here now. What? There were ten when I handed it to you. Well, Bridget, what do you mean? Miss O'Shaughnessy and I are going in the bathroom. And remember, I've got the guns. The door will be open, and unless you want a three-story drop, there's no way out of here except past the bathroom door. Don't try to make it. Oh, you must know. So it's not the least desire to leave. You know a lot when I'm true. It won't take long. Come on. I did not take that bill, Sam. I don't think you did. But I've got to know. Take your clothes off. You want to take my word for it? No, take your clothes off. I won't. All right. We'll go back to the other room and I'll have them taken off. You will? I will. I'm not going to be held up by anybody's maiden modesty. Isn't that? I'm not ashamed to be naked before you, but I can't you see? I'm not like this. I've got to know what happened to that bill. Take them off. Very well. Can't you see that you're killing something? Keep going. You shouldn't make me do this, Sam. I've got to know. Well? Nothing. Thanks. Now I know. Get dressed. Find it? No, I didn't find it. You pondered. I pondered. You want to admit it? You want to stand for a frisk. There's no third way. Yes, sir. Did you actually search me? I did. You're a caracterser. If you don't mind my saying, so you parmed it. Yes, sir. That I did here. I must have my little joke every now and then and I was curious to know what you're doing. A situation of that sort. I must say that you passed the test with flying colours. It never occurred to me that you'd hit on such a simple way of getting at the truth. That's the kind of thing I'd expect from someone to point at. That looks great. I can't. A jankly nut don't let him ride you. Such a face. But Wilmer, I'm your friend. You keep away. What's the problem? The course of true love. How's the food coming along, Mr. Sean? I don't feel it. Let's talk about money. Will English with all my heart. But I'm not just going to tell you that ten thousand is every cent I can raise. I ought to have twenty. I wish you could. I'd give it gladly if I could. Of course sir, you understand simply the first payment later. Fifteen. Mr. Spade, I tell you what my other is a gentleman. That's not any too good. But if it's the best you can do, give it to me. Very well. And now we wait for our supper and for the dawn. Have you anything I can read, sir? How about the history of Alcatraz? It's good for a laugh. [Music] Time. Can you get it now? Seven o'clock. I guess it's time. Hello, Angel. I'm sorry to get you up. Here's the plot. In our Holland box of the post office, you'll find an envelope addressed in my scribble. There's a pickwick stage parcel room, check in it for that little bundle we got yesterday. Would you get the bundle and bring it to me at my place, PDQ? Yeah, that's the girl. You enjoying the book? Heady stuff, sir. You got time for another chapter. I guess that's her. Hey, don't mind if I go with you. You scared I'll run off with your precious bird just to precaution. Oh, here's the package. Thanks a lot, lady. I'm sorry to spoil your day of rest. Not the first one you spoil. Anything else? No thanks. Goodbye. Bye-bye. Okay, here we go. Not the punk he stays on the sofa. Go ahead, government. It's all yours. After 17 years to actually hold it in my hands. Shouldn't we make sure? No, he means. That it's the real thing. That's your right. If I scrape a little of the enamel off of the knife, you. led. Oh, it's a fake. Just a minute. Look at me. I'm pretty good you've had your little joke. You say hello. That is the one I got from camera. Have I swear? That's it. It was the Russian. I should have made both of us. You hung it. You fat fool. You and your stupid attempt to bite from him. You let him know it was valuable. And he found out how valuable I made this fake. Oh no, one of us has little trouble, TV. You can be still. You bloated, TV. I'm sorry. Let me take your one night. Everybody has a child. And you may be sure that this is every business of it. It's a very close to me. It's the Russian child. There's no doubt of it. Well, sir, what do you suggest? To stand here, shed tears, and call each other names. Or shall we go to Constantinople? Constantinople? For 17 years I've wanted that little item. If I'm a spend another year on the quest, well, sir. That will be an additional expenditure in time of only five. And 15, 17 percent. I go with you. I go with you to Constantinople. Just a minute. Where's the punk? Oh. You must have skipped while you were shouting. You got clean away. There goes your fault, guys. Well, sir. I must say you're a fine lot of thieves. We've literally not the most about them. That's the fact, sir. But well, none of us dead yet. And there's not a bit of use thinking the world's come to an end, just because we've run into a little setback. I'll have to ask you for that envelope, Mr. Spade. I held up my hand. You got your dingus. It's your hard luck not mine, that it wasn't what you wanted. Come now, sir. We've all failed. And there's no reason for expecting any one of us to bear the blunt of it. I hate to have to threaten violence. But I must ask you, sir, to return my $10,000 or a dinky little pistol. Okay. I'll keep one bill. That'll take care of my time and expenses. Very well, sir. Very well. And now we'll take our leave of you, unless you care to undertake the constant noble expedition with us. You don't. Well, sir, Frank, I'd like to have you along. You're a man to my liking. I'm sure you'll somehow manage the police without Wilmer. I'll make an order. Well, sir. The shortest farewells of the best at you. And to you, Mr. Sean, I say, adieu. I leave you the raarer avis on the table as a little memento. Come, Cairo. Good bye, Mr. Spiegel. [Pause] Is that Tom Poehaw's? Tom at Sam. I got something for you. Don't talk. Just listen. There is being Jacoby were shot by a kid named Wilmer Cook. Around 20 years old, 5'5" Fairhaire Blue Eyes. He's working for a man named Casper Gutman, a great fat guy dressed like an Englishman at the races. At fellow Cairo you met this with him too. Gutman's staying at the Alexandria, sweet 12c. They just left here and they're blowing Tom. So you'll have to move fast. But I don't think they're expecting a pinch. Watch out for the kid. He's dangerous. And one more thing. I think I got the guns he used. That's right. Now step on it. We're only going to talk. We're sitting on dynamite. We only got minutes to get set for the police. Now give me all of it fast. Gutman sent you in Cairo to Constantinople. God damn you talk. Yes. He sent me. I met you Cairo there. And asked him to help me get the bridge from Camero. We got them. No, not then. We thought we could get it for ourselves. All right then. He wasn't