Episode 252: The Statue of Thor

[00:00:16] Speaker A: The Mysterious Old Radio Listening Society podcast. Welcome to the Mysterious Old Radio Listening Society, a podcast dedicated dedicated to suspense, crime and horror stories from the golden age of radio. I'm Eric. [00:00:36] Speaker B: I'm Tim. [00:00:36] Speaker C: And I'm Joshua. [00:00:37] Speaker B: We love mysterious old time radio stories, but do they Stand the test of time? That's what we're here to find out today. [00:00:43] Speaker C: I chose an episode of the Witch's Tale entitled the Statue of Thor. [00:00:49] Speaker A: The Witch's Tale was created by Minnesota native Alonzo Dean Cole. Born in 1897, Cole studied acting before enlisting as an army medic in France during World War I. After the war, Cole pursued a career in radio and theater, frequently performing with his wife, Marie O'. Flynn. In 1931, Cole approached New York radio station WOR and pitched a new concept. A late night anthology series dedicated entirely to horror. [00:01:17] Speaker B: The Witch's Tale debuted on WOR May 28, 1931 and became an overnight success. The show was nationally syndicated on the Mutual Broadcasting Network and adapted for Australian radio. In the late 1930s, according to some estimates, Cole wrote nearly 200 episodes of the Witch's Tale. He also directed and performed in most of them, along with his wife Marie and a small cast of regular actors. [00:01:39] Speaker C: The Witch's Tale had a lasting influence on the horror genre. According to author Reed G. Bergen, nearly all radio, television and even comic book horror series that followed borrowed liberally and often shamelessly from the convention's first developed by Cole. One of those conventions was the horror host, a recurring character who existed outside the confines of the main story. The Witch's Tale was narrated by old Nancy, the Witch of Salem, whose over the top cackle and gallows humor became trademarks of the genre. [00:02:13] Speaker A: After the Witch's tale ended in 1938, Cole wrote for other legendary radio programs, including the Shadow and Gangbusters. He also became the only writer for the series, Casey Crime photographer, producing over 300, 350 scripts. In 1961, during a move from New York to California, Cole destroyed his personal recordings of the Witch's Tale, believing they had no real value in the era of television. A little over 30 episodes exist today. Roughly 2/3 are from the Australian version and one third from the original series. [00:02:48] Speaker B: And now let's listen to the Statue of Thor, first broadcast May 22, 1933. [00:02:55] Speaker C: It's late at night and a chill has set in. You're alone and the only light you see is coming from an antique radio. Listen to the sounds coming from the speaker, listen to the music and listen to the voices. [00:03:16] Speaker D: The witches hail. The best fascination of the eerie, weird, blood chilling tales told by old Nancy, the witch of Salem and Satan, her wise black cat. They are waiting, waiting for you now. [00:03:54] Speaker E: 102 year old I be today. Yes sir, a hundred and two year old. Well, Satan, if you tell folks to douse their lights, we'll be getting down to business. [00:04:10] Speaker F: That's it. [00:04:11] Speaker E: Make it nice and dark. We want lots of shadow for this purty bedtime story. Now draw up to the fire and [00:04:23] Speaker F: gaze into the embers. Gaze into um. [00:04:27] Speaker E: Deep. And soon you'll see a tremendous barn like room. In New York City. It's called a studio. At one end stands a great big ugly man whose posy in the center a little handsome man is modeling an enormous heap of clay into a statue of a God. The old Norwegian goddess, strength and thunder. And that's what we're telling you about tonight. The statue of Thor. The statue of Thor. [00:05:09] Speaker D: Can you hold that pose another five minutes or less? [00:05:12] Speaker G: Sure, Mr. Adding. I Ben never tired an able for you. [00:05:15] Speaker D: You certainly have a treasure in Olaf, Neil. He scarcely moved a finger in half an hour. Yes, quite the perfect model. The poor chump hasn't brains enough to become tired. [00:05:24] Speaker G: Neil, don't burn. All right, Mr. Bingham. I don't mind them Mr. Adding yokes. Most everyone yoke like dust with all that. When I used to be wrestler, my manager say every day to me, hold up your big speed. If you got brains in your head like you got muscles in your body, you'll be wrestling champion of the world. [00:05:47] Speaker D: But Olaf has a sense of humor too, Arnold. As a joke on his manager, he never became wrestling champion of anywhere. [00:05:52] Speaker G: Yeah, that's right. Oh, excuse. I should not laugh. It breaks a fold. [00:05:58] Speaker D: I don't care what you do with your face, it's your body I'm copying. [00:06:02] Speaker G: Ja, I forget. My face is not so good. [00:06:06] Speaker D: All right for a comic, Ballantine, perhaps, but I'm working on the statue of a God. Don't let him talk to you like that, Olaf. Your face is all right and so is your brain. And you have the most superb body of any man I've ever seen. [00:06:17] Speaker G: Ja, your band talk sarcastic, Mr. Bingham. I don't like sarcastic yoke. [00:06:24] Speaker D: Sarcastic. That's enough for one day's work. You go and put your clothes on, Olaf. [00:06:29] Speaker G: So soon? [00:06:30] Speaker D: I'm bored. Come the same time tomorrow. [00:06:33] Speaker G: Yah, I be here. Can I look at the work we do this afternoon? [00:06:38] Speaker D: Help yourself. [00:06:40] Speaker G: Oh, that statue, he been beautiful. And to think he been really me [00:06:46] Speaker D: from the neck down. You're foe the Thunderer. [00:06:49] Speaker G: Too bad my face been not so good. I would like him to be me all over. [00:06:54] Speaker D: I'll use my imagination and another model for the face. Go and put your clothes and get out of here. [00:06:59] Speaker G: Tomorrow we finish statue maybe. You and me. [00:07:04] Speaker D: You know he considers himself as much the creator of this figure as I am. Better watch your nasty tongue with that fellow, Neil. If he ever discovers your insults aren't intended as jokes, he might break you in two. He never discovers anything. Yes, unfortunately. You have the ability to inspire devotion in people who should rightfully despise you. God only knows why. I know you're a supercilious prig, a selfish snob, an absolutely conscienceless libertine. Yet I still put up with you. That's because you hope to be around when just retribution