Speaker 1: And now mystery fig come in. Welcome. I'm e. G. Marshall,
As the poet says, let us fill the cup. What
are you having? How about equal parts suspense and mystery,
with just a dash of terror and kill to taste.
So they say that a lie is only the truth
in masquerade? But does the opposite also hold? Can we
say that the truth is a lie in masquerade? What
is masquerade? For that matter? What is reality?
Speaker 2: Who are we?
Speaker 1: Who do we really see when we look in the mirror?
The image that gazes steadily back at us, that anticipates
our every move, our every breath. Who is it? Or
what is it? Darling? Hello, dear? Dinner ready?
Speaker 2: No?
Speaker 1: Oh, you planned for us to dine out? No? Gerald, Well,
why it isn't dinner ready?
Speaker 3: Then?
Speaker 4: I haven't had a chance to prepare it.
Speaker 1: I was busy doing what setly? Oh?
Speaker 4: Learning how to load?
Speaker 1: What what are you doing with that pistol?
Speaker 4: Learning how to aim specially don't point that at me?
And learning how to fire?
Speaker 3: U Uh? Why what h our?
Speaker 1: Mystery drama The Many Names of Death was written especially
for the Mystery Theater by Sam Dan and stars Alexander Scorbie.
You know how it is with some people. They go
along for years in a groove, a routine, or a rut.
Characterize it any way, alike, ten twenty years, the same job,
the same apartment, same wife. It might just occur to
a man to ask himself, is this all I have
to look forward to? There are those men who ask
this question and keep asking it. But these are the
men who rarely do anything about it. It's the men
who don't ask, who seemingly plod along contentedly and quietly.
Oh yes, look out, look out for Gerald Furlong fills
all the specifications we've just stated.
Speaker 2: Mister Furlong. Yes, good morning. My name is Helene LaRue. Yes,
I'm your new secretary.
Speaker 5: Oh, mister Spruance, you know him, the personnel manager.
Speaker 1: Yes.
Speaker 3: Well, when I.
Speaker 5: Heard that old lady McKay, uh oh, I beg your
pardon Miss McKay was leaving, I asked for the job,
and he said I could have it.
Speaker 2: Unless you had someone else in mind. Well, actually, I'm.
Speaker 5: The best typist in the pool, are you. Oh, yes,
you can check it. Everybody always asks for me.
Speaker 1: But I don't.
Speaker 2: Of course, you don't know, how could you unless we
try it? What have you got to lose. Well, then
it's settled. Now all you have to do is sign
this memo.
Speaker 5: What memo the memo to mister Spruan's which says you
authorize my appointment as your secretary. And now I don't
want you to think I'm pushing you.
Speaker 2: Or taking too much on myself.
Speaker 5: But a good secretary handles all the details, ties up
all the loose ends, keeps the desk clear. And as
soon as you sign that, I can call mister Spruance's secretary. Ah,
that's it, yes, sir. Oh, mister Furlong, you do have
a bold, strong handwriting unusual.
Speaker 2: Sir, but that's to be expected expected.
Speaker 5: Oh, yes, you see your name is Gerald. Yeah, and
do you know what the name Gerald means? No, but
it's an old German name. It means strong, leader.
Speaker 2: Of an army. Hello. Hello, this is Elaine LaRue.
Speaker 5: Tell mister Spruance that mister Furlong wants me to be
his secretary.
Speaker 2: The memos on its way.
Speaker 1: Thank you, Oh strong leader of an army.
Speaker 2: EMM, don't you feel like one?
Speaker 1: I'm afraid I don't live up to my name.
Speaker 2: Oh you think you.
Speaker 1: Don't, My dear young lady I know I don't do would.
Speaker 5: Call me that your dear young lady?
Speaker 1: Why does it offend you?
Speaker 2: Yes?
Speaker 1: Oh, I'm sorry.
Speaker 5: When you call me your dear young lady, you're putting
yourself down.
Speaker 1: I'm'a tree. It don't understand.
Speaker 5: W you make yourself found like an old nap m
ah and you're not.
Speaker 2: You See, I worked in person up. I had to
check everyone's record, No.
Speaker 1: Miss Lorue. Those records are highly confidential.
Speaker 2: And the you're only forty five. It's true that you
look thirty five.
Speaker 1: N No, Miss LaRue. One thing I found upon in
this office is the discussion of personal matters.
Speaker 5: Of course, of course, if you went about things differently, mm,
you would look thirty five.