afraid that Joe wouldn't play fair. I got Floyd through his beta-hump. And he did. Well. Well, we got it and went to Hong Kong. With Cairo. We left him in jail in Constantinople. Something about a church. Something you fixed. So you and Thur's beer in Hong Kong with the bird? Yes. I didn't know whether I could trust Floyd. I met Captain Jacobi and I asked him to bring the bird back with him. He didn't know what it was. You and Thur's beer caught a faster vote then what? Then I was afraid of Gutman. I knew it would find out what we'd done. I thought he might find me. Or find Floyd and buy him over. That's why I came to you and asked you to help him. That's a lie. You had Thur's beer hooked and you knew it. He was a sucker for women. You wanted to get him out of the way before Jacobi came with the loot. What was the scheme? I knew he'd let the state taxes on trouble, brother. I don't know what it was. I thought if you started detective watching him, he'd think it was on account of the old trouble and would be panicked and to go in a way. I didn't think that he-- You told him that he was being shadowed. Miles didn't have many brains, but he wasn't clumsy enough to be spotted on the first night. Yes. I told him. When we went for a walk that night, I pointed Archer out of Floyd. Sam, Sam, you must believe me. I wouldn't have done it if I had thought Floyd would kill him. I just wanted to fight him. I didn't think for him. There he'd shoot him. If you thought he wouldn't, you were right, Angel. What do you mean? Thur's beer didn't shoot him. But-- But he must have. Miles didn't have many brains, but Christ he'd worked too many to be caught up a blind alley with his gun tucked away on his hip and his overcoat button. Thur's beer couldn't have tricked Miles into the alley like that. But there was someone who could. Sam? He'd have gone out there with you, sweetheart. He was just dumb enough for that. He'd have looked you up and down and licked his lips and gone grinning from ear to ear. And then you could have stood as close to him and the dark as you like. And put a hole for him with the gun you got from Thur's beer that evening. Don't-- Don't talk to me like that, Sam. You know, I couldn't do a terrible thing like that. Stop it. This isn't the spot for the schoolgirl act. The parabas are sitting under the gallows. Now talk. Why did you shoot him? I didn't mean to do. I didn't really. But when I saw Floyd, it couldn't be frightened. Nice-- That's a lie. You asked Miles and me to handle it ourselves. You wanted to be sure the shadow were with someone you knew and who knew you, so they'd go with you. Yes. It--it was a lie. I--I can't look at you and say to Sam, I knew Floyd wouldn't be easily frightened. But I thought that if you knew somebody was shadowing him, either he'd-- I--I--I--I can't say it, Sam. You thought Floyd would tackle him and one of the other would go down. If Thur's beer was the one, then you'd be rid of him, that is. Something like it. When you found that Thur's beer didn't mean to tackle him, you borrowed the gun and did it yourself, right? Yes, but--it's not that close. And you thought Floyd would be nailed for the killing? I--I thought they'd hold him at least until after Captain Jacobi had arrived with the falcon and then-- And you didn't know that until you heard that Thur's beer had been shot. Then you knew you needed another protector. So you came back to me, right? Yes, but--oh, you heart. It wasn't only that. I would have come back to you sooner or later. From the first instant I saw you, I knew you-- Good break, you'll be out of San Quentin in 20 years, and you can come back to me then. What do you mean? I hope to Christ they don't hang you precious by that sweet make. You're not going to send you over, sweetheart. One of us has to take it after the talking all those birds will do. They'd hang me, sure. You're likely to get a better break if they do hang you. I'll always remember you. But then we can't. No matter what we've been to one another, you can't. I can't. You knocked off Miles, you double crossed Gutman, Cairo, Thur's beer. So you know Sam, down in your heart, that I love you Sam. I don't care who loves who. You've never played Squared with me for half an hour to stretch since I've known you. You killed Miles and you're going over for it. I can't help you now and I wouldn't if I could. Don't help me, Sam, but don't hurt me. Let me go away now. No, I'm sunk if I haven't got you to hand over to the police when they come. You won't do that for me. I won't play the sap for you. Why must you do this to me, Sam? Surely, aren't you wasn't as much a killer as I am? Miles, who is some of a bitch. But when a man's partner has killed you supposed to do something about it. It doesn't make any difference what you thought of him. He was your partner and you're supposed to do something about it. Then as it happens, we were in the detective business. And when one of your organization gets killed, it's bad business to let the killer get away with it. Also, I'm a detective and expecting me to run criminals down and then let them go. It's like asking a dog to catch a rabbit and then let it go. You're not serious. You don't expect me to believe these things are sufficient reason for sending me to the ghetto of it. I'm sure I'm true and then you can talk. No matter what I wanted to do, I couldn't let you go without being dragged to the gallows with the others. Next, I have no reason in God's world to think I could trust you. You've got something on me that he could use whenever you wanted to. And since I've got something on you, I couldn't be sure you wouldn't decide to put a hole in me someday. And what if we got on the other side? Oh, we've got. It's the fact that maybe you love me and maybe I love you. You know whether you do or not. Suppose I do what then. Maybe next month I won't. If I send you over, I'll be sorry as hell. I'll have some rotten nights, but that will pass. Listen, if that doesn't mean anything to you, forget it. I won't make it this. I won't because all of me wants to. Wants to say the hell would the consequences and do it? And because God damn you, you've counted on that with me. The same as you counted on that with the others. Look at me, Sam. And tell me the truth. Would you have done this to me as the falcon had been real? And you had been paid your money? Well, a lot of money would have at least been one more item on the other side of me. If you loved me, you'd need nothing more on that side. Kiss me, Sam. This is it, sweetheart. Hello Tom. Dundee. Hello. You get them? Got them. Swout. Here's another for you. She killed piles. And I got some exhibits. The boys guns, the black satuary, that all the hell was about. And the thousand