overtakes me. For my sins, I suppose. No, I cease to hope for that. Well, now, what do you think of my statue of Thor? Not that I value your opinion. I don't expect you to. Well, it's like all your previous work. Magnificent in execution. Thanks, I agree. But like all your previous work, it lacks the very thing a true artist would have put into it. Now you're going to tell me that it has no soul? Thor was a pagan, old chap. He enjoyed life in those delightful days before souls were invented. Why won't you be serious about your work, Neil? You're a superb sculptor. If you wished, you might someday stand with the immortals. The immortals were a very stupid lot who loved work to the exclusion of pleasure. Fame and the monument after I'm dead aren't nearly so tempting as good liquor and beautiful women while I'm alive. Which reminds me. Have a drink. Are you going to continue throwing your talents away? I don't call it that. I play with art because it amuses me. If I took it seriously, it would cease to amuse. So your entire life's to be simply a round of amusement and a quest for new sensations. For a momentary thrill, a new sensation, I believe you'd commit a murder. That's an idea. I'll recall your suggestion next time. I'm terribly bored. Well, here's the crime and ready to [00:08:50] Speaker G: go now, Mr. Anning. [00:08:51] Speaker D: So I see. Here's a man after your own heart, Arnold. A sober, conscientious worker who doesn't dally by the wayside. Note how rapidly he dressed, for example. Now he stands before us, Arnold. The perfect portrait of a well dressed man. [00:09:06] Speaker G: There I go now. Tomorrow the finished statue may be you and me. [00:09:11] Speaker D: I hope so. I'd like to have it ready for casting this month, if possible. [00:09:14] Speaker G: It man, so beautiful, that statue. Too bad my face. But not so good. I would like it to be me all over. [00:09:23] Speaker D: Yes, we've already settled that point. Get up, Olaf. [00:09:27] Speaker G: Ya, Ya. I go now. Oh, Mr. Redding. Mr. Redding. I gonna get married. [00:09:36] Speaker F: Huh? [00:09:36] Speaker D: Olaf? You are going to get married? [00:09:39] Speaker G: Yes. [00:09:40] Speaker D: Well, this is a surprise. Oh, my. Congratulations, Olaf. I thank you, Mr. Bingham. Where did you find her? In an asylum for the blind. [00:09:48] Speaker G: She come from Minnesota. [00:09:50] Speaker D: What do you want me to do about it, Mr. Redding? [00:09:53] Speaker G: My Hedwig, she never see anything of me except my homely face. I. I like her to see this statue. [00:10:03] Speaker D: All right. Bring your girlfriend in sometime. [00:10:05] Speaker G: Could I bring her now? [00:10:08] Speaker D: Now? [00:10:08] Speaker G: Yeah. She bandwait on the street outside to [00:10:11] Speaker D: meet me when I get to work. [00:10:13] Speaker G: I can have her here in just one minute. [00:10:15] Speaker D: Go and get her then. Oh, I thank you. Not at all. I'm curious to see what the woman looks like who can plan to marry you. [00:10:22] Speaker G: I come right back with Hedwig, Mr. Ladding. [00:10:24] Speaker F: I come right back. [00:10:27] Speaker D: Prepare yourself for a vision of beauty, Arnold. Who wear number 13 shoes. Neil, I know you've no humanity in your system, but try to remember you were bred a gentleman. Don't insult that poor devil, sweetheart. When she gets here, I'll accord her all the old world courtesy. A female should command such a female as would choose Olaf for a bridegroom. Then I can't stay here to see you mock them. I've never had an affair with a really ugly woman. Neil, think the fun it would be to steal the. Olaf, sweetheart, you're only joking, of course. Am I? You lack all appreciation of the more subtle joys of life. Arnold, why do you suppose I have that big idiot around me? Because he's my opposite in everything. Opposites attract, but they don't assimilate. In fact, there's constant war between them. It amuses me to prove the superiority of mind over matter. My type over here. Be careful. Such amusement doesn't become dangerous. A small chance, if you recall your mythology, old chap. Thor, with all his giant strength and magic hammer, never proved a match for tiny Loki and his nimble brain. [00:11:27] Speaker G: He did at last. [00:11:28] Speaker D: Then Odin came to his aid with the thunderbolt of justice. I see. You not only recall your mythology, but still believe in it. But don't be alarmed about Olaf, sweetheart. On mature consideration, I couldn't arouse an ardent interest in any female who will prove so unattractive. [00:11:43] Speaker G: This way, Hedwig. This way. We are here, Mr. Adding Hedwig, I want you all to meet my boss, Mr. Redding. This is heavy, this. Yeah. This time, Olaf, make a yoke. I bet you'll expect, Mr. Redding that Hedvig will be homely yacht like me. I do not. Tell him, Hedwig, that you are more putty than a picture. [00:12:12] Speaker D: You're right, Olaf. This time the Joke's on me. Ms. Hedwig, I can't express the great delight I have in meeting such a very lovely girl. [00:12:21] Speaker H: Oh, thank you, Mr. Redding. Olaf has told me lots about you. [00:12:24] Speaker D: You must learn lots more about me from myself. Allow me to present Mr. Bingham. Delighted. [00:12:29] Speaker E: How do you do? [00:12:30] Speaker G: All that Maker York. He make a first class orc. [00:12:35] Speaker D: A splendid joke, Olaf. A capital joke. And it's driven away my boredom. It's promised a new sensation. [00:12:42] Speaker H: I don't understand. [00:12:43] Speaker D: You will, Ms. Hedwig. As we become acquainted. [00:12:46] Speaker G: Be sure you know this statue. [00:12:47] Speaker D: By all means, Ms. Hedvig. Gaze on Thor the Thunderer. [00:12:51] Speaker G: He's me, Hedwig. My body. [00:12:54] Speaker H: Oh, it's beautiful. [00:12:57] Speaker D: You'll know the face is still unfinished. I'm using another model for. [00:13:00] Speaker G: That's because my face is not so good. But the body, Helig Dot, is me. [00:13:06] Speaker D: Yes, Yours is the body of Thor, who was strongest of gods and men. No one could beat him. No one could take anything from him. [00:13:14] Speaker G: You heard us, Hetzing. I'm like that too, by golly. Any fellow will find the love who tries to take your way. [00:13:23] Speaker D: No one ever dared take anything from Thor. Except Loki. [00:13:28] Speaker G: Who was Loki? [00:13:29] Speaker D: Oh, just a weak little chap like me. [00:13:44] Speaker H: I shouldn't have come again, Neil. [00:13:45] Speaker D: I'm afraid, my dear