Speaker 1: Miss LaRue. And I have some letters to dictate. Yes, sir,
this is to uh to Mr Oliver Stevens at Carpenter
and Stevens. Uh you'll find the address files, dear sir, pursuant.
Speaker 2: To Yes, sir.
Speaker 1: UH read that backer Oh you said, was.
Speaker 2: Uh p pursuant too?
Speaker 3: Oh?
Speaker 1: Yes, yes, sir, pursuant to our agreement, I must inquire
of you uh at Miss LaRue. Yes, you know you've
gotten off here on the wrong foot. But I dislike flattery.
I intensely dislike it. I despise it. Please do not
interrupt me. I am not a fool.
Speaker 2: Oh, I never said you were.
Speaker 1: Your flattery is doubly obnoxious because it's I it's so
so so what mister, because it's so extravagant, so obvious.
Speaker 3: But I wasn't.
Speaker 1: I might tolerate flattery. That's that's clever. But you, my
dear young lady, are ludicrous.
Speaker 2: There you go again, calling me your dear young lady.
Speaker 1: I'll call you anything I like. I'm your employer. Why
am I ludicrous? How can you tell me that I
could look like a man of thirty five?
Speaker 2: Because it's true.
Speaker 1: Do you know what thirty five is? I know what
it looks like thirty five. That that's that's another world,
another another generation. I know. Tell me that I could
look thirty five? Again, it's well, it's an insult to
my intelligence.
Speaker 5: I could make you look thirty five.
Speaker 1: What did you say?
Speaker 5: Well, you'd have to dress differently, where colored.
Speaker 2: Let your hair grow long.
Speaker 1: LaRue, this conversation has become far too person.
Speaker 2: They can end at any time. You say er mm.
Speaker 1: Mm, now pursuant to our agreement. I must inquire of
you if you feel obligated to provide financing for Yes,
mister Fullong, I at the risk of sounding foolish, why
did you say I could look thirty five?
Speaker 2: I learned something about you, mister Fuller.
Speaker 1: Would you learn anything about me in so short a time?
Speaker 2: Will I learn?
Speaker 3: That?
Speaker 5: You're a man who fights against his name.
Speaker 1: Haven't the faintest idea of what that means?
Speaker 2: Your name? Gerald Strong? Leader of men?
Speaker 5: Oh well, why do you fight it? Why do you
deny it? It's what you were meant to be.
Speaker 1: Really, it's true? Who says so?
Speaker 2: I do?
Speaker 1: And how would you know?
Speaker 5: Because I believe in norminology?
Speaker 1: Uh uh oh.
Speaker 5: It's the science of names. I believe that all names
tell us what we are.
Speaker 1: I think that's ridiculous, do you well?
Speaker 5: I think birth itself is a mysterious happening, and that
parents unconsciously have an insight into what their child could be,
and they name him accordingly.
Speaker 2: They might not even be aware of it.
Speaker 1: Gerald, Well, I'm certainly not a strong leader of men.
Speaker 2: You could be. You have it in your work.
Speaker 1: It's ridiculous. Oh you said that before, I'll say it again.
Speaker 5: Why is it any more ridiculous than any other belief?
Speaker 2: Why is it any more ridiculous.
Speaker 5: Than say, astrology?
Speaker 1: Hell?
Speaker 3: Yeah?
Speaker 1: What does helene mean?
Speaker 2: Light?
Speaker 1: Mm? A torch from the Greek light? Yes?
Speaker 2: Light? Have I brought you any.
Speaker 1: Uh?
Speaker 4: Is the fish deer?
Speaker 3: Oh?
Speaker 1: Bit blind?
Speaker 4: Blind?
Speaker 1: M that's all.
Speaker 6: It's been prepared exactly as usual.
Speaker 4: And you never complained before.
Speaker 1: Well, h just happens to lack taste.
Speaker 4: But you have to watch your intake of pills. Why
wh why?
Speaker 6: Well, it's it's just the prudent thing, isn't it.
Speaker 4: That's what you always say.
Speaker 1: Yes, so I suppose so.
Speaker 4: Did they replace Ms McKay?
Speaker 3: Yes?
Speaker 4: I hope they gave you a mature woman.
Speaker 6: If you can't stand those flighty young girls, what's your
new one?
Speaker 5: Like?
Speaker 1: Well, I really haven't noticed yet.
Speaker 4: Oh how did that go?
Speaker 1: Oh? Look, Cecily, my dear, I have so much to do.