dollar bill that I was supposed to be bright with. I want the hell's the matter with you. You'll play me. Tommy looks heartbroken. I bet when he heard Gutman's story, he thought he had me at last. We got the story from Cairo. Gutman's dead. Look at it just funny shooting him when we got there. It looks like you're in the clear spade. Come on, lady. Let's go. Goodbye, Sam. Goodbye, Angel. Good morning, sweetheart. Good morning, Sam. I was reading in the paper. What they say, right? Yes, ma'am. So much for your woman's intuition. And it was you that sent her over? You did that to her, Sam. That's right. She did kill Miles, sweetheart. Offhand like that. Oh, come on, Angel. Don't touch me, Sam, please. I know you're right. You're right, but just don't touch me now, please. Look, Angel. Sounds like a customer. I'll see you next. I beg you. Uh-huh. What shall I do? Sender in, darling. Sender in. The more teased Balkan by Dashiell Hammett, dramatized by Michael Bakwell. Sam Spay was played by Tom Wilkinson, rigid-o-shonisee Jane LaPettea, Mr. Gutman, Peter Vaughan, Joe Cairo, Nicholas Grace, Wilmer, Peter Ricca, Effie Mir Satiriu, Miles Archer, William Hope, Eiter Liza Ross, Tom Pohlhaus, Norman Jones, Lieutenant Dundee Harry Tal, district attorney Brian Don Fellows, with Keith Edwards, Robin Summers and Arnold Diamond. Technical presentation by David Greenwood, David Chilton and Anthony Cherry. The play was directed by Jane Morgan. The Steel Book. Once again, the keeper of the book has opened the ponderous door to the secret vault, where he miskept the great Steel Book, in which it recorded all the secrets and mysteries of mankind through the ages. Here are tales of every kind, tales of murder, of madness, of dark deeds, strange and terrible beyond all belief. Keeper of the book, I would know what tale we tell this time. Open the great book and let us read. Slowly, the great book opened. One by one, the keeper of the book turns the pages. And so, all the strange story of a beautiful woman, whose jealousy was so great that even the grave could not give her peace. A tale called Death at Stormhaus. Here is a tale, Death at Stormhaus, as it is written in the pages of the Steel Book. It takes place in the old New England mansion known as Stormhaus, first high on the cliffs above the crashing waves of the Atlantic Ocean. In her bedroom, is that lester, young and beautiful mistress of Stormhaus, lies desperately ill, listening to the storm that is raging outside as her husband and daughter wore on their lifelong friend, over over there. John, John, John, open the window. How are you here, this time? How are you here to send the crash in the wind? Open it, John. You stay with us. Thank you, Howard. I do wonder what's come. I've known it was coming for three days. I've always known when the storm was coming. Have that, John. Yes. Yes, look, that you've always known. And I've been waiting for this one. I've been waiting for it so I could die as I was born. On a night when there's a storm, filling the sky and Death's riding the wind to take me, you took my mother that night. I don't think you mustn't excite yourself as it weakens you. I'm dying, Doctor. You know it as well as I do. It's only the storm that's keeping me alive now. All I said was that. John, darling. Yes, I said. In my will there's a request to all the Andrews for his feet for sins. Everything else is left in your heart, including the house. I'm conditioned that you live here at least six months out of every year for the rest of your life. Look, that I can't bear the talk about. I'm not telling you. You don't mind the condition that you live here half of every year, do you? Of course not, my dear. I couldn't bear to think if you were ever very far from me in life or in death. I'll always be with you, my darling. When you won't marry again will you, John? Never leave it. I swear it. You'll soon, John. You mustn't break your vow. If you do well, the English. Very English. And when I'm angry, I do terrible things. You'll know that. I know, darling. You have my promise. I'll never break it. Oh, my dear, such a beautiful life. All my life has never been able to sleep on a night like this. I wonder if none of us know when this comes between the sea. I'll know I have to wake up. Oh. The Zet. The Zet. John. See you soon, John. It's done, Mr. John. I couldn't want better if it was Michelle's buried down there on the ground. Thank you, Andrew. I'll put the tools away now. Call me if you want me. I can't believe it's Lizette, we buried her. Somehow she seems still alive. She loved living hell. It's a beautiful spot here on the edge of the cliff. She made me promise she should be buried here. But she could watch the stones coming from the sea. Hear the waves beating on the rocks then all. John, you mind if I speak personally to you, but why should I? You're my best friend. If I only want to try. That's one of the things I wanted to talk about. You know, three years since you married, you haven't painted a single picture. No. No, I haven't. I started some, but there was always something that that wanted to do. But three years you've been cooped up here, seeing no one. You might as well have been in prison. You should get away for a while now. I shouldn't just spend the winter in New York. New old friendship. Catch up on what's happening in painting. Yes. I'd like that. And there's another thing. Yes, John. The promise you made to Lizette promise? Oh, you mean not to marry again? Yes. You mustn't take it too seriously. You're too young to spend your life alone grieving. Lizette wouldn't have made you promise if she had thought I don't know. I think the need so much for her. Well, when the Zette was alive, it seemed quite impossible to me. I should ever love another woman. But you will. And I'm sure Lizette would understand. I'll think about it a lot. The truth is, just now, I feel a little confused. Well, let time take care of the matter. But you will close up Stonehouse and fly a few months in the city? Yes, I will. I'll come back in the spring. After all, I'm obligated to live here half the year. But I'll leave Old Andrew and charge and spend the winter in New York. [Music] (upbeat music) (upbeat music) - And now to continue the story, as it is written in the steered book, once away from the somber atmosphere of Stormhaut, Stormhletters seems to wake him, is it from a dream? He began to paint again, to live it before he's married to Lisette. Then at a party he met Nora Mehnon, young, gay, lovely. One day on the spring, he brought her back to Stormhautters his bride. He introduced her to old Andrew, the caretaker. Shorter through the house, then took her out to see the magnificent view from the top of the cliff. - Oh, John, it's