1 00:00:21,160 --> 00:00:26,879 Speaker 1: Come in welcome. I'm E. G. Marshall. 2 00:00:28,480 --> 00:00:31,399 Speaker 2: This is a story of a woman's flight from fear. 3 00:00:32,479 --> 00:00:36,159 But who can outrun the demons of his own imagination? 4 00:00:37,600 --> 00:00:40,640 Like one that on a lonesome road doth walk in 5 00:00:40,840 --> 00:00:44,840 fear and dread, and having once turned round, walks on 6 00:00:45,719 --> 00:00:49,200 and turns no more his head because he knows a 7 00:00:49,280 --> 00:00:55,479 frightful fiend dus close behind him tread The poet Coleridge 8 00:00:55,600 --> 00:00:59,799 died many years before the dancer Rodlovo was born. Yet 9 00:01:00,119 --> 00:01:03,759 those few lines he captured the terror that draws the 10 00:01:03,840 --> 00:01:10,200 color from her lips and sets her heart pounding. 11 00:01:11,519 --> 00:01:14,439 Speaker 3: Yes are you there, ah rad lover? 12 00:01:16,519 --> 00:01:18,560 Speaker 4: Yes I am. 13 00:01:18,719 --> 00:01:21,480 Speaker 3: Who is to stay away from the theater tonight? 14 00:01:22,680 --> 00:01:23,319 Speaker 1: Who is it? 15 00:01:23,480 --> 00:01:27,599 Speaker 3: A friend? Don't go to the theater? Don't dance tonight? 16 00:01:27,879 --> 00:01:29,040 Speaker 4: How did you get this number? 17 00:01:30,079 --> 00:01:31,879 Speaker 3: Who are never mind my name? 18 00:01:32,000 --> 00:01:33,319 Speaker 5: Just listen to what I say. 19 00:01:33,879 --> 00:01:35,680 Speaker 3: This is your last warning. 20 00:01:36,159 --> 00:01:37,599 Speaker 4: You cannot frighten me. 21 00:01:37,840 --> 00:01:41,760 Speaker 5: I'm not trying to frighten you. I'm trying to save you. 22 00:01:41,760 --> 00:01:45,799 You must do as I say. Your life depends on it. 23 00:01:46,159 --> 00:01:49,760 Speaker 4: I do you persecute me? What have I done to you? 24 00:01:49,760 --> 00:01:51,959 Speaker 5: You must not dance tonight? 25 00:01:52,879 --> 00:01:55,319 Speaker 3: It will mean deaf. 26 00:02:07,680 --> 00:02:12,400 Speaker 2: Our mystery drama River of Hades was written especially for 27 00:02:12,439 --> 00:02:29,800 the Mystery Theater by Mary Jane Higbee and stars Marion Selviis. 28 00:02:33,039 --> 00:02:37,199 As I said, this is a story of flight, flight 29 00:02:37,479 --> 00:02:42,759 from fear, and it begins appropriately enough with an airplane 30 00:02:42,800 --> 00:02:46,240 circling the sky above Manhattan in the monotony of a 31 00:02:46,280 --> 00:02:51,240 holding pattern. Suddenly it drops swiftly away to the ground, 32 00:02:51,599 --> 00:02:54,919 skims along the runway, and comes to a roaring halt. 33 00:02:56,000 --> 00:02:59,039 In the airport terminal, a solitary man sits in a 34 00:02:59,080 --> 00:03:03,520 small lounge marked private. A commotion in the hall outside 35 00:03:03,599 --> 00:03:05,039 brings him quickly to his feet. 36 00:03:05,360 --> 00:03:10,439 Speaker 1: This is ridiculous. I have Maximilian. We are David, David, 37 00:03:10,479 --> 00:03:15,319 are you in there? Sorry? Max, this fool would not 38 00:03:15,439 --> 00:03:15,840 let me in. 39 00:03:16,319 --> 00:03:19,240 Speaker 2: It's all right, officer, it's Maximilian Bomber. I'll vouch from 40 00:03:19,240 --> 00:03:23,360 It's a good thing you will here, David. I'm sorry, Max. 41 00:03:23,439 --> 00:03:25,840 I asked the airline for tight security and I got it. 42 00:03:26,000 --> 00:03:28,039 But during plenty of time, a plane just landed. 43 00:03:28,120 --> 00:03:28,520 Speaker 1: Yes, so I. 44 00:03:28,560 --> 00:03:31,680 Speaker 2: Understand that God would not even let a messenger deliver 45 00:03:31,759 --> 00:03:34,240 these flowers. So I offered to deliver them for the 46 00:03:34,280 --> 00:03:37,520 poor chap. Then I could not get in myself. Someone 47 00:03:37,599 --> 00:03:39,560 from the airline is going to take her off the 48 00:03:39,639 --> 00:03:43,280 plane and straight through immigration, and they'll bring her here 49 00:03:43,319 --> 00:03:47,120 and we'll get her out. Breaks my heart for I 50 00:03:47,240 --> 00:03:50,560 think of the front page coverage. We're giving up biggest 51 00:03:50,560 --> 00:03:52,719 story of the week. Yes, but we cannot risk her 52 00:03:52,719 --> 00:03:54,879 life at a presidence of you in a crowded airports. 53 00:03:55,000 --> 00:03:57,960 Oh oh, by the way, David, we will not say 54 00:03:58,080 --> 00:04:00,639 anything to her about letters. 55 00:04:01,719 --> 00:04:03,759 Speaker 1: You mean, are not going to tell her? What good 56 00:04:03,759 --> 00:04:04,240 would it do? 57 00:04:05,039 --> 00:04:07,000 Speaker 2: If my life were in danger? I'd want to know 58 00:04:07,080 --> 00:04:10,039 about it. She should be warned. Come now, what does 59 00:04:10,080 --> 00:04:12,919 it add up to her? A few nasty letters from 60 00:04:12,960 --> 00:04:14,840 some crackpot, Max. 61 00:04:15,319 --> 00:04:18,519 Speaker 1: That's all that's needed. One crackpot and a gun. She's 62 00:04:18,560 --> 00:04:21,040 not to know and that's final. She'll have protection. 63 00:04:21,560 --> 00:04:24,279 Speaker 2: There's nearly half a million tied up in this ballet company. 64 00:04:24,759 --> 00:04:28,360 I'm not taking any chances with my premiere Ballerina. Does 65 00:04:28,399 --> 00:04:30,839 Alex know about the letters. 66 00:04:30,560 --> 00:04:34,279 Speaker 1: I've been getting? Of course? Who he tell her? Aren't 67 00:04:34,279 --> 00:04:35,439 they friends? 68 00:04:35,800 --> 00:04:38,279 Speaker 2: Or they danced together in Paris? So I suppose they 69 00:04:38,319 --> 00:04:40,759 are friends. I told Alex not to meet her here. 70 00:04:41,360 --> 00:04:44,600 He's too easy to spot in her crowd. A smart 71 00:04:44,600 --> 00:04:46,000 report of mine following. 72 00:04:47,560 --> 00:04:52,680 Speaker 1: Here she is, Ah, mister Raddo, welcome to America. 73 00:04:52,319 --> 00:04:55,279 Speaker 4: Mister Boma, a pleasure to feel once again? 74 00:04:55,959 --> 00:04:58,360 Speaker 1: May I present my friend David Mark. 75 00:04:58,480 --> 00:05:02,480 Speaker 4: I am enchanted. No, you do not say that, do 76 00:05:02,720 --> 00:05:07,759 you pleased? I am pleased to meet you. I speak 77 00:05:07,839 --> 00:05:09,959 English badly, not at all. 78 00:05:10,399 --> 00:05:13,399 Speaker 2: David is press agent for our ballet company. We're going 79 00:05:13,399 --> 00:05:15,319 to take you immediately to your hotel. 80 00:05:15,720 --> 00:05:17,199 Speaker 1: You'll be able to get a good rest. 81 00:05:17,680 --> 00:05:21,920 Speaker 2: Then tomorrow you will meet the newspaper people. The satisfactory 82 00:05:22,120 --> 00:05:25,360 that is perfect good, and then we'll be getting right along. 83 00:05:25,519 --> 00:05:26,879 Speaker 1: Oh, we're forgetting the flowers? 84 00:05:27,199 --> 00:05:30,040 Speaker 4: What roses for my favorite? 85 00:05:30,319 --> 00:05:33,839 Speaker 2: Well, they're not a gift from us. I'm afraid we 86 00:05:33,920 --> 00:05:35,279 are only messenger boys. 87 00:05:35,439 --> 00:05:38,680 Speaker 4: Oh well then do you mind not open the card? 88 00:05:39,199 --> 00:05:39,639 Speaker 1: Of course? 89 00:05:40,199 --> 00:05:40,879 Speaker 4: Oh I lot? 90 00:05:40,920 --> 00:05:40,959 Speaker 6: What? 91 00:05:42,360 --> 00:05:46,480 Speaker 4: Oh no no, not here, not in America too? 92 00:05:46,680 --> 00:05:51,199 Speaker 1: What is it? Sit down? 93 00:05:52,439 --> 00:05:55,639 Speaker 4: Oh they are here too. They have followed. 