I simply can't bother to note those things that have
nothing to do with business.
Speaker 4: You are of a work, dear, that's true.
Speaker 1: I'm aware that I have a secretary that I dictate
letters to her. That she has a name in this case, Uh,
what she looks like? It were?
Speaker 3: Well?
Speaker 1: I simply couldn't remember.
Speaker 4: Poor dear.
Speaker 1: Cecily tell me something. How old do I look to you?
Speaker 4: Why?
Speaker 1: Oh? Just curious?
Speaker 4: I hadn't thought about it.
Speaker 1: Well, you don't have to think about it. Just tell me, well, darling,
you look your.
Speaker 4: Do I, if anything? A bit older?
Speaker 1: Really?
Speaker 6: And that's been responsible for your success.
Speaker 4: A man who had.
Speaker 6: A trust department, who's responsible for other people's money, can
only inspire confidence if he looks mature and and uh
settle huh oh, yes, dear, and you certainly do.
Speaker 1: Is it possible that it is it possible that anyone
could ever take me for say, thirty.
Speaker 4: Five verty five? I'm darling. I I don't see how Why.
Speaker 1: Do you act all no reason?
Speaker 4: Are you sure?
Speaker 1: Well? Please forget it.
Speaker 6: I simply can't imagine why you'd even ask such a strange.
Speaker 1: Question, especially especially.
Speaker 6: Especially since you're not in the habit of asking idle questions.
Speaker 1: Coffee, No, no, darling, If you'll excuse me, I'll go
to the library. I have some work.
Speaker 4: Oh, ger, this this goes against everything you ever.
Speaker 6: Well, you made it almost a religion not to bring
work home from the office.
Speaker 1: Yes, dear, I know, but every religion encounters a bit
of heresy now and then.
Speaker 4: Don't stay up too late.
Speaker 1: Oh dear, I just have a few things to check out. Hello,
miss uh LaRue.
Speaker 4: Oh, good evening, mister.
Speaker 1: Good evening.
Speaker 2: I was waiting for your call.
Speaker 1: But what do you mean you were waiting for my call?
And I was right?
Speaker 6: You did call, don't you.
Speaker 1: Well? Yes, Uh, However, my secretary has to expect to
work all hours, and if you object, then perhaps you'd
better resign.
Speaker 2: Oh I don't mind.
Speaker 1: I don't mind at all.
Speaker 4: You have such a fascinating for you now.
Speaker 1: See here, missus LaRue, this is a business call, of course. Look,
I had so many things to do today that I
I can't recall if I sent a letter to mister
Oliver Stephens.
Speaker 2: Mister Oliver Stevens and left comfort.
Speaker 1: Uh Stephen, that's right, because if I forget to write one,
well you did it for.
Speaker 2: Long, you dictated it, and I take it and nailed it.
Speaker 1: Good. That is a relief U. Otherwise I'd have to
call him this evening and explained that he shouldn't expect
to op the letter went out. Well, that's well, th
that's what I I I wanted to know.
Speaker 5: Is there anything else?
Speaker 1: No? I I can't think of anything. Uh the good night, sir,
good night? I oh well, I d just another minute.
C could you tell me what?
Speaker 2: What?
Speaker 1: What the name Cecily means?
Speaker 4: Til Oh, yes, sir, that a Latin name.
Speaker 3: It means one who was in the talk or blind?
Speaker 1: Mm. J yes, dear, did I wake?
Speaker 6: I'm sorry, work hednight's the worst thing in the world
for your nervous system.
Speaker 1: And still I'll just brush my teeth and get right
to bed. The girl who's that? Girld he who's talking
to me? Look in the mirror of Herald? I ah my,
I'm looking at what is all?
Speaker 2: Is it?
Speaker 1: She must be having? Now you see me? Look in
the mirror of Herald?
Speaker 2: Who do you see?
Speaker 1: I see myself? You see me?
Speaker 2: Who are you?
Speaker 1: The image you cast in the mirror? That's me, isn't it?
That's me? I can't believe you, for I'm you're what
what drunk? You never drink mad? You're the samest manner.
And if you see thinks, why what's happening to me?
That's in Jerry? What is happening? We've gone mad? You
will be soon, Jerry, unless you fire that girl? Which girl?
Speaker 2: Uh?
Speaker 1: Oh, don't play games with me. I've looked at your
face for the last forty five years. You have no
secrets from me. Why should I fire her? You know why?