a wonderful old place. The house, the cliffs to see. I'm gonna love every minute here. - I was afraid it might seem rather wild and gloomy to you, Nora. - Oh no, look, the clouds, the waves, the passing as far as you can see, the ocean wade down below us. It's magnificent. - It can be frightening too, when a real storm comes sweeping in from the sea. - John, what's that? Over there on that little point. - It's Stormhautters' private bearing ground. That grave you see is Lisette. - Lisette? Lisette, you can't even more about it sometimes, John. - Yes, of course. And now we better go in, it's almost dark. All of a sudden the wind seems to be rising. - I would guess one minute more. - I wanna tell Andrew to pull the village for groceries before the story's close. - Well, you run in the Helen. I'll come in right away. - And don't be long. The wind's getting cold. - Coral is there. I wonder what you would like. I wonder if she used to stand here and watch the dark and sweep over the sea and. - Ah! - John, is that you? John is so dark, I can't see you. - John, John! - John, what is it? - You're calling me, Noah? - John, you're frightened me. I thought you really were trying to push me over. - Push you over? - I know you were just joking, but I almost lost my balance. I almost went over the cliff. - No, what I didn't push you. - I was halfway up the path when he called. - You were halfway up the path. - I wouldn't play a joke like that. You might have become this. - I. - I suppose so. I was sure I thought you were pushing me. And the winners seemed to post because the edge. - Most of them, the height. Make you lose your balance. - Yes, of course. That was it. - Don't, I'm coming inside now. Promise me you won't ever go close to the edge of the cliff again. - Yes, it's going side. And I promised John. Cliff, frightens me now. (dramatic music) - During those first weeks, after John let the return to Starhouse with his new bride. The wind never ceased to haul about the great old house. Several times when Nora was walking near the cliff, strong gusts, braying up the wood of foot, her over to her death, and she had since walking closer to the edge. Then one afternoon, Nora discovered old Andrew, piling flat, large rocks on top of the net. (laughing) - Andrew, what in the world are you doing? - What was those rocks on the net spray for? - It's the wind, Mr. Roy. Long night, day like it has been blowing the dirt, right? From off-missing the net spray. - Hey, Mr. Re, you've a couple more weeks to scoop up all the earth and head the coffin clear uncovered. But this rock will stop that. - Yeah, I guess that's enough. - Andrew. - Yes, ma'am. - Did Lizette love John so very much? - Love Mr. Lester? - Well, yes, I did, ma'am, in her way, in her way. - Excuse me, Miss Nora, I got to drive to town now for a package with Mr. Lester. - Oh, new pain from New York, she's been to impatient for them. Oh, um, Andrew, yes ma'am? - That big stone vase on the other terrace, right beside the ship, the flute on a stage. So, it's weighing yesterday, as it will go into the fall over into the garden. - See, fix it, will you? - Yes, you, as I get back from Germany. - Thank you, Andrew. You know the Doctor Warren's saying for dinner? - Yes, yes, Mr. Lester told me. - Oh, well, I promise to meet him in the garden as for us. - He's sure a six-day, Andrew. - Hello, Doctor Warren. If I keep doing waiting long. - Well, there you are, Nora. I was just beginning to be afraid you'd gone too close to the cliff and become dizzy again. - Oh, no. After almost falling over twice, I don't take any chances now. - Yes, that's very good. Where, John? - Painting on the upper terrace. There he is now. - Oh. - John? - Oh, how are you, too? When you're flying down there? - The two of the cave, down with the beag. Now go for the day and come along. - Please, do, John. - It'll be a while. - My face. - John, don't lean on the stone maze. It's loose. - Oh, Nora, look off. (coughing) - Oh, no, you're working. I'm coming down. (crying) - What, Greek, that was close. The right way you were standing. - Oh. - Hmm. You put my bag. - That's the time. - Nora. - Yes, thanks to Doctor Warren. - Please, me. I couldn't move. - You can't understand it. I hardly touched it when I don't. It must have leaned against it out of me. You realize? - No, I didn't. - I touched it. It gave way all of a sudden. - Oh, thank heaven you are here, all right. - It must have been the wind. The way is broad loose. I was just telling Andrew to fix it. - You'd been a hurt Nora. - Oh, oh, oh, oh. I'm just as good as a mild darling. Come on. Just forget the caves and go and have tea and tea. The wind has turned off and it's cold all of a sudden. (dramatic music) (train horn) (train horn) - You listen to that confounded wind. I can't even read anymore. It makes such a racket. - Would you like me to read your darling? - No, so I'm just jumpy, I guess. - It isn't something special. Is it? You're not regretting that you married me. - I'll be silly. Just a wind. For the last two months it hasn't let up, night or day. Listen to it now. - Oh, he is upsetting darling. Sometimes it sounds just like a boy saying something he can almost make out, but not quite. - I haven't painted a stroke in two months. Every day I get my canvas, my paint's ready, and the wind rises and distracts me. - You're not sleeping well. Are you John? - No, I haven't slept for a week. Nora, I can't stand it any longer. I can't stand it. When the blood blowing up in the middle of the night. - Oh my darling, my darling. John, listen to that. Listen to me dear. We must go away to Stormhouse. Away from the wind. We must go. - I. But. But the will. - The will doesn't matter. Oh John, please say yes. We can't ever be happy here. There's something about the place that we'll forever present. - Leave Stormhouse. Never come back. - And never come back. - Yes. That's Nora, you're right. We'll do it. We'll leave tomorrow. - Oh John. - Oh wait, where are we going? You have another storm. - Yes, certainly has come up quickly. Sunset, there wasn't a sign of a storm. - Oh, it's. It's Stormhouse knows really singing. Once they lost you with reputation on our last night. Well darling, I think I'll go to bed and dream about leaving here tomorrow. Coming? - No, I'll finish my fight in Kelland Rock. - All right darling. I'll bring my diary up to date while I wait. Don't be long now. (thunder rumbles) - Mr. John. Mr. John, whatever that is. - Then, six Mr. John, the real granddaddy of a lightning bolt hit the cliff just now right beside the burning ground. He opened up a big crack in the earth, running right across her grave. Her grave. Was that? I could look right down and see the time of the coffee. Well, you