94 00:05:55,959 --> 00:06:06,240 Speaker 1: She's fainting her fall. This is a warning, traitor, go 95 00:06:06,360 --> 00:06:09,639 back to your own country. We don't want your kind here. 96 00:06:10,120 --> 00:06:11,000 Speaker 4: Terrible, is it not? 97 00:06:11,800 --> 00:06:15,759 Speaker 1: It's shocked to read such a card. I know. 98 00:06:16,399 --> 00:06:19,360 Speaker 2: Just remember you're absolutely safe in this hotel and match 99 00:06:19,439 --> 00:06:21,439 is taking the matter of the police right now. 100 00:06:21,920 --> 00:06:26,279 Speaker 4: I am strong, I can face danger. But the is 101 00:06:27,120 --> 00:06:28,399 an anonymous letter. 102 00:06:28,560 --> 00:06:32,800 Speaker 1: They frighten me letters. You've had dreats like this before? 103 00:06:32,839 --> 00:06:33,000 Speaker 3: Oh? 104 00:06:33,079 --> 00:06:36,360 Speaker 4: Yes, in Paris they started soon after I asked for 105 00:06:36,399 --> 00:06:37,959 asylum from the French government. 106 00:06:38,879 --> 00:06:40,600 Speaker 1: Have you any idea who's behind it? 107 00:06:42,160 --> 00:06:44,600 Speaker 4: In my country? There are people who do not like 108 00:06:45,160 --> 00:06:48,319 artists to leave permanently. 109 00:06:49,360 --> 00:06:51,920 Speaker 1: Why did you political reasons? 110 00:06:51,959 --> 00:06:55,720 Speaker 4: Oh no, no, another political person. I wanted only to 111 00:06:55,759 --> 00:06:58,560 be free to dance, as I choose not to be 112 00:06:58,639 --> 00:07:01,319 told what I must dance and what is forbidden. 113 00:07:01,800 --> 00:07:02,639 Speaker 1: I can't understand that. 114 00:07:04,120 --> 00:07:06,120 Speaker 4: You're lucky to the rhyme, Miss redler ver, shall I 115 00:07:06,199 --> 00:07:10,839 unpack it this small bag only? Thank you? And would 116 00:07:10,839 --> 00:07:12,240 you see who that is? Please? 117 00:07:12,519 --> 00:07:16,519 Speaker 1: Oh, I'll get it. It'll be met. Hello, David. 118 00:07:17,639 --> 00:07:20,439 Speaker 2: The police have everything well in hand. They want to 119 00:07:20,439 --> 00:07:24,519 talk to you later, Miss Radlover. The police the formality. 120 00:07:25,199 --> 00:07:28,439 We're placing a card at your door around the clock. Now, 121 00:07:28,519 --> 00:07:31,040 two more pleasant things. How do you like this suite? 122 00:07:31,160 --> 00:07:36,160 Speaker 4: It is most luxurious, but so high. It is an eagles. 123 00:07:37,319 --> 00:07:40,000 Speaker 1: And if everything is satisfactory, we will leave you so 124 00:07:40,120 --> 00:07:42,959 you may rest. And your maid Mary. I think her 125 00:07:43,000 --> 00:07:45,279 name is will have the room next to your bedroom. 126 00:07:45,399 --> 00:07:47,879 There's a connecting door. If you wish anything, you have 127 00:07:47,920 --> 00:07:48,639 only to call her. 128 00:07:48,879 --> 00:07:49,879 Speaker 4: You are most kind. 129 00:07:50,199 --> 00:07:52,720 Speaker 2: You know, of course that we start rehearsal Tuesday for 130 00:07:52,800 --> 00:07:53,879 the ballet Leafy. 131 00:07:55,839 --> 00:08:03,639 Speaker 4: No, mister Bomer, I cannot lance leaks. Do you see 132 00:08:04,120 --> 00:08:07,920 bad luck? LIZI always brings a tragedy. No, I cannot 133 00:08:08,040 --> 00:08:08,759 dance that role. 134 00:08:08,839 --> 00:08:12,079 Speaker 1: Not now we have advertised for you, agreed in Paris. 135 00:08:12,079 --> 00:08:15,360 Speaker 4: It's a terrible things had not proppen them. Excuse me 136 00:08:15,439 --> 00:08:15,759 the bear. 137 00:08:15,839 --> 00:08:17,720 Speaker 7: You want me to open his lot to miss red Lover. 138 00:08:17,879 --> 00:08:21,439 Speaker 4: Oh of course I will get the keys. Please excuse me, 139 00:08:21,480 --> 00:08:22,639 and you can open it lost. 140 00:08:23,680 --> 00:08:27,839 Speaker 1: Not dance Leafy. Why it would ruin me? Oh I 141 00:08:27,879 --> 00:08:30,680 see I'm in for a series of tantrums. Oh yes, 142 00:08:30,759 --> 00:08:33,360 I can see it coming. I tell you are to 143 00:08:33,480 --> 00:08:39,399 such children. That's no child. That's a woman, a terrifying woman, youth. 144 00:08:39,519 --> 00:08:42,679 Speaker 2: He brings tragedy. It's nonsense. It brought a world to 145 00:08:42,720 --> 00:08:43,759 her feet. 146 00:08:45,159 --> 00:08:47,000 Speaker 1: The result hades, isn't it? Yes? 147 00:08:47,200 --> 00:08:53,519 Speaker 2: So the result of death. No, no oblivion, forgetfulness, the soul's. 148 00:08:53,279 --> 00:08:57,759 Speaker 1: Drink of leafy stream and straightway, forget their former lives. 149 00:08:59,320 --> 00:09:02,120 Speaker 2: I have a troud lover. Isn't going to be allowed 150 00:09:02,159 --> 00:09:03,000 to forget. 151 00:09:04,440 --> 00:09:13,159 Speaker 1: Max ness? That maid? Is she one of her hotel staff? No? 152 00:09:13,159 --> 00:09:21,720 Speaker 2: No, I engaged her myself. Why is something about it? 153 00:09:21,799 --> 00:09:26,919 Speaker 4: Gentlemen, I have a concession. I don't like this air conditioning. 154 00:09:27,200 --> 00:09:28,639 Would you mind to open a window? 155 00:09:28,799 --> 00:09:35,320 Speaker 1: Of course? Alarm me? A beautiful view all Manhattan at 156 00:09:35,320 --> 00:09:36,600 your feet. 157 00:09:36,440 --> 00:09:43,240 Speaker 4: A street so far below, people like swarming insect in 158 00:09:43,320 --> 00:09:44,240 a nightmare. 159 00:09:44,360 --> 00:09:46,240 Speaker 1: Oh come, my dear, one. 160 00:09:46,000 --> 00:09:50,519 Speaker 4: Of them will soon come bearing a sting. 161 00:09:51,120 --> 00:09:55,120 Speaker 2: No, no, they have no wings. You are safe up 162 00:09:55,159 --> 00:09:58,559 here on the thirty eighth floor. A princess in her tower. 163 00:09:59,759 --> 00:10:02,000 Speaker 7: I I forgot to give you this letter, miss rod Lover. 164 00:10:02,399 --> 00:10:05,039 Speaker 4: It arrived before you didn't Thank you, miss Rodlover. 165 00:10:05,159 --> 00:10:07,600 Speaker 2: Don't go to Oh oh no no, don't open it. 166 00:10:07,840 --> 00:10:11,600 Give it to me and miss uh Mary. Yes, never, never, 167 00:10:11,759 --> 00:10:15,320 under any circumstances open a letter or package that comes 168 00:10:15,320 --> 00:10:16,000 to this suite. 169 00:10:16,480 --> 00:10:22,399 Speaker 1: It might contain an explosive. Yes, I'll get this one 170 00:10:22,440 --> 00:10:24,759 out of here all right. 171 00:10:24,879 --> 00:10:29,039 Speaker 2: That that will be all, Thank you Mary. Yes, no, 172 00:10:30,120 --> 00:10:32,000 my dear miss rod Lover, where. 173 00:10:31,759 --> 00:10:36,480 Speaker 4: Were we you were saying? How safe is the princess 174 00:10:36,559 --> 00:10:40,840 in her tower. But when they decide to kill me, 175 00:10:41,679 --> 00:10:44,240 they will find a way. 176 00:10:51,519 --> 00:10:54,600 Speaker 1: New York City never sleeps, a. 177 00:10:54,639 --> 00:10:58,480 Speaker 2: Steady, drawn unlike the sound of any other city in 178 00:10:58,519 --> 00:11:03,200 the world. Forever rises from her lighted streets to the 179 00:11:03,240 --> 00:11:07,679 newly arrived Vera Radlova, lying tense and restless in the. 180 00:11:07,679 --> 00:11:14,039 Speaker 1: Dark hotel bedroom. It is an alien sound. Cold menacing. 181 00:11:17,320 --> 00:11:20,799 Speaker 2: A fire engine suddenly screaming through the night draws her 182 00:11:20,840 --> 00:11:24,600 swiftly from her bed to the open window. She leans 183 00:11:24,639 --> 00:11:28,480 out and looks down, unaware of the door behind her 184 00:11:28,879 --> 00:11:30,440 as it quietly opens. 