You don't know what you're talking about. If you don't
get rid of her, you're added for ruin, disgrace, death.
I'm gonna say that it's true. You know it's true,
don't you, Gerald, Deep down, way down. Don't you know
where it must.
Speaker 7: End, how it must end.
Speaker 1: Yes, here's your common sense, and fire her first thing
in the morning. Let you do that, Gerald, Eh, first
thing in the morning, I'll fire her. You look in
the mirror and a perfect stranger starts to talk to you.
He wears your face, but you know he isn't you.
He knows every thought in your head and every emotion
in your heart, but you know he isn't you. Who
is he? We shall acquire some new insights when I
return shortly with that too. If there's a face that
looks back at our own each time we gaze into
a mirror, but is it always the same face? The
quick answer, the automatic answer is yes, certainly. Of course.
This teachers that we should never answer anything without pausing
for thought. Mm we might get the same surprise that
happened to Gerald Furlong. It was the same face, but
it wasn't his.
Speaker 2: Good morning, mister Furlong, Good.
Speaker 1: Morning, Miss LaRue. Come into my office please, yes, sir, Now,
Miss LaRue, I have something to tell you.
Speaker 2: Oh I know you want to fire me.
Speaker 1: Well, I've been thinking a a man and his secretary.
They they spend considerable time together, and therefore they should
have similar temperament.
Speaker 2: Mm and you're too busy thinking to have fire.
Speaker 1: Obviously we don't have a similar temperament, Miss LaRue.
Speaker 2: Very well, I'll go back to the.
Speaker 5: Pool and you can kick yourself another dried up old
maid to match the one you've got at home.
Speaker 1: Now, see here, Yes, what is it you.
Speaker 2: Want me to see?
Speaker 1: How? How did you know? How did you know? I
was wire you?
Speaker 3: Well?
Speaker 2: You keep fighting your name? You're not a Gerald. What
are you fighting? You know you never had a good
time in your life.
Speaker 1: Why should you care?
Speaker 2: Because I'm in love with you?
Speaker 1: That's impossible. We don't know each other. We we have
nothing in common.
Speaker 2: Oh, that's all nonsense.
Speaker 5: You fall in love because you hear a certain tone
in somebody's voice, you see a certain light in someone's eye.
Speaker 1: But how can such a love be lasting? Oh?
Speaker 2: Who says love has to last?
Speaker 1: You know?
Speaker 5: Love comes and goes, Love is, and then one day
it just isn't and it's gone and nobody knows why.
And it doesn't matter, because sooner or later it will
come again with someone else.
Speaker 1: You're a strange girl. Oh well strange We look, look,
we we can't talk here. I I'll take you take
you out to lunch.
Speaker 2: No no, no, no, no, no, no lunch. Why not
because you must lose weight. I'll take you shopping. Oh
I like that jacket and with the awkle shirt.
Speaker 1: Oh but I only wear a white shirt.
Speaker 2: Oh that's all in the past, darling. Now look at
yourself in the mirror.
Speaker 1: No, no, no, absolutely not.
Speaker 2: What hell can you tell?
Speaker 1: If I just don't want to, I insist.
Speaker 2: Now, come on, look in the mirror. Have you ever
seen anything so.
Speaker 1: Well?
Speaker 2: It's it's a work of art.
Speaker 1: Gerald, No, Carold, there's lace. There's ace to see it.
It's my lace anymore, Carold, don't don't kill me. Keep
killing you?
Speaker 2: What are you saying, darling?
Speaker 1: Darling? Already, darling, you can't go away with me, dearld,
we lived together too long. We built up a whole
world together. You just can't get rid of me and
get another in it.
Speaker 7: Well, what do you think, darling, wire are your full
Get rid of her?
Speaker 1: Walk out of here before it's too late, save yourself.
Speaker 2: I think what's there to think about?
Speaker 7: He'll take it and now.
Speaker 2: Or some sportswear.
Speaker 6: Good morning, darling, Bacan is ready. We have two eggs,
we have cereal or.
Speaker 1: Just uh cup of coffee, but you must have brexit. No, no,
I'm fine, Just coffee, darling.
Speaker 4: Where did you get that sued Oh?
Speaker 1: Uh? I did some shopping last week. You like it?
Speaker 6: Well it it looks a bit yeah, young, few young
and that shirt and the tide, but those colors are
quite violent.
Speaker 1: Violent.
Speaker 6: It's hardly the image for a trust officer. I'm besides
dear middle aged man who strived for a a juvenile look,
only succeed in making themselves appear.