Hedwig, Olaf hasn't brains enough to suspect us. [00:13:49] Speaker H: Oh, perhaps I wouldn't be so nervous if we weren't in the studio with that statue pacing us and watching her every time you kiss me. [00:13:57] Speaker D: It doesn't watch with Olaf's face. [00:13:58] Speaker H: Oh, but it has his huge body with all those bulging muscles. [00:14:01] Speaker D: Formidable, aren't they? Those hands could tear us into tiny bits. [00:14:05] Speaker H: Don't say such things. [00:14:06] Speaker D: All right, since the remote prospect frightens you so much. But that clay model won't be here to bother your conscience much longer. It's finished now. Tomorrow I start to prepare the molds, and next week I'll cast it into bronze. [00:14:17] Speaker H: Oh, I know it's silly, but I'll feel easier when it's gone from here. [00:14:21] Speaker D: You're too much of a coward to properly enjoy this little idol of ours. My dear One so afraid of being burned as you are. I shouldn't play with fire. [00:14:27] Speaker H: I know. I couldn't help myself. I never met a gentleman like you before. [00:14:33] Speaker D: Thank you. [00:14:34] Speaker H: Go look at Timothy. He knew. You don't understand his kind like I do. I was born in this country, but I'm 3D too, and know my people. You think men like Olaf are dumb, but they're not. And they're only easy going until they learn someone's doing things against them. [00:14:50] Speaker D: But that's what gives this game exist. [00:14:52] Speaker H: I'm just a game to you? [00:14:54] Speaker D: Of course not. I love you devotedly. Why, thanks to you, I've only been slightly bored. You've provided a new sensation. [00:15:02] Speaker H: Oh, you're so different from other men. I don't understand you. But I'm crazy about you, Neil. Oh. Who's there? [00:15:10] Speaker D: It's already. It's already. [00:15:11] Speaker H: Oh, it's only a button. [00:15:13] Speaker D: Who did you think it was? What do you want? Warden, I must see you at once, sir. All right, come in. What's the matter? Why the excitement? The big Swedish man, sir. Your model. Shut up. What about him? It was just the daughter inquiring for this lady. [00:15:25] Speaker H: He knows I'm here. [00:15:26] Speaker D: He said he had reason to believe you were here, madam. I was able to allay his suspicions and sent him away. But there was a nasty look in his eyes, though. [00:15:33] Speaker H: Oh, he knows, Neil. He'll kill us both. [00:15:35] Speaker D: He doesn't know, or Borden wouldn't have been able to get rid of him. The game becomes more interesting. [00:15:40] Speaker H: Oh, I am just a game to you. Everything is. [00:15:43] Speaker D: Borden, have Peters draw all the curtains on the limousine and bring it to the carriage door for Ms. Gielenbaum's at once. If Olaf's still hanging around, he'll be in that town away before he has time to investigate. But we mustn't see one another again, Hedvig, until. Until after this statue is cast. [00:15:59] Speaker H: Until after the statue. [00:16:01] Speaker D: Then there'll be no danger. Loki always bested Thor by striking first. [00:16:06] Speaker H: I. I don't understand you. [00:16:08] Speaker D: I'm planning an as yet untried sensation. One that Mr. Bingham suggested the day I met you. Olaf and I will play a little game. And Olaf is sure to lose. So, Olaf, the joke's on you again. [00:16:32] Speaker G: Yeah, yeah. Oh, Mr. Adding, you are right. I got no brain. I been so ashamed to suspect bad things about you and Hedwig. I forgive you, but I cannot forgive myself. [00:16:44] Speaker D: Mr. Redding. [00:16:45] Speaker G: I look for you to kill you with my two bare hands. [00:16:48] Speaker D: Oh, I'm glad you didn't find me until after you'd cooled down and heard my explanation for those hands of yours could tear a little chap like me to pieces. [00:16:55] Speaker G: Oh, I've been so ashamed. [00:16:58] Speaker D: Ah, it's all over now. Forget it. There's the foundry, Olaf. Hear the furnace roar? [00:17:03] Speaker G: It's been awful good of you to bring me here. [00:17:05] Speaker D: You and I created that statue of Thorn together. And I couldn't let it be cast in bronze without you there to see. [00:17:11] Speaker G: I've been terrible excited. [00:17:12] Speaker D: I'll make sure you don't miss a thing. [00:17:15] Speaker G: Hello, Brody. [00:17:16] Speaker F: Good morning to you, Mr. Redden. [00:17:18] Speaker D: Have you got everything ready? [00:17:19] Speaker G: Aye. [00:17:20] Speaker D: And the mood? [00:17:21] Speaker F: Is your fine statues waiting ready in the picture? [00:17:23] Speaker D: When you say the word, we draw the channel plug and let the molten metal run. Ah, the bronze has already reached the liquid state. Yes, sir. I timed it for the hour you said you'd be here. She likes to roll up trucks. [00:17:34] Speaker F: No, not just yet. [00:17:36] Speaker D: My friend here has never seen a statue cast. I want to show him around first. You and the boys get outside and have a smoke. I'll call you when I want you. Much obliged. [00:17:44] Speaker F: To a Bretto. Outside air will help a wee bit. Come on, lad. Poko. [00:17:51] Speaker D: We'll go up on the bridge above the furnace. Ola. [00:17:54] Speaker G: For you minute it been hot in here. [00:17:56] Speaker D: It'll be hotter where I'm taking you. Up these iron stairs. [00:18:00] Speaker F: Olaf, I come in. That pit is the mold of our statue. [00:18:06] Speaker D: You'll see that later. It's connected by channels to this furnace. This is called a reverberating furnace. Olaf. The fire is at that end below the chimney. Under this long brick roof the molten metal lies. It's very hot under that roof, Olaf. [00:18:23] Speaker F: I betcho it burns plenty hot up here. We're just above the roof. [00:18:27] Speaker D: Now, from this bridge the cold bronze is burning those hopper and down into the charging hole. [00:18:33] Speaker F: What? Ben? [00:18:33] Speaker G: Charging hole? [00:18:34] Speaker D: I'll show you. This lever controls their covering. [00:18:41] Speaker F: My such heat. With the COVID out, you can realize how hot it is inside. Underneath that hole is a trough of molten metal yumping yimini. And that hole is just large enough to admit a strong man's body. Good thing to know if you ever want to commit a perfect murder. You've been always joking. But I don't want to commit no murder. Close up that hole, it bends too hot. Look over the rail and see before I close it up, it bends too hot to come so close. Aren't you interested in the casting of your statue? Yeah, that's