185 00:11:32,000 --> 00:11:35,279 Speaker 4: It's a long way down, miss Robber. Oh, let god, 186 00:11:36,159 --> 00:11:39,440 what are you doing here, Miss radlerby from me. I'm 187 00:11:39,480 --> 00:11:42,960 not gonna harm you. May go take your hands of me. 188 00:11:44,879 --> 00:11:48,000 Speaker 7: I'm sorry. I I heard you moving around. I wanted 189 00:11:48,000 --> 00:11:49,200 to be sure you were all right. 190 00:11:49,480 --> 00:11:53,919 Speaker 4: Never come up behind me like that. Never touch me. 191 00:11:54,279 --> 00:11:56,840 Speaker 6: You were leaning out so far. I'm afraid you never 192 00:11:57,240 --> 00:12:00,519 do that again. It was foolish, but you were so 193 00:12:00,679 --> 00:12:03,879 despondent to see. I am all right, of course. 194 00:12:05,039 --> 00:12:07,440 Speaker 7: Good night, mister red Lover, Good night. 195 00:12:08,919 --> 00:12:15,759 Speaker 4: Mary. Yes you are very strong for a woman who 196 00:12:15,919 --> 00:12:17,120 held me quite easily. 197 00:12:18,120 --> 00:12:20,120 Speaker 7: Yes, I am very strong. 198 00:12:21,399 --> 00:12:27,679 Speaker 4: Good night, Sleep well, h sleep, I think I shall 199 00:12:27,720 --> 00:12:28,759 never sleep again. 200 00:12:28,919 --> 00:12:33,240 Speaker 6: Oh, well, I have some sleeping pills. Sleeping pill lay mild, 201 00:12:33,360 --> 00:12:34,120 I could give you one? 202 00:12:34,200 --> 00:12:38,000 Speaker 4: No, thank you? I don't no, no, no, it's just 203 00:12:38,000 --> 00:12:41,200 a telephone strange this heart. 204 00:12:41,320 --> 00:12:42,320 Speaker 7: Shall I answer it? Yes? 205 00:12:42,360 --> 00:12:49,320 Speaker 6: Please do hello? Oh for just a minute. The operator says, 206 00:12:49,360 --> 00:12:51,639 mister Bohmer is on the wire. It's an emergency. 207 00:12:51,639 --> 00:12:55,159 Speaker 4: Will you take the call? An emergency would have caught hell. 208 00:12:55,320 --> 00:12:57,120 Speaker 7: Operator, Yes, you may put the call. 209 00:12:56,960 --> 00:13:05,320 Speaker 4: Through here you are hello, well, and now you say 210 00:13:05,840 --> 00:13:12,200 who are you? No, I won't leave, missus Rodlover. 211 00:13:12,519 --> 00:13:13,000 Speaker 6: What is it? 212 00:13:13,440 --> 00:13:14,840 Speaker 7: Are you know? You're so pale? 213 00:13:15,200 --> 00:13:18,679 Speaker 4: It was not mister Boehmer. 214 00:13:19,399 --> 00:13:20,279 Speaker 7: Not mister Boehmer. 215 00:13:20,600 --> 00:13:24,039 Speaker 4: Who was it? I don't know someone who said, someone 216 00:13:24,080 --> 00:13:25,240 who said they would kill me. 217 00:13:26,159 --> 00:13:30,120 Speaker 6: But it's just some crank trying to frighten you, Miss Dliver. 218 00:13:30,840 --> 00:13:33,000 I will see to it that you don't get any 219 00:13:33,039 --> 00:13:40,240 more calls of this time. Oh I pray you please, Hello, operator, 220 00:13:40,799 --> 00:13:43,120 no more calls to be put through to this suite, 221 00:13:43,240 --> 00:13:46,000 no matter who they say they are. Miss Radlover must 222 00:13:46,039 --> 00:13:48,759 not be disturbed. Oh I'm second thought. 223 00:13:48,799 --> 00:13:50,279 Speaker 7: Operator. If any may. 224 00:13:50,200 --> 00:13:54,720 Speaker 6: Calls, come switch them to my room. Yes, room thirty 225 00:13:54,799 --> 00:13:55,639 eight fourteen. 226 00:13:56,279 --> 00:13:58,120 Speaker 7: Oh, this is missus Rodlover's maid. 227 00:13:58,480 --> 00:14:00,679 Speaker 6: Now she's not to be disturbed, she is to be 228 00:14:00,720 --> 00:14:05,759 completely cut off, says thank you cut off for to 229 00:14:05,799 --> 00:14:07,200 be sure you get a good night's rest. 230 00:14:07,799 --> 00:14:10,120 Speaker 7: Now, come on, take this pill. 231 00:14:10,919 --> 00:14:13,600 Speaker 4: You are most kind, not a ton No, that's what 232 00:14:13,639 --> 00:14:17,480 I'm here for. This is sleeping pill. 233 00:14:17,799 --> 00:14:19,480 Speaker 7: Yes, very mild. 234 00:14:20,679 --> 00:14:21,919 Speaker 4: I never take pills. 235 00:14:22,159 --> 00:14:24,000 Speaker 7: Well, neither do I as a rule. 236 00:14:24,039 --> 00:14:28,480 Speaker 6: But under the circumstances you will never take pills yourself, 237 00:14:29,279 --> 00:14:29,840 not often. 238 00:14:30,759 --> 00:14:33,679 Speaker 4: And how do you happen to have these pills with 239 00:14:33,840 --> 00:14:36,440 you in your dressing gun? 240 00:14:36,600 --> 00:14:36,759 Speaker 1: Oh? 241 00:14:36,799 --> 00:14:38,960 Speaker 4: Well I I why do you want to give one 242 00:14:39,000 --> 00:14:41,279 to me? If you can't, who are you? 243 00:14:41,600 --> 00:14:44,440 Speaker 6: Mister Bowmer says you might be restless? He he gave 244 00:14:44,440 --> 00:14:44,960 me the pillow. 245 00:14:45,000 --> 00:14:47,200 Speaker 4: I'm lying. Get out of my bill. 246 00:14:47,639 --> 00:14:51,320 Speaker 6: Yes, ms Ra get out, and you are going to 247 00:14:51,399 --> 00:14:57,360 stay out. 248 00:14:53,080 --> 00:15:14,879 Speaker 1: W to him who is in fear everything Rustles. 249 00:15:16,000 --> 00:15:19,840 Speaker 2: Sophocles made that observation nearly twenty five hundred years ago. 250 00:15:20,600 --> 00:15:25,159 It is true that fear breeds suspicion, and suspicion, they say, 251 00:15:25,600 --> 00:15:30,080 has a hundred eyes. It turns in all directions, sensing 252 00:15:30,159 --> 00:15:34,879 danger from every quarter except the right one our return 253 00:15:34,960 --> 00:15:54,039 in a moment with Act two on WABC from Art 254 00:15:54,279 --> 00:15:58,879 is of itself a struggle for freedom of expression, an 255 00:15:58,879 --> 00:16:02,519 effort to pierce the barriers that separate us one from 256 00:16:02,519 --> 00:16:05,200 the other and convey the image of a truth. 257 00:16:05,600 --> 00:16:06,200 Speaker 1: A desire. 258 00:16:07,399 --> 00:16:10,000 Speaker 2: And it is the nature of the artist to rebel 259 00:16:10,200 --> 00:16:14,440 against whatever would limit his work. It is this that 260 00:16:14,480 --> 00:16:18,720 has driven the renowned Ballerina Radloba to leave her homeland. 261 00:16:18,240 --> 00:16:20,039 Speaker 1: And seek asylum in the West. 262 00:16:20,799 --> 00:16:23,759 Speaker 2: But perhaps she has not counted the cost of becoming 263 00:16:23,799 --> 00:16:28,519 a stranger in a strange land, nor measured the hatred 264 00:16:28,919 --> 00:16:32,759 that might follow her flight. Now, as the early morning 265 00:16:32,840 --> 00:16:36,279 sun sends its rays into her locked hotel room, she 266 00:16:36,399 --> 00:16:39,519 turns to the only source she knows for help. 267 00:16:39,759 --> 00:16:44,840 Speaker 1: Hello, I wish to speak to Alexis. Call Please, This 268 00:16:44,960 --> 00:16:45,799 is Alexis Call. 269 00:16:47,559 --> 00:16:49,559 Speaker 3: I should not call you so early. 270 00:16:49,559 --> 00:16:51,240 Speaker 1: Verah, my dear, how are you? 271 00:16:51,399 --> 00:16:52,039 Speaker 3: I must see you. 272 00:16:52,480 --> 00:16:56,399 Speaker 8: I am surrounded by enemies. What you are the only 273 00:16:56,480 --> 00:16:57,320 friend I have. 274 00:16:57,799 --> 00:17:01,639 Speaker 1: I don't understand what's going on. Talk of the telephone. 275 00:17:02,159 --> 00:17:05,920 Speaker 8: Someone may be listening, Alexis. Is it possible you could 276 00:17:06,000 --> 00:17:07,519 come here to the hotel now? 277 00:17:07,799 --> 00:17:10,400 Speaker 1: Of course? If you need me, I'll be right over. 278 00:17:10,519 --> 00:17:11,880 Speaker 7: Oh no you won't. 279 00:17:11,960 --> 00:17:16,119 Speaker 4: Grace shot up last night and man telephoned. 