Episode 333: The Clock Strikes Eight

[00:00:16] Speaker A: The mysterious old Radio Listening Society podcast. Look out. [00:00:27] Speaker B: Welcome to the mysterious old Radio Listening Society, a podcast dedicated to suspense, crime, and horror stories from the golden age of radio. I'm Eric. [00:00:36] Speaker C: I'm Tim. [00:00:36] Speaker D: And I'm Joshua. [00:00:37] Speaker C: We love mysterious old time radio stories, but do they stand the test of time? That's what we're here to find out. [00:00:42] Speaker B: Between 1942 and 1943, John Dixon Carr had over 20 of his scripts produced by the legendary series Suspense. Despite living in England at the time, in September of 1943, Carr began his own series, Appointment with Fear, on BBC Home Service. Appointment with Fear not only copied the format of suspense exactly, it also reused several of Carr's scripts. The first episode featured one of his most famous suspense contributions, cabin b 13. [00:01:15] Speaker D: Listeners who were familiar with suspense would recognize more than just some of the scripts. Earlier in 1943, Joseph Kern served as the announcer for suspense and had developed the Persona of the man in black for his introductions. Carr made sure that appointment with Fear had its own man in Black, brought to life by the unmistakable voice of Valentine Dial. [00:01:39] Speaker C: Appointment with Fear ran from 1943 to 1955, with a short revival in 1976, but the show cast a long shadow. A subsequent series called the man in Black enjoyed a short run in 1949, with Dial returning to the title role. Fieron Four, which we have featured several times on this podcast, ran from 1988 to 1993, with Edward D'Souza providing his voice for the man in Black. Another audio series, entitled the man in Black, ran from 2009 to 2011, with Mark Gaddis assuming the role of the host. [00:02:09] Speaker B: Today, well be listening to an episode recommended to us by our Patreon supporter Simon, featuring the character Doctor Gideon Fell, a classic amateur sleuth created by Carr, who solved seemingly impossible crimes in a series of popular mystery novels. This is the clock strikes eight, first broadcast May 18, 1944. [00:02:34] Speaker D: 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. [00:03:06] Speaker E: Appointment with fear. This is your storyteller, the man in black, here again to bring you another placid evening in our far side series, appointment with fear, loss of memory, the eerie darkness which closes down on the brain is a subject which has often amused me, and that is why I have brought a guest tonight, Doctor Gideon fell, the celebrated schoolmaster turned detective, to tell you about the Barton case. There sits doctor fell himself, all 20 stone of him with his four chins, his bandit's mustache, his eyeglasses. On the broad black ribbon, his face fiery with controversy. And when he tells you about the Barton case, as he told it to me, we trust we shall keep our promise to bring you an appointment with fear. The clock strikes eight by John Dixon Carr produced by Martin C. Webster. [00:04:45] Speaker F: The Barton case, sir, was a grim business. I saw the last night of it. I saw what the human soul can endure without quite going mad. And I have no wish to see it like again. For I ask you to imagine yourself in the position of that girl, Helen Barton. Suppose, just suppose, that you wake up suddenly in the middle of the night. You wake up as though from a nightmare, with a feeling you've been asleep a very long time. The room is cold and nearly dark, with the faint glimmer of a fire almost out. Slowly, very slowly, you begin to realize it's a room you've never seen before. That fact, above all, strikes at you through a mist of fear. There's a queer atmosphere, like old stone and disinfectant, and no sound at all in that dim room except. [00:06:06] Speaker A: What is it? What was that noise? Now, now, lean back in your bed, my dear. It's all right. That's good advice, Miss Barton. You take it easy. I think I must have been dreaming. You were having a nightmare. But it's all right now. Nothing's going to hurt you. Not yet. Be quiet, Anna. No offense, I'm sure, but some people who occupy this room get on my nerves. I. I don't want to seem stupid. I