1 00:00:16,559 --> 00:00:17,039 Speaker 1: Come in. 2 00:00:19,719 --> 00:00:25,000 Speaker 2: Welcome. I'm E. G. Marshall. I don't suppose I'm alone 3 00:00:25,079 --> 00:00:27,239 in a fantasy I often have when I look at 4 00:00:27,280 --> 00:00:32,479 some paintings. A sleepy, quiet house among trees, a street 5 00:00:32,520 --> 00:00:36,359 that turns a corner behind the painted buildings, A dark, 6 00:00:36,560 --> 00:00:40,119 mysterious cave burnt like a smoking hole in the side 7 00:00:40,119 --> 00:00:44,000 of a bright, sun drenched Arizona cliff Well. I could 8 00:00:44,039 --> 00:00:46,840 go on and on, but I won't. What all of 9 00:00:46,840 --> 00:00:50,039 them have in common is the tempting allure of dreaming 10 00:00:50,079 --> 00:00:52,799 that it might be possible to step into the frame 11 00:00:53,439 --> 00:00:58,039 and visit that house, round that corner, explore that cave. 12 00:00:58,560 --> 00:01:01,280 A tug so strong that it pulls you towards the 13 00:01:01,320 --> 00:01:05,319 canvas is, though hypnotized, if you've ever had that feeling, 14 00:01:06,239 --> 00:01:09,480 or even if you haven't, this is what our story 15 00:01:09,560 --> 00:01:12,239 is all about. Watch that old man. 16 00:01:13,040 --> 00:01:16,359 Speaker 3: He sits there like no one is there but him, 17 00:01:16,400 --> 00:01:19,200 and let's cooly painting lead him alone. 18 00:01:19,280 --> 00:01:21,840 Speaker 2: I think the guy could be dead or a mute. 19 00:01:22,519 --> 00:01:24,760 A museum is a place for a lot of people. 20 00:01:24,799 --> 00:01:29,760 Speaker 3: It's like an escape, and yet weighs list one. I 21 00:01:29,760 --> 00:01:33,879 think he's got to be watched. There's something eating him 22 00:01:33,920 --> 00:01:37,879 about that painting, and it's a job to protect it. 23 00:01:46,280 --> 00:01:50,560 Speaker 2: Our mystery drama Portrait of a Killer was written especially 24 00:01:50,560 --> 00:01:54,319 for the Mystery Theater by Ian Martin and stars Michael Wager. 25 00:01:55,159 --> 00:01:58,280 It is sponsored in part by sign Off, the Sinus 26 00:01:58,359 --> 00:02:03,280 Medicines and Buick Motor Division. I'll be back shortly with 27 00:02:03,400 --> 00:02:15,159 that one. The Fresnik Museum is not one of the 28 00:02:15,159 --> 00:02:18,439 world's great art collections, but it is surely one of 29 00:02:18,439 --> 00:02:21,599 the most eclectic, by which I mean the rich man 30 00:02:21,639 --> 00:02:24,520 who left it and his house to the city was 31 00:02:24,599 --> 00:02:29,360 extremely choosy about what he liked or disliked. It contains 32 00:02:29,479 --> 00:02:34,319 a wide ranging potpourri of special and disparate gems, from 33 00:02:34,319 --> 00:02:38,520 a Rubens to a poor clay, from ancient Byzantine through 34 00:02:38,560 --> 00:02:42,840 the most literal of English nineteenth century painting, to the Impressionists, 35 00:02:42,879 --> 00:02:47,000 the Cubists, and even a smattering of pop art, and, 36 00:02:47,319 --> 00:02:50,520 most important to us, the only museum in the world 37 00:02:50,560 --> 00:02:54,919 in which hangs A. W. H. Haskell, and thereby hangs 38 00:02:55,120 --> 00:02:57,919 our tale. Are you worrying about that picture again? 39 00:02:58,039 --> 00:03:00,759 Speaker 3: Charlie haunts me? 40 00:03:01,879 --> 00:03:02,479 Speaker 1: You know what I mean? 41 00:03:03,639 --> 00:03:05,560 Speaker 3: Why don't they hang it in a better life? 42 00:03:05,599 --> 00:03:08,800 Speaker 2: An It's just the right light for a Ciras's Girl's Charlie, Yeah, 43 00:03:08,879 --> 00:03:10,479 what a Italian word? 44 00:03:10,879 --> 00:03:14,159 Speaker 3: Uh you know, we go yeah, just cause your father 45 00:03:14,280 --> 00:03:16,360 was born in Florence. That makes you the big art 46 00:03:16,400 --> 00:03:20,039 expert carry a cask or one of you who says, well, 47 00:03:20,120 --> 00:03:21,639 what's the word in plain English? 48 00:03:21,719 --> 00:03:25,360 Speaker 2: W there isn't any The Curra's girl means, uh, well, 49 00:03:25,479 --> 00:03:27,599 the arrangement or a treatment of the light and dark 50 00:03:27,639 --> 00:03:29,599 parts in a work of art, whether color or black 51 00:03:29,599 --> 00:03:29,919 and white. 52 00:03:30,000 --> 00:03:31,639 Speaker 3: Yeah, but this point in the air, it ain't in 53 00:03:31,680 --> 00:03:32,360 black and white. 54 00:03:32,719 --> 00:03:36,039 Speaker 2: It's a monochrome. And why oh like it's done in 55 00:03:36,080 --> 00:03:39,039 different tones of all one color kind of greenlight. 56 00:03:39,879 --> 00:03:43,159 Speaker 3: Oh yeah, uh you mentioned it. 57 00:03:44,120 --> 00:03:46,599 Speaker 2: That's what it is, all. 58 00:03:46,280 --> 00:03:51,439 Speaker 3: Green and spooky and crawley like cheese wall. 59 00:03:52,159 --> 00:03:54,800 Speaker 2: Eh, Charlie, you don't like the picture. Why do you 60 00:03:55,080 --> 00:03:56,199 mean around over. 61 00:03:56,039 --> 00:03:56,719 Speaker 1: It all the time? 62 00:03:56,879 --> 00:04:02,400 Speaker 3: It ain't me. It's him who, the old guy who's 63 00:04:02,439 --> 00:04:05,199 been coming in the last couple of weeks, just around 64 00:04:05,199 --> 00:04:08,520 this time, after you go off and and nothing. 65 00:04:09,639 --> 00:04:10,280 Speaker 2: He sits on the. 66 00:04:10,280 --> 00:04:14,400 Speaker 3: Bench, heil leaning on a stick and keeps staring staring 67 00:04:15,159 --> 00:04:15,400 at this. 68 00:04:15,479 --> 00:04:19,160 Speaker 2: Yere pitchy like he was waiting for something to move 69 00:04:19,639 --> 00:04:22,319 or something to move. What could move there are no 70 00:04:22,399 --> 00:04:23,040 figures in it. 71 00:04:23,600 --> 00:04:24,959 Speaker 3: Well I know what could move? 72 00:04:25,000 --> 00:04:27,639 Speaker 2: Made me expeact. Somebody is sneaking around in all them trees. 73 00:04:28,560 --> 00:04:30,959 Come on, Charlie, you know you're looking a job. Get 74 00:04:31,000 --> 00:04:34,040 to you know. I get crazy notions sometimes living here 75 00:04:34,079 --> 00:04:37,240 in the past, like it was with with the dead, 76 00:04:38,040 --> 00:04:40,199 with the quiet and all. But y but I thought you, 77 00:04:40,319 --> 00:04:42,439 being older, they wouldn't get you. I guess I was wrong. 78 00:04:42,839 --> 00:04:44,319 Uh Hey, the de. 79 00:04:44,399 --> 00:04:47,879 Speaker 3: Of Joe, and I mean everybody that gets tied up 80 00:04:47,920 --> 00:04:52,560 with something dead and gone at my age E gives 81 00:04:52,560 --> 00:04:53,319 me goosebumps. 82 00:04:54,360 --> 00:04:57,839 Speaker 2: I had no figure to be around. So uh you 83 00:04:57,839 --> 00:04:58,360 you will. 84 00:04:58,279 --> 00:04:59,920 Speaker 1: Bury your nephews and your cousin. 