right. I got A look. Seen over the rail here, just above the hopper. I bend dizzy from this heat. I'm afraid I lose my balance. I won't let you lose your balance. Seen over the rail, Olaf. That's right. And now your brain is full. You trapped my leg. Don't qu I fall. Don't weigh hard. Metal. The joke on you again, my friend. What matter? We heard an awful scream. Scream? Oh, I have the charging hole. [00:19:50] Speaker D: Open it. [00:19:51] Speaker F: The fan has gone so loud. I called to you at the top of my lungs. You scream with you calling the earth. Let me replace this cover so we can talk in a normal tone. [00:20:03] Speaker D: There, that's better. Push that drink ahead with you, Mr. Reddin. It was too hot in here for him. He just went out the other door. Said he was going back to town. Did you call for us to pull the plugs? [00:20:13] Speaker F: New? [00:20:14] Speaker D: Yes, but with that hole open, I [00:20:16] Speaker F: may have cooled off the metal a bit. [00:20:17] Speaker D: Better heap up the fire, Brody, and give it another five minutes to make absolutely certain everything will be all right. Then let the metal run into the mold. Oh, just as you say, sir. [00:20:28] Speaker F: Come on, lad. [00:20:29] Speaker D: Keep up that file. [00:20:30] Speaker F: Now [00:20:33] Speaker D: wonder if my statue of fall will have what all my other works let. I've given it what Arnold called a soul. Awfully good of you, Arnold. You'll come and help me break off this mold. Oh, not at all. You know how curious I am to see the statue and finished bronze. The casting went off without a single hitch. I'm sure the finished work will satisfy our fondest expectations. And I expect much. Arnold, I took your former criticisms to heart. I really labored to give old Thor a soul. I can't imagine you laboring at anything. That's because you don't know me so [00:21:20] Speaker F: well as you think. [00:21:20] Speaker D: You do wonder why Olaf's not here. I didn't think anything could keep him away when his statue reached completion. Yes, his statue. I'm worried about Olaf. You know, they tell me at his boarding house that he hasn't been seen since the day I took him to the farm range. Doesn't Hedwig know where he is? He hasn't the vaguest idea. No one has. Apparently he's completely disappeared. That's funny. I imagine he'll turn up. He may be off on a drunk somewhere. You'll never lose a chap like Olaf. No. It wouldn't be justice for anything tragic to happen to him. And you believe in justice, Arnold, I told you I ceased to believe in it. Because nothing ever happens to you. Yes, I remember. We have the head mold completely loosened. Now help me take it off and we'll expose the face. Careful of the surface underneath. [00:22:13] Speaker F: Now. [00:22:14] Speaker D: I got it. [00:22:15] Speaker F: Here it goes, [00:22:18] Speaker D: Neil. [00:22:19] Speaker F: God. [00:22:20] Speaker D: That face is Olaf. I thought you used another model for the head. [00:22:23] Speaker F: What did? [00:22:25] Speaker D: That's not the face of Thor I made. Well, then, what happened in the casting? Man, you're pale. [00:22:30] Speaker F: You're shaking. What's the matter? Nothing. [00:22:32] Speaker D: Nothing. Arnold, does it seem to you that statue's eyes are moved? Yes, they seem to follow you. That bronze face seems alive. You're imagining things about that statue, Arnold. Olaf's face is the one I muddled on it, and those eyes don't seem to move. You're lying, Neil. The first shock's over now and you're pulling your nerves together. But you've given yourself away. You turned ghastly white when first you looked on that copper face. You're trembling now with fear. You still can feel those eyes on you. You're matt. Metal eyes can't move. What reason am I to be afraid? I'd know that better if Olaf's disappearance was explained. [00:23:22] Speaker F: You were with him last. [00:23:23] Speaker D: What did you do with him? I didn't do anything with him. If you're insinuating I killed him, explain [00:23:28] Speaker F: what I did with the body. [00:23:29] Speaker D: That's the thing you've got to find when you accuse a man of murder. [00:23:32] Speaker F: Find that. Ha ha. Find that. [00:23:33] Speaker D: I'm going to the police. Perhaps they'll help me find it. Call them if you like. They can't prove anything. No one can prove anything. Nothing can harm me. Nothing. Now get out of here. Leave me alone so I can think. I don't know why or how you killed that man. But I know that when you did it, you believed justice could be cheated. I'm beginning to believe in justice again. And so are you. [00:23:54] Speaker F: Get out, you fool. [00:23:54] Speaker D: Get out. [00:23:55] Speaker F: Get out. [00:23:56] Speaker D: I'm going to leave you with your conscience and that statue's knowing eye. [00:24:00] Speaker F: Get out. Get out. Get out. [00:24:04] Speaker D: Oh, God. Oh, that's piece instead of the one I modeled. Maybe. Maybe his soul is in that statue. Oh, no, no, that's rock. But those eyes. My back turned, but I can feel them on me. Thor never proved a match for Loki until Odin came to his aid with thunderbolts of justice. That's madness. [00:24:28] Speaker F: Door. [00:24:31] Speaker D: It must be kind of rain. It's thundering. Just natural thunder. [00:24:38] Speaker F: What's that? What's that? Who's that? [00:24:39] Speaker D: Ms. Giellenborg is calling, sir. This way, miss. [00:24:44] Speaker H: Neil, dear. [00:24:45] Speaker D: Come in, come in. Borden, leave us yes, sir. [00:24:48] Speaker H: You're not angry because I'm here? Neale, you told me not to come again until the statue was finished. I couldn't stay away any longer. It seems I just had to be with you. [00:24:58] Speaker D: Why did it seem that way? Why? [00:25:00] Speaker H: Because I. I was lonesome for you, I suppose. [00:25:03] Speaker D: Yes. [00:25:03] Speaker G: Yes, of course. [00:25:04] Speaker D: That was it. It wasn't because he wanted us together. [00:25:07] Speaker H: He? What do you mean? Nothing. Neil. Have you heard from Olaf? [00:25:11] Speaker D: Yes, I. I heard from him today. [00:25:13] Speaker H: Where is he? [00:25:14] Speaker F: He. [00:25:14] Speaker D: He's where he can't hurt me. [00:25:15] Speaker F: Can't hurt me. [00:25:16] Speaker D: I'm glad you came. I. I didn't want to be alone and. And the statue's finished. Hedwig. [00:25:20] Speaker H: Is that it there? [00:25:21] Speaker D: Yes. [00:25:22] Speaker H: Why haven't you taken off the mole? [00:25:23] Speaker D: I helped. In the face. The