know there must be some explanation, but I don't understand this. Understand what, my dear? Where am I? How did I get you? And who are you? Now, please, miss, whatever else you do, don't start that all over again. Start what all over again? Telling us you've lost your memory and don't even know what your name is. Are you insane? Of course I know what my name is. I'm Helen Barton. Well, it's a mercy you admit that. At last. At last? But I've never spoken to you before in my life. Where am I? Why on earth is it so cold? It's pretty hard to be cozy here in the middle of December. Did you say December? That's right. That's right. The 18 December. You're fooling me. You're playing a trick on me. My head feels queer and I want to cry. I won't. Could we have some lights? Of course. Straight away. It can't be December, I tell you. That's impossible. It was only yesterday, and all the flowers were out. I was going up to see Philip. That's it. I was going up to see Philip. Philip who? Philip Gale, the man I was going to marry. It's coming back to me now. It was yesterday, and I started up to see Philip. Oh, for heaven's sake, miss. Be quiet, hella, and don't honor those lights yet. Oh, she's having us on, Hela. This girl's shaking all over, and she doesn't know where she is. Now, miss, now, listen to me. I'm going to sit down on the bed beside you. Now. Now, just take my hands and hold them tight. What's wrong? Why are you looking at me like that? I've got something to tell you. Is it about Philip? It is about him, yes, in a way. I want you to keep tight hold of my hands. You see, Miss Barton, this is Madehurst prison. Steady, now, steady. I'm still dreaming. I must be. It was the end of August, and I started up to see Philip. You can't mean I'm in prison. Now, listen, my dear. I'm afraid it's worse than that. Worse than that? Look over there. You see where there's a little bit of fire in the grate? Well, and paper on the wall and pictures and a carpet on the floor. Why can't you come out straight and tell her? They're going to hang you in the morning. Miss Barton, this is the condemned cell. [00:09:35] Speaker F: With sudden shock, the prison clock smote on the shivering air. But I won't quote that any further. I have too vivid a memory of sitting up that night with Colonel Andrews, the governor of the prison. It was in a little office with the lampshade tilted so that I could see his face. And he said, I hate executions. [00:10:03] Speaker G: Loatham can't sleep the night before. If you hadn't offered to come here and save my life, I. [00:10:08] Speaker F: This is a strange time, sir, to talk of saving lives. [00:10:12] Speaker G: There's no good being sentimental about the thing. That's the law. I didn't make it. [00:10:16] Speaker F: But I gather you're not exactly happy about this case. [00:10:20] Speaker G: I'm not, and that's a fact. Mind you, there's no doubt whatever about the girl's guilt. [00:10:24] Speaker F: Hmm. I am gratified to hear it. [00:10:27] Speaker G: But if only she confess. Most of them do. [00:10:31] Speaker F: You know, they confess to you, to. [00:10:33] Speaker G: Me, or to the hangman. Sometimes I wish I had any job in the world but mine. If only the girl would confess. If only she just stopped this nonsense about not remembering. [00:10:45] Speaker F: Not remembering what? [00:10:46] Speaker G: Not remembering how she shot Philip Gale. Not remembering anything, even her own name. Total amnesia. Covering a crime? [00:10:54] Speaker F: Do you mean to say that a woman suffering from loss of memory can be tried and sentenced to death? [00:10:59] Speaker G: No, not if she really has lost her memory. But this amnesia defense was a fake. [00:11:05] Speaker F: You're quite sure of that? [00:11:07] Speaker G: Naturally. The judge would never have allowed you to come to trial if he hadn't been convinced she was shamming. Even then she might have got off with a life sentence or even with manslaughter if it hadn't been for the nature of the crime. [00:11:18] Speaker F: She didn't cut anybody up, I hope. [00:11:21] Speaker G: No. No, it was almost as bad. She shot a man who raised his hands and begged for mercy. That completely damned her in the eyes of the jury. [00:11:31] Speaker F: And yet you