85 00:05:00,040 --> 00:05:03,600 Speaker 2: Sh what is it? And he comes here? 86 00:05:03,600 --> 00:05:07,600 Speaker 3: Who comes the viewer with the scar from all? Eh, 87 00:05:07,879 --> 00:05:10,560 Let's make ourselves scarce and he'll see. 88 00:05:10,399 --> 00:05:20,160 Speaker 2: What I mean. Why do I come here because somewhere, 89 00:05:20,319 --> 00:05:24,519 sometime a man named John Brown has to be remembered, 90 00:05:25,399 --> 00:05:28,759 if not for himself, at least for what he could 91 00:05:28,879 --> 00:05:33,800 give of himself. Who would have imagined ouible seeming the 92 00:05:34,000 --> 00:05:38,519 terrible failure of my life is one last unexpected piece 93 00:05:38,560 --> 00:05:42,759 of immortality remains. And how bitter that it had to 94 00:05:42,800 --> 00:05:49,319 be this the visual representation of everything that brought me 95 00:05:49,360 --> 00:05:56,439 a disaster and tragedy. Uh yes, watch him, Charlie. I 96 00:05:56,480 --> 00:05:58,720 am hired by the museum to watch a lot more 97 00:05:58,759 --> 00:06:00,959 than I said. Gray old man who comes in for 98 00:06:01,120 --> 00:06:05,680 lunch and I and arrest look at him. He'll sit 99 00:06:05,800 --> 00:06:09,680 there and stare at that painting without moving from now 100 00:06:10,000 --> 00:06:11,000 for closing time. 101 00:06:12,399 --> 00:06:13,480 Speaker 3: Oh what is it? 102 00:06:13,759 --> 00:06:16,439 Speaker 2: Grabbed him? So wanted to ask him. 103 00:06:16,600 --> 00:06:18,720 Speaker 3: He wanna come with me for a minute and I'll 104 00:06:18,759 --> 00:06:29,199 show you why. Okay, had nice little picture. That's one 105 00:06:29,240 --> 00:06:30,360 of my own favorites. 106 00:06:32,920 --> 00:06:36,120 Speaker 1: He really seems to get to you, he. 107 00:06:36,240 --> 00:06:40,399 Speaker 2: Said, forget it, Johnnie, what's my own bitch? I just say, hey, 108 00:06:40,519 --> 00:06:42,480 you happen to know the artists. 109 00:06:42,839 --> 00:06:50,120 Speaker 3: Come on, Charlie, Okay, okay, you see it's like no 110 00:06:50,160 --> 00:06:53,120 one was there but him and that screwy picture. 111 00:06:53,519 --> 00:06:55,879 Speaker 2: Don't bother him. The guy could be a dam or 112 00:06:55,920 --> 00:06:59,199 a mute. A museum is a special place for lots 113 00:06:59,240 --> 00:07:05,319 of guys. It's an escape. They knew how I wish 114 00:07:05,399 --> 00:07:09,839 I were in sightless or dead, and I cannot die 115 00:07:09,879 --> 00:07:13,079 as long as any trace remains, and this is all 116 00:07:13,160 --> 00:07:18,600 it's left. Oh my sweet god, have I not suffered enough? 117 00:07:19,319 --> 00:07:22,839 Can I not at last make the final sacrifice and 118 00:07:22,879 --> 00:07:27,240 a tone for all my crimes? Is there no way back? 119 00:07:28,639 --> 00:07:35,360 Some hope to change the future? And my Lord nobody 120 00:07:35,399 --> 00:07:40,519 watching me? Could I step into that frame and back 121 00:07:40,600 --> 00:07:46,480 into the past. Could I relieve it again, somehow change 122 00:07:46,600 --> 00:07:50,560 the course of faith? How long will I hesitate to trouble? 123 00:07:51,040 --> 00:07:56,079 Am I'm waiting for? If it is to be any time? 124 00:07:57,759 --> 00:07:58,160 As it be? 125 00:07:59,240 --> 00:07:59,439 Speaker 4: Now? 126 00:08:02,600 --> 00:08:05,800 Speaker 2: Show what is it now? Charlie, Hey, old. 127 00:08:05,519 --> 00:08:09,519 Speaker 3: Guy sitting on the bench watching the picture. We're back 128 00:08:09,519 --> 00:08:12,680 at the picture again. He just suddenly disappeared, and at 129 00:08:13,279 --> 00:08:15,160 his age, he probably was a week with me. 130 00:08:15,240 --> 00:08:16,759 Speaker 2: Ah, I don't mean that. 131 00:08:17,480 --> 00:08:20,839 Speaker 3: He just walked into the alcohol toward the picture, and 132 00:08:20,839 --> 00:08:23,079 when I moved around so I could see into it, 133 00:08:23,800 --> 00:08:27,480 he was gone, as though he stepped into the. 134 00:08:27,480 --> 00:08:33,519 Speaker 2: Frame and out of this world. He looked, Charlie, you 135 00:08:33,600 --> 00:08:35,159 are right. Oh, I'm all right here. 136 00:08:35,200 --> 00:08:37,799 Speaker 3: I know what I'm talking about. Now come here, look, Charlie, 137 00:08:37,840 --> 00:08:43,000 I don't argue, come here, uh ook, look. 138 00:08:42,799 --> 00:08:43,360 Speaker 5: At the picture. 139 00:08:47,519 --> 00:08:49,559 Speaker 2: That picture's an obsession with you. 140 00:08:49,720 --> 00:08:54,559 Speaker 3: I looked at it closely, right there on the path, 141 00:08:55,759 --> 00:08:57,799 moving up towards the front door. 142 00:08:57,919 --> 00:09:00,399 Speaker 2: Cerally, I think you're flipping out. Now you there are 143 00:09:00,399 --> 00:09:03,080 no figures in that painting. Just look, I'm looking. I 144 00:09:03,120 --> 00:09:04,039 don't see anything. 145 00:09:04,159 --> 00:09:09,080 Speaker 3: It said, kiss cature, whatever you call it. It's hard 146 00:09:09,120 --> 00:09:11,799 to see in the shadows and the same color and 147 00:09:11,840 --> 00:09:16,120 what like there is. But he he's here, just the same, 148 00:09:17,279 --> 00:09:18,879 creeping out towards the door. 149 00:09:19,440 --> 00:09:24,240 Speaker 2: Who's there? The viewer? The old guy disappeared from the 150 00:09:24,360 --> 00:09:28,240 bench on. You gotta be crazy. There's nobody there. How 151 00:09:28,279 --> 00:09:29,799 could you see without your glasses? 152 00:09:29,879 --> 00:09:30,240 Speaker 1: Parmer? 153 00:09:30,399 --> 00:09:32,759 Speaker 2: I heard enough crazy, he's wandering here from the outside. 154 00:09:32,799 --> 00:09:37,240 I gotta live with one on the inside. Yeah, okay, 155 00:09:38,320 --> 00:09:39,200 till my glasses are on. 156 00:09:39,279 --> 00:09:40,759 Speaker 3: Where is he? Mm? 157 00:09:41,240 --> 00:09:41,399 Speaker 5: Yea? 158 00:09:41,440 --> 00:09:44,200 Speaker 3: It took too long, didn't you see? He just went 159 00:09:44,200 --> 00:09:46,200 around the corner of the building till the back. 160 00:09:46,440 --> 00:09:49,039 Speaker 2: You are as nunhing as a fruitcake. I didn't see that. 161 00:09:49,559 --> 00:09:53,720 I wish I Hadn't you know? He was wearing what 162 00:09:54,759 --> 00:09:59,879 a tweed suit with mickers and high shoes with a 163 00:10:00,080 --> 00:10:00,639 skip cap. 164 00:10:01,879 --> 00:10:04,399 Speaker 3: I ain't seen her fit like that since I was 165 00:10:04,440 --> 00:10:08,720 a boy myself, just before World War One. 166 00:10:15,200 --> 00:10:20,399 Speaker 2: The Braxton House, That damn Braxton House. From the beginning, 167 00:10:20,399 --> 00:10:22,960 it it both lured me and repelled me. Just the 168 00:10:22,960 --> 00:10:25,759 house itself, long before I'd met and fallen in love 169 00:10:25,799 --> 00:10:29,480 with Polly and learned to hate Gilbert Fairly, the smooth, 170 00:10:29,559 --> 00:10:34,840 suave guardian her father appointed when he died. Gilbert Fairly Surely, 171 00:10:34,879 --> 00:10:36,480 one of the most ironic names for a manner, was 172 00:10:36,559 --> 00:10:38,679 driven to win, but happiest when he could do it 173 00:10:38,679 --> 00:10:44,559 by cheating, or hurting or destroying the loser. That summer 174 00:10:44,559 --> 00:10:48,639 of nineteen seventeen, sneaking around a corner of that bewitching 175 00:10:48,639 --> 00:10:52,480 it lonesome house, I was bound and determined he wouldn't 176 00:10:52,480 --> 00:10:59,240 get away with it with me. Charlie. I don't know 177 00:10:59,279 --> 00:11:01,519 if you're putting me on, but if you're not, I'm 178 00:11:01,600 --> 00:11:04,519 really gonna start worrying about you. Joe, I swear. 179 00:11:05,159 --> 00:11:08,000 Speaker 3: First off, I noticed the old man had disappeared from 180 00:11:08,039 --> 00:11:08,960 where you were sitting. 