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<v Speaker 1>Unsolved mysteries. An old saying is dead men tell no tales.

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<v Speaker 1>Nothing could be farther from the truth. In the United

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<v Speaker 1>States alone, there are several cases on record in which

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<v Speaker 1>the police, after finding no true upon which to work,

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<v Speaker 1>have been led directly to the murderer by a force, which,

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<v Speaker 1>for want of a better name, we call supernatural.

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<v Speaker 2>Hub For.

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<v Speaker 1>Washington Square, an old residential district which I stood still

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<v Speaker 1>in the loop as the rest of the city is

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<v Speaker 1>rushed on in the mad world of modernism. The houses

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<v Speaker 1>still have iron railings before them. The street lamps are

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<v Speaker 1>few and far between. The causeway is cobbled, uneven, and

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<v Speaker 1>hard to walk on. Not a house but has its

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<v Speaker 1>five or six steps leading up to the front door,

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<v Speaker 1>and full bells have not yet been replaced by the

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<v Speaker 1>shrill ringing electric bells. A salt snowfalls thartening the harsh

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<v Speaker 1>outlines of the building's sidewalk and street parking lawn, and

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<v Speaker 1>these are all one a wavy blanket of glistening white.

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<v Speaker 1>A light shows in number twenty one, where Jack Hunter

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<v Speaker 1>addresses a strange company of guests. Now, everyone, please make

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<v Speaker 1>yourselves as comfortable as possible. Cigarette to my microbark cigars

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<v Speaker 1>a human, or you'll find drinks to your taste in

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<v Speaker 1>that cabinet. Hey, I'm going to stand here, you don't

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<v Speaker 1>mind and explain this well rather unusual situation i've since it.

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<v Speaker 3>Been on Pendles ever sentrality.

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<v Speaker 1>Yes, I can believe that, putting it as simple as possible,

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<v Speaker 1>every one of you, ladies and gentlemen, as a sometime

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<v Speaker 1>another lived in this house sometime during the past thirty

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<v Speaker 1>two years.

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<v Speaker 4>And I learnt here in nineteen eleven, or exactly four nights.

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<v Speaker 5>That one night, longer than I would say. I insisted

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<v Speaker 5>that George moved me out the third night. I couldn't

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<v Speaker 5>stand it.

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<v Speaker 1>I believe that I am right, and assuming that each

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<v Speaker 1>end of the one of us has had the same experience,

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<v Speaker 1>I lived here one whole year, so possibly I did

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<v Speaker 1>experience a little more than the rest of you.

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<v Speaker 4>Yes, this is strange. According to my record, you have

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<v Speaker 4>lived longer in the house than anyone else.

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<v Speaker 1>Upon you summarize, well, the first night I slept here,

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<v Speaker 1>nothing happened. But the second night I awoke with that

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<v Speaker 1>strange feeling that somebody, something was in the room. I

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<v Speaker 1>was about to turn up the light, but I came

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<v Speaker 1>to realization that it wasn't necessary. Although it was quite dark,

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<v Speaker 1>I could see figures I arranged along the sides of

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<v Speaker 1>my bed, then across the bottom. I couldn't tell about

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<v Speaker 1>the top, because frankly, I was too frightened to move.

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<v Speaker 3>That's exactly what happened to me.

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<v Speaker 6>I saw them the first night. They just stood there

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<v Speaker 6>and stared and stared. They never said a word, and

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<v Speaker 6>I couldn't.

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<v Speaker 1>That was my experience, and it happened no less than

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<v Speaker 1>one hundred and three times in one year. Gradually I

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<v Speaker 1>got used to him. You to speculate them myself. But

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<v Speaker 1>some of them are more dense, more material than others,

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<v Speaker 1>especially one one who very often came by herself.

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<v Speaker 4>A woman. May I interrupt? Certainly a woman is the

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<v Speaker 4>key to the whole problem. May I take the story

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<v Speaker 4>from there? Almost twenty minute now, mister Crawford will arrive.

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<v Speaker 1>He wrote to me untoid that he had the solution

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<v Speaker 1>of his visitation, and that he'd be here tonight Until

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<v Speaker 1>he arrived. I'll tell you about the woman. It was

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<v Speaker 1>nineteen nine. I lived about a mile and a half

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<v Speaker 1>from the here. One morning, snowing wintry as could be,

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<v Speaker 1>I left the house to go downtown to my office.

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<v Speaker 4>I was walking along past.