body still held prisoner. [00:25:26] Speaker H: I want to see it. [00:25:27] Speaker D: No, no. Don't go near it. Don't look at its face. Don't let its eyes see you. [00:25:30] Speaker H: Neo, what's the matter? [00:25:32] Speaker D: Nothing. Nothing. [00:25:34] Speaker H: You haven't even kissed me yet. [00:25:35] Speaker D: I. I'll kiss you now. I'm not afraid. [00:25:39] Speaker H: Gamor, why did you push me away? [00:25:41] Speaker D: But that thunder startled me. [00:25:43] Speaker H: Thunder? [00:25:43] Speaker F: Yes. [00:25:44] Speaker D: There must be quite a storm outside. [00:25:45] Speaker H: The sun was shining when I came in. I heard no thunder. [00:25:49] Speaker D: You heard? No, no. [00:25:52] Speaker F: Then it's in this room. [00:25:54] Speaker D: It's toison. [00:25:55] Speaker F: A statue. A statue. Look. What? The mould is cracking. It's falling from the bomb. Oh, the statue's moving. It has all the space. And it has all that soul. I put it there. [00:26:05] Speaker E: Hey. [00:26:06] Speaker F: Saw the panderer. He waited to repay Till you and I were here together. His eyes are on me. I can't do. It's raking on his arm for me. It's crushing. [00:26:20] Speaker G: Crushing. [00:26:26] Speaker D: It seems. [00:26:27] Speaker F: Olaf, the joke's on me at last. Well, that's the end of that season. [00:26:52] Speaker E: And the moral is, don't get too fresh with great big Swede. You folks come see us on me birthday and we'll have another cheerful yarn to sing. [00:27:04] Speaker H: Yeah. [00:27:07] Speaker F: Rain. [00:27:32] Speaker A: That was the statue of Thor from the Witch's Tale, here on the Mysterious Old Radio Listening Society podcast once again, I'm Eric. [00:27:40] Speaker B: I'm Tim. [00:27:40] Speaker C: And I'm Joshua. [00:27:42] Speaker A: Joshua brought that to us. One of his choices and a great choice for a number of reasons. First of all, being that we had not delved back into the Witch's Tale for a long time. And you said something last time of we've not only been kind of stuck in the 50s and more contemporary stuff for a while, and this goes really back to the roots of horror and horror ratings. So it's good to do that. But it was also a palette cleanser of the really deep, heady stuff we've been doing lately. You know, like, can we just have a straightforward, you done bad, you're gonna [00:28:20] Speaker B: have bad things happen to you. [00:28:23] Speaker A: One of you, I think it was Joshua for Christmas, gave me the EC Comics collection. [00:28:27] Speaker C: Yes. [00:28:27] Speaker A: And I'm halfway through it. And it is this. Oh, yeah, it's just this. And I didn't know EC Comics existed. And. Oh, my go. They literally owe all of these people a lot of money, all that EC Comics money. But it's pablum. Not in a bad way. It's really simple. It's really easy. It's really. Oh, I don't have to think too much. [00:28:58] Speaker C: And I want to be clear. One of the reasons I brought this is that I think it's charm, as we've already kind of said, is its lack of subtlety. And I don't think it's attempting to be subtle in any way. So I don't mean that in this hipster ironic, I think this is so bad, it's good way. I just think it is not a story built on surprises or twists. [00:29:24] Speaker A: No. [00:29:24] Speaker C: He wants you clearly to know what's coming. You know, Niels just desserts. And so the story is not about what will happen, but when will it happen? When will death come for this guy? He is so awful and kind of how. But it becomes pretty clear then how as well, once he murders Olaf. [00:29:47] Speaker A: Yes. [00:29:48] Speaker C: But I love awful murderous artist stories. I just. [00:29:53] Speaker B: That was the. This story in particular, I'm on board of. This is a simple, pleasing morality tale that in a really old way, that horror used to be. This. This is what horror stories were and I enjoyed it. But this particular episode of Witch's Tale, the sassy zingers in the first half of this I adored. Like this has got a little contemporary Pacey dialogue at the beginning. That's very atypical of Witch's Tale. [00:30:20] Speaker C: I agree. And one little indication of that early on that I found really amusing is in Nancy's opening monologue when she's saying, gaze into the embers. I won't do the voice. I'm sorry, guys. I don't even start down that path. Gaze into them deep. [00:30:35] Speaker B: No, what are you saying? [00:30:36] Speaker A: Come on. [00:30:37] Speaker C: Gaze into them deep. And soon you'll see a tremendous barn like room in New York City. It's called a studio. [00:30:48] Speaker A: First of all, yes. And second of all, bravo. [00:30:52] Speaker C: Thank you But I thought it was really interesting that she acknowledged that we are going to take this gothic style of horror and transplant it into a more contemporary 1930s urban setting. And it just starts right from the top. Like, I know you people are used to castles. [00:31:13] Speaker A: Which Nancy is this for? [00:31:15] Speaker C: This one, I have no idea. It's so hard to tell now. I downloaded this episode from the old Time Radio Researchers Library and they had it cataloged with the American version. But I have been burnt on the witch's tale before. And then we say it's Australian or it's American and we've got all sorts of people saying actually, which is fine, but then they disagree with each other too, and I don't think there's any way. [00:31:39] Speaker A: How do they talk? [00:31:39] Speaker C: No, I'm not going to keep doing voices for you, Eric. [00:31:43] Speaker A: But I, every time I hear the, you know, and I know there's only 30 witches tales left, but the 12 or so that I've listened to, I'm always like, oh, please be the 12 year old one. Like, you know, I'm sure someone knows [00:31:56] Speaker C: somewhere if it's the American one. This is Adelaide, I forget her last name, the old woman who played it, because I think this was Originally written in 1933 and this may be the 1937 version or a later Australian version because even the American version did this, but play several times. It was first written in 1933. Stupid history. [00:32:21] Speaker B: So hard. [00:32:23] Speaker A: I love the, the simplicity of it though. It's just so cut and dried. It's like a farce, you know, everything is so over the top and so methodically told to you. This is an evil person and this is a middle of the road person. [00:32:38] Speaker B: And this is a, yeah, what you're, what you're listening for is that scene of actually being thrown