280 00:17:17,119 --> 00:17:18,240 Speaker 3: They are going to kill me. 281 00:17:18,720 --> 00:17:22,119 Speaker 1: I'll be right there. Don't be frightened. But don't open 282 00:17:22,160 --> 00:17:25,279 your door to anyone you don't know. We'll see that 283 00:17:25,319 --> 00:17:27,200 you're all right. Goodbye. 284 00:17:28,240 --> 00:17:29,680 Speaker 7: That red Lover woman. 285 00:17:29,599 --> 00:17:33,000 Speaker 2: Grace tried to be sensible for once. He's been getting 286 00:17:33,039 --> 00:17:34,480 menacing phone calls let hers. 287 00:17:34,559 --> 00:17:36,039 Speaker 7: Oh now I've heard everything. 288 00:17:36,400 --> 00:17:39,759 Speaker 6: She's trying to hug all the publicity, the press. 289 00:17:39,799 --> 00:17:40,559 Speaker 3: She'll get out of it. 290 00:17:41,599 --> 00:17:45,759 Speaker 6: I can see the headlines now dancer's life threatened, guarded 291 00:17:45,920 --> 00:17:46,559 night and day. 292 00:17:46,680 --> 00:17:47,519 Speaker 1: Ought be a fool. 293 00:17:47,640 --> 00:17:48,640 Speaker 4: Well just look at. 294 00:17:48,519 --> 00:17:49,359 Speaker 7: This morning paper. 295 00:17:50,640 --> 00:17:54,359 Speaker 6: Radlaver take an inn at airport, a publicity stunt. 296 00:17:54,480 --> 00:17:57,640 Speaker 2: That woman strong If anybody can get sick. 297 00:17:58,000 --> 00:17:58,559 Speaker 4: Wake up. 298 00:17:58,720 --> 00:18:00,000 Speaker 7: She's using you. 299 00:18:00,119 --> 00:18:01,519 Speaker 1: Don't start that again. 300 00:18:01,960 --> 00:18:04,240 Speaker 7: She got you to talk Max and to bringing her 301 00:18:04,240 --> 00:18:04,759 to this country. 302 00:18:04,839 --> 00:18:05,440 Speaker 1: That's not true. 303 00:18:05,559 --> 00:18:07,079 Speaker 4: Oh you were his top of crutch and. 304 00:18:07,119 --> 00:18:10,279 Speaker 6: You're Miranda until she weaseled her way in. 305 00:18:10,519 --> 00:18:13,519 Speaker 2: Rod Lover is the most famous ballerina in the world. 306 00:18:13,759 --> 00:18:17,000 Of course Max hired her. Every manager in Europe. 307 00:18:16,640 --> 00:18:17,359 Speaker 1: Was bidding for her. 308 00:18:17,759 --> 00:18:20,559 Speaker 7: I know it went on in Paris between you two. 309 00:18:21,160 --> 00:18:24,759 Speaker 1: Who's feeding you those lives. I have friends Oranda again. 310 00:18:25,599 --> 00:18:27,720 Speaker 2: That woman hates every other ballerina. 311 00:18:27,799 --> 00:18:30,079 Speaker 1: She's a jealous, bitter. Then I've sat. 312 00:18:30,000 --> 00:18:32,839 Speaker 6: Through three of your sword of affairs. I'm not sitting 313 00:18:32,880 --> 00:18:36,440 still for this one. Fits me tell you something, rad 314 00:18:36,519 --> 00:18:38,960 lovers are good ten years younger than you are. 315 00:18:39,200 --> 00:18:41,000 Speaker 4: You're getting on to a middle age. 316 00:18:41,640 --> 00:18:44,279 Speaker 6: When she's taking what she wants out of you, she'll 317 00:18:44,279 --> 00:18:45,240 throw you away. 318 00:18:45,000 --> 00:18:46,000 Speaker 4: Like a squeezed lemon. 319 00:18:46,039 --> 00:18:47,359 Speaker 1: Stop needling me, grace. 320 00:18:47,799 --> 00:18:50,759 Speaker 4: Minute she arrives, she whistles, and. 321 00:18:50,839 --> 00:18:52,720 Speaker 1: You you go running and getting out of here. 322 00:18:52,839 --> 00:18:53,920 Speaker 4: You're not don't get that woman? 323 00:18:54,359 --> 00:18:55,200 Speaker 1: You want stopping? 324 00:18:55,640 --> 00:18:57,279 Speaker 4: Are you trying to to break my arm? 325 00:18:57,319 --> 00:19:01,279 Speaker 1: I'm trying to keep from killing you. I might have 326 00:19:01,400 --> 00:19:03,400 known you're drunk. 327 00:19:03,519 --> 00:19:04,119 Speaker 7: That's a lot. 328 00:19:04,200 --> 00:19:08,240 Speaker 1: You're a mess, an ugly, drunken mess. I'm sick of. 329 00:19:08,160 --> 00:19:10,920 Speaker 7: You, alex I'm warning you. 330 00:19:11,119 --> 00:19:15,240 Speaker 6: She won't get away with this. She she won't get 331 00:19:15,279 --> 00:19:16,119 away with it. 332 00:19:16,400 --> 00:19:26,359 Speaker 4: Alexis, take me away from this place. I'm afraid to 333 00:19:26,400 --> 00:19:29,640 walk by an open window. I'm afraid to answer the telephone, 334 00:19:30,079 --> 00:19:33,720 afraid even to eat. I cannot live like this. 335 00:19:34,079 --> 00:19:36,319 Speaker 1: I should think, not this mix. Nos. 336 00:19:36,400 --> 00:19:37,079 Speaker 4: Yes, yes, you. 337 00:19:37,119 --> 00:19:37,880 Speaker 7: Call the police. 338 00:19:38,160 --> 00:19:41,000 Speaker 1: They placed the guard at the door to reassure you. 339 00:19:41,160 --> 00:19:47,240 Speaker 4: But they don't understand how clever, how woothless these people 340 00:19:47,279 --> 00:19:50,480 can be. Alexis you must help me? Please? 341 00:19:51,240 --> 00:19:54,279 Speaker 1: No, nothing bad is going to happen to you. Alex 342 00:19:54,319 --> 00:19:55,240 will take care of you. 343 00:19:55,319 --> 00:19:57,279 Speaker 4: And I do not treat me like a child. I 344 00:19:57,319 --> 00:20:01,640 do not need comfort, I need help, and there is 345 00:20:01,720 --> 00:20:04,960 no one I can trust but you. Hu can draws 346 00:20:05,119 --> 00:20:07,160 Max can I. 347 00:20:07,319 --> 00:20:09,720 Speaker 1: Of course you're terribly important to him. 348 00:20:10,240 --> 00:20:12,759 Speaker 2: You can certainly move to another hotel if you wish. 349 00:20:12,920 --> 00:20:16,119 I'll speak to Max about it. But right now you 350 00:20:16,200 --> 00:20:17,559 say you've had no breakfast. 351 00:20:17,839 --> 00:20:20,440 Speaker 4: No, the maid brought coffee and rolls, but I was 352 00:20:20,480 --> 00:20:21,640 too frightened. 353 00:20:21,200 --> 00:20:24,319 Speaker 1: To eat the silly you dance must eat. We start 354 00:20:24,359 --> 00:20:25,319 rehearsal tuesday. 355 00:20:25,559 --> 00:20:28,400 Speaker 4: Well, you're right, of course, I will ask Mary to 356 00:20:28,400 --> 00:20:32,160 bring the tray in here. Mary, would you please bring 357 00:20:32,200 --> 00:20:33,480 the breakfast tray to me. 358 00:20:33,880 --> 00:20:36,480 Speaker 6: Right away, Miss Radnover, I was hoping you would decide 359 00:20:36,480 --> 00:20:37,200 to eat something. 360 00:20:40,039 --> 00:20:42,359 Speaker 7: I kept the coffee hot for you. 361 00:20:43,079 --> 00:20:45,079 Speaker 1: Oh, good morning, easy morning. 362 00:20:45,160 --> 00:20:48,079 Speaker 4: Put it down here. Please? Would you care for something 363 00:20:48,119 --> 00:20:49,039 and coffee? 364 00:20:49,079 --> 00:20:49,200 Speaker 2: Right? 365 00:20:49,240 --> 00:20:50,960 Speaker 1: Do you black want me to serve it? 366 00:20:51,440 --> 00:20:58,400 Speaker 4: No? Thank you? That will be all very well. I 367 00:20:58,519 --> 00:21:00,000 don't trust that woman. 368 00:21:00,960 --> 00:21:05,960 Speaker 1: Very dear mix hired her himself. You can be sure 369 00:21:06,039 --> 00:21:09,000 she was thoroughly investigated. Come on, now, eat. 370 00:21:08,880 --> 00:21:16,359 Speaker 4: Something, my dear dear Alex, my Aloisha. I feel better 371 00:21:16,480 --> 00:21:16,920 now you. 372 00:21:16,839 --> 00:21:20,640 Speaker 1: Are here, a familiar face. That's what you needed. 373 00:21:20,960 --> 00:21:25,000 Speaker 4: Yes, I am so alone. I left everything to live 374 00:21:25,039 --> 00:21:28,920 in a world of strangers. And now I think perhaps 375 00:21:29,000 --> 00:21:30,279 I should not have done it. 376 00:21:30,799 --> 00:21:33,319 Speaker 1: Oh you're young, you'll make. 377 00:21:33,200 --> 00:21:37,519 Speaker 4: Friends as I am young, but I will age. 378 00:21:37,960 --> 00:21:38,799 Speaker 1: Oh sexist. 