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<v Speaker 1>Courtland Park when the office are on the beat. Pat,

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<v Speaker 1>O'Malley help them for you, sir. That's the right risk model,

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<v Speaker 1>that it is, Hunter. That's like the old age, little

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<v Speaker 1>kids going to school. Ye, yes, for them with the

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<v Speaker 1>days we never appreciate them till we have to be

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<v Speaker 1>up and going in the martins.

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<v Speaker 4>And have to work. Why, sir, what are you looking at?

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<v Speaker 4>Look bad? Over in the park?

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<v Speaker 1>Does it looks like the outline of a body there

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<v Speaker 1>under the slow Sure? And that it does, sir, And

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<v Speaker 1>will be after going and satisfying ourselves that everything is

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<v Speaker 1>all right, all right. If we can open the gate

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<v Speaker 1>now that it's frozen stiffness gold, then we'll just have

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<v Speaker 1>to claim the eleven that we will shorter now and

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<v Speaker 1>dog to be spied them.

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<v Speaker 4>Good gloves of yours, mister Hunter, I opened them gates open.

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<v Speaker 1>Well, whatever it is, it must have lain there all night.

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<v Speaker 1>There's not a trace of footprints or inner the nose.

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<v Speaker 1>Now that i'm clostood, it looks more like a body

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<v Speaker 1>than ever.

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<v Speaker 4>Well, we'll sure we have to find it out that

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<v Speaker 4>we will.

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<v Speaker 1>Oh, I'm wet.

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<v Speaker 4>And sticky and red. He's a murder path.

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<v Speaker 1>And that's no lie, or never yet to anybody stab

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<v Speaker 1>themselves in the smile at the back like this one.

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<v Speaker 4>Finished that well, I called.

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<v Speaker 1>The patrol, and there will take her to the bar.

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<v Speaker 4>I yes, I don't know if any of you remember

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<v Speaker 4>the affair.

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<v Speaker 7>I do.

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<v Speaker 5>There never was a trace of the murderer or anything.

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<v Speaker 5>The papers were full of it, called it Philadelphia's unsolved mystery.

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<v Speaker 1>I appeared to the English, but today no one but

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<v Speaker 1>myself knows anymore than they did.

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<v Speaker 4>Then you say, no one but yourself. Yes.

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<v Speaker 1>I moved from where I was living about five years

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<v Speaker 1>later and came to live here.

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<v Speaker 8>The first night I.

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<v Speaker 1>Went to bed, dead tired from all the hustle of moving,

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<v Speaker 1>And just as soon as I'd set my alarm clocks,

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<v Speaker 1>I fell soundlessly. Midnight the bedroom fills with ghostly, shadowy sheeps,

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<v Speaker 1>wisps of an intangible something formed in the likeness of

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<v Speaker 1>human forms, transparent, horribly transparent. They ranged themselves about the bed,

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<v Speaker 1>and in ghastly silence, they stare down.

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<v Speaker 4>Upon the man.

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<v Speaker 1>Jack Hunter, lying there. Jack stirs uneasily in his sleep,

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<v Speaker 1>turns and tosses, twists, himself about and opened his eyes,

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<v Speaker 1>rosen with fear. He lies staring with wide eyes, his

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<v Speaker 1>lips form words, questions, but nothing that he can do,

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<v Speaker 1>No effort that he can make will.

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<v Speaker 4>Force words out. Another sheep enters the room, a woman.

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<v Speaker 1>Those shadowing nothings about the bed look at the newcomer,

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<v Speaker 1>and one by one they melted in nothing. The woman

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<v Speaker 1>advances to the bed.

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<v Speaker 8>You can help me. What what is that you say

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<v Speaker 8>you can help me? I was murdered.

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<v Speaker 3>I cannot rest until my murderer is known.

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<v Speaker 8>A woman, A murdered woman. I founowed the park. You

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<v Speaker 8>found me in the park. You know my murderer. I

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<v Speaker 8>know your murderers.

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<v Speaker 3>Come with me, follow me to the living room.

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<v Speaker 8>You will help me, you will let me do.

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<v Speaker 1>Jack Hunter follows the woman through the archway into the

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<v Speaker 1>living room. He stops before the grand piano, turns her

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<v Speaker 1>ghastly eyes upon him, and then pointing to a portrait,

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<v Speaker 1>his wife's portrait.

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<v Speaker 8>Mmm mmm, murdered.

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<v Speaker 1>Jack clasped his hands to his eyes, rocks to and

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<v Speaker 1>forward with a crash, forced to the floor in a

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<v Speaker 1>dead piece.