181 00:11:09,759 --> 00:11:11,639 Speaker 2: And then I seen a. 182 00:11:11,679 --> 00:11:15,399 Speaker 3: Guy in the picture movie dressed just like I said. 183 00:11:16,279 --> 00:11:18,240 But that wasn't what. 184 00:11:18,279 --> 00:11:21,000 Speaker 2: Scared me so much. M What was it? 185 00:11:21,559 --> 00:11:25,519 Speaker 3: Right here on the path you see where this kind 186 00:11:25,519 --> 00:11:30,240 of a spot of moonlight or sunlight or whatever it is. Yeah, 187 00:11:30,759 --> 00:11:34,840 right there He stopped for a moment, and he sort 188 00:11:34,879 --> 00:11:38,759 of looked back over his shoulder just long enough so 189 00:11:38,879 --> 00:11:41,799 I could get a glimpse of his face, and. 190 00:11:41,799 --> 00:11:43,679 Speaker 2: He looked like, uh boris colored? 191 00:11:43,840 --> 00:11:48,639 Speaker 3: Uh no, but so help me. I know who he 192 00:11:48,759 --> 00:11:51,639 did look like, by the way he could have looked 193 00:11:52,080 --> 00:11:52,639 back there. 194 00:11:52,519 --> 00:11:55,240 Speaker 2: Around that time. Yeah, and now you're gonna tell me 195 00:11:55,360 --> 00:11:58,360 it was your bed sitter, right, your what does it 196 00:11:58,440 --> 00:12:01,720 you call him? Your viewer? It's just what I'm telling you. 197 00:12:02,840 --> 00:12:05,440 Speaker 3: I laid dollars to down, I said, old Bomb used 198 00:12:05,480 --> 00:12:08,559 to visit or sneak into this house around fifty years 199 00:12:08,639 --> 00:12:09,919 ago when. 200 00:12:09,799 --> 00:12:12,639 Speaker 2: He was a young guy. So maybe he did. 201 00:12:13,360 --> 00:12:14,240 Speaker 5: But what's it to you? 202 00:12:14,279 --> 00:12:15,000 Speaker 2: What do you care? 203 00:12:15,600 --> 00:12:15,799 Speaker 1: Well? 204 00:12:15,759 --> 00:12:16,120 Speaker 6: Do know? 205 00:12:17,679 --> 00:12:18,759 Speaker 3: It is sure you a hell? 206 00:12:18,799 --> 00:12:20,639 Speaker 1: And I want to know what went. 207 00:12:20,559 --> 00:12:23,320 Speaker 3: On in that house that was strong enough to call 208 00:12:23,399 --> 00:12:27,240 a man back from today to walk through. 209 00:12:27,039 --> 00:12:40,960 Speaker 2: That frame day yesterday. So what do we have An 210 00:12:41,000 --> 00:12:45,159 elder citizen filling a job who is slipping into senility 211 00:12:45,320 --> 00:12:49,720 without realizing it, or a valid case of dreams come true? 212 00:12:50,440 --> 00:12:53,200 An old man who has come back from Lord knows 213 00:12:53,240 --> 00:12:56,639 what to moon over a picture that represents his youth 214 00:12:57,279 --> 00:13:01,000 and in some magical way has beckoned him back to 215 00:13:01,080 --> 00:13:05,600 it to change the course of events, or only to 216 00:13:05,960 --> 00:13:18,720 relive them. I shall return shortly. It is the year 217 00:13:18,879 --> 00:13:24,039 nineteen seventeen, America was racked with the agonizing debate over 218 00:13:24,080 --> 00:13:27,080 whether or not America should enter the Great War, which 219 00:13:27,159 --> 00:13:31,879 was raging in Europe. But somehow, individuals continued to be 220 00:13:31,960 --> 00:13:36,120 as absorbed as ever in their own personal problems. For example, 221 00:13:36,159 --> 00:13:39,879 a young man with the undistinguished name of John Brown, 222 00:13:40,039 --> 00:13:44,000 an artist with limited prospects and even more limited funds, 223 00:13:44,600 --> 00:13:48,240 fell helplessly in love with a young heiress named Polly Braxton, 224 00:13:48,679 --> 00:13:52,679 and she with him. I mention this only because, if 225 00:13:53,480 --> 00:13:57,159 I repeat, it were possible for someone to step back 226 00:13:57,200 --> 00:14:00,559 through a picture frame into the past, and that man 227 00:14:00,679 --> 00:14:03,919 happened to be John Brown, this is where he would 228 00:14:03,960 --> 00:14:09,840 have found himself. It was a long wait, as always 229 00:14:09,840 --> 00:14:12,960 for Polly and the gazebo, but at last she came 230 00:14:13,080 --> 00:14:16,679 quickly and silently to my arms and back to my 231 00:14:16,759 --> 00:14:17,360 waiting heart. 232 00:14:17,960 --> 00:14:23,120 Speaker 5: Oh, John Darling, forgive me for being so late. I 233 00:14:23,120 --> 00:14:24,840 I couldn't get away from him tonight. 234 00:14:25,759 --> 00:14:30,320 Speaker 2: It doesn't matter now you're here. I love you, Polly, 235 00:14:31,159 --> 00:14:31,879 and I love you. 236 00:14:33,320 --> 00:14:36,080 Speaker 5: I don't understand why he's so dead set against you, 237 00:14:36,120 --> 00:14:37,720 knowing it's what I want. 238 00:14:38,399 --> 00:14:41,720 Speaker 2: I'm an artist, which automatically means I have nothing. How 239 00:14:41,759 --> 00:14:44,440 could I support you who cares about money? 240 00:14:45,000 --> 00:14:46,200 Speaker 5: I have plenty for both of us. 241 00:14:46,679 --> 00:14:49,440 Speaker 2: Not till you're twenty one. Oh, I I couldn't live 242 00:14:49,480 --> 00:14:50,559 off you anyway, Polly. 243 00:14:51,360 --> 00:14:55,120 Speaker 4: Only till you're a successful artist and everyone realizes how 244 00:14:55,159 --> 00:14:56,000 wonderful you are. 245 00:14:56,159 --> 00:14:58,559 Speaker 2: Well, I'll tell you something. I don't say I'm gonna 246 00:14:58,559 --> 00:15:01,399 be famous, but I think I found a sponsor who 247 00:15:02,200 --> 00:15:06,759 missus Chelton Presnik a ancient old grass, would it? Oh grass? 248 00:15:06,759 --> 00:15:10,919 She might be ancient, she isn't exactly m Johnny Brown. 249 00:15:10,960 --> 00:15:14,480 Speaker 5: I'm surprised at you scarcely twenty two. She must be 250 00:15:14,559 --> 00:15:16,159 all of thirty and beyond. 251 00:15:17,080 --> 00:15:19,159 Speaker 4: And everyone knows her husband was old enough to be 252 00:15:19,200 --> 00:15:20,720 her father more when they married. 253 00:15:21,159 --> 00:15:23,519 Speaker 2: All things considered hero to have been your guardian instead 254 00:15:23,519 --> 00:15:27,840 of instead of me, mister Brown, mister Philly Gilbert. 255 00:15:28,120 --> 00:15:29,759 Speaker 5: I didn't see you approaching. 256 00:15:30,159 --> 00:15:33,799 Speaker 3: I made no effort to conceal my approach. I made 257 00:15:33,840 --> 00:15:37,200 them carrying a torch. As you can see, I was 258 00:15:37,200 --> 00:15:39,279 not aware you had an appointment with mister. 259 00:15:39,120 --> 00:15:41,759 Speaker 1: Brown's not it I clandestine? 260 00:15:41,799 --> 00:15:45,039 Speaker 4: A point from I need no protection against Johnny, and 261 00:15:45,120 --> 00:15:45,960 I hope you never. 262 00:15:45,840 --> 00:15:49,919 Speaker 2: Have cause to regret those words. I intend to do 263 00:15:50,080 --> 00:15:52,759 all in my power to make sure you don't. Now 264 00:15:52,799 --> 00:15:54,120 just a moment, mister Phierley, I. 265 00:15:54,120 --> 00:15:56,679 Speaker 3: Will ask you not to meddle in family matters. Mister Brown, 266 00:15:56,799 --> 00:15:59,240 I'll talk to you in a Marland polly. 267 00:16:00,080 --> 00:16:03,080 Speaker 1: Take this torch. Mind your way along the path. 268 00:16:03,320 --> 00:16:04,039 Speaker 4: I'm not leaving. 269 00:16:04,279 --> 00:16:06,720 Speaker 3: You will do as I tell you, or I swear 270 00:16:06,840 --> 00:16:08,679 by Heaven, I will lock you in your. 271 00:16:08,600 --> 00:16:13,159 Speaker 1: Room till your twenty first birthday. The torch it will 272 00:16:13,200 --> 00:16:14,279 light you back to the house. 273 00:16:14,639 --> 00:16:17,279 Speaker 2: Do as he says you sure you want me to live? 274 00:16:17,399 --> 00:16:20,519 Trust me, darling, I do. 275 00:16:21,159 --> 00:16:21,559 Speaker 6: Good night. 