can pick it tomorrow. We're going to be leaving Andrew. We'll set with the tail tomorrow. Better turn in now. I'll do the thing. - All right Mr. John. Sure is a hunting over storm. (thunder rumbles) And tomorrow we leave here forever. I do so hope it's going to make a distance for us. John has been so depressed lately. I wonder if it's my fault if you regret marrying me. You know, I won't think that. Not even a strong thing I can cite me now. I know John loved me and. You do not the life. Who came in then? John, is that you? John, where are you? Don't keep me like this. You're frightening me. John! [screaming] [knocking] [thud] [music] [crash] [music] [music] [screaming] (eerie music) (نا buldUp) [애 도ards) (Nepgaboo marching là exde en arterres.] (nepgaboo marching là exde en arterres.] (nepgaboo marching là exde en arterres.] (nepgaboo marching là exde en arterres.] And now to continue the story, as it is written in the sealed book. After the great storm had opened up, Lizette Scraves, so that her coffin was plainly visible. Nora had a midnight visitor. There was a screen and a body crumpled to the floor. The next morning, the sheriff came to talk to John. That's all of the sheriff. So I know. Nora screamed when I got to where she was flying there in the flock. That ordered. But the weapon, Mr. Lizette, we know it was an antique ivory paper knife of yours. It was a point broke off and wound. But where is it? I don't know. I can't know. I didn't see it. I don't see. I think it really come with me for the kind of being Mr. Lizette. [Music] [Music] It is a prisoner, doctor. You can see him for 15 minutes. Oh, I'm sorry. The company has come. John, John, how are you? How am I? I don't know. How did they call it? Not as much as they still think you did it. Sorry. I gathered the fidgety. And the ivory knife hasn't been found? No, we've searched every inch. John thinks, "I know when you found Nora, you were shocked and dead." But the knife, surely you saw it. Surely you've driven from the room, put it down somewhere. You must have tried to think hard. And sure, I'm right. There was no knife. Only Nora. Crumpled with cider, right? The blood's fading at night. The wind's screaming outside. Is it a bit triumph? I understand. I know you didn't learn it, Nora. I don't know how we're going to convince the world. Is it better that? How is better that? If only the knife had been found. It could have been suicide, then. The knife was gone. And you testified that Andrew is innocent. So there wasn't many other living souls with yourself in the house that night? I see. I'll let you tell them all I can. I don't know how the knife could have disappeared. Nothing more I can do. Even though they hang me. And hang John Lester they did after a dude in lawful trial. Or in the jury's eyes the fact of the missing ivory knife that he killed Nora Lester was damning evidence. After the execution, John's old friend Dr. Warren can fade the body over the stormhouse. Are he in the face for all John buried it in the tiny burying ground? Andrew does the grave close between the graves of Nora and Lester. So close in fact that while digging his pickstrucker coffin was. Dr. Slush, corner of a coffin. Lester's coffin, it must have. Yeah. That night the light in strip the cliff must have moved her coffin round somehow. I remember the grave looked a little queer next morning when I picked things up. I guess we'll have to dig it up so we can put it back in his proper place. Yes, we better, Dr. Will. We'll take long. Yes, Dr. Gets that, does it do all right? Good. Now I just slide the coffin back into its place. You may blend it in your room. Dr. Warren, what is it, Andrew? The leader of this coffin's been tampered with. And but with, but that's impossible. Come take a look, Dr. You'll see I'm right. I guess that better. Then the side, Andrew. Yes. Ah, guess what do you mean? Look, look, Dr. All along both sides. And this ends the screw. They're all loose. They've been pulled out of the wood when someone lifted the lid. This coffin's been forced open. That's right, Dr. All in the, look, how was it forced open? There were two marks on the wood. Two marks. And whoever did this just didn't leave any. Andrew, we've got to look inside and see why the dead coffin was molested. Maybe we'd better leave it just as they're stuck. We can't do that. You know, put your pick under the edge and the lid. That's it. Now lift. And if you take a show, you did it. Eh, close. Now we'll see what. I told you. I told you we shouldn't open this. A bloody knife. The ivory knife that killed Nora. Here in Lasette's coffin. They hung Mr. John because they couldn't find an thief. And it's been here all along, held tight in Lasette's hands. [Music] So it was beautiful Lasette who killed Nora. Lasette, who jealousy was so great that it reached back from behind the veil of death. And it was Lasette who took the knife of murder back into a grave with her. So the John too would suffer her vengeance. Or what it was there, some other end. You must decide that for yourself. Or the steel book does not say. You have heard the story in all its strangeness. Just as it is written here. [Music] [Music] [Music] [Music] And now keep it up the book. Before you close the great book, show us the tale we tell next time. This one? Ah, yes. Why this is amazing. It's a tale of a man who killed a corpse that left and a murder victim who died twice. A tale called the accusing corpse. Be sure to be with us again next time. When the sound of the great gong heros another strange and exciting tale from the seal book. The seal book written by Bob Arthur and David Cogan is produced and directed by Jock McRigger. The shadow of the sea. The shadow, mysterious character who aids the forces of law and order, is on reality among crenps, wealthy young man about town. As the shadow, crenps, it is gifted with hypnotic power as you cloud-mend mine so that they cannot see him. Cranson's pen and companion, the lovely Marguerite lane, says the only person who knows to whom the voice of the invisible shadow belongs. Today's story, the satan boy. Oh, now look at that line, the mom's coming to the bed again. I'm not leaving until I do. I'm afraid I'm going to spoil your resolution. Take a look at those clowns over there. The good summer, those babies, you better be heading for shore before it hits us. The mom's going to cause the miles away. These larders, thumbs are very deceptive, mother. We're still a couple of miles offshore. Now, you'll take in those lines, I'll start the engine. I'll take. I'll bring you Lamont, I'd certainly go to the man who rented us this long to get the money back. He guarantee we'd have a boatload of fish, didn't he? Yeah, we also guarantee this