379 00:21:38,839 --> 00:21:42,200 Speaker 4: I did not want to go old, thinking beautifully I 380 00:21:42,240 --> 00:21:45,319 could have done certain roles if only they would have 381 00:21:45,400 --> 00:21:45,720 let me. 382 00:21:46,000 --> 00:21:50,039 Speaker 1: Mm. It is cruel to grow old. But you are 383 00:21:50,200 --> 00:21:50,759 free now. 384 00:21:51,279 --> 00:21:54,359 Speaker 2: And wait until you see how the American audiences receive 385 00:21:54,440 --> 00:21:58,480 you once you step into that mysterious gray blue light, 386 00:21:58,559 --> 00:22:02,279 blue light, our street set for LETHI. 387 00:22:02,440 --> 00:22:03,960 Speaker 1: It's magnificent, but we must. 388 00:22:03,799 --> 00:22:07,759 Speaker 4: Not dance lee what it is cursed. I was given 389 00:22:07,799 --> 00:22:10,119 the role because there's no Skiffer broke an ankle, and 390 00:22:10,160 --> 00:22:13,160 then Vladimir fell from that high ramp in Paris and 391 00:22:13,240 --> 00:22:14,880 he will never dang her. 392 00:22:15,000 --> 00:22:16,559 Speaker 1: Reset was dangerous. 393 00:22:17,720 --> 00:22:20,400 Speaker 4: Leathi is the river of Hades and it has the 394 00:22:20,480 --> 00:22:21,079 curse of hell. 395 00:22:21,240 --> 00:22:22,400 Speaker 1: You can't believe that. 396 00:22:22,640 --> 00:22:27,160 Speaker 4: Oh, let must be that man. What is his name 397 00:22:27,240 --> 00:22:32,920 of publicity David Mars. Yes, I'm expecting him, mister Mark. 398 00:22:33,160 --> 00:22:35,319 Speaker 1: Good morning. Oh hello Alex. Morning David. 399 00:22:35,720 --> 00:22:38,880 Speaker 2: We're getting great TV coverage. They'll be here soon to 400 00:22:38,920 --> 00:22:39,519 set up a light. 401 00:22:40,200 --> 00:22:42,400 Speaker 4: Can I say so many strangers. 402 00:22:42,440 --> 00:22:44,240 Speaker 1: I'll be right beside you. 403 00:22:44,680 --> 00:22:46,559 Speaker 2: We kept the press away from you at the airport, 404 00:22:46,640 --> 00:22:49,599 Miss Rodlover. It would be unwise to disappoint them again. 405 00:22:49,839 --> 00:22:52,799 Speaker 4: Oh, of course, I understand. It's just I have had 406 00:22:52,799 --> 00:22:55,880 no sleep. Well, excuse me, please, I will go and 407 00:22:55,920 --> 00:22:57,160 get ready to receive them. 408 00:22:58,319 --> 00:23:02,279 Speaker 1: She looks tired. She's lost weight since I saw her last. 409 00:23:03,079 --> 00:23:06,640 I was shocked. She's put Max in the sweat. She 410 00:23:06,759 --> 00:23:11,079 refuses to dance. Leavy. She told me he wants you 411 00:23:11,119 --> 00:23:15,519 to use your influence get her to do it. I'll try, 412 00:23:15,599 --> 00:23:16,279 but I don't know. 413 00:23:17,759 --> 00:23:20,960 Speaker 2: Suppose we all meet at his office and show her 414 00:23:20,960 --> 00:23:23,759 the set design. Sh She's got the notion the whole 415 00:23:23,759 --> 00:23:25,079 communist world is after her. 416 00:23:25,200 --> 00:23:29,880 Speaker 1: It's foolishness, of course, is it. You don't believe it, 417 00:23:29,920 --> 00:23:32,160 do you? I don't know what to believe. 418 00:23:33,119 --> 00:23:36,079 Speaker 2: The maid called MAXI earlier this morning. Seems there were 419 00:23:36,200 --> 00:23:40,440 menacing phone calls when on all night, six of them, well, 420 00:23:41,519 --> 00:23:46,799 six calls from six different people and one a woman. 421 00:23:53,640 --> 00:23:55,440 Speaker 1: Ella, Miranda, this is David. 422 00:23:56,519 --> 00:23:59,559 Speaker 2: Yes, Darling, I was hoping that we could have dinner together, 423 00:23:59,599 --> 00:24:02,680 but I let's stay right here on the job. She's 424 00:24:02,720 --> 00:24:06,559 going to pieces fast. I doubt if she'll be able 425 00:24:06,599 --> 00:24:12,160 to open. No, I'm in the hotel lobby. Now listen, sweetheart, 426 00:24:13,200 --> 00:24:16,279 she wants to move out of this hotel. Would you 427 00:24:16,359 --> 00:24:18,000 be willing to swap places with her? 428 00:24:19,720 --> 00:24:21,079 Speaker 1: Yeah? 429 00:24:21,559 --> 00:24:23,559 Speaker 2: I know you're a parven small, but I think she'd 430 00:24:23,559 --> 00:24:32,920 settle for it. Okay, then I'll suggest it to Max. Yes, Darling, 431 00:24:32,960 --> 00:24:36,640 of course I didn't, and Miranda, don't get your hopes her. 432 00:24:36,720 --> 00:24:38,960 But I have a hunch our ballet season won't open 433 00:24:39,000 --> 00:24:42,400 with Rodlova at all. I think it's going to be 434 00:24:42,519 --> 00:24:47,720 coal and Miranda. 435 00:24:48,920 --> 00:24:52,000 Speaker 1: What a mess those TV crews left behind. 436 00:24:52,039 --> 00:24:54,359 Speaker 4: But it is almost worth going through these things for 437 00:24:54,400 --> 00:24:58,480 that moment that X, because it's moment when it's all over. 438 00:24:58,880 --> 00:25:02,039 Speaker 2: You handled it one hmm, they loved you. Wait till 439 00:25:02,079 --> 00:25:04,440 you see the coverage night A little piece and quiet 440 00:25:04,519 --> 00:25:04,960 is welcome. 441 00:25:05,160 --> 00:25:09,920 Speaker 4: Wait, I sat, I heard somebody crying. 442 00:25:11,200 --> 00:25:14,720 Speaker 2: I didn't hear anything neither did I like a child crying? 443 00:25:15,119 --> 00:25:17,720 I probably a radio somewhere on this floor. 444 00:25:18,240 --> 00:25:21,319 Speaker 1: Well, of course, okay, I'll call for you at four 445 00:25:21,319 --> 00:25:23,680 point thirty and we'll go to Max's office. 446 00:25:23,680 --> 00:25:25,519 Speaker 4: Ah good, I would like to get out of this place. 447 00:25:25,559 --> 00:25:28,359 Speaker 1: I'm off to rehearsal, and i'll see you at the office. Rehearsal. 448 00:25:28,640 --> 00:25:31,680 Speaker 2: Yes, the curtain raiser a short comic ballet of my own. 449 00:25:31,920 --> 00:25:33,319 Speaker 1: You're sure you're all right now? 450 00:25:33,440 --> 00:25:33,759 Speaker 7: Yes? 451 00:25:34,079 --> 00:25:39,400 Speaker 4: Oh? And thank you Alexis thank you? Yeah. Now listen, 452 00:25:39,480 --> 00:25:44,200 what was it? I did hear something? It's coming from 453 00:25:44,200 --> 00:25:44,839 Mary's room. 454 00:25:45,000 --> 00:25:46,160 Speaker 1: Let's see Mary. 455 00:25:46,559 --> 00:25:49,920 Speaker 6: Mary? 456 00:25:50,279 --> 00:25:51,039 Speaker 1: Is the door locked? 457 00:25:51,119 --> 00:25:51,319 Speaker 5: Oh? 458 00:25:51,440 --> 00:25:55,759 Speaker 4: Yes, the key is here somewhere there is it's they're 459 00:25:55,839 --> 00:26:03,039 on the addresser. There's it. Yes, Where is she on 460 00:26:03,119 --> 00:26:04,319 the floor behind the bed? 461 00:26:06,279 --> 00:26:09,599 Speaker 1: Let me see quick? Where's the telephone? Help me get 462 00:26:09,680 --> 00:26:10,920 onto the bed? There's no time? 463 00:26:12,400 --> 00:26:17,079 Speaker 4: Operator operator yet, tape operator? 464 00:26:17,119 --> 00:26:20,599 Speaker 1: What did she say? Operator? Emergency? Get a doctor whom 465 00:26:20,759 --> 00:26:21,759 three eight one four? 466 00:26:22,920 --> 00:26:33,839 Speaker 2: Yes, tell him we think someone's been poisoned. Open combat 467 00:26:33,880 --> 00:26:37,119 is one thing. Men have been known to stand their 468 00:26:37,200 --> 00:26:42,799 ground against overwhelming odds, confront the foe, and win, but 469 00:26:42,960 --> 00:26:45,480 it is quite another thing to join battle with an 470 00:26:45,559 --> 00:26:51,279 unknown assailant, whose hand you never see, whose greatest weapon 471 00:26:51,960 --> 00:26:56,200 is a nameless fear he can inspire. We'll learn more 472 00:26:56,240 --> 00:27:00,000 about the battle between those striving to protect Tubera Radlow 473 00:27:00,359 --> 00:27:03,519 and the forces that would destroy her when I return 474 00:27:03,599 --> 00:27:19,640 with Act three A wab The murderer will out, so 475 00:27:19,759 --> 00:27:20,200 they say. 476 00:27:21,160 --> 00:27:23,039 Speaker 1: But will the murderer? 