276 00:16:24,279 --> 00:16:28,159 Speaker 3: You are never going to see my ward again. I'm 277 00:16:28,200 --> 00:16:31,879 warning you, John Brown, I'm carrying a gun at this 278 00:16:32,000 --> 00:16:34,080 moment and consider you a trespasser. 279 00:16:35,399 --> 00:16:38,679 Speaker 1: This time, I'll let you go, but if you ever. 280 00:16:38,559 --> 00:16:41,240 Speaker 3: Show up at Braxton House again, I will shoot you 281 00:16:41,399 --> 00:16:42,039 on sight. 282 00:16:42,320 --> 00:16:44,840 Speaker 2: Fine, I may show up with a gun myself. 283 00:16:45,480 --> 00:16:49,120 Speaker 3: You won't get very far from now on. I'm turning 284 00:16:49,159 --> 00:16:53,360 loose trained dogs who tear any stranger within the property apart. 285 00:16:58,399 --> 00:17:02,919 Speaker 2: I like, quietly enough my tail between my legs, but 286 00:17:03,159 --> 00:17:05,599 not as far as mister Gilbert fairly thought I'd gone 287 00:17:06,400 --> 00:17:08,480 by the front of the house. I doubled back to 288 00:17:08,559 --> 00:17:10,920 the trellis in the Wisteria and was up on the 289 00:17:10,960 --> 00:17:14,680 porch roof in a moment, knocking at Polly's window gently. 290 00:17:17,200 --> 00:17:23,440 Speaker 6: Sh shit, why. 291 00:17:22,480 --> 00:17:23,319 Speaker 2: Do you love me? 292 00:17:24,480 --> 00:17:24,640 Speaker 3: No? 293 00:17:24,720 --> 00:17:26,200 Speaker 6: I do what then? 294 00:17:26,519 --> 00:17:29,359 Speaker 2: And let me in. We've we've got to talk about 295 00:17:29,359 --> 00:17:36,359 our future, if we're ever going to have any Hey, Joe, 296 00:17:36,559 --> 00:17:39,680 not the w h Haskell? Yeah? Yeah, what is it 297 00:17:39,799 --> 00:17:40,319 this time? 298 00:17:41,000 --> 00:17:43,319 Speaker 3: The guy that was sneaking up the path? You know, 299 00:17:43,720 --> 00:17:46,039 I just saw him climbing up on top of the. 300 00:17:46,039 --> 00:17:50,119 Speaker 1: Porch and one of the windows was lighted up there. 301 00:17:50,160 --> 00:17:55,680 Speaker 4: Oh, come on, Charlie, not only that bread, what happened? 302 00:17:56,759 --> 00:18:02,960 Speaker 2: Nothing happened, isn't that it? When closed? The ride's out? 303 00:18:04,440 --> 00:18:08,279 Speaker 3: It's just like there was Moro and just the way 304 00:18:08,359 --> 00:18:09,240 it's always been. 305 00:18:14,200 --> 00:18:17,200 Speaker 2: Hope, Johnny, it's our only hope. I told you what 306 00:18:17,279 --> 00:18:19,200 he said. He he'd shoot me or turn the dogs 307 00:18:19,200 --> 00:18:20,799 on me if I try to come back and see you. 308 00:18:21,000 --> 00:18:22,920 Speaker 7: But how well how. 309 00:18:22,759 --> 00:18:23,759 Speaker 5: Can we get married? 310 00:18:24,440 --> 00:18:27,960 Speaker 2: I mean without his consent, cross the state line and 311 00:18:27,960 --> 00:18:31,000 you're old enough in that state. Without consent, how. 312 00:18:30,920 --> 00:18:33,599 Speaker 5: Would we get there? What would we live on? 313 00:18:33,759 --> 00:18:36,880 Speaker 2: I have a sponsor, remember, I'm sure if I talk 314 00:18:36,960 --> 00:18:38,400 to her, she'll by the rest of what I've got. 315 00:18:38,640 --> 00:18:41,440 She's already brought one of my paintings, and I have 316 00:18:41,480 --> 00:18:43,720 that saved up a whole hundred dollars that will pay 317 00:18:43,759 --> 00:18:46,559 for the wedding and the trip at all. But couldn't 318 00:18:46,559 --> 00:18:52,079 Gilbert have the marriage and know not if you well, 319 00:18:53,039 --> 00:18:53,720 I mean not. 320 00:18:53,839 --> 00:19:03,200 Speaker 5: If oh, oh yes, yes, yes, darling, we'll do it. 321 00:19:03,599 --> 00:19:05,400 Speaker 2: I'll meet you. It had four holks on the way 322 00:19:05,400 --> 00:19:07,200 to church. I can borrow a model team. We can 323 00:19:07,279 --> 00:19:08,960 drive all that day and may get across the state 324 00:19:09,039 --> 00:19:12,279 line in time to remarried. By the time Fairly gets back, 325 00:19:12,359 --> 00:19:15,319 finds you gone traces your If you can, everything will 326 00:19:15,359 --> 00:19:19,559 be well. I mean it won't be util Monday morning, 327 00:19:19,640 --> 00:19:21,160 but by then I'm oh. 328 00:19:21,039 --> 00:19:26,680 Speaker 5: Stop stammering, darling. I wanna belong to you, to be yours, 329 00:19:27,319 --> 00:19:30,319 and once I am, he'll just have to accept things 330 00:19:30,359 --> 00:19:33,119 as they are till Sunday. 331 00:19:33,480 --> 00:19:39,880 Speaker 2: Till Sunday, you'll never regret it. You'll never regret it 332 00:19:40,839 --> 00:19:44,759 if either of us could ever have dreamed. But at 333 00:19:44,799 --> 00:19:46,799 that moment, I was too concerned with another problem that 334 00:19:46,839 --> 00:19:51,319 lay ahead of me, which also concerned a woman. My sponsor, 335 00:19:51,640 --> 00:19:52,880 Marsha Fresnick. 336 00:19:57,640 --> 00:20:00,799 Speaker 7: Poor Johnny Brown, who would have expected view this late? 337 00:20:01,240 --> 00:20:03,000 And wasn't it clever of you to pick the maid 338 00:20:03,000 --> 00:20:04,359 to night. I'll come in. 339 00:20:05,440 --> 00:20:09,039 Speaker 2: I'm sorry to bother you, Missus Fresnick, but well, something 340 00:20:09,079 --> 00:20:10,000 has come up at all. 341 00:20:10,039 --> 00:20:12,200 Speaker 7: Right, Johnny, But do we have to talk about it 342 00:20:12,200 --> 00:20:15,119 in the hall. Let's go inside and be comfortable. And 343 00:20:15,160 --> 00:20:17,200 does it have to be missus Fresnick. 344 00:20:17,400 --> 00:20:20,680 Speaker 2: Well, now, uh, come on and sit beside me on 345 00:20:20,759 --> 00:20:21,119 the couch. 346 00:20:22,319 --> 00:20:25,279 Speaker 7: Now, let's get that unhappy frown off our handsome face 347 00:20:25,319 --> 00:20:26,680 and tell mama what the trouble is. 348 00:20:27,240 --> 00:20:30,640 Speaker 2: Well, I, oh, you kind of like the sort of 349 00:20:30,680 --> 00:20:31,440 thing I do, don't you? 350 00:20:32,319 --> 00:20:35,319 Speaker 7: Well, i'd I don't know. You haven't exactly started doing 351 00:20:35,359 --> 00:20:35,759 it yet. 352 00:20:37,000 --> 00:20:42,319 Speaker 2: I met my painting. Oh that well, well, I mean 353 00:20:43,240 --> 00:20:45,960 you did say something about helping me. I I you 354 00:20:46,000 --> 00:20:48,200 did sort of promise to be my patron. You you 355 00:20:48,240 --> 00:20:49,480 bought one picture from me? 356 00:20:49,640 --> 00:20:50,400 Speaker 3: Yes, I did. 357 00:20:51,000 --> 00:20:53,799 Speaker 7: And let's be fair to Chelton. He recognized your talent 358 00:20:54,279 --> 00:20:56,880 for a painting. That is, he thought you had quite 359 00:20:56,920 --> 00:21:02,880 a future, but you don't. Well, I'm temporarily interested in 360 00:21:02,920 --> 00:21:05,960 the present, so am I. How I'm delighted to hear it. 361 00:21:07,000 --> 00:21:07,720 Do you wanna tell me. 362 00:21:07,759 --> 00:21:14,200 Speaker 2: Why missus, I mean, Marsha, how do I have all 363 00:21:14,200 --> 00:21:14,400 of me? 364 00:21:15,519 --> 00:21:22,759 Speaker 7: Well, that's quite a proposition. Why this sudden capitulation as 365 00:21:22,799 --> 00:21:23,359 that's the world. 366 00:21:23,440 --> 00:21:25,839 Speaker 2: Because I need money. I I I paint because I 367 00:21:25,839 --> 00:21:27,680 want to one everything I paint. I I never wanna 368 00:21:27,720 --> 00:21:31,119 let go, never wanna sell. But it's well, just how 369 00:21:31,160 --> 00:21:34,640 I need money? Oh is that all? But don't be silly. 