motor would run. Smell it, a couple of miles? It's just a cool start. That's nice. Yeah, waves are beginning to kick up a bit. Say, you better come here and hold this wheel, Marguerite. I try to start this thing. What? Look at those claws, they're another one over here. I took the trouble first. Why doesn't this thing start? Mom, say Lamont's waves are getting so high. Yes, I see. We was getting off the rod to hold. I guess I've got less attention to for now. I can't hold it much longer. Alright, let me have the wheel. What can we do? Hold on, tagly Marguerite. This is a regular high swing. Yes, all I hope is that I can hit the boat into those waves and keep it from being cat-sized. Marguerite, I'm going to make another attempt to get that motor working. Yes, I. You've got to hold on to this wheel alone for a few moments. With all your strength. Quiet out, car. Good luck, Marguerite. Good luck to you, Lamont. Thanks, sir. Oh, at last. Oh, my God. Oh, my God. Give it that wheel. We have a 50/50 chance for safety. Well, Marguerite, at least we weather the storm. Yes, thank heavens. But in this place we have an even greater minute. It's blinding fog. Have you any idea where we are, Lamont? No, none at all. Fortunately, we have no compass. No, I'm good as long as way out to sea. Yes, we might even be a few hundred feet from shore. No telling until this fog glitz. Oh, I'm certain glad I thought to bring that lunch bag. At least we have food. Well, I saw it at the point you, Marguerite. Your basket was washed overboard. Oh, a lot. What is it? I thought I heard a fog. Did you hear that? Yes. Yes, he's posing in a lighthouse. Either that or a passing ship. It must be a ship, won't it? The sound is moving closer. Can you see anything yet? No. It's not a bullet doll. We better keep watching. Come on, look. It's out ahead of us. It's a power of a ship. She's bearing right down on it. Come on, they don't see us. They'll hit us. It's young just real. I think we can clear them. This is a close game. Yes. But let's get their attention before they attack. Bye. Hello. Hello. Stop! Please stop! Oh, I'm there. They're passing inside it. All these things are over there. Oh, I'm there. All the monks. Who's the knight? Did you hear that? The whistle monster? That's the signal to stop them. They heard it. Really? Well, that's one good phase, Marguerite. We're safe. Alright, hold tight to that ladder. That's it. Let me give you a hand, Miss. Thank you. Hey, you want? Now you, sir. Thanks, I guess I can make it. Oh, here we are. Well, I'm certainly grateful to you for picking yourself. Oh, that's okay. I was on the bridge when you called out. I wasn't sure I heard a voice, though. I certainly answered them to stop. So which way is completely down? Indeed we are. Now I wonder if you take it. What's going on here? The water of the ship stopped. Hello, these people. Well, they were addressing the small boat, sir. They called for help, so I signal the engine. Oh, who? Who take orders on a ship? That's Gippen. See here. This man will. I'll get you later, brother. I'd order your quarters, Markham. Go on, get up and get going. Yes, sir. May I inquire just who you are? Yeah. I'm postman. Well, you weren't justifying hitting that man. He stopped his ship to save our lives. Don't you understand that? That's why I hit him. Oh, I see. Well, you'd better take it to your captain's once. A captain's busy. Nevertheless, we wish to see him. A captain needs to see in nobody. Well, that's a good thing. Now, get that bottle here. He wasn't invited here, see? A biver on the bridge would never stop. But as long as you're here, you do as I say. You know that, my dear Arthur, see, don't you? On ship point, you take orders from them as it command. I'm aware of that tradition, and we respect it. However, as long as we can't see your captain, and as we don't seem to be welcomed, I'd like to use your wireless, if I may, so that we can be taken off here at once. Or you ain't got a wireless. Why that's unheard of? Every ship today has a wireless? Well, we ain't. What's your destination? What are you bound for? I wouldn't be known. Well, can you even tell us the ship's name? No. I'll listen. They've all got questions for the captain. I ain't answering any more. Well, then why don't you take it to the captain? I only told you he was busy. I was here waiting for my time. Come along with me, both of you. I'm putting up a load of deck to the captain's way to see you. And when will that be? I couldn't tell you. It might be a long, long time. Come on. All right, go ahead in. Have they remember you waiting this cabin to lay comforts? Yes. You've made that right to me. Okay. Come on. He's walking with me. Yes. I expected he wouldn't. Why did he treat it as life's gift? That's his role of bound. I don't know, Margot. I'm completely baffled. One thing is certain though, something is going on aboard this ship that they don't want us to see or know about. What is? We'll have to find that out. Why wouldn't he even tell us the ship's name? That's all part of it, Margot. While we were on deck, I looked at the light poles, the light preserves. The name of the ship was painted out on both of them. Mother. How much wish we would back in a small boat? Oh, no. Mother, you mustn't allow yourself. I wanted to do it. Yes. Oh, you're supposed to. Wait. There was being unlawful. Stand behind me, Margot. Hey, I'm coming. Why is he here? Thank you. What do you want? This is ours. We seldom see. So I have come to call Andy. Oh, I have no idea. I'm just plainly. A grisseld old sailor who follows the sea. Well, we, uh, we appreciate your call. Hmm. Hmm. I warn you, though. You may just slip. You ain't ever coming aboard this ship. Why? What do you say, then? Where is there such an air of mysteries running this boat? Captain's run and Captain's twice. A part dish of evil and lies? You know, what does it mean? What are you trying to say? I don't know. Uh, look, oh, man. Stop using your cryptic rhymes, will you? Tell us what this is all about. Uh-huh. I can tell no more. Oh, why not? If I chose more, you find my bones. Be me to see with me, so-- Oh, no. If someone sends you here to fight me, will they say, "Get out. I'll tell you more." This is the part. I'm trying to-- Chris, you all follow what I get told to say. I like those, Mike. I have so much. Get out of here. Now wait a minute. That old man told us nothing at all. I'll find out for myself. Come on, you. No, no, no. Come on, you guys. [GROANING] What the-- what are you doing, you want? We're going to find out right now, Mother. We can't get out of here. The door's locked. I believe I can solve that little heaven. The skeleton keeps you to the trick. What about the knife? He ordered us to stay