477 00:27:24,599 --> 00:27:29,400 Speaker 2: Probably not, if we are to believe the latest crime statistics. 478 00:27:30,319 --> 00:27:35,039 And of all assassins, the most furtive and hidden is 479 00:27:35,039 --> 00:27:39,519 a poisoner. A change has come over Vera Radlova in 480 00:27:39,559 --> 00:27:43,519 the past hour. She knows the unseen enemy to be 481 00:27:43,599 --> 00:27:46,799 one of her own small circle, and she has lost 482 00:27:46,880 --> 00:27:50,400 all faith in those who claim to be her protectors. 483 00:27:51,400 --> 00:27:55,119 As she accompanies David March into Max Bohmer's office, she 484 00:27:55,279 --> 00:27:59,920 feels a desperate loneliness, the loneliness of the hunted. 485 00:28:02,000 --> 00:28:04,960 Speaker 1: Max, there's something good. You're right on time, Max. The 486 00:28:05,039 --> 00:28:08,960 maid you were hired, Mary White. We have bad news. 487 00:28:09,559 --> 00:28:10,480 She's been poisoned. 488 00:28:10,680 --> 00:28:12,240 Speaker 4: Good Lord won't come from the hospital. 489 00:28:12,240 --> 00:28:13,920 Speaker 1: How did it happen? We don't know. 490 00:28:14,039 --> 00:28:15,720 Speaker 4: She couldn't talk to us. 491 00:28:15,759 --> 00:28:18,400 Speaker 1: The only thing when we found her, she said something 492 00:28:18,440 --> 00:28:19,160 about tape. 493 00:28:19,319 --> 00:28:20,920 Speaker 4: Oh I thought she said tame. 494 00:28:21,839 --> 00:28:24,680 Speaker 2: Now Max I think it's time we stopped pooling around 495 00:28:24,759 --> 00:28:27,480 and got a policewoman to stay here with miss rodlov At. 496 00:28:27,559 --> 00:28:27,880 Speaker 1: David. 497 00:28:28,839 --> 00:28:33,000 Speaker 2: Mary White was a detective. A detective, Yes, she was there. 498 00:28:32,839 --> 00:28:33,480 Speaker 1: To protect you. 499 00:28:34,960 --> 00:28:36,039 Speaker 4: Why did you not tell me? 500 00:28:36,319 --> 00:28:39,119 Speaker 1: I did not want to alarm you? Instead, you frightened 501 00:28:39,119 --> 00:28:42,000 miss Rodlover half to death when this female detective came 502 00:28:42,039 --> 00:28:46,039 creeping around behind her. Well, this settles it, miss Rodlova. 503 00:28:46,079 --> 00:28:47,680 I'm going to tell you everything I know. 504 00:28:48,759 --> 00:28:51,720 Speaker 2: Max has been getting menacing letters about you for a month. 505 00:28:52,400 --> 00:28:54,480 They even freightened the blow up the theater if you 506 00:28:54,480 --> 00:28:57,839 were to appear, please, David. Max has done his best 507 00:28:57,920 --> 00:29:00,960 to protect you. Unfortunately, no he thought of poison. 508 00:29:01,039 --> 00:29:03,400 Speaker 4: Well I did. I could never bring myself to eat 509 00:29:03,400 --> 00:29:06,400 in that hotel. I never want to go back there, Max. 510 00:29:07,920 --> 00:29:11,039 Speaker 2: I have a suggestion, why don't we move at her 511 00:29:11,119 --> 00:29:14,720 Miranda's place? Do it secretly and do it now? 512 00:29:15,240 --> 00:29:16,839 Speaker 1: Yes, yes, that's a good idea. 513 00:29:16,960 --> 00:29:18,440 Speaker 4: Miranda at one of my. 514 00:29:18,519 --> 00:29:21,519 Speaker 1: Star baller limas. You see that just her picture that 515 00:29:22,079 --> 00:29:23,039 posts her on the wall. 516 00:29:23,480 --> 00:29:25,039 Speaker 4: Oh of course I have heard of her. 517 00:29:25,119 --> 00:29:27,799 Speaker 1: Miranda do soon to be missus. 518 00:29:27,599 --> 00:29:34,480 Speaker 4: David Marsh Congratulations, she's very beautiful and good other poster. 519 00:29:34,640 --> 00:29:37,519 There is it that alexis? 520 00:29:37,599 --> 00:29:37,920 Speaker 2: Is it not? 521 00:29:38,200 --> 00:29:40,599 Speaker 1: Yes, there's the green hornet Hornet. 522 00:29:41,079 --> 00:29:43,119 Speaker 2: Alex took an old time radio show and made a 523 00:29:43,160 --> 00:29:44,880 rather amusing short ballet of it. 524 00:29:45,400 --> 00:29:48,119 Speaker 1: He's an old time radio buff buff. He has a 525 00:29:48,240 --> 00:29:51,519 large collection of old radio programs on tape, of course, 526 00:29:51,559 --> 00:29:55,640 as a hobby. Max. Is that clock on your desk, grit, yes, 527 00:29:56,000 --> 00:29:56,839 five forty five. 528 00:29:57,480 --> 00:29:59,920 Speaker 2: Well, if you don't need me, I'll be leaving so soon. 529 00:30:00,640 --> 00:30:03,720 I want to arrange with Miranda about the apartment. Goodbye, 530 00:30:03,720 --> 00:30:05,480 miss goodbye, and thank you. 531 00:30:08,039 --> 00:30:08,200 Speaker 9: Hum. 532 00:30:09,200 --> 00:30:11,119 Speaker 1: I wonder what got into him so suddenly. 533 00:30:11,920 --> 00:30:12,720 Speaker 4: I don't understand. 534 00:30:13,880 --> 00:30:17,640 Speaker 1: Now, my dear, let us talk about Leafy. Try to 535 00:30:17,720 --> 00:30:21,920 understand my position. The advertising is already out, the scenery 536 00:30:21,960 --> 00:30:22,839 is under construction. 537 00:30:22,920 --> 00:30:27,200 Speaker 4: I cannot think of Leathi without remembering Vladimir, a terrible tragedy. 538 00:30:27,319 --> 00:30:30,279 I can never release this news without hearing that scream 539 00:30:30,319 --> 00:30:31,480 of Vladmir as he fell. 540 00:30:31,640 --> 00:30:34,920 Speaker 2: But such a thing could not happen here. That ramp 541 00:30:35,039 --> 00:30:37,759 in Paris was dangerous. We do not have a ramp. 542 00:30:37,799 --> 00:30:38,920 We have a series of turnel. 543 00:30:39,799 --> 00:30:41,759 Speaker 4: I am doing everything in my. 544 00:30:41,880 --> 00:30:44,200 Speaker 1: Power to ensure your happiness and safety. 545 00:30:44,240 --> 00:30:46,839 Speaker 4: I appreciate that it's just listen. 546 00:30:46,960 --> 00:30:50,319 Speaker 1: I will be frank with you. You see, I well, 547 00:30:50,400 --> 00:30:53,759 I cannot recover my investment unless you appear as you 548 00:30:53,839 --> 00:30:56,440 agreed in the role of Leathy. 549 00:30:57,599 --> 00:31:04,160 Speaker 4: Oh I I did not understand very well. I gave 550 00:31:04,200 --> 00:31:04,799 you my word. 551 00:31:05,000 --> 00:31:05,839 Speaker 7: I will keep it. 552 00:31:07,759 --> 00:31:11,720 Speaker 4: I will dance Leacie quick A bomb. 553 00:31:11,920 --> 00:31:13,880 Speaker 1: I don't word about it. He'll go off any minute. 554 00:31:13,880 --> 00:31:16,880 Mister rodnover this way, the elevator. The elevator, the exposure, 555 00:31:16,920 --> 00:31:32,559 my record right, go to the emergency stairs. Alex bier 556 00:31:33,960 --> 00:31:36,359 Bier Are you all right? Yes, my office is a 557 00:31:36,440 --> 00:31:38,440 shambled also in there it might be dangerous. 558 00:31:38,720 --> 00:31:40,400 Speaker 4: How fortunate that no one was hurt. 559 00:31:40,680 --> 00:31:43,839 Speaker 2: We can thank Alex. But Alex, how did you know 560 00:31:43,920 --> 00:31:44,680 about the bomb? 561 00:31:45,559 --> 00:31:49,559 Speaker 1: A letter? I'd been carrying it around with me all day, unopened. 562 00:31:49,920 --> 00:31:51,839 Speaker 2: I left in a hurry this morning, picked up the 563 00:31:51,839 --> 00:31:53,200 mail on my way out and stuck. 