Speaker 1: Ludicrous, which is how I appear to you.
Speaker 4: No, no, I didn't mean that.
Speaker 1: I only love look. We shouldn't quarrel, especially today. I
I had to go to Chicago. Oh, oh, just for
a few days. We have to investigate a financial.
Speaker 4: But you'll never travel there.
Speaker 1: Oh, I can't refuse this client.
Speaker 4: No, I suppose not.
Speaker 1: I'll cut the trip as short as I possibly can.
Speaker 4: Yes, dear, well how do you like it?
Speaker 1: I must say it's convenient to the office.
Speaker 2: Well, the rent was higher than you said you could go.
Speaker 1: Well, it's alright. Tell me m.
Speaker 2: Uh, I must say, you learn fast.
Speaker 1: I didn't have to learn. I was knew it. It
was just out of practice. It's all.
Speaker 2: Let me show you what I bought me this afternoon.
Speaker 1: Look, I hope you are a contestant to overdrawn again.
My first mink? Oh was it necessary?
Speaker 2: No, that's not my child, the king of the Army.
It's the old trust officer speaking right. Just so, do
you want me to keep one?
Speaker 3: Of course?
Speaker 1: What would you like to do tonight? Oh?
Speaker 2: What are we supposed to be doing?
Speaker 1: I'm supposed to be taking a client to a long
and involved business dinner.
Speaker 2: Oh well, then let's go to the high hot club.
Speaker 1: Mm. And I think I heard of that place?
Speaker 2: What'd you hear?
Speaker 1: I don't think it's the kind of establishment I should
be seen at.
Speaker 2: And what are we waiting for.
Speaker 1: My turn again? I'll bet mighty Hi, Hey, Gerrold.
Speaker 2: This is Marty Chainer. He opens the place jail.
Speaker 1: For a long How do you do wow for along? Huh?
That's uh the name for a horse player.
Speaker 2: Oh, he doesn't have.
Speaker 5: To play with the horses, Marty, he's too skillful with
the time.
Speaker 1: I'm afraid it's beginning of luck. But you're hot. You're hot.
You're on the street riding. I will pet it all, darling.
Speaker 2: You want what you want?
Speaker 1: Wet it ride, Darling.
Speaker 2: It's getting late. Yes, I know you should be getting home.
Speaker 1: Oh, I wish I didn't have to go, so I
you know the right thing to do. I should divorce Cecily,
and we ought to get married.
Speaker 2: Oh why should we get married?
Speaker 1: Because we're in love?
Speaker 2: The call weren't you in loud?
Speaker 5: Especially once? Well, yeah, that's why you married her. But
it didn't help, but didn't keep the love alive.
Speaker 1: You and I will be different, No, we won't.
Speaker 2: We may love each other till the day we die,
and we may fall out of love tomorrow morning.
Speaker 1: But I want us to keep our love.
Speaker 5: Oh, love can't be a guaranteed investment. Isn't the here
and now?
Speaker 1: Gerald? Huh, Gerald, please don't kill me. Oh, I'd better
take a pail or see a doctor. Why I'm the
one who's sick. You're killing me. No, don't tell your
face away. Look in the mirror, look at me, I'm looking.
Don't you see now I've changed you? I look w
We've never looked so good. You'll have a new image,
and what becomes of me.
Speaker 2: I'll be dead.
Speaker 1: Frankly, I couldn't care less. But I'm the only image
you're comfortable with. I'm the only image you can live with.
I used to think. So I'm learning different and you're
a fool. Get rid of her own. She'll get tired
of you sooner or later, and then what would you have?
The lanes? But I've always wanted I never had the
nerve to let myself believe it. You can't afford her,
who says so Apart the clothes, the gifts, the jewels,
and now the gambling. Who knows more about gambling than
I do?
Speaker 5: Have?
Speaker 1: I gambled with investments all my life. It's not the
same thing, except this time I'm enjoying it. I'm enjoying
life can turn all at once. He can sweep you
away swiftly, suddenly, like a tidal wave, can ring of her.
Speaker 3: You'll never know what hits you no, you.
Speaker 1: Kill both of us. I don't care. I don't care. Joe,
what do you want?
Speaker 4: I thought I d you talking to someone?
Speaker 1: You want?
Speaker 4: I heard you talking to someone?
Speaker 1: Oh, come on that that's ridiculous.
Speaker 6: I thought so too at first, But lately it seems
w will You seem to be having angry.