have doubts. [00:11:34] Speaker G: Tell you I haven't any doubts. And in any case, it should be none of my business. [00:11:40] Speaker F: How has she acted since she's been here? [00:11:42] Speaker G: Model prisoner. But I wish she'd stop this business for seeming to be in a daze. It's getting on my nerves. Nice girl, too. I knew her grandfather. [00:11:53] Speaker F: She lived near here? [00:11:54] Speaker G: Yes. Born and bred in Midhurst. She got mixed up with a thorough going swine named Philip Gale. Mad about him. Wouldn't hear a word against him. He threw her over for a woman with money. [00:12:08] Speaker F: I see. [00:12:10] Speaker G: He had a bungalow on White Rose Hill. She went up there one Sunday afternoon. [00:12:15] Speaker F: Alone? [00:12:16] Speaker G: Yes. Herbert Gale, Philip's brother. Heard them screaming at each other. He ran in to see what was wrong. Philip was trying to chase the girl up. She grabbed a. 32 revolver out of a table drawer and told Philip to put up his hands. Well, that scared him. He did put up his hands. Then she shot him dead and went down in a fit. [00:12:38] Speaker F: And afterwards? [00:12:39] Speaker G: Afterwards she couldn't remember. [00:12:42] Speaker F: Couldn't remember anything. [00:12:44] Speaker G: Pretended she didn't even recognize her own family. She said, who is Philip Gale? [00:12:50] Speaker F: And you hang her tomorrow morning. [00:12:53] Speaker G: Yes. [00:12:54] Speaker F: Without even hearing her side of the case. [00:12:56] Speaker G: Confounded man. There's no doubt about the evidence. [00:12:58] Speaker F: Are you sure she killed Philip Gale? [00:13:02] Speaker G: Gail's brother Herbert saw her do it. This hypocrisy about not remembering emotional shock. [00:13:09] Speaker F: Could do just that, you know. [00:13:11] Speaker G: She wasn't so emotionally shocked that it disturbed her ape. She drilled him clean through the heart. At 15ft, the bullet entered in a dead straight line through coat, waistcoat, shirt and heart. He could have run a pencil through the holes. Now, don't sit there puffing out your cheeks and waving a cigar at me. I'm only. [00:13:31] Speaker F: Tell me, Colonel Andrews, aren't you talking to convince yourself? [00:13:38] Speaker G: No. [00:13:39] Speaker F: Suppose that the girl is telling the truth. Suppose she has lost her memory, I tell you. All right, you don't believe that, but suppose it. And then suppose in some black hour just before the hangman comes, that her memory returns. [00:13:58] Speaker G: Don't talk rubbish, sir. [00:14:00] Speaker F: I have lived long enough to know that mental suffering is the cruelest form of suffering on this earth. Imagine yourself in that position. You come out of a daze into what you thought was a safe and pleasant world. You don't know where you are. You don't know what's happened. You only know that when the clock strikes eight, they are going to take you out and hang. [00:14:26] Speaker G: Did you hear that? [00:14:28] Speaker F: Yes. [00:14:29] Speaker G: Are you thinking what I'm thinking? [00:14:31] Speaker F: Yes. [00:14:32] Speaker G: It isn't possible. [00:14:33] Speaker F: I very much fear it is sometimes. [00:14:36] Speaker G: You know, we. We have to use drugs. [00:14:39] Speaker F: Drugs? [00:14:40] Speaker G: Yes. When we take them to the execution shed, it's only a short distance and we try to get it over in a matter of seconds. But sometimes they. They can't walk. Yes, yes, what is it? [00:14:55] Speaker H: Beg pardon, sir, but I thought I'd better get you for the doctor or for the chaplain or both. [00:15:00] Speaker G: What's the matter with you, man? You're white as a ghost. [00:15:02] Speaker H: Can't help that, sir. I've been a warder in this place for a matter of 15 years, but I never knew anything like this. [00:15:08] Speaker G: It's the upstairs room, I suppose. Miss Barton? [00:15:11] Speaker H: Yes, sir. [00:15:12] Speaker G: Hysterical. [00:15:13] Speaker H: Yes sir. She says. Well, she says she remembers now. I see she's carrying on something awful, sir. That ain't all. [00:15:21] Speaker G: She. [00:15:21] Speaker H: She claims she never done it. [00:15:23] Speaker F: What's that? [00:15:23] Speaker H: She claims she never killed Mister Gale at