370 00:21:35,319 --> 00:21:37,359 Speaker 7: I have plenty for both of us, and you can 371 00:21:37,400 --> 00:21:41,039 still hang on to your precious kindnasses plenty. 372 00:21:41,400 --> 00:21:42,240 Speaker 3: For both of us. 373 00:21:42,279 --> 00:21:43,559 Speaker 2: I I don't understand. 374 00:21:44,319 --> 00:21:46,839 Speaker 7: Well, let's not talk about that in the living room. 375 00:21:47,000 --> 00:21:51,880 We could make it all much clearer upstairs up stairs. 376 00:21:52,119 --> 00:21:56,359 Speaker 2: Hm, oh no, look, Marsha, I don't I don't need money. 377 00:21:57,000 --> 00:22:00,880 W Yeah, I wasn't suggesting that, joss Of. But what well, 378 00:22:00,920 --> 00:22:05,119 I need money for us to get married married. But 379 00:22:06,359 --> 00:22:08,519 I I don't mean to you. 380 00:22:08,599 --> 00:22:13,640 Speaker 7: I mean to Polly Polly, Oh you mean Polly Braxton. 381 00:22:14,319 --> 00:22:16,279 Gerald Fairley would never let you have her. 382 00:22:16,720 --> 00:22:17,279 Speaker 2: He has his. 383 00:22:17,279 --> 00:22:21,200 Speaker 7: Sights on her for himself, mister Fairley, he's old enough 384 00:22:21,200 --> 00:22:23,880 to now let's not discuss who's old enough to be 385 00:22:23,920 --> 00:22:26,880 Who's what? And I don't wanna talk about that, silly 386 00:22:26,880 --> 00:22:31,839 little baby like Polly. Let's just concentrate on us. Sure, 387 00:22:31,880 --> 00:22:35,400 but what are through my husband's connections. I can arrange 388 00:22:35,400 --> 00:22:38,200 a one man's show for your paintings, but that will 389 00:22:38,200 --> 00:22:38,680 take time. 390 00:22:39,839 --> 00:22:43,039 Speaker 2: In the meantime, there's you and me. I can't wait 391 00:22:43,079 --> 00:22:44,680 for a seor and I. I I just like to 392 00:22:44,720 --> 00:22:45,640 be able to say, oh, I have to. 393 00:22:45,680 --> 00:22:48,720 Speaker 7: Raise some cash so you can try to marry Polly Brack. 394 00:22:48,839 --> 00:22:51,079 Speaker 3: Yes you prefer her to me? 395 00:22:53,160 --> 00:22:56,720 Speaker 2: Well, morse, it's it's different with. 396 00:22:56,799 --> 00:22:59,960 Speaker 7: Us, A damn right it is. You don't mind letting 397 00:23:00,119 --> 00:23:00,960 yourself out, do you? 398 00:23:01,640 --> 00:23:01,920 Speaker 1: Sins? 399 00:23:01,960 --> 00:23:04,119 Speaker 7: In a larger sense? You already have. 400 00:23:08,640 --> 00:23:11,160 Speaker 2: The first thing. The following morning, I went straight to 401 00:23:11,240 --> 00:23:14,279 mister Fresnick Steeler, who had handled the one sale i'd made. 402 00:23:14,759 --> 00:23:16,720 I laid my cards on the table about needing money. 403 00:23:17,359 --> 00:23:19,680 He said he couldn't handle what I want, but he 404 00:23:19,720 --> 00:23:23,960 would refer me to the Kopleman Galleries, and that that's 405 00:23:24,000 --> 00:23:29,359 all you have every canvas I finished, mister Kopleman, mm 406 00:23:29,559 --> 00:23:34,039 vm gir or renoir. You're not. I wouldn't expect to 407 00:23:34,079 --> 00:23:37,680 be yet. Besides, there not my style. But my style 408 00:23:38,119 --> 00:23:42,640 needs to buy what I can sell, So buy now? 409 00:23:43,160 --> 00:23:47,559 Handle you show you maybe, but right now I need cash. 410 00:23:47,839 --> 00:23:52,599 M I'll take it on consignment the usual percentage agreement, 411 00:23:52,640 --> 00:23:54,759 and I'll push it all I can. Is it what 412 00:23:54,920 --> 00:23:59,799 I needed it? Don't rush me. I didn't finish. If you, 413 00:24:00,000 --> 00:24:03,559 I'll make a special deal, an advance against future sales 414 00:24:03,640 --> 00:24:09,720 five hundred and I can see that's not enough. I'll 415 00:24:09,720 --> 00:24:13,480 spatch a little a thousand dollars cash. But that is 416 00:24:13,680 --> 00:24:17,200 as far as I can go. When could I have it? 417 00:24:17,680 --> 00:24:21,160 I have a wagon downstairs. You help me stack these 418 00:24:21,240 --> 00:24:29,519 canvases in it, and you'll get it right away. I 419 00:24:29,559 --> 00:24:32,359 didn't question anything for a moment. Things had gone even 420 00:24:32,400 --> 00:24:35,359 better than I could have hoped. Polly and I met 421 00:24:35,359 --> 00:24:38,000 that Sunday's plan across the state line by mid afternoon 422 00:24:38,000 --> 00:24:41,680 and got Polly Fellert in the hotel. We registered as 423 00:24:41,759 --> 00:24:43,519 man and wife, which we were going to be as 424 00:24:43,559 --> 00:24:45,279 soon as I found the justice of the peace. Then 425 00:24:46,440 --> 00:24:49,119 came the first blow. 426 00:24:50,119 --> 00:24:51,480 Speaker 6: John, where have you been? 427 00:24:51,599 --> 00:24:54,519 Speaker 5: What took you so long? When do we get the license? 428 00:24:54,680 --> 00:24:56,400 Speaker 2: Oh? Honey, I is anything wrong? 429 00:24:56,759 --> 00:24:57,319 Speaker 3: What is it? 430 00:24:57,720 --> 00:24:59,880 Speaker 2: We? Well, we can't get married yet. 431 00:25:00,079 --> 00:25:00,839 Speaker 5: Oh I knew it. 432 00:25:01,640 --> 00:25:02,799 Speaker 6: God is punishing us. 433 00:25:03,680 --> 00:25:06,400 Speaker 5: I knew it was too good to be true. We 434 00:25:06,480 --> 00:25:08,279 still have to wait two years until I know? 435 00:25:08,319 --> 00:25:10,880 Speaker 2: I say, take it easy, daring, Not two years, just 436 00:25:11,599 --> 00:25:15,440 two days? Forty eight hours? Oh? 437 00:25:15,599 --> 00:25:16,200 Speaker 5: Is that all? 438 00:25:17,440 --> 00:25:17,599 Speaker 4: Then? 439 00:25:17,640 --> 00:25:19,559 Speaker 1: Everything's all right? Sure? 440 00:25:21,279 --> 00:25:23,519 Speaker 2: Only I know. 441 00:25:25,160 --> 00:25:29,799 Speaker 6: This was to be our wedding night. We waited so long? 442 00:25:32,000 --> 00:25:33,440 Why does it have to be longer? 443 00:25:34,759 --> 00:25:39,359 Speaker 2: I yes, it's just the way the rules are made. 444 00:25:40,039 --> 00:25:42,599 Speaker 4: But we are going to be married in forty eight hours. 445 00:25:44,359 --> 00:25:46,960 We are man and wife already. 446 00:25:46,599 --> 00:25:50,960 Speaker 5: In our hearts. Couldn't we been those old rules just 447 00:25:51,000 --> 00:25:54,599 a bit? Do we have to wait any longer? 448 00:25:55,880 --> 00:25:56,839 Speaker 6: What harm would it do? 449 00:25:58,240 --> 00:25:58,359 Speaker 4: Uh? 450 00:25:58,960 --> 00:26:06,759 Speaker 2: I guess? I I guess, considering how much we both 451 00:26:06,799 --> 00:26:18,200 want each other, it wouldn't do any harm at all. 452 00:26:18,240 --> 00:26:23,200 I make no moral judgments. I only comment that twice recently, 453 00:26:23,839 --> 00:26:27,880 John Brown has made compromises with the two most important 454 00:26:27,920 --> 00:26:32,440 things in his life, his art and his love for 455 00:26:32,559 --> 00:26:36,240 some men. In any day and age, this has afforded 456 00:26:36,279 --> 00:26:41,039 no problem for John Brown. Marked by fate, or if 457 00:26:41,039 --> 00:26:44,720 you wish to call it retribution, it pulled his whole 458 00:26:44,799 --> 00:26:47,880 existence down upon him like a falling house of cards, 459 00:26:48,920 --> 00:26:54,359 spelled his immediate failure and final doom. I shall return 460 00:26:54,440 --> 00:27:07,920 shortly with Act three. That morning, Polly and John woke 461 00:27:08,000 --> 00:27:12,000 up together, man and wife in every sense, but the 462 00:27:12,039 --> 00:27:15,480 piece of paper that would make it legal. Two things 463 00:27:15,599 --> 00:27:20,160 happened that affected their future. The United States declared war 464 00:27:20,240 --> 00:27:25,519 on Germany, and Gilbert Fairley, not entirely by accident, discovered 465 00:27:25,559 --> 00:27:29,319 where his missing ward had disappeared to. Both of these 466 00:27:29,359 --> 00:27:32,680 events set a series of actions in motion which are 467 00:27:32,720 --> 00:27:36,119 to bring us back full circle through fifty years to 468 00:27:36,200 --> 00:27:40,359 the Fresdic Museum and the haunted painting. But let us 469 00:27:40,440 --> 00:27:43,880 leave the future for the future and stay for the 470 00:27:43,920 --> 00:27:50,160 present with the past. Are you awake, John, Yes, Polly. Uh. 471 00:27:50,160 --> 00:27:52,920 For a long time, I I didn't wanna wake you. 472 00:27:54,000 --> 00:28:02,599 Speaker 5: Oh, good morning mister Brown, Good morning this Brown husband. 