Speaker 1: Conversations indeed about what.
Speaker 4: I don't know, but I'm sure I hear voices.
Speaker 1: You're sure you're all right? Dear? It's something wrong? No
and no, it sounds like yes.
Speaker 4: Oh, I suppose I'm a little bit lonesome these days.
I see so little of you.
Speaker 1: Oh, darling. Things are becoming impossible at the office. You
know the way the market is behaving.
Speaker 4: I know, I know there are terrible pressures on you.
Why don't you quit?
Speaker 1: Quit?
Speaker 4: Yes, dear, quit find something else.
Speaker 1: It isn't easy to get a new job at forty five, But.
Speaker 4: You don't look forty five. You look at least ten
years younger.
Speaker 1: Well, how would we make out? While I was looking around?
Speaker 6: Well, you've been very judicious with our money. We should
have quite a bit put by, so sleep we don't
have in the present market. Our holdings have well, they
haven't done well they've lost, they've lost considerable value.
Speaker 1: Oh it's my fault. I'm sorry.
Speaker 4: Who there's my inheritance?
Speaker 1: Oh no, no, no, no, we couldn't.
Speaker 4: It's fifty thousand dollars.
Speaker 1: Oh no, no, no, we we must never touch it.
Speaker 4: It could help ease us along.
Speaker 1: Oh ccely, you you're too good to me.
Speaker 4: Don't say that.
Speaker 2: I love you.
Speaker 4: Let start like all over. Is it something to think about?
Speaker 1: Yes, it is something to think about.
Speaker 2: Where are we going?
Speaker 1: The usual place?
Speaker 5: Ah?
Speaker 1: What does that mean? Oh?
Speaker 5: You just said the usual place, which means our lives
are becoming predictable.
Speaker 1: Well, don't you enjoy it there?
Speaker 3: Then?
Speaker 2: I I'd like to go dancing.
Speaker 1: They're dancing Marty Hires, the best band in town. Howl.
You know you never danced to it? You want to
dance tonight? That's what we'll do.
Speaker 2: Let's go somewhere else.
Speaker 5: Why because if we go to Marty's, you'll get involved
in a card game.
Speaker 1: No, I won't. I promise you.
Speaker 2: Oh, you make that promise every night, and you break
that promise.
Speaker 1: Every night, the night will be different, You'll see.
Speaker 2: Gerald, I want to go home, darling.
Speaker 1: We we we can't go just here?
Speaker 5: I see no reason why we can't do anything we
please anytime we want to do it.
Speaker 1: I've lost too much money.
Speaker 2: Oh word, it's only money.
Speaker 1: I can't quit now.
Speaker 2: Oh this place is becoming a board. I can't afford
to it, and you'll becoming a board too.
Speaker 1: Don't say that, but I love you. Do you understand well?
Speaker 2: I love you too?
Speaker 1: Just another hilf hour, mister Furlough. Guess Martyn, No.
Speaker 2: Gerald, No, don't play with him. Please. You can't beat him?
Speaker 1: Are you talking about? The curds are going to come
my way? I can feel him.
Speaker 2: You can't beat him. His name is.
Speaker 1: Martin work after Mars, the god of war.
Speaker 2: He's a child of Mars trold let lead.
Speaker 1: No, sure, sure, Look, all I need is just one
good pot till.
Speaker 2: Don't play with him, but you go.
Speaker 1: Get your coat and meet me here. Oh well, mister Furlong,
just you and I left. Huh so, no fight for
the pot. I believe you were the opener. Five hundred. Ah,
very good bet. I think I'll raise make it a
thousand and a thousand better a man with confidence. However,
another thousand a thousand to you again? Money, Well, I
must respect that. I call you should I have a
full house, an excellent hand, good enough to win most
of the time, but not good enough this time. What
I I have four little juices? Oh, so, let's see
in the part where your overall bets are fifty five
hundred dollars and added to your previous indebtedness, we have, uh,
a total of thirty five thousand. What that's impossible? Have
your markers here, mister Furlong can't to check the arithmetic? Well, no,
I look, I I don't carry thirty five thousand dollars
around with me in cash? Who does? We can wait
till tomorrow.
Speaker 2: Ye are you ready to go? Gold?
Speaker 1: Yes, an Selene, We're ready to go, he says, he's
ready to go. But the question is where where do
you go? When you've just lost thirty five thousand dollars
that you don't have.
Speaker 3: Where do you go and what do you do?