all. [00:15:26] Speaker F: Never killed? [00:15:26] Speaker G: That's all, Harris. [00:15:27] Speaker F: Young girl. [00:15:28] Speaker H: Yes, sir. [00:15:29] Speaker G: Any other disturbances in the building? [00:15:31] Speaker H: Well sir, they're a bit restless in wing a. [00:15:34] Speaker G: Well, that's, that's usual. [00:15:36] Speaker H: Yes, sir. And there's a bloke outside the prison, I mean, who keeps hanging about in front of the main gate. You can see him with the street lamp. First he'll take a few little quick steps back and forth and then he'll run and stick his face against the bars of the gate and then he'll go back to the basin again. Fair gave me the creeps even before. This other thing, you don't happen to. [00:15:58] Speaker F: Know who it is? [00:16:00] Speaker H: It's the other Mister Gale, sir. [00:16:01] Speaker D: Herbert. [00:16:02] Speaker H: Gail. I hadn't the heart to chase him away. [00:16:04] Speaker G: All right, Harris, all right, all right, go ahead. I'll um. I'll be along in a minute. [00:16:08] Speaker H: Yes, sir. [00:16:11] Speaker F: So the girl claims to be innocent. You heard that? [00:16:14] Speaker G: Yes, I heard it. [00:16:16] Speaker F: What do you mean to do? [00:16:17] Speaker G: Well, I'll see her, of course. But it won't affect the issue. [00:16:21] Speaker F: Not even if she does happen to be innocent. [00:16:24] Speaker G: Phil, in the name of heaven, try to understand my position. I'm dreading this interview. It's against regulations. But I wish you would come along with me. [00:16:35] Speaker F: If there were only some. [00:16:39] Speaker G: Where's that whiskey? I. I think a little stimulant. [00:16:42] Speaker F: She will need the stimulant. [00:16:43] Speaker G: It's a cold night. [00:16:45] Speaker F: It will be colder yet where she's going. [00:17:04] Speaker A: But I didn't do it, I tell you. I didn't do it. [00:17:07] Speaker G: Miss. [00:17:07] Speaker A: Quietly. All right, my dear. [00:17:09] Speaker G: It's all right. [00:17:10] Speaker A: The governor and the other gentlemen, they believe you did. Oh, no, don't. You needn't try to fool me. Look at them over there in the corner, whispering. [00:17:17] Speaker G: Phil, she's lying. [00:17:18] Speaker A: I heard that. You said, Phil, she's lying. But I'm not lying. I'm not. Miss Larton, you've got to pull yourself together. Please listen to me. When I first woke up, I didn't even remember Philip was dead. Then it came back to me. [00:17:33] Speaker G: Yes. [00:17:34] Speaker A: I remember standing outside Philip's bungalow on a hot day with the sun in my eyes. I heard a shot inside the bungalow. I ran into the living room and found Philip lying on the floor by the couch with his mouth open and blood on his chest. That's all I do remember. Something hit me. Something hit you on the head? Oh, that's what it seemed. Please. [00:17:54] Speaker G: The doctor's found no injury at your head, you know. [00:17:57] Speaker A: I tell you. [00:17:57] Speaker F: One moment, Miss Barton. Can you forgive the intrusion of an old buffer who sincerely wants to help you? [00:18:06] Speaker A: Oh, and I'm sorry, Doctor Bell, I'll try to be sensible. [00:18:11] Speaker F: Now, tell me, when you arrived at the bungalow, Philip Gail was already dead. [00:18:16] Speaker A: Yes. [00:18:17] Speaker F: You didn't go up there to quarrel with him? [00:18:19] Speaker A: No. And why should I have killed him anyway? I only went to tell him I was through, finished, fed up with him. [00:18:25] Speaker F: I. Oh, what's the you they haven't told you then? That there's a witness who claims to have seen you shoot Gael? [00:18:34] Speaker A: A witness? Who? [00:18:36] Speaker F: Herbert Gail. [00:18:37] Speaker A: But. But that's a lie. [00:18:40] Speaker F: You didn't take a 32 revolver out of the table drawer. [00:18:42] Speaker A: Oh, this is the first time I've even heard of any revolver. Please believe me. [00:18:45] Speaker F: You didn't order Philip to put up his hands. And then when he did put up. [00:18:49] Speaker G: His hands high above his head, you. [00:18:50] Speaker F: Didn'T shoot him from a distance of about 15ft. [00:18:53] Speaker A: No, no, no. [00:18:55] Speaker G: Your fingerprints were on the revolver. You were