473 00:28:03,839 --> 00:28:12,359 Speaker 2: Wife. Oh, I feel so wicked, me too. In about 474 00:28:12,359 --> 00:28:15,319 thirty four and a half hours, it can all be 475 00:28:15,440 --> 00:28:16,279 nice and legal. 476 00:28:17,119 --> 00:28:19,440 Speaker 5: Well, don't sound so bored about it. 477 00:28:19,880 --> 00:28:23,000 Speaker 2: Well I'm not. After all, it's only a matter of 478 00:28:23,000 --> 00:28:23,519 for him. Now. 479 00:28:24,079 --> 00:28:27,200 Speaker 5: You're not worried about making a dishonest woman enough. 480 00:28:27,119 --> 00:28:29,200 Speaker 2: Meeting, But why should I be, since I have every 481 00:28:29,200 --> 00:28:31,599 intention of making you the other two the other What 482 00:28:32,680 --> 00:28:42,960 an honest woman. We didn't know how short our happiness 483 00:28:43,079 --> 00:28:46,839 was to be. Hell has no fury like a woman's scornful. 484 00:28:47,440 --> 00:28:50,839 Perhaps that's an apt quotation, but I never thought Marsha 485 00:28:50,880 --> 00:28:54,960 would have felt that strongly, but I guess she did. 486 00:28:57,000 --> 00:29:00,480 I'm sorry if I'm late for lunch, Marsha, so I, 487 00:29:01,000 --> 00:29:03,359 But then at the habit of yours, don't be cross. 488 00:29:03,440 --> 00:29:05,599 I am going to be very cross with you for 489 00:29:05,799 --> 00:29:10,640 many reasons. You intend to marry Polly Braxton. Of course 490 00:29:11,759 --> 00:29:13,960 if I don't before she's twenty one, she could bounce 491 00:29:14,079 --> 00:29:14,359 me out. 492 00:29:14,440 --> 00:29:15,880 Speaker 1: I'm quite possibly will. 493 00:29:16,000 --> 00:29:17,440 Speaker 2: Where is Polly now? 494 00:29:18,759 --> 00:29:19,359 Speaker 1: Down to fin o? 495 00:29:20,720 --> 00:29:22,079 Speaker 3: That's why I was late for our meeting? 496 00:29:22,599 --> 00:29:24,880 Speaker 2: Do you have any idea I might? 497 00:29:26,240 --> 00:29:28,200 Speaker 1: Well, it's damned important to me. Really? 498 00:29:29,079 --> 00:29:33,279 Speaker 2: Why you know why I'm not in the best of shape. 499 00:29:33,279 --> 00:29:36,119 Should my guardianship be examined now? But we're in a 500 00:29:36,119 --> 00:29:38,400 couple of years with Polly as my wife. I need 501 00:29:38,480 --> 00:29:40,279 have no worries, and I. 502 00:29:40,160 --> 00:29:42,720 Speaker 7: Have a piece of information that's worth your whole empire. 503 00:29:43,839 --> 00:29:45,519 What do I get in exchange? 504 00:29:46,200 --> 00:29:46,920 Speaker 2: What do you want? 505 00:29:48,319 --> 00:29:54,759 Speaker 7: A continuance of our present relationship? Nobody pleases me quite 506 00:29:54,880 --> 00:29:59,920 like you. Granted your little pigeon has flown the coup 507 00:30:00,039 --> 00:30:03,920 to get married. You have about let's see a little 508 00:30:03,960 --> 00:30:07,119 over twenty four hours to stop it. Would you like 509 00:30:07,240 --> 00:30:08,359 to know where to find her? 510 00:30:13,559 --> 00:30:13,680 Speaker 6: Who? 511 00:30:15,000 --> 00:30:15,440 Speaker 5: Who is that? 512 00:30:15,599 --> 00:30:15,960 Speaker 6: Darling? 513 00:30:16,240 --> 00:30:16,799 Speaker 2: I don't know. 514 00:30:17,720 --> 00:30:20,400 Speaker 5: I'm I'm terribly frightened. 515 00:30:20,759 --> 00:30:24,559 Speaker 2: Trying not to be Go into the bathroom, darling. I'll 516 00:30:24,559 --> 00:30:32,519 answer it. Okay, okay, I'm coming. Oh it's you. Where 517 00:30:32,599 --> 00:30:35,519 is she? Where's Polly? None of your damn business. She's 518 00:30:36,519 --> 00:30:37,200 she's my wife. 519 00:30:37,279 --> 00:30:39,039 Speaker 1: Now, Oh, no, she's not. 520 00:30:39,240 --> 00:30:41,559 Speaker 3: I took care to check on that at the registrar's 521 00:30:41,559 --> 00:30:43,880 office before I came here. I'm gonna have you off 522 00:30:43,920 --> 00:30:46,839 a statutory rape, and I have enough evidence on you 523 00:30:46,960 --> 00:30:47,640 to make it stick. 524 00:30:48,000 --> 00:30:50,200 Speaker 5: No, please, I'll go in court and swear it. 525 00:30:50,319 --> 00:30:51,319 Speaker 1: You can only hurt him. 526 00:30:52,039 --> 00:30:55,960 Speaker 3: You're nineteen and still my ward, and without a marriage license, 527 00:30:56,759 --> 00:30:58,599 you'll still not reach the age of consent. 528 00:31:00,000 --> 00:31:01,799 Speaker 1: Now, I'm giving you both one choice. 529 00:31:02,759 --> 00:31:06,160 Speaker 3: Take it, or I'll shame you and Polly out of 530 00:31:06,200 --> 00:31:09,000 all society, and I'll ram you in jail for the 531 00:31:09,079 --> 00:31:13,519 best part of your life. Mister John Brown, what's the choice? 532 00:31:14,799 --> 00:31:16,519 Speaker 2: We have just gone to war. 533 00:31:17,839 --> 00:31:19,559 Speaker 1: We'll need plenty of canon. 534 00:31:19,720 --> 00:31:23,400 Speaker 3: Father. I shall expect you, mister Brown, to report to 535 00:31:23,480 --> 00:31:26,920 the nearest recruiting station today or at the latest tomorrow 536 00:31:28,400 --> 00:31:32,480 and Polly. I'm going to do something for Polly that 537 00:31:32,640 --> 00:31:36,920 you couldn't or wouldn't do. I'll make her my wife 538 00:31:38,200 --> 00:31:39,319 and an honest woman. 539 00:31:44,319 --> 00:31:46,880 Speaker 2: I won't go through all the pleating, the threats, the 540 00:31:47,000 --> 00:31:50,440 tears from Polly, and the vicious obstinacy of Gilbert. Today 541 00:31:50,480 --> 00:31:53,680 it would seems senseless. In nineteen seventeen, it was a 542 00:31:53,720 --> 00:31:56,599 different world, and I ended up with one of the 543 00:31:56,640 --> 00:31:59,799 first catteries to ship overseas to the mud and the trenches, 544 00:31:59,799 --> 00:32:04,000 a member of the American Expeditionary Force. I think I 545 00:32:04,200 --> 00:32:06,279 prayed that a book would find me, put me out 546 00:32:06,279 --> 00:32:09,480 of my misery, but with the perversity of fate. Since 547 00:32:09,480 --> 00:32:12,559 I didn't care about living, I was one of those 548 00:32:12,599 --> 00:32:22,160 who came back as our troopship doctored was delilium. Everyone 549 00:32:22,279 --> 00:32:26,720 in transports of happiness, there was none for me. Of 550 00:32:26,839 --> 00:32:29,400 all the letters I've ever written, I never had one 551 00:32:29,480 --> 00:32:33,960 reply from Pa. I was surprised Tomsham that he had died, 552 00:32:34,559 --> 00:32:38,000 surprised that she was there, but surprised more than anything 553 00:32:38,039 --> 00:32:40,960 at how she had aged. So good to see you home, 554 00:32:41,079 --> 00:32:44,160 Johnny Ow. It should be glad to be back, or 555 00:32:44,160 --> 00:32:48,279 at least grateful house with Polly. 