Speaker 1: Well? This could be as good a time as any
for Gerro to find out if he can live up
to his name, strong leader of men. We'll know everything
when I returned shortly with Act three. It's not the
first time. It won't be the last time a man
will seek to change his image. But is an image
like a shoe or coat, a tie, something a man
may take off and cast aside. Can an image refuse
to be changed? Can it fight back? It's very late
at night, after a disastrous evening, and Gerro Furlong is
once again confronting an image in the mirror, the image
he seeks to change. And until recently it was such
a quiet, unobtrusive, submissive image. Now would you leave Helene?
Speaker 3: No, she's ruined you.
Speaker 1: I can't blame her. Tell Cecily confess. Why where else
could you get the money? Money? The thirty five thousand
dollars you gambled away? I ope your what you counted
on Cecily's money.
Speaker 3: You knew it was there, That's why you gambled.
Speaker 1: That's a lie you're talking to me. I can raise
it where how she she loves me, She'll let me
have it. That's what I've been telling you. Confessed to Cecily,
Confess everything, not Cecily. Helene, Helene, I'm I'm in over
my head. Please help me. Of course I knew you would.
That's what love is. Now your necklace, your bracelet, and
the fur you want me to sell them? We can
raise quite a bit of money, maybe not all of it,
but enough to give me breathing world.
Speaker 3: See.
Speaker 1: I I'll make it up to you later, darling.
Speaker 2: I won't do it.
Speaker 1: But you we're we're in love. Yes, you said you'd help.
Speaker 5: Me, help you in the right way, the way you
should be helped. What do you mean the way a
man named Gerald should be helped? I don't unders strong
leader of the army. Are you going to bow down
before the demands of a cheap gambler?
Speaker 1: I I lost the money?
Speaker 3: Well, how do you know you lost it?
Speaker 1: Honestly?
Speaker 2: How do you know the cards weren't fixed?
Speaker 1: I don't a stand.
Speaker 2: Up to him, refuse to pay him? What?
Speaker 5: But but he'll gill what gamblings against.
Speaker 1: The law here?
Speaker 2: His club is illegal.
Speaker 5: He has no claims on you, he can't go to
court about it. Yes, but still still are you going
to hold still be Gerald?
Speaker 2: This is how I love you, This is how I
help you.
Speaker 1: Yes, yes, he has no legal claim. Yeah, y, you're right. Yeah,
you're right, mister Frolong, Absolutely right. I have no legal recourse.
Then I shall say good day to you, sir. But
I have other alternatives. Yes, I can imagine, huh can you?
I can imagine that you'll try to frighten me with
your Uh underworld connections. Underworld connections. You've seen too many movies.
You you can scare me with strong arm tactics. I'm
not afraid of you. Why should you be or anyone else.
I've been in a war. I know how to use
a weapon. I have one in my house. I can
defend myself and I will. Now you are a trust
officer for an important brookerage house. Oh, I see blackmail.
I'm not afraid. I'll deny I was ever in here. Huh,
you can't you see? We have proof? What do you
mean by proof?
Speaker 6: Well, now when I.
Speaker 1: Press this button, that white screen comes down from the ceiling.
And another button. We have a projector, and now we
have a motion picture.
Speaker 3: And look who the hero is.
Speaker 1: Oh, quiet's you. I don't believe it, mister Furlong. Isn't
it true? One picture is worth a thousand words? How
were you your photograph? I mean there you are betting,
raking in the money. Oh you are a gambler, said,
that's obvious. How you relish what you're doing?
Speaker 2: Huh?
Speaker 1: Well, have you seen enough what we do with it?
Show it to my my my management people oh yes,
or won't do any good. They'll fire me. That won't
get you your money? Oh yes, well, what do you
mean they're not responsible? Wells, and we exhibit this little documentary.
We tell you management, unless they make good on your debt,
we will show the picture of that. We will say
to them. Here here is how a man who handles
your money amuses himself in his spare time. Is he
doing this with your money? I think your management will
pay us off, don't you what? You violence? Who needs violence?
When this kind of persuasion is so much more uh
persuasive anytime? Of course, Take a few days, take a
week even more, and think about it. I'm sure something
will occur to you. Helene, Helene, what the place? It's empty?
What happened? She's gone, She's disappeared, and she took everything?
What's this? Darling? Love comes, love goes, and for us
it's over. Think about me as I shall think about you,
and remember always remember your name is Gerald's strong leader
of a host. She's gone, He's gone, of course, he's gone.