still holding it in your hand when Herbert brought a policeman. [00:19:01] Speaker A: It looks as though you've got me, doesn't it? [00:19:03] Speaker F: I'm afraid it does. Just who is this brother, this Herbert Gale? [00:19:11] Speaker A: He's the good member of the family. Now then, my dear. Now then. I can't help. Steady, steady. Herbert is the good boy where Philip was the bad one. Younger than Philip, horribly respectable pillar of the church. Never smokes or drinks. Has to work hard because Philip inherited what money they had. Oh, let me laugh. You don't know how funny it is. [00:19:32] Speaker G: Herbert's word certainly carries weight. [00:19:34] Speaker A: It's carried weight against me, hasn't it? Why should he want to get me hanged? Why should he tell such a complete bag of lies? [00:19:43] Speaker F: Yes, I wonder why. [00:19:46] Speaker A: Every second, I imagine I'm going to wake up, find myself back in that living room again, looking at Philip's body, just standing and staring at it, and feeling sick. Of all things to think of at a time like that, wondering why he was wearing a waistcoat on such a hot day. [00:20:08] Speaker F: Hawkins of Athens. What an idiot. I mean, what a turnip. What a thundering dance. The murdered man was wearing a waistcoat. You told me so yourself. [00:20:19] Speaker G: What if I did? [00:20:20] Speaker F: The murdered man was wearing a waistcoat on a hot day. Grasp that beautiful fact, my friend. Keep it in splendor before you. 3 hours of sheer nightmare, and all because I never thought of the waistcoat. Let me ask you just one thing. What happened to the court exhibits in the Gael case? [00:20:40] Speaker G: As a matter of fact, we've still got em. The case was tried and made. Hearst decided. [00:20:44] Speaker F: You've still got em. [00:20:45] Speaker G: Certainly. But what good can they do? [00:20:47] Speaker F: Now, sir, let me shake your hand. Let me slap you on the back. Let me. [00:20:52] Speaker G: My friend, stop a bit. Quiet. [00:20:54] Speaker F: I I beg your pardon. [00:20:57] Speaker G: Have you. You forgotten where we are? [00:20:59] Speaker F: No. [00:21:01] Speaker G: Let's face facts. The prisoner has been told that there's, well, no hope. [00:21:07] Speaker A: Please. [00:21:08] Speaker G: I'm sorry, but there it is. [00:21:09] Speaker A: Please, you can't. [00:21:10] Speaker G: The cruellest thing you could do now would be to raise hopes that I can't fulfill. You understand that? [00:21:16] Speaker F: I understand it only too well. [00:21:18] Speaker G: This can't be pleasant for any of us. There's nothing in the evidence that justifies any change of plan. [00:21:24] Speaker F: Except, of course, that the girl isn't guilty. [00:21:32] Speaker G: Can you prove that? [00:21:33] Speaker F: To my own satisfaction, yes. [00:21:35] Speaker G: I'm afraid that's not good enough. [00:21:37] Speaker F: Suppose I proved it to you conclusively, mind out of evidence you gave me yourself. What would you do? [00:21:43] Speaker G: Are you bluffing? [00:21:44] Speaker F: No. Speak up, man. What would you do? [00:21:46] Speaker G: That's easy. Phone the home secretary and ask for a stay of execution. There's a private line from my office to his country house. But I warn you, Doctor Pell, is. [00:21:56] Speaker A: There any hope for me? Is there any hope? [00:21:58] Speaker G: I warn you, Phil, they won't accept fancy theories. They'll only accept facts. [00:22:02] Speaker F: Tell me, Miss Barton, how tall is the estimable Mister Herbert Gale? [00:22:08] Speaker A: How tall? [00:22:09] Speaker F: Yes. Is he anything like the same height as his brother Philip? [00:22:13] Speaker A: They're about the same height. 5ft ten. [00:22:15] Speaker F: But I don't see if I remember correctly. One of the warders told us that Herbert Gale has been hanging about the front gate all night. I should very much like to speak with him. Colonel Andrews, will you send someone out and ask him to come into your office? [00:22:29] Speaker G: I can't do that. [00:22:29] Speaker F: Why not? [00:22:30] Speaker G: It's against regulations. You have to get a special part. [00:22:33] Speaker F: Stay and write to him, Cassidy. Can't you get it through your correct military head that an innocent person is going to swing in less than 2 hours? [00:22:40] Speaker A: I don't know what you tried to do, but can you do it? [00:22:43] Speaker F: My dear, I can't tell. [00:22:45] Speaker A: You are going to try. [00:22:46] Speaker F: I am going downstairs now. Maybe in a very short time a certain gentleman will be entering this institution without any need of a pass. But don't hope for anything, my dear. Don't hope for anything. 