into the, the bronze of just every little detail of pulling the lever to open up the thing. I go, oh, it's so hot. But you want to see it, right? You want to see it real close, right? [00:32:54] Speaker A: Yeah. SHANE what you want to do, she is get a little closer, lean over that thing. [00:32:57] Speaker C: SHANE But I will say this about it. Cole sets that murder scene up very well by establishing, and it's darkly comic when it happens, but it becomes more tragic once they enter the foundry that as much as Neil the jerky artist insults Olaf, he just takes it as a joke, even though Neil genuinely believes it. But then when Bingham tries to come to his defense, then he gets kind of uptight and thinks Bingham is making fun of him when he is actually genuinely Trying to come to his defense. So it's very clear that Olaf is never gonna see through Neil's smokes. Well, it's not a smokescreen. He's just never gonna believe that Neil isn't smokescreen lying to him. And every part of this story is a foregone conclusion before it happens, but still manages to be highly entertaining in all the details. His stealing of the girlfriend is such a foregone conclusion that it happens during a musical sting. He just says, I'm gonna steal her. Ding. Oh, it's been so great to be having this affair with you for months. [00:34:03] Speaker A: Not only that, it's set up with how ugly she's gonna be. And you know she's not. You just know that that's the twist coming. But you say it's wonderful. I want to reiterate, this does not Stand the test of time. [00:34:15] Speaker B: Yeah, I'm with you on that. [00:34:16] Speaker A: But it is beautiful only from the sense of appreciating. This is the beginnings. This is how a lot of this started. This is the precursor to so much. This was inspirational to a growth in this art form of horror storytelling, especially radio drama wise. So it's an appreciation that I have for, oh, look at the groundwork that was laid. Look what Alonzo Dean Cole did. But from outside of that, well. [00:34:47] Speaker B: Well, I'll temper that a little bit because it's a really great version of that era. Like an almost idealized version of this sort of story. [00:34:55] Speaker A: Right. [00:34:55] Speaker B: Plus, it has some elements that do hold up that are ahead of their time. [00:34:58] Speaker D: Yeah. [00:34:59] Speaker C: But for 1933, it's pretty explicit. [00:35:02] Speaker A: Exactly. [00:35:02] Speaker C: Sexual. There's just a sexual tension throughout it. All the things put on your clothes. Takes a long time to get clothes on board. [00:35:12] Speaker G: Right. [00:35:13] Speaker C: It's like things Oscar Wild said at breakfast often, [00:35:19] Speaker B: gaze into the embers. [00:35:22] Speaker A: I don't think that's. No, he did the double entendre. Hey, baby, want to gaze into my embers? [00:35:29] Speaker C: Put your clothes back on, Olive. We're gazing into the embers. [00:35:34] Speaker A: There was an interesting moment where he said, can I bring my fiance in so that she can see my body? Because, of course, she's from Minnesota. [00:35:44] Speaker G: Of course. [00:35:44] Speaker A: Well, I was gonna get to that, but he's not married to her yet, so she hasn't seen that yet. And I was like, oh, wow, that's interesting. Because today you don't go into that without seeing that merchandise first. [00:35:56] Speaker B: Well, it's a rare opportunity, too, of like, I know my face ain't so good, as he keeps saying, but if you just hold on. I can give you a down payment and a look at my body. [00:36:06] Speaker A: How bad must his face be? And what kind of clothes are you wearing that you can't decipher that your body is great? Like you just wearing a potato sack. What are you wearing? Like, put on a tight shirt. Give her a taste. [00:36:24] Speaker C: But here again is where I would agree with Tim in his tempering of this as completely not standing Stand the test of in that there's some subtle stuff going on here because. Exactly. As you guys point out, Olaf, naive Olaf, wants to find this socially acceptable way to show off his body to his girlfriend. But I don't think there's any doubt that once Neil steals his girlfriend, that she had to look at a statue of Neil to see his naked body. I think it's pretty heavily implied that they're having a very different kind of relationship than she is having with. [00:36:59] Speaker B: With Olaf. You think she's not really from Minnesota? I think she lied to Olaf. She's a Wisconsin girl. [00:37:07] Speaker C: One of those Easy Wisconsin girls. [00:37:10] Speaker A: Here's. Well, there went that audience. [00:37:11] Speaker B: Apologies to Wisconsin girls. [00:37:13] Speaker C: No, I mean as in, you're very approachable and friendly. I don't know how to make that better. [00:37:18] Speaker B: I love your cheeseburgers. [00:37:20] Speaker C: Gazing to the embers. [00:37:23] Speaker A: Wisconsin doesn't have Internet. [00:37:26] Speaker G: Wow. [00:37:26] Speaker A: Wow. There you go. There are rivals, everybody. It's all fun. Speaking of regionalism, I had my moment of embarrassment. I caught myself when he said, yeah, my fiance, she's from Minnesota. For half a second, my head went, yay, Minnesota. I did that. [00:37:45] Speaker F: I did that. Yeah. [00:37:46] Speaker B: Ooh. [00:37:47] Speaker A: They said Minnesota. Like, it didn't last long before I went, geez, look at you. [00:37:50] Speaker C: Like Brooklyn, you know, like, look what you have become. [00:37:55] Speaker A: I was so excited. [00:37:56] Speaker C: That's part of the reason I brought it, though. [00:37:58] Speaker A: And then I was going to ask you. [00:37:59] Speaker C: I was gonna ask you the Minnesota connection. [00:38:01] Speaker A: Pick this one because of the Minnesota thing. And then you remember it's Alonzo Dean Cole, and you're like, yeah, but I really was embarrassed for myself. I'm such a. [00:38:10] Speaker H: That's me. [00:38:10] Speaker A: I'm such a Minnesotan. [00:38:12] Speaker C: I love all the jerk lines. I think Tim mentioned it, but I don't think we've elaborated. My favorite probably being, well, what do you think of my statue of Thor? Not that I value your opinion. [00:38:25] Speaker B: So uncalled for. [00:38:27] Speaker C: Every bit of it. It hit you over the head. Rudeness. And like Tim said, he's very clever occasionally with his banter. Thor was a pagan. He enjoyed life in the delightful days before souls were Invented. But even when he's funny and clever, you still hate him. That's what's great about him. He's