in. I love to disobey orders, Mother. There we are. Come along. I just got-- It's your scene. But, Mother, I'm going to find out what this is all about. [MUSIC PLAYING] Come out, I'm taking Mother. There's no one inside. Why is that bell ringing, Mother? It's a fog warning. It's probably a seaman ringing it. Let's go forward and talk to the sailor who's standing watch by the bell. Perhaps we can learn something from him. There's the bell, right? The man. Talk it. Yes. Is someone hanging from the bell rope? Oh, it's the old seaman who's spoken Ryan's, Margot. Oh, the man. Come on. We're going to the captain's quarters. I don't care how busy it is. He's going to see it now. [MUSIC PLAYING] Arthur. Good evening. Are you the captain of the ship? As he's right, sir. I think you should know that one of your seaman has been hung by the neck from the ship's bell rope. What? Yes, that's true. Come and see for yourself. Of course. Aren't you discovering? A moment ago. The victim was the old seaman who came to see us below deck. There's the bell right ahead. Amazing. The man. He's gone. What? The body's gone. I don't understand. Only a moment ago. Is that your cop's over there? You've been here to be pretty lively, once. But that man wasn't here before. You mind if I take on that? No. Arthur. Yes, sir. How long have you been on this watch? Two hours, sir. You never leave your post? No, sir. I've been ringing this post, steady, sir. You-- You don't believe us, do you, captain? Well, you could either expect me to believe-- I understand. I presume you are the two people we picked up a while back. That's right. Why didn't you come directly to my cabin as I had a question? I should be questioned. But captain, we were told that you were too busy to-- I'm sorry. That's true, captain. And we were also told that you had no wild. And you gave that idea. Because we got a wild. You need to repair that now, but we're picking up the missing box when we reach for. And when is that? The motto. Captain, how do you explain the fact that your ship has no name? No name? We certainly we got name. You dare not lie, but there's a name? There's a Marja. Where's it get all these fantastic notions about my ship? From your name? The big burly, Sullivan with a mustache. Well, he got no mayor to answer to that discreet, but you must have. He's the one who murdered the old seamen. Now I thought we cleaned up that point. Oh, yes. Yes, I forgot, Captain. The apartment. Certainly, certainly. I think I can understand you. Instead of mind being a drift in that open boat, it's major boat. Well, shall I say a need of a good draft? Now, please go, Captain. There's nothing wrong with that. The captain may be right, Marzo. Perhaps we do need a rest. Well, some rise. Now, go along, turn him. Both of you will stop. He's out in the morning. Yes, yes. Good night, President Ray. Thank you, Captain. Oh, the mob. Still, really, believe it, that we've been saying this? Not at all, Marzo. All that we've encountered aboard this ship has been reality. A mysterious reality to be sure, but one that is very entwining through the shadow. Bye. About turning in? No, Marzo. What are you doing to that life, Marzo? I'm just examining the ship's name that's painted on here. And it may interest you to no, Margo, that the paint is still wet. Then it was done recently. Very recently. If it comes to my not having seen the name when I examined the boat before. But, Marzo, why should they do all this shim sham? Just for our benefit. I don't think it is just for our benefit, Marzo. When you change your ship's name, you do it to fool many people. And you think that that's what's been done? Yes. For what? Well, I think the answer to that can be found by paying a visit to the coups quarters. That's always a good source of information. Can I come with you? No, Marzo. You'd better return to the cabin and wait there for me. This is going to be a job for the shadow. Now this is my company. You never just know some of my keeping quiet, see? But I tell you, I don't like what's going on aboard this ship. Oh, you don't like what's going on aboard this ship? Now ain't that too bad. I listen, but you're signed on here as a seaman. And a seaman does a decal. But I just know what it was going to be like. I didn't know it's a boat, then, though. As long as I get to pay, I keep my mouth shut in mind the wrong business. What was that? Where do you counsel this man to keep his mouth shut, gentlemen? Who's that, Sergeant? Where's that wise comberman? This voice comes from the shadow. Shadow? See, I heard you. Then you must know I am here. I am seeking truth, gentlemen. Truth about this ship. What about it? Why does everyone behave so mysteriously aboard this vessel? What are they trying to conceal? We don't know what's going on. Why are you questioning that young man that keep quiet? It's not me, your business. Young, it is my business. And I intend to get an answer to my question. Not for much, you won't. How about you, young man? Are you going to remain silent, too? There it is. Oh, wait a minute. What up, bottom? Why don't you let him talk? Are you afraid? Afraid of what you'll reveal? None of us are talking. How about that, Markham? Are you going to let them silence you? Are you? No. No, that's tell me. Tell me what you know. Oh, I saw it. Are you quiet, Markham? I'll tell you what's wrong with the ship. Markham sits the cargo we're carrying with the shadows. A cargo that's so unbelievable, where it goes. I don't think you'll do much talking for a while, shadow. That was a foolish thing to do, gentlemen. You haven't stopped me by silencing him. I'll get my information by inspecting the cargo myself. I believe that this passageway leads to the ship's hold, Markham. What do we do if someone sees us, Markham? Well, we'll face that when it happens. And that looks like the hatch way right ahead of us. What do you suppose is mysterious cargo continues? Markham, listen a moment. Do you hear that? Yeah. That noise is coming from the hole beneath us. The money sounds almost human. I know. I heard it sound like that just once before. And I'm shocked that I can act as it is, Chris. And all the injured required into a little room and waiting for King. I know what you mean. Well, there's only one way, Markham. Someone's coming out of that cabin at the end of the cargo. They're giving you a half hour. That's one more half hour to make up your mind. Understand? Me? Yes. I'll be back then. Don't pull, Markham. I don't quite remember. Markham, I wonder who's in that cabin. Who was being warned? Why don't we find out? We're going to. Come along. We can't risk knocking. We'll just have to open the door quietly at least. Who's there? Close the door, Markham, go quickly. Now, don't