07:00. 07:00 less than an hour to go. Oh, why doesn't that warder come and bring the exhibit I want? What's delaying him? [00:23:28] Speaker G: Probably he can't find the spot. [00:23:30] Speaker F: Said you had it here. [00:23:31] Speaker G: Things like that. I have to get mislaid. It's been a month since the trial. Must you. Must you have these exhibits in order. [00:23:38] Speaker F: To prove it to you fully? Yes, but if he doesn't come in. [00:23:41] Speaker G: 2 seconds more, I can't stay here much longer myself. The chaplains will allow, but I shall have to take over before the end. Yes, yes, come in. [00:23:52] Speaker H: Sorry to been so long, sir. I could have sworn it was in one place and lo and behold, it turns up somewhere else. [00:23:57] Speaker F: Never mind that. Did you get the exhibits? [00:23:59] Speaker H: It's all here, sir, in this suitcase. Where should I put it? [00:24:02] Speaker F: Put it on Colonel Andrew's desk. Now, let's see. Move the lamp over here, will you? [00:24:09] Speaker H: And about Mister Herbert Gale, sir. [00:24:11] Speaker G: Where is he? [00:24:11] Speaker H: Out in the hall, sir. [00:24:12] Speaker G: Do you want to see him now? [00:24:13] Speaker F: Yes, yes, my lad, very much so. Ask him to come in. [00:24:17] Speaker G: You can come in, sir. [00:24:19] Speaker H: This way. [00:24:20] Speaker I: Thank you. [00:24:22] Speaker G: Morning, Herbert. Glad to see you. Sit down. [00:24:25] Speaker I: Thank you. Colonel Andrews. [00:24:27] Speaker G: Let me have your hat and coat. This, um. This is Doctor Gideon fell. [00:24:32] Speaker F: How do you do? [00:24:33] Speaker I: The warder said you wanted to see me. I came, of course, but do you think it was quite the right thing to do? [00:24:40] Speaker G: Well, why not? [00:24:41] Speaker I: Well, people might think I was holding a grudge against Helen because of Phil, you know. [00:24:46] Speaker F: And you don't hold any grudge? [00:24:48] Speaker I: No. I pity that poor girl from the bottom of my heart. I only wish I hadn't had to testify against her. But what else could I do? [00:24:57] Speaker F: You mean you'd like to help her, even now? [00:24:59] Speaker I: Of course I would. If there's anything I can do to. To soothe her last moment. [00:25:04] Speaker F: There is something you can do, Mister Gale. Well, you can come with us to the condemned cell. [00:25:13] Speaker I: Are you joking? [00:25:14] Speaker F: No. [00:25:15] Speaker I: But wouldn't it be horrible for Helen? [00:25:17] Speaker F: Yes, probably. But as you point out, she has only a very short time to live. [00:25:22] Speaker G: Yes. [00:25:23] Speaker I: Excuse me, but what have you got in that suitcase? [00:25:26] Speaker F: In this suitcase, Mister Gale, a flattened bullet. The bullet that killed your brother. A. 32 revolver. A tweed coat, blood stained. A tweed waistcoat, also bloodstained giafel. [00:25:44] Speaker G: What do you expect to prove with that stuff? [00:25:46] Speaker F: Will Mister Herbert Gael go with us to the condemned cell? [00:25:49] Speaker I: Of course, if you think I can do any good there. [00:25:51] Speaker F: Then with your permission, I propose to prove that a straight line is the shortest distance between two points. Will you walk into my parlor? [00:26:31] Speaker A: 730 half an hour to go. Easy, my dear, easy. They're not coming already to Herbert. Gail. [00:26:48] Speaker I: I'm very sorry for you, Helen. Please believe that. [00:26:51] Speaker A: Thank you. [00:26:53] Speaker I: I shouldn't have intruded at this painful time. Believe me, Helen. But doctor fell and the colonel here made me come to see you. [00:26:59] Speaker A: You mean you've come to confess? Confess? [00:27:02] Speaker I: What should I confess? [00:27:03] Speaker A: You didn't see miss. You'd. Phil. You know you