so contemptible. [00:38:46] Speaker B: It wasn't even like, oh, man, I don't like that. He's just like, oh, he's gonna get it. Oh, this guy's got it coming. [00:38:53] Speaker A: And so he was the only one that heard the thunder. Right? [00:38:56] Speaker B: That was an odd little that Only he could hear the thunder. But they could both see the statue move eventually when it was bursting out of its mold. [00:39:05] Speaker A: Is that what happened? I thought the statue just came and got him. I thought in my head, the statue was just moving. [00:39:10] Speaker B: There was several steps as they pried the head free. I'm gesturing at my head to indicate they took the mold off the head. And then they could see that the face was not the right face. It was not so good. [00:39:22] Speaker A: But the eyes were moving. [00:39:23] Speaker B: And the eyes were moving. But he deliberately didn't take the rest off to make sure the statue couldn't come get him. [00:39:28] Speaker A: See, in my head, I was like, oh, it's alive. And then as it got more alive, then it was just this statue coming at him, which was great. In my head, I loved the idea of being attacked by a statue, but [00:39:39] Speaker B: in the meantime, the artist could hear the thunder, but Minnesota Gal could not. But nonetheless, even though, come out tonight. [00:39:49] Speaker D: Come out tonight. [00:39:53] Speaker B: But then the statue was bursting out of the rest of its casing. Casing. Yes. Let's take the sausage casing. [00:40:00] Speaker C: Like a giant sausage. [00:40:02] Speaker A: Okay, wait, you've just rewritten this in a much better way. So he's in a sausage casing, you say? [00:40:07] Speaker B: Pour the bronze into a spot. Sausage casing. [00:40:10] Speaker A: I would really like some sausage. [00:40:13] Speaker C: Now Eric's hungry. [00:40:14] Speaker A: Now I'm hungry. [00:40:17] Speaker C: But I thought that was Cole's attempt briefly, to maybe make you think the ending was going to be a version of the telltale heart, a telltale Thor statue where it was all in his head. But it happened so briefly. Briefly that it was a little confusing. [00:40:37] Speaker A: Yeah. Like, I thought, oh, this is interesting. It's his own brain that's gonna kill him. Kind of twist. But then it just was. [00:40:44] Speaker B: Is she hard of hearing? [00:40:46] Speaker D: No, it's not. [00:40:47] Speaker A: Let's go with that. [00:40:48] Speaker G: Okay. [00:40:49] Speaker B: I want to show you my body. [00:40:56] Speaker A: What? So here's the deal. I. I just. He couldn't have survived that. Oh, no. Sorry. I thought I'd throw a little. [00:41:10] Speaker C: Eric, you've set some groundwork here. This is 250 episodes where we thought we might have to explain to you that he Wasn't alive at the end, but a supernatural entity of some sort. [00:41:23] Speaker A: You guys, there's no way he could have survived that. Was it bronze or was it. [00:41:29] Speaker C: I now don't know what you're actually asking. [00:41:31] Speaker A: Was he covered in bronze or metal? Or was it. Did they say what the liquid bronze. Okay. [00:41:38] Speaker B: And it would have been poured into the. It's like there was nothing left of this guy. [00:41:42] Speaker C: No, the idea being. It's a callback to the comment from Bingham about that his art has no soul. Irony. But I would say as a production element, the whole scene at the foundry, as obvious as it is that poor Olaf is going to be killed and how gullible he is, the soundscape for that is really great. I think the roar of the fire, the fact that they have to speak over it, the clang of the metal coming off of the hole that leads to the molten metal, and you can almost feel the heat. It's a really good piece of early radio drama. [00:42:19] Speaker B: That's true. So often witches tales, specifically in these early ones, because they don't have a narrator, are often a little ham fisted in trying to describe what's going on and describe the scene. And that was deftly written. Like, let's close the lid so that we can talk, we can hear each other is a nice way to let you know that there's this sound coming out of this lid and the railing. And it's all described very naturally. [00:42:46] Speaker C: Yes. I mean, it is. Stands in stark contrast to the classic early old time radio move at the end of just narrating your own death. [00:42:55] Speaker G: Yes. Right. [00:42:57] Speaker A: Which is a great device to put the picture in your head. [00:43:00] Speaker B: I plan on doing it. [00:43:05] Speaker G: Okay. [00:43:06] Speaker B: I'm holding you to it. [00:43:10] Speaker A: I'm glad you brought up the soundscape of that final scene because it was risky. The levels were just perfect. It was loud and they were screaming over it, but it didn't overpower it. You could hear what they were saying. [00:43:27] Speaker C: The fact that they have to yell those final lines raises the tension. [00:43:32] Speaker A: Yes, but do you know what I'm saying? As far as the risk of. Well, that didn't work. No one could hear it. [00:43:38] Speaker C: It's early enough that just doing radio trauma on the air is a risk. I'm just making this stuff up. And did Neil sound just exactly like Basil Rathbone to you? [00:43:52] Speaker B: In as much as he did not flub any of his lines. That didn't seem like it. [00:43:56] Speaker G: All right. [00:43:57] Speaker C: That was my own connection I made here. [00:44:00] Speaker A: Taking a shot at Basil. [00:44:01] Speaker G: Yes. [00:44:02] Speaker A: During a witch's Tale Brave. [00:44:05] Speaker C: Very brave. [00:44:08] Speaker A: I did not notice. That didn't occur to me. [00:44:11] Speaker C: But my absolute favorite thing from this entire episode, I have to say. And I think we need to make a T shirt of it. And that is old Nancy's moral at the end. Do you remember that when she says, don't get too fresh with great big swedes? And what I think is genius about it is that she includes the word two. [00:44:34] Speaker A: Right. You can get fresh. [00:44:35] Speaker C: Yeah. Suggesting there is an acceptable level of freshness, but you exceed the CDC recommended dose, you are in trouble. [00:44:46] Speaker A: We could make that T shirt, but the amount of explaining everybody would have to do. [00:44:52] Speaker B: I still gotta get Death to Carrots done. [00:44:54] Speaker C: Yes, you do need the non sequitur T shirt collection from Morals Death. [00:45:01] Speaker A: The carrots would. I'd wear that around and gladly explain it to every single. [00:45:07] Speaker B: We