you leave me alone? That's the stop torture of me. We're not here to torture you, sir. Oh, no, that couldn't be. Why are you in this room? Who are you? Where am I? I'm the captain of this ship. Everyone knows that. That's the captain. Yes, sir. I've been kept blindfolded and changed down on this whole for days. But we met someone else who called himself a captain. He's an imposter. That man who called himself the captain was formerly my first mate. But what happened? Why are you here? And here because I'm a prisoner. Prisoner bought my own vessel. What's wrong with it? It happened. I signed on two new mates for this voyage. They. They overpowered me one night and took over. What about you crew? They knew nothing about it. So this man told them I was ill and they put into port. And I'm aware and took a boy and you crew and you cargo. No, I see. And what is the cargo? And I don't know. But it's something outside the law I can tell you about. I can tell you. I can tell you. The captors have offered to reveal it to me if I'll join them. Is that why you were threatened just now? But not joining them? Yes. They've given me a half hour to change my mind. They remain firm. I'll be killed. So they're approaching a showdown, eh? Yes. That means we must be nearing court. Who are you? How did you get here? We were at risk of seeing a small launch. We were picked up when I remember the true source. It's bad. You'll both be in the way. I'll dispose of you, too. What? Because these men will stop at nothing. Murder is their business. And I don't wish to alarm you, young lady, but your danger. Great danger, both of them. He's right, mother. We've already seen evidence of their murderous worth. He hasn't what can we do about it? How can we stop him? Let me think. Only the violence aboard the ship would be the radio for help. The wireless is working, and though it is. Are you sure? Yes. Where's it located? It's on the upper deck near the captain's squad. Well, we must get there at once. Now, don't give up, hope captain. We still have half an hour. And a lot can be done in that time. [MUSIC PLAYING] Not on it. I want you to stay outside that don't keep watch. I'm going in and send for a call of help. All right. Go on, leave anyone approaches. I will. Good luck, sir. Robert, wait. Tell me, who are you? I've come here to send a message. Oh, yeah? Well, you're an old person. I don't think I am. Keep away from that key. Keep away from here. I'm sorry, old man, but-- I've got to get this message through. [MUSIC PLAYING] I hope someone takes this up. I hope somebody hears it. [SCREAMS] The bomb! [SCREAMS] Go! Let's go! Take your hands off that girl. The bomb's out of our hands, you know what I mean? Good work, mate. That's a good thing to carry him. Oh, the bomb. The long time before he answers you, it's the-- I want to do this, guys. I have to go. Oh, boy. Oh, yeah. You're coming along with me. [MUSIC PLAYING] Junior, you're not a bad friend. It's such a great curiosity about our target, is it? I'm going to let you-- just lift up this heart. Hey, John. Take a look. How'd you like to join us? Oh. A human car's a face good too. I don't have a-- No, there are natives of various western and island. They pay for the privilege of being smuggling to the United States. Oh, thank you. All right, sir. He's quite legitimate. You see, I break no laws because unfortunately, they never reach their destination. What do you mean? Well, in the past, when I've carried carves like this, always there seems to be a series of accidents as a man of being lowered into small boats. Accidents which could result in the entire lot being drowned. [LAUGHS] Yeah, good little job, Captain. What does he mean? I mean, girl, either I order two members of the croters or your boyfriend of the shot. No, I don't believe it. I was true. Why, you-- I'll tell you both. Never. Long as this is that guy, so much, we'll take a lot of time. Keep away from it. Come on, sister. Stop. Keep away from that girl. Hey, what was that? Yes. Stay where you are, both of you. Who's this? Why don't you know? I am called the Shadow Gentlemen. Don't bother to look for me. I'm never seen. I've come to protect this girl and turn you over to the proper authorities. That's a lab protector. Grabbing even got never enough to judge itself. I don't have to show myself. I'm quite able to deal with you with words. All this he means. I mean that I know all about you, both of you. And I intend to put a stop to your dealing in human souls. Yeah. Now that you think you've been through that. You know, man. Very soon. I don't know what this thought may. Talk to that ass, quick, quick. I'll get the other ass. Ah, Mr. Shadow, would you just ask Levas to ask? What do you mean? They're not lost in this thought, caradel. Although we can't see you, I know you must be a place in blood. Just a problem. The same man I'm going to wreck this car that I would pull it till I hit my target. No, you must. That's scary, just isn't it? I guess it scares the shadow, too. No, it doesn't. But I must compliment you on your cleverness. It's an excellent scheme except for one thing. Yeah. What's that? [GROANING] It'll never work while I have your gun. Now, stand against the wall, both of you. What was that? I have an idea that it came from a gun. The border United States Coast Guard cut a spot. They're responding to a wireless call for help. And I imagine there'll be very interested in both of you. Both you and your cargo. You see, Margot, I regain consciousness just before the two crewmen reach men as the shadow Iel, you get them. No, the more I thought surely they'd thrown your overboard. Well, I fooled you. Yes, thank heaven. What's going to happen to those two men? They've been arraigned and charged with every crime in the book of Marathon Law. Their career of crime has ended, Margot. And the people are charged in the holes? Well, they were sent back to the native island, putting out its fools. They're attempting to enter this country illegally, or almost sent them to the bottom of the scene. And you mentioned the scene to me again for a long time, Lamont. For the next year, I want a two-hand bodyguard before he needs a cramped shoulder. [MUSIC PLAYING] [SIRENS] [SIRENS] [MUSIC PLAYING] [SIRENS] We don't cry. There's a road to cry. There's no pain. The shadows are sad. [SIRENS] [SIRENS] Thanks for listening. If you liked what you heard, be sure to subscribe so you don't miss future episodes. If you like the show, please share it with someone 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.com is also 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 WeirdDarkness.com. I'm Darren Marlar. Thanks for joining me for tonight's retro radio, old-time radio in the dark.