556 00:32:48,519 --> 00:32:51,000 Speaker 7: But as soon as you can break three, why don't 557 00:32:51,000 --> 00:32:52,000 we go somewhere and talk? 558 00:33:00,240 --> 00:33:02,119 Speaker 2: Were you taking me back home with me? 559 00:33:03,200 --> 00:33:05,000 Speaker 7: You surprised to see a woman driving a car? 560 00:33:05,880 --> 00:33:09,000 Speaker 2: Shyes, not you, but was in general? Yes? 561 00:33:09,200 --> 00:33:12,359 Speaker 7: When I learned why you boys were overseas, the women's 562 00:33:12,400 --> 00:33:13,440 auxiliary did. 563 00:33:13,319 --> 00:33:13,960 Speaker 6: What it could. 564 00:33:14,400 --> 00:33:20,039 Speaker 2: I'm sure that. What about Holly? Well, she married Gilbert, 565 00:33:20,079 --> 00:33:23,039 you know from all my unanswered letters, I could have 566 00:33:23,079 --> 00:33:24,920 guessed right after I left. 567 00:33:25,000 --> 00:33:25,119 Speaker 1: Oh. 568 00:33:25,240 --> 00:33:29,279 Speaker 7: No, she waited his arm as she could. But you 569 00:33:29,359 --> 00:33:30,880 say your letters were unanswered. 570 00:33:31,279 --> 00:33:35,319 Speaker 2: That's right, dear lord. It's worse than all thought. What 571 00:33:35,440 --> 00:33:36,200 does that mean? 572 00:33:37,119 --> 00:33:39,400 Speaker 3: But I I guess she could never have received them, John, 573 00:33:40,119 --> 00:33:40,720 I don't think she. 574 00:33:40,680 --> 00:33:43,079 Speaker 7: Would have married Gilbert if she had, I mean, if 575 00:33:43,119 --> 00:33:44,720 you told her that you still loved her. 576 00:33:45,440 --> 00:33:46,079 Speaker 4: I did. 577 00:33:47,759 --> 00:33:53,200 Speaker 2: Oh what's the difference now? I don't suppose anything's happened 578 00:33:53,240 --> 00:33:55,640 to my paintings, I mean anything of interest? 579 00:33:55,680 --> 00:33:58,559 Speaker 7: I mean no, did you do anything over there? 580 00:33:59,200 --> 00:34:00,759 Speaker 2: You mean painting? O? Good lord? 581 00:34:00,880 --> 00:34:02,599 Speaker 4: No, I hope you will again. 582 00:34:03,240 --> 00:34:05,279 Speaker 7: You won't pay any of the old Braxton houses still 583 00:34:05,319 --> 00:34:10,559 in my ex husband's collection. The others, well, you'd you'd 584 00:34:10,639 --> 00:34:14,280 have to ask Gilbert about those, Hubert, it was a 585 00:34:14,320 --> 00:34:17,679 condition Polly made before she'd marry him. They were brought 586 00:34:17,719 --> 00:34:20,000 from a dealer named Copperman and put in her name. 587 00:34:21,159 --> 00:34:23,639 You have quite a sum waiting for you in the bank, Johnny, 588 00:34:24,079 --> 00:34:24,639 I don't want it. 589 00:34:24,719 --> 00:34:26,639 Speaker 2: Hut. I got out my pictures. 590 00:34:28,159 --> 00:34:33,440 Speaker 7: Well they are yours now to claim What what do 591 00:34:33,519 --> 00:34:33,800 you mean? 592 00:34:35,320 --> 00:34:37,480 Speaker 2: She left them to you in her will when she 593 00:34:37,719 --> 00:34:46,840 put once you once you wro Marcia's Polly Polly dead? Yes, Johnny, 594 00:34:47,880 --> 00:34:48,599 Polly is dead. 595 00:34:49,840 --> 00:34:53,159 Speaker 6: Oh, oh she was. 596 00:34:54,840 --> 00:34:57,800 Speaker 7: She was going to have a child, but she go 597 00:34:59,119 --> 00:35:03,039 She committed serious hanged herself before the child was born. 598 00:35:03,639 --> 00:35:08,039 Why why, That's something else you'll have to ask Gilbert about, 599 00:35:09,119 --> 00:35:13,039 he said, And he he had a telegram. 600 00:35:12,719 --> 00:35:15,519 Speaker 2: To prove it that you had been killed in action. 601 00:35:16,039 --> 00:35:17,239 Speaker 7: We all thought you were dead. 602 00:35:17,599 --> 00:35:17,760 Speaker 4: Uh. 603 00:35:21,400 --> 00:35:25,480 Speaker 2: And suddenly it was all crystal clear, that cold fish 604 00:35:25,719 --> 00:35:28,559 carrying through his plots that no matter what cost, the 605 00:35:28,679 --> 00:35:32,679 child mine and Polly's not his. The intercepted letters broke 606 00:35:32,679 --> 00:35:34,440 her thinking I no longer cared for her, And then 607 00:35:35,760 --> 00:35:39,639 with that false telegram, the last frail hope crushed and 608 00:35:39,840 --> 00:35:44,079 her ghastly escape from his cruelties and demands taking our 609 00:35:44,239 --> 00:35:46,880 child with her, and so half in samee. With rage, 610 00:35:46,920 --> 00:35:49,159 I went to Braxton Hospital the last time to face 611 00:35:49,239 --> 00:35:51,119 the man I felt could shame the devil. 612 00:35:51,440 --> 00:35:53,719 Speaker 3: I heard you were back in the stage, John Brown, 613 00:35:54,800 --> 00:35:57,000 and I've been rather expecting her to turn up here. 614 00:35:58,440 --> 00:36:00,119 Speaker 2: Aren't you afraid of? 615 00:36:00,199 --> 00:36:00,239 Speaker 4: What? 616 00:36:01,440 --> 00:36:02,159 Speaker 2: Did you tear me? 617 00:36:02,320 --> 00:36:03,079 Speaker 1: Limb from limb? 618 00:36:04,360 --> 00:36:08,199 Speaker 2: I prepared that German lucre. 619 00:36:09,840 --> 00:36:12,920 Speaker 3: I purchased it from one of our brave Yankee doodle 620 00:36:12,960 --> 00:36:13,760 boys like you. 621 00:36:14,079 --> 00:36:14,960 Speaker 2: You're a fool. 622 00:36:15,000 --> 00:36:17,679 Speaker 1: I'm not afraid to die, my dear Johnny. I have 623 00:36:17,800 --> 00:36:19,000 no intention of shooting you. 624 00:36:19,599 --> 00:36:22,280 Speaker 2: I have better ways of bleeding you slowly to death, 625 00:36:23,039 --> 00:36:25,519 making you writhe helplessly. 626 00:36:25,039 --> 00:36:30,280 Speaker 1: As I have those past. Yeh, come with me and 627 00:36:30,400 --> 00:36:32,679 let me give Polly's legacy to you. 628 00:36:36,320 --> 00:36:38,360 Speaker 2: I followed him from the hall up the stairs to 629 00:36:38,400 --> 00:36:41,280 an unused room. We entered, and I looked about the 630 00:36:41,360 --> 00:36:47,440 room in blank horror and blinding anger. Every canvas, safe 631 00:36:47,480 --> 00:36:51,480 one that I had ever painted, blooded and drenched with 632 00:36:51,679 --> 00:36:56,039 bright red paints, and ripped to tatters by knife slashes 633 00:36:56,079 --> 00:37:02,360 in their frames. The rest of your children mad to destroyed, ruin, 634 00:37:02,440 --> 00:37:03,239 How could. 635 00:37:03,280 --> 00:37:05,880 Speaker 1: My revenge for my humiliation? 636 00:37:07,400 --> 00:37:08,519 Speaker 2: And now the last. 637 00:37:09,760 --> 00:37:13,280 Speaker 1: I say this one letter that I intercepted for you, 638 00:37:14,840 --> 00:37:15,159 read it. 639 00:37:19,199 --> 00:37:22,679 Speaker 2: I read it on, but the sentences that remained in 640 00:37:22,800 --> 00:37:23,719 my mind were these. 641 00:37:25,159 --> 00:37:28,719 Speaker 6: You must understand, my darling, that I only married him 642 00:37:28,800 --> 00:37:31,920 to save you, and you will never touch me. 643 00:37:34,000 --> 00:37:35,840 Speaker 5: Our child is growing inside me. 644 00:37:36,800 --> 00:37:39,480 Speaker 6: And when you come back, we will. 645 00:37:39,400 --> 00:37:44,000 Speaker 5: Arrange a divorce or in a moment so that we 646 00:37:44,119 --> 00:37:50,639 can be married. Please be careful, you must come back. 647 00:37:52,559 --> 00:37:54,000 Speaker 6: I love you forever now. 648 00:37:55,559 --> 00:37:57,360 Speaker 5: And if God should only. 649 00:37:57,239 --> 00:37:59,440 Speaker 6: Allow that in the beyond. 