didn't. [00:27:05] Speaker I: I'm sorry, Helen. I pity you and I bear you no malice even now. But you did shoot poor old Phil. You shot him in cold blood after you'd asked him to put up his hands. [00:27:14] Speaker F: How high did he put up his hands? [00:27:17] Speaker I: I beg your pardon? [00:27:18] Speaker F: I said, how high did he put up his hands? [00:27:21] Speaker I: Look here, you're only upsetting poor Helen. Is there any purpose in going over all this in the last few minutes before. Before the hangman? [00:27:29] Speaker F: We might even illustrate what happened with a little experiment. I have here, in this suitcase, a blood stained tweed coat and a blood stained waistcoat. You see them, Mister Gale? [00:27:45] Speaker I: I see them, yes. [00:27:46] Speaker F: I should like you to take off your own coat and waistcoat. I should then like you to put on this coat and this waistcoat. [00:27:55] Speaker I: I do no such thing. [00:27:56] Speaker F: Why not? [00:27:57] Speaker I: Haven't you tortured poor Helen enough? Colonel Andrews, I appeal to you. [00:28:02] Speaker G: I don't see what the game is, but where's the harmony? [00:28:04] Speaker I: Helen's feelings? [00:28:05] Speaker A: Never mind my feelings, Herbert. I've only got a few minutes left. Put on the coat and waistcoat. [00:28:10] Speaker F: You hear a condemned person's last request, Mister Gale. Will you do it? [00:28:14] Speaker I: Yes, if you insist. [00:28:15] Speaker G: I still don't see what this is all about. If something isn't done very soon. [00:28:20] Speaker H: Colonel Andrews, sir. [00:28:22] Speaker G: Yes, Harris? [00:28:22] Speaker H: I thought I'd better tell you, sir, that the chaplains here and the witnesses are ready. [00:28:26] Speaker G: And the. [00:28:27] Speaker H: And the other person too. [00:28:28] Speaker A: You mean the hangman, don't you? You mean he's got to come and. [00:28:32] Speaker H: Bind her hand, sir. It's five minutes to eat. [00:28:34] Speaker G: Sorry, feral, but this has got to stop. I must ask you to clear out of here immediately while we. [00:28:38] Speaker F: For God's sake man, wait. I can prove it now. [00:28:43] Speaker G: You can prove what? [00:28:44] Speaker F: I can prove Mister Herbert Gale lied when he sentenced this girl to death. [00:28:49] Speaker I: You must be out of your mind. You can't do any such thing. [00:28:51] Speaker F: Oh yes I can. Do you notice, all of you, that he's wearing the dead man's coat and waistcoat? [00:28:57] Speaker I: All right, suppose I am. What about it? [00:28:59] Speaker F: You will imagine, Mister Gale with this powerful imagination of yours that I am threatening you with a revolver. Now hold up your hands. [00:29:08] Speaker I: What the devil are you gambling? [00:29:09] Speaker F: Hold up your hand, sir, high above your head. [00:29:11] Speaker I: I won't do it. [00:29:12] Speaker A: Better do it. Have it. You'd better do it. [00:29:14] Speaker G: Do as a teller, man. [00:29:15] Speaker F: I'm asking you now that's it, Mister Gale. Don't let your hands tremble when you raise them. Just lift your hands higher. Higher still while I'm threatening you with a revolver. Now look at his coat. Everybody look at the coat. [00:29:36] Speaker G: I refuse to. [00:29:37] Speaker F: Don't lie. Your hands, mister Gail and the rest of you look at his coat. [00:29:41] Speaker A: The coat. It rises when he lifts his hand. [00:29:44] Speaker F: But the. Of course it does. And the bullet hole in the coat, you notice, rises with it. But the waistcoat is buttoned close to the body. The waistcoat doesn't move. [00:29:55] Speaker G: I think I begin to see. [00:29:56] Speaker F: The bullet hole in the coat has risen at least four inches above the corresponding hole in the waistcoat. Yet the bullet you told me penetrated in a dead straight line through coat, waistcoat and shirt. Therefore Philip Gail could not possibly have had his hands raised when he was shot. [00:30:13] Speaker G: It's a damned lie. [00:30:15] Speaker F: Was a damned lie. Sir, you killed Philip Gale yourself. When Helen Barton walked into the middle of your crime, you knocked her out with a weapon that left no bruise and put the revolver into her hand. Then you discovered, as a gift from heaven, that she had lost