want to explain it now. [00:45:10] Speaker A: No, you'll have to go back to episode. Insert episode number here and listen to that. Joshua's gonna do it. He's gonna insert the episode. [00:45:18] Speaker C: So not going to do it. [00:45:21] Speaker A: Any other final thoughts, gentlemen? [00:45:24] Speaker B: I listen to Witch's Tale so often with a little bit of handicapping to it of, like, I know this is this old. I know this genre establishment, so I have to appreciate it for that and allow that there are things that just haven't been developed yet. But listening to this episode, I never once had to stop and like, okay, I grant this is this way because it is this older version. Like, this entertained me all the way [00:45:49] Speaker A: through when he was in the casing. I couldn't help but picture it as the original drawing of Iron Man. You know, the gray Iron Man. Mark one. Mark One? Is that what it's called? [00:46:03] Speaker C: His name was originally Mark? [00:46:04] Speaker D: No, no. [00:46:07] Speaker A: Do you know what I'm talking about? [00:46:08] Speaker B: Oh, yeah. [00:46:09] Speaker A: That's what he looked like to me [00:46:10] Speaker B: in my head, wearing a train engine. [00:46:18] Speaker A: And it never got better. They should have stuck with that. That's a whole other podcast. [00:46:24] Speaker C: This is actually at least one of two. Maybe there's more Witch's Tale stories featuring statues coming to life. If you love this genre, there's at least one other one called the Bronze Venus that still exists. [00:46:38] Speaker A: What was the other one podcast we did, though, where the statues came to life? [00:46:42] Speaker C: Are we gonna play old men? Try to remember the podcast. Do you remember that, though? [00:46:45] Speaker B: I do remember that one. [00:46:46] Speaker C: Let's vote. [00:46:48] Speaker A: I will vote and say it does not Stand the test of time, but it is historically significant, and because of what it is, it is thoroughly enjoyable for the simplicity of what it is it doesn't have any pressure on it to succeed. So therefore it's awesome. It is what it is and it was straightforward and very enjoyable. [00:47:11] Speaker B: Very similar. I don't think it stands test of time, but it is a great example of what was horror at this time and at the time it was ahead of its time. Just to make my opinion very confusing, but definitely enjoyable. [00:47:29] Speaker A: Yep. [00:47:30] Speaker C: Yeah, this is definitely not a classic, but I would be a liar if I didn't say it's right on the edge of standing Stand the test of for some of the reasons we've said. I mean, at least Tim and I both said, like, we were just enthralled by it the entire time, despite its dated components. And I think it's not only great fun, but I think it's really representative of Alonzo Dean Cole's very bold, larger than life horror writ large approach to old time radio that I find so appealing. And the highlights to me are definitely Neil's Caligula like immorality. And it's just the broad, unapologetic Swedish stereotypes which he kind of glossed over for our Swedish listeners. [00:48:21] Speaker D: I'm sorry. [00:48:23] Speaker C: And again, just to mention one more time, the highlight for me being that soundscape of the foundry that really well done. So I think those bring him right up to that border of historical interest. Stand the test of time for me now. [00:48:35] Speaker A: I've got scenes from Caligula in my head that I don't want. Oh, gaze into the embers [00:48:45] Speaker F: that's not [00:48:45] Speaker B: supposed to be on fire. [00:48:49] Speaker A: Don't feed that to the dogs. Tim, tell him stuff, please. [00:48:56] Speaker B: Go visit ghoulishlights.com let us know what episodes we've done in the past we've clearly forgotten. You can listen to other episodes there. You can comment on episodes. You can link to our social media pages. If I get the website repaired, you'll be able to vote in polls. Right now you can't do that, but usually you can. [00:49:14] Speaker C: I've been meaning to talk to you about that. What's going on to me when you [00:49:19] Speaker A: say repaired, I see with like a tool belt and underneath your computer spackle. [00:49:28] Speaker B: But you can also contact us if you have episodes you'd like us to listen to. You can send us a message and say, listen to this and maybe we will. You can also link to our threadless store and to our Patreon page. [00:49:40] Speaker C: Yes, you can go to patreon.com themorals and support this podcast. We greatly appreciate it. We have all sorts of benefits. We have happy hours we get together to zoom with our listeners. We have a discount discord thing where we also talk to listeners and they talk to each other and it's great fun. T shirts, buttons, cards, tote bags. The list goes on and on. [00:50:13] Speaker A: Slam poetry about our threadless store, but what you can't find there apparently is a death the carrot shirt. [00:50:22] Speaker B: Not yet. [00:50:23] Speaker C: We're working on it. [00:50:24] Speaker B: Fresh with Swedes. [00:50:27] Speaker A: You'd like to see us performing live. The Mysterious Old Radio Listening Society theater company does audio drama and we do recreations of old time radio shows, plus a lot of our own original work. We perform monthly somewhere. So if you go to ghoulishdelights.com or mysterious old radiolisteningsociety.com you will see where we're performing this month and you can get a ticket and come see us perform live. [00:50:50] Speaker H: Live. [00:50:51] Speaker A: Or you can watch us on live stream from wherever you are in the world. So we'd love for you to see us put our money where our mouth is and do some of this ourselves, which we're pretty good. All right, what's coming up next? [00:51:08] Speaker C: Next we have a listener request. We will be listening to Specialty of the House from the Price of Fear until then. [00:51:17] Speaker B: I do remember that one. Yeah. [00:51:18] Speaker C: It was very early. [00:51:21] Speaker A: They were in a cabin or something and then. [00:51:22] Speaker B: No, it's like a granite. [00:51:24] Speaker A: Granite guys came to life. [00:51:25] Speaker C: It was an early version of a [00:51:27] Speaker B: statue like hall of Fantasy. [00:51:30] Speaker A: Hall of Fantasy. [00:51:31] Speaker F: Yep. [00:51:31] Speaker A: And it was called Granite. [00:51:33] Speaker C: It's granite furniture. Sponsored [00:51:37] Speaker A: was called Take it for granite. [00:51:40] Speaker C: That's being edited.