564 00:31:52,920 --> 00:31:55,519 Speaker 1: It in my pocket. I got all about it until 565 00:31:55,519 --> 00:31:57,599 I opened it in the cab on my way here. 566 00:31:57,759 --> 00:31:59,559 First poison, not bomb. 567 00:32:00,359 --> 00:32:03,400 Speaker 2: I make you a solemn promise. From now on you 568 00:32:03,440 --> 00:32:06,519 will have a bodyguard. Both the theater and your apartment 569 00:32:06,559 --> 00:32:09,240 will be searched every day. There will be no question 570 00:32:09,400 --> 00:32:21,359 of your absolute security. I Max Boemer guarantee you it's white. 571 00:32:22,039 --> 00:32:28,920 Speaker 1: Mary hmm h oh, yes, mister, I'm David March. I 572 00:32:29,000 --> 00:32:29,960 woke to Max Bohmer. 573 00:32:30,240 --> 00:32:33,200 Speaker 6: Oh yes, I remember you. 574 00:32:33,200 --> 00:32:34,319 Speaker 7: You brought me here. 575 00:32:34,599 --> 00:32:36,160 Speaker 1: You know how you were poisoned? 576 00:32:37,359 --> 00:32:42,440 Speaker 6: Coffee only thing I had when I removed Miss Radler's tray. 577 00:32:43,359 --> 00:32:45,279 I poured myself a coup. 578 00:32:45,440 --> 00:32:49,960 Speaker 2: When we found you. You said something about tape tape. 579 00:32:50,599 --> 00:32:51,599 I thought you said tapa. 580 00:32:52,400 --> 00:32:55,359 Speaker 6: Oh oh, yes, yes, the telephone. 581 00:32:55,119 --> 00:32:57,480 Speaker 4: I put a bug on it. 582 00:32:57,640 --> 00:33:02,200 Speaker 6: Bug I recorded those the threatening telephone. 583 00:33:01,640 --> 00:33:03,319 Speaker 4: Calls, four of them. 584 00:33:03,839 --> 00:33:10,440 Speaker 9: You record them because they sounded phony somehow you have 585 00:33:10,559 --> 00:33:15,480 the tapes, Yes, in my room at the hotel. You 586 00:33:15,519 --> 00:33:19,480 see that they didn't sound like like real people. 587 00:33:20,240 --> 00:33:22,640 Speaker 1: I I I don't understand those voices. 588 00:33:22,680 --> 00:33:28,000 Speaker 9: They they never answered anything I said, like like they 589 00:33:28,039 --> 00:33:28,720 didn't hear me. 590 00:33:28,880 --> 00:33:33,799 Speaker 7: And they never called there a Radlov by name. They 591 00:33:34,079 --> 00:33:37,559 they said things like like you're going. 592 00:33:37,400 --> 00:33:42,240 Speaker 9: To die, you can't escape, stuff like that. And one 593 00:33:42,279 --> 00:33:45,519 of them said, if you don't do as you're told, 594 00:33:46,319 --> 00:33:51,960 you are doomed. Doomed that kind of a phony word. 595 00:33:52,400 --> 00:33:53,119 You see what I mean? 596 00:33:53,960 --> 00:33:57,839 Speaker 2: Yes, I do see. Well, I don't want to tie you. 597 00:33:57,920 --> 00:34:00,400 The doctor says you're going to be fine. It was 598 00:34:00,440 --> 00:34:02,759 a very small amount of boys, I know. 599 00:34:03,440 --> 00:34:08,639 Speaker 6: And that's kind of funny too when you think about it. 600 00:34:14,000 --> 00:34:18,000 Speaker 2: Hellomax, Yes, David, I'm calling you from the theater. The 601 00:34:18,079 --> 00:34:21,199 street is full of people, enormous crowd hoping to get 602 00:34:21,199 --> 00:34:23,599 a glimpse of Rodlova. This is going to be the 603 00:34:23,639 --> 00:34:29,119 greatest opening night in our history. Police all over the 604 00:34:29,159 --> 00:34:31,599 place to patrol cars, mounties, the works. 605 00:34:31,679 --> 00:34:33,199 Speaker 10: They went over the theater of the day with a 606 00:34:33,239 --> 00:34:36,199 fine tooth comb. I put detectives at every entrance too. 607 00:34:36,599 --> 00:34:38,400 Speaker 1: It's a press agent's dream. 608 00:34:38,559 --> 00:34:41,840 Speaker 2: Rodlova hasn't arrived yet, but I'll bet there's a stampede 609 00:34:41,880 --> 00:34:42,519 what she does. 610 00:34:42,760 --> 00:34:44,800 Speaker 10: I won't be happy to the performance is over and 611 00:34:44,800 --> 00:34:48,079 she's safely back home. I'll be alone in my box. 612 00:34:48,320 --> 00:34:50,800 Join me, the one closest to the stage on the right. 613 00:34:52,360 --> 00:34:54,159 And I guess we've done everything we could do. 614 00:34:55,480 --> 00:34:56,880 Speaker 1: It's in the laps of the gods. 615 00:34:56,920 --> 00:35:10,400 Speaker 3: Now, hello, miss rad Lover. Yes, who is this a friend? 616 00:35:11,199 --> 00:35:15,800 Stay away from the theater tonight. What don't go to 617 00:35:15,880 --> 00:35:18,280 the theater. You will die if you do. 618 00:35:18,519 --> 00:35:21,920 Speaker 4: How did you get this telephone number? Who are you. 619 00:35:21,639 --> 00:35:24,760 Speaker 3: Never mind my name. Just listen to what I say. 620 00:35:24,840 --> 00:35:26,000 Speaker 4: You cannot frighten me. 621 00:35:26,440 --> 00:35:29,760 Speaker 5: I'm not trying to frighten you. I'm trying to save 622 00:35:29,840 --> 00:35:33,920 your life. You must not dance leafy. It will mean 623 00:35:33,960 --> 00:35:35,079 your death if you do. 624 00:35:35,400 --> 00:35:36,159 Speaker 4: No, I know. 625 00:35:36,239 --> 00:35:38,119 Speaker 1: I will not listen Miss Radler. 626 00:35:39,559 --> 00:35:41,559 Speaker 7: Who who is it? 627 00:35:41,800 --> 00:35:41,960 Speaker 3: All? 628 00:35:43,079 --> 00:35:43,519 Speaker 4: Read it? 629 00:35:44,239 --> 00:35:44,440 Speaker 3: Oh? 630 00:35:44,559 --> 00:35:49,920 Speaker 1: Halex and Limousine is with Arrah? 631 00:35:51,079 --> 00:35:52,199 Speaker 4: Another phone call? 632 00:35:52,920 --> 00:35:55,039 Speaker 1: What it's impossible? 633 00:35:55,320 --> 00:35:56,719 Speaker 4: Why should it be impossible? 634 00:35:56,800 --> 00:36:00,239 Speaker 2: Nobody knows you're here, and Miranda's phone is unlisted. Could 635 00:36:00,239 --> 00:36:01,480 they possibly find you? 636 00:36:01,480 --> 00:36:04,599 Speaker 4: You forget they have had fifty years experienced in such thing. 637 00:36:04,679 --> 00:36:08,719 Speaker 1: Nearer Vera, My dear, you're trembling. I'm not sure you 638 00:36:08,719 --> 00:36:09,400 should try. 639 00:36:09,239 --> 00:36:11,599 Speaker 4: To dance, she said. I will die to that. 640 00:36:12,320 --> 00:36:14,079 Speaker 1: Will We'll tell Max you're ill. 641 00:36:14,360 --> 00:36:16,760 Speaker 4: No, I will not give in. 642 00:36:16,920 --> 00:36:19,519 Speaker 2: Your life is more important than any performance. 643 00:36:20,159 --> 00:36:21,559 Speaker 1: Sarah. Please let me call man. 644 00:36:21,639 --> 00:36:23,519 Speaker 3: No, I defied. 645 00:36:25,199 --> 00:36:29,000 Speaker 4: Come. We will go to the theater and I and 646 00:36:29,119 --> 00:36:30,880 we will dance sleepy together. 647 00:36:31,679 --> 00:36:43,320 Speaker 2: Whoa, David, where have you been? I watched the opening 648 00:36:43,360 --> 00:36:44,599 valley from the back of the theater. 649 00:36:44,679 --> 00:36:45,480 Speaker 1: A disaster. 650 00:36:46,079 --> 00:36:49,199 Speaker 2: I have never seen Alex dance so badly. I guess 651 00:36:49,239 --> 00:36:50,760 the threats in the bombing a tone. 652 00:36:50,840 --> 00:36:53,440 Speaker 1: Yes, and his wife has been riding him again. Sit down. 653 00:36:55,239 --> 00:36:58,320 Speaker 2: I saw Grace outside of the stage door. She said 654 00:36:58,320 --> 00:37:00,800 Alex had forgotten something. She was bringing it back to him. 655 00:37:00,960 --> 00:37:02,119 Speaker 1: Ah, that explains it. 656 00:37:02,480 --> 00:37:05,400 Speaker 2: I try to think of everything, but I cannot protect 657 00:37:05,480 --> 00:37:07,119 my artists from their own families. 658 00:37:07,559 --> 00:37:10,559 Speaker 1: Cheer up at Rodlova's night. She's what the public came 659 00:37:10,599 --> 00:37:14,960 to see, and they will not be disappointed, you know, David. 