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<v Speaker 4>It was almost daylight when I came to I was pitty, roggy.

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<v Speaker 3>What a horrible experience to find your wife accused of murder.

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<v Speaker 4>The horrible part of it was it was true to you.

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<v Speaker 4>You can My wife had been.

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<v Speaker 1>In a private institution for the violently insane for years.

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<v Speaker 4>She escaped.

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<v Speaker 1>I knew nothing about her escape, but I investigated. He

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<v Speaker 1>returned to the institution two days later, her clothes bloodstains,

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<v Speaker 1>and the institution management glad to.

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<v Speaker 4>Get her back. So weasily never said a word.

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<v Speaker 1>But why, why in the name of Heaven has always

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<v Speaker 1>happened in this house for the rest of us. You've

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<v Speaker 1>never done anything for which we should be haunted by one.

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<v Speaker 4>Gulf of five dozens. I think that that brings the

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<v Speaker 4>board though the answer we're seeking. Mister Crawford. I'll go.

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<v Speaker 8>Let him make yourself comfortable.

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<v Speaker 1>I'll be down if I know what to make of it.

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<v Speaker 3>No, I'm just as puzzled as I was when I

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<v Speaker 3>lived here.

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<v Speaker 4>Well, we'll see what Crawford has to say. It doesn't know,

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<v Speaker 4>and I'm told them, mister Crawford, the story today about

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<v Speaker 4>your your wife everything.

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<v Speaker 7>In order to understand this, you misrealize that Washington where

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<v Speaker 7>is very much changed.

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<v Speaker 4>What it was back in the eighties.

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<v Speaker 7>Over where the hotel stands today is where the old court.

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<v Speaker 4>House used to be.

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<v Speaker 7>Down there where the Jasoline station stands used to be

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<v Speaker 7>old Lycus stables. The dale used to stand where the

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<v Speaker 7>hotel stands.

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<v Speaker 4>Now this house, that's what we want to.

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<v Speaker 3>I've been on pins and needles.

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<v Speaker 4>I still am this house, this house, this house to

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<v Speaker 4>be the Morgue. After you've heard from your sponsor it

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<v Speaker 4>solutions to the.

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<v Speaker 1>Washington Square mystery will be given order, ladies and gentlemen,

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<v Speaker 1>the solution for what you've been waiting.

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<v Speaker 3>You said, mister that this house used to be the Mark.

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<v Speaker 4>Yes, I did, but but I still doesn't explain that

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<v Speaker 4>it does. As far as I'm concerned.

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<v Speaker 7>You see you, when you begin dealing with a mysterious

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<v Speaker 7>realm beyond the practical and concrete things of life, things

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<v Speaker 7>that can be weighed, seen, felt, and otherwise measured, you

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<v Speaker 7>still not dealing with situations can only be investigated by comparisons.

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<v Speaker 4>What do you mean by comparison.

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<v Speaker 7>Comparisons of happenings of a like nature, comparisons with the

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<v Speaker 7>experiences of thousands of reputable people who have testified the

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<v Speaker 7>stimular experience?

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<v Speaker 1>You mean that if someone is emotionally upset in a

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<v Speaker 1>certain house, the imprint of that emotion, who will be

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<v Speaker 1>left in.

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<v Speaker 4>The house, almost like a photograph. That there's the claim

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<v Speaker 4>of many.

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<v Speaker 3>Even if people know nothing of what has happened.

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<v Speaker 4>Yes, have you ever walked into a house and had.

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<v Speaker 7>An unexplainable feeling of dislike of the place or.

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<v Speaker 4>What causes it?

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<v Speaker 7>Well, there are many people who say it's an invisible

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<v Speaker 7>influence left by the previous occupants or previous happenings. It's

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<v Speaker 7>easy to imagine the heartbreaking scenes in this morgue, the

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<v Speaker 7>air of gloom, the constant stream of people walking through

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<v Speaker 7>this building. There's nothing in their mind but the identification

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<v Speaker 7>of persons will be murdered.

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<v Speaker 4>Or otherwise met violent death.

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<v Speaker 6>In these things which we saw and heard are well

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<v Speaker 6>our own such a nature becoming aware of the what

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<v Speaker 6>you call invisible photographs of previous happening.

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<v Speaker 7>Yes, that is the theory advanced in that state between

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<v Speaker 7>sleeping and waking. These previous happenings took on an almost

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<v Speaker 7>tangible form when you came back to consciousness fully aware

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<v Speaker 7>of what had happened, and fully convinced that you had

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<v Speaker 7>been quite awake the whole time.