650 00:38:00,039 --> 00:38:02,239 Speaker 2: And suddenly I went for search. 651 00:38:04,519 --> 00:38:07,360 Speaker 4: You fer you killed her. 652 00:38:07,719 --> 00:38:10,039 Speaker 1: Remember my arm. If you think that will only back, 653 00:38:10,159 --> 00:38:10,559 damn you. 654 00:38:13,159 --> 00:38:15,079 Speaker 3: You'll you'll shot me. 655 00:38:16,159 --> 00:38:19,039 Speaker 2: A lot of us brought Lucas home with us. I 656 00:38:19,199 --> 00:38:20,480 had mine and it's bulleted, and. 657 00:38:20,519 --> 00:38:22,559 Speaker 1: You're gutting a doctor and a doctor die. 658 00:38:23,679 --> 00:38:27,000 Speaker 2: It'll take a long time, though, and it will hurt, 659 00:38:28,559 --> 00:38:30,639 maybe hurd enough to make up for what you did 660 00:38:30,679 --> 00:38:35,360 to Polly. And just to make sure, I am going 661 00:38:35,440 --> 00:38:39,639 to make an end of this Charnel house. I am 662 00:38:39,760 --> 00:38:42,840 going to burn it on the ground. It can be 663 00:38:43,440 --> 00:38:55,039 your funeral. Pire with police found me at Marsha's. I 664 00:38:55,519 --> 00:39:01,039 was arrested, tried and convicted of ourson and murder and 665 00:39:01,199 --> 00:39:06,960 committed to an insane asylum for life, where I stayed 666 00:39:07,119 --> 00:39:09,880 until I escaped one week ago. 667 00:39:10,599 --> 00:39:17,679 Speaker 3: Way, Joe, Joe, come on, don't argue, an, I can 668 00:39:17,760 --> 00:39:20,960 really show it to you. Show me where there's a light, 669 00:39:21,840 --> 00:39:25,360 A right longe red light in that upper window. 670 00:39:25,519 --> 00:39:27,599 Speaker 2: Uh a wee back at the w. H. 671 00:39:27,800 --> 00:39:31,599 Speaker 3: Haskell again, Yeah, yeah, yeah a not only last the. 672 00:39:31,679 --> 00:39:32,800 Speaker 2: Old bomb of visitor. 673 00:39:33,719 --> 00:39:39,000 Speaker 3: He's back sitting on the bench. Yeh see, yeah, you 674 00:39:39,079 --> 00:39:40,039 know I see him all right. 675 00:39:40,000 --> 00:39:40,079 Speaker 5: But. 676 00:39:42,000 --> 00:39:45,760 Speaker 3: But what you're right there? You see not only the 677 00:39:45,920 --> 00:39:50,320 upstairs window, but the other one over there and downstairs. Yeah, 678 00:39:50,840 --> 00:39:53,559 looks like the house is on fire. The damn fool, 679 00:39:53,559 --> 00:39:54,679 the whole pictures on fire. 680 00:39:54,800 --> 00:39:57,039 Speaker 1: But loo ho hold until I can join extinguisher. 681 00:40:00,320 --> 00:40:08,360 Speaker 2: So it is finally the last of everything. Even wh 682 00:40:08,480 --> 00:40:13,480 Haskell funny all those years ago as a boy to 683 00:40:13,559 --> 00:40:16,320 feel that no painter of note would be just playing 684 00:40:16,480 --> 00:40:23,239 Johnny Brown wh Hascal sounded more like it, And in 685 00:40:23,360 --> 00:40:29,559 the end even he had to go, no immortality for 686 00:40:29,679 --> 00:40:37,000 any of us, Johnny, Johnny, Polly, hurry up, darling. 687 00:40:38,119 --> 00:40:47,119 Speaker 3: We're waiting for you, we me and your son, your son. 688 00:40:48,440 --> 00:40:50,119 I I'm coming. 689 00:40:51,800 --> 00:40:56,920 Speaker 2: I'm coming time at last to put an end to 690 00:40:57,119 --> 00:41:00,599 tragedy and face and new at the beginning. 691 00:41:05,199 --> 00:41:05,840 Speaker 3: Yeah, that does it? 692 00:41:06,199 --> 00:41:10,360 Speaker 2: Oh? Uh, No, that it'll help the painting much. It's destroyed. 693 00:41:11,840 --> 00:41:13,599 Oh you were right about that old boy. 694 00:41:13,760 --> 00:41:14,559 Speaker 3: He is a vandal. 695 00:41:15,039 --> 00:41:17,360 Speaker 6: Well, I guess h. 696 00:41:17,639 --> 00:41:19,760 Speaker 2: I guess he'll get what's coming to him. The cops 697 00:41:19,800 --> 00:41:20,360 are on their way. 698 00:41:21,000 --> 00:41:25,639 Speaker 3: Eh oughta be a little late, Joe, Right, old fella here, 699 00:41:27,000 --> 00:41:30,239 he's gone dead. Yeah. 700 00:41:31,440 --> 00:41:35,840 Speaker 2: Hm, I wonder what he had against that picture. I 701 00:41:35,960 --> 00:41:37,719 guess maybe we'll never know. 702 00:41:38,880 --> 00:41:43,239 Speaker 1: No, something, Joe. I don't think I will want to. 703 00:41:52,920 --> 00:41:56,239 Speaker 2: And maybe it's changed my own fascination for the idea 704 00:41:56,280 --> 00:41:59,679 of walking through a picture frame like Alice through the 705 00:41:59,719 --> 00:42:02,760 looking glass, just to find out what lay deep in 706 00:42:02,800 --> 00:42:05,480 the heart of the forest, or the cave or the 707 00:42:05,599 --> 00:42:08,800 house with the blank windows that showed no life. It's 708 00:42:08,880 --> 00:42:12,400 none of my business, really, and maybe I wouldn't like 709 00:42:12,840 --> 00:42:26,960 what I found there. I'll be back shortly. If any 710 00:42:27,000 --> 00:42:30,239 of you should come across a painting by W. H. Haskell, 711 00:42:30,960 --> 00:42:34,320 grab it for what you can, if it can be authenticated. 712 00:42:35,360 --> 00:42:38,639 After the incident in the museum, the old story was 713 00:42:38,800 --> 00:42:42,639 raked up again, and regardless of what artistic ability Joe 714 00:42:42,719 --> 00:42:46,920 Brown had anything from his hand is, if not priceless, 715 00:42:47,400 --> 00:42:51,920 at least tremendously price worthy. In his own strange way, 716 00:42:52,039 --> 00:42:55,960 he did achieve a sort of immortality. Our cast included 717 00:42:56,000 --> 00:43:00,599 Michael Wager, Robert Dryden, Joan Lovejoy, Jodda Rowland and Russell Horkan. 718 00:43:01,199 --> 00:43:04,239 The entire production was under the direction of Hyman Brown. 719 00:43:07,760 --> 00:43:12,480 And now a preview of our next tale. You killed 720 00:43:12,800 --> 00:43:18,599 a cab driver named Joe Paulson. But what he's saying, 721 00:43:18,639 --> 00:43:20,760 why would I kill him? You took his cash, purus 722 00:43:20,840 --> 00:43:24,039 the ring? How did I kill him with a gun? 723 00:43:25,519 --> 00:43:28,760 That's impossible, You know me, Lieutenant Davis. I never work 724 00:43:28,800 --> 00:43:29,920 with a gun until now. 725 00:43:30,000 --> 00:43:32,119 Speaker 1: I don't even have a guy. Oh, yes you do, Eddie. 726 00:43:32,159 --> 00:43:36,360 Speaker 3: We found it in your apartment, a gun, the Hot 727 00:43:36,480 --> 00:43:40,119 thirty two, the gun that killed Paulson. 728 00:43:41,639 --> 00:43:45,000 Speaker 2: But I thought, remember if you killed him when you 729 00:43:45,159 --> 00:43:51,880 were high, would you remember? Well, no, no, that's it, Eddie. 730 00:43:52,400 --> 00:43:55,039 You got the ring and the gun. How do you 731 00:43:55,079 --> 00:43:55,880 want to make a statement. 732 00:43:57,719 --> 00:44:03,199 Speaker 3: I don't remember killing a lieutenant. But if you've got 733 00:44:03,239 --> 00:44:06,760 all this evidence, I guess I didn't. 734 00:44:07,679 --> 00:44:10,880 Speaker 2: Radio Mystery Theater were sponsored in part by Buick Motor 735 00:44:10,920 --> 00:44:13,960 Division and sign Off The sinus medicines. 736 00:44:14,639 --> 00:44:15,239 Speaker 6: This is e. G. 737 00:44:15,480 --> 00:44:18,800 Speaker 2: Marshall inviting you to return to our mystery Theater for 738 00:44:18,920 --> 00:44:26,199 another adventure in the macabre. Until next time, pleasant dreams.