660 00:37:14,960 --> 00:37:19,880 At rehearsal, she was magnificent. Now what you'll see as 661 00:37:19,880 --> 00:37:23,280 the curtain rises, Rodlova is poised on the highest platform 662 00:37:23,519 --> 00:37:27,199 over on stage left. Alex comes on leading the lost 663 00:37:27,239 --> 00:37:37,639 Souls of Hades, but you'll see the curtain is going up. Max. 664 00:37:38,119 --> 00:37:46,599 That's said. It's stunning. Now she is magnificent, but believeably beauty. 665 00:37:46,679 --> 00:37:51,199 I've never seen anything so so Breaday Radulov is not 666 00:37:51,400 --> 00:38:02,880 just a dancer. She is a miracle. Fax s. 667 00:38:04,320 --> 00:38:07,719 Speaker 2: This is where Alex takes him in his arms in 668 00:38:07,800 --> 00:38:09,719 the wings, and it's Grace cold. 669 00:38:10,199 --> 00:38:12,119 Speaker 1: You can see her from here. What is she doing there? 670 00:38:12,639 --> 00:38:14,920 A woman's crazy. I gotta go backstage. One of the 671 00:38:14,960 --> 00:38:19,039 stage grew. Oh no, over drunken food. She's walking on 672 00:38:19,039 --> 00:38:22,360 the stage a nightmare. What's wrong about it? He's joking 673 00:38:22,400 --> 00:38:25,559 out of the dunce. He's Rugbot. 674 00:38:25,760 --> 00:38:27,519 Speaker 7: She's falling from the Black Bob. 675 00:38:38,679 --> 00:38:42,679 Speaker 1: She's badly injured, Max, but she's asking for you. Just 676 00:38:42,800 --> 00:38:43,119 thank you? 677 00:38:44,880 --> 00:38:47,599 Speaker 7: Max? Is is that you? 678 00:38:48,400 --> 00:38:52,280 Speaker 1: Yes? Grace? Tell me don't don't try. 679 00:38:52,119 --> 00:38:56,079 Speaker 4: To move It is rot lev al right. 680 00:38:56,440 --> 00:39:00,840 Speaker 1: If you bruises Grace, that's all you say. Her life. 681 00:39:01,079 --> 00:39:02,719 Speaker 7: I tried to catch her. 682 00:39:02,840 --> 00:39:06,480 Speaker 2: You succeeded in breaking mydlover's fall. When Alex truct her, it's. 683 00:39:06,320 --> 00:39:07,280 Speaker 4: All my fault. 684 00:39:07,800 --> 00:39:09,480 Speaker 7: Where is Alex? 685 00:39:09,599 --> 00:39:12,920 Speaker 1: They've taken him away? Huh. I was jealous. 686 00:39:13,360 --> 00:39:14,519 Speaker 7: I goaded him into it. 687 00:39:14,880 --> 00:39:17,840 Speaker 6: I'm the one who should be punished, not Alex. 688 00:39:18,880 --> 00:39:19,840 Speaker 1: You wrote the letters. 689 00:39:20,559 --> 00:39:24,679 Speaker 6: No, no, he he did that, and the poison and 690 00:39:24,760 --> 00:39:25,320 the bomber. 691 00:39:26,320 --> 00:39:28,920 Speaker 7: I didn't know anything about it and through this afternoon. 692 00:39:29,039 --> 00:39:31,840 Speaker 1: But Grace, why did he warn us about the bomb? 693 00:39:32,559 --> 00:39:35,519 Speaker 6: He didn't want to hurt you, Max. He wanted to 694 00:39:35,599 --> 00:39:37,840 frighten you, make you send her back. 695 00:39:38,039 --> 00:39:39,360 Speaker 1: Uh. He must be insane. 696 00:39:39,440 --> 00:39:41,840 Speaker 7: No, I kept taunting him. 697 00:39:42,000 --> 00:39:44,960 Speaker 6: He was getting old that rod Lover would replace him, 698 00:39:44,960 --> 00:39:48,559 his star of the bomber balleta. I thought he was 699 00:39:48,599 --> 00:39:50,760 in love with her and I wanted to make him 700 00:39:50,800 --> 00:39:53,079 hate her, but I didn't want. 701 00:39:52,960 --> 00:39:53,760 Speaker 7: Him to kill her. 702 00:39:54,760 --> 00:39:57,519 Speaker 1: The telephone calls, the different voices. 703 00:39:57,719 --> 00:40:01,679 Speaker 6: They they were actors on tape. He took them off 704 00:40:01,800 --> 00:40:03,360 old radio programs. 705 00:40:03,360 --> 00:40:06,920 Speaker 2: He had no wonder that. Never I answered Mary's questions. 706 00:40:07,760 --> 00:40:10,280 Those voices had been recorded thirty years ago. 707 00:40:10,440 --> 00:40:14,599 Speaker 1: May I come in, Oh missus Bradler, don't try to 708 00:40:14,679 --> 00:40:17,400 move Grace lice to Oh missus Cole. 709 00:40:18,719 --> 00:40:22,719 Speaker 4: What can I say? I am deeply grateful to you. 710 00:40:23,760 --> 00:40:27,039 But how did you know what Alex was going to do? 711 00:40:28,119 --> 00:40:28,280 Speaker 1: Well? 712 00:40:28,360 --> 00:40:32,599 Speaker 6: He he got into a terrible rage today. He shouted 713 00:40:32,639 --> 00:40:35,639 at me, shut up, I'll kill you too. 714 00:40:37,239 --> 00:40:43,119 Speaker 7: I After he left, I thought, kill me too. Then 715 00:40:43,159 --> 00:40:44,880 I knew what it was he meant to do. 716 00:40:45,119 --> 00:40:46,119 Speaker 1: He must be crazy. 717 00:40:46,119 --> 00:40:49,719 Speaker 6: Oh I I should never have taunted him with growing old. 718 00:40:51,320 --> 00:40:52,800 Speaker 1: It's hard stars. 719 00:40:53,360 --> 00:40:57,480 Speaker 6: When they start slipping and younger people come along, it 720 00:40:57,519 --> 00:41:01,159 means the end of the only thing they ever really loved. 721 00:41:01,599 --> 00:41:06,559 And a dancer's life is such a short one. Alex 722 00:41:06,800 --> 00:41:13,000 used to say, our names written in water. 723 00:41:13,599 --> 00:41:18,400 Speaker 4: It is true, written in the waters of Flici oil. 724 00:41:25,400 --> 00:41:30,440 Speaker 2: So not all the efforts of Max Boehmer could protect 725 00:41:30,559 --> 00:41:35,119 Via Rodova in the end, her safety hung on the 726 00:41:35,119 --> 00:41:40,159 slim thread of another woman's conscience. Thanks to Grace Cole, 727 00:41:40,400 --> 00:41:44,920 she remained the pride of the Bohmer Ballet for many years. Then, 728 00:41:45,039 --> 00:41:49,039 one evening, in a box watching a new production of Giselle, 729 00:41:49,239 --> 00:41:56,079 a lovely young American Ballermina precise, controlled, exquisite pirouetted onto 730 00:41:56,079 --> 00:42:01,119 the scene. A shiver ran through the great Rodover she 731 00:42:01,239 --> 00:42:05,360 felt the icy waters of lethe lapping at her feet. 732 00:42:06,039 --> 00:42:07,119 Speaker 1: I'll be back shortly. 733 00:42:20,440 --> 00:42:24,039 Speaker 2: Perhaps you are wondering what force would move an artist 734 00:42:24,119 --> 00:42:28,760 like Vera Rodlova, who had every material advantage to leave 735 00:42:28,840 --> 00:42:32,559 her native country and seek freedom in a foreign land. 736 00:42:33,880 --> 00:42:41,280 Many dancers have done so, Markova, Nayev Parishnikov Why the 737 00:42:41,440 --> 00:42:46,400 cellist Rostropovitch put it clearly. There is so much more 738 00:42:46,519 --> 00:42:49,480 I could have done for my country, he said, if 739 00:42:49,519 --> 00:42:56,000 they had only given me musical freedom without regulation, many 740 00:42:56,039 --> 00:42:59,599 of these gifted people have found refuge among us, and 741 00:42:59,639 --> 00:43:05,079 in so doing had enriched us. Our cast included Marion Zeldas, 742 00:43:05,159 --> 00:43:09,599 Norman Rose, Briana Raeburn, George Petrie and Richard Lynch. The 743 00:43:09,840 --> 00:43:13,760 entire production was under the direction of Hyman Brown. Mystery 744 00:43:13,800 --> 00:43:17,480 Theater was sponsored in part by Onhouser Busch Incorporated, brewers 745 00:43:17,519 --> 00:43:20,559 of Budweiser, and all state insurance companies. 746 00:43:21,079 --> 00:43:21,679 Speaker 1: This is E. G. 747 00:43:21,920 --> 00:43:25,199 Speaker 2: Marshall inviting you to return to our mystery theater for 748 00:43:25,280 --> 00:43:37,960 another adventure in the macabre. Until next time, pleasant dreams.