What did you expect?
Speaker 3: Where are you?
Speaker 1: What do you think I am? Look in the mirror,
the mirror, what small mirror with the pearl and crust border.
She was going to take it along with everything else,
but she forgot. Well what are you going to do now? No, no,
I'm I'm going to not too late. Get down on
your knees to Cecily. Pray to her to forgive you.
Never No, not to her, not to cecil You can't
afford to her pride. I get the money somehow. Oh no,
not that way. I know what you're thinking it. Look
it's the only way. I won't let you. I won't
let you kill her. I'll stop you. It'll it'll be
a burglar. No, yes, a burglar and a and he
killed her. Now, no, it's he. That's how it happened.
I cut the gun at home doing She'll be angry,
but in the end she'll forgive you heaven alibi. They'll
never be able to prove her. Don't don't kill her
for her money. I have to. I won't let you.
You can't stop me, wre Cecily. I could you you
you you can't.
Speaker 3: I'll stop you.
Speaker 7: I'll kill you first, Cecily, Cecily, where are you here?
Speaker 4: I'm here, darling, in the living room.
Speaker 1: Oh how are you?
Speaker 4: As well as can be expected?
Speaker 1: What does that mean?
Speaker 6: Considering that my husband has a deceived me with another woman,
be squandered every dollar he has in the world, and
c plans to murder me for my inheritance.
Speaker 4: I don't feel too badly. What is it true?
Speaker 1: But where where could you possibly get such a clue? Idea?
Speaker 4: You told me? I told you, Yes, strangest thing happened.
Speaker 6: I was sitting in the mirror, combing my hair, and
I looked in the mirror and it wasn't my face
at all, but yours.
Speaker 1: That's that's impossible.
Speaker 6: And you started to talk to me and you told
me everything, including the fact that you want to kill me.
Speaker 1: No, it isn't true, l How could you? How could
you see my face in the mirror?
Speaker 4: But I did, and you spoke to me.
Speaker 1: It could have been a dream perhaps, But does it matter, Darling?
I I love you? Why would I?
Speaker 4: I suppose I've been blind? But no more. I wish
I could convince you, what are you looking for in
that drawer?
Speaker 1: For not looking for anything that's not true? You were
looking for this Cecily, don't you You couldn't shoot me.
Speaker 4: No, I couldn't. I'm not like you.
Speaker 1: Why are you pointing that pistol at me. Get out,
Get out.
Speaker 4: This is no longer your home.
Speaker 6: I'm no longer your wife, and I'm holding this gun
because as long as I hold it, you won't be
able to kill me.
Speaker 1: Cecily, you're mad. It's all in your imagination, Steve, that's
where you are. Well, we've been married twenty two years.
Speaker 4: We love each other, not another step.
Speaker 1: I warned you. You wouldn't shoot me. You couldn't stop.
Give me that gun.
Speaker 2: No, you want to kill me?
Speaker 4: Help shut up, telp me somebody he wants to kill me.
Speaker 1: I'll help you. Keep out of this.
Speaker 7: You keep out of that car.
Speaker 1: Get back back in the mirror with you alone.
Speaker 3: Now I don't I don't belong here anymore.
Speaker 1: Got another of it, get away, I'll call it child.
He saved you, Seriously, he saved you. Gerald, h better
man than I am. Who look in the mirror.
Speaker 4: Let me get a doctor.
Speaker 1: Look in the mirror, in the mirror, do you see
him him?
Speaker 4: I don't see him.
Speaker 1: Then he's gone too. He's gone. M Gerald, Oh, Gerald,
they're both gone. Gerald, and the image I know. We
have the realists in the house, and the psychologists will
tell us that they can reduce it all to a
matter of the inner self, split personality, guilty conscience, well
to each his own. It could have been an image
acting independently. Proof absolute proof is missing for both sides.
Our return in a few minutes. A French philosopher once said,
we leave a part of ourselves behind us each day.
That's true, but where do we leave it? Sometimes a
very close and introspective look in the mirror might help
us arrive at the answer answers so much in demand
and so short in supply, however, we do have the
full answer for your mystery, suspense and excitement needs right here.
Our cast included Alexander Scurby, Laurie marsh William Redfield, and
Marion Haley. The entire production was under the direction of
Hyman Brown. This is E. G. Marshall inviting you to
return to our Mystery Theater for another adventure in the macabre.
Until next time, pleasant dreams.