her memory. You could tell any lying story you liked, but it's upset the apple cart. Now, the prosecution, the evidence, the verdict were all based on the evidence of the shooting of a man who had his hands raised. Destroy that single lie and you create the reasonable doubt that destroys the whole case. [00:30:52] Speaker A: This is true, Colonel Andrews, is it true? Can't you at least say something? [00:30:57] Speaker G: Harris. [00:30:58] Speaker H: Yes, sir. [00:30:59] Speaker G: You know the private telephone line in my office? [00:31:02] Speaker H: Yes, sir. [00:31:03] Speaker G: Get me the home secretary. [00:31:43] Speaker E: And so, with the end of the story, the clock strikes eight. We come to the end of our present group of stories in the series, appointment with fear. If you have been pleased, if you have been entertained, if you have been able to say that only the graveyards have yawned, then we are deeply grateful indeed. With the slightest encouragement, I, who am amused by such things should return to tell you more tales of corpses and the midnight hour. But until that happy day when we meet again by some evil crossroad of the future, this is your storyteller, the man in black, saying good night and goodbye. [00:32:53] Speaker B: That was the clock strikes eight from appointment with fear, from the BBC, here on the mysterious old radio listening society podcast. Once again, I'm Eric. I'm Tim. And I'm Joshua Simon, our patreon recommended this to us. And thank you so much, Simon, for being a patreon and for your recommendation and caring enough to think about stuff we should listen to. It wasn't too long ago that I think I brought the first appointment with. [00:33:25] Speaker D: Fear to our podcast and the pendulum. [00:33:28] Speaker B: Yep. And at that time, I said, I can't wait to listen to the six that are. Yeah, there's only a handful that you can listen to. [00:33:38] Speaker D: Four. [00:33:39] Speaker B: And I was like, oh, that was really good. I can't wait. And then Simon recommended this. Oh, good, I get to listen to another one. And now I have to make sure Simon's okay, because Simon, I could not get past the guy playing Hercule Perot. No. Who is he playing? [00:33:56] Speaker D: Doctor Gideon Fel. [00:33:58] Speaker B: Oh, Simon, I hope you recommended this to watch me squirm. But that performance was and all. You loved it. [00:34:07] Speaker D: So perfect. [00:34:08] Speaker B: Ah, you loved him. [00:34:10] Speaker D: So here's the deal. I'm gonna be outed as a complete hypocrite because a couple weeks ago, I was very snotty about Philo Vance. Yes, we all were, but we weren't all. This is also an example of why I was snotty about Philo Vance. This is a over the top performance, but it is completely in line with the literary doctor, Gideon Feld. And I realize that that's not a legitimate defense of a radio program because this is a radio program, not a book. But if you enjoy the novels featuring Gideon Fell, this performance encapsulates his character quite well. Does it mean I have delightedly over the top? No, you don't. [00:34:59] Speaker G: I just want to. [00:34:59] Speaker D: I want to point that context out. [00:35:02] Speaker B: So it is in line with what it should be. [00:35:06] Speaker D: Yes. If you've never read the books, you might listen to this and go, what? I think that's a fair response, which. [00:35:12] Speaker B: Is exactly what happened. I was in hell listening to this guy because I actually thought the story, even though a little pedantic, pedestrian, I should say, was okay. But I just couldn't get past that. [00:35:32] Speaker D: Well, I'm going to just come clean with my priors on this episode so that people can take everything I say with whatever grain of salt they want to take it with. Is that for me, this is such a delightful blend of so many of my disparate, cozy, warm blankets. It's like a crazy quilt made up of so many of them. It's got the trappings of suspense, obviously. I hear that music and I'm like, ah, yes, Valentine dials from classic Doctor who, which in my opinion is, I mean, the old real Doctor who, black and whites from the sixties and up into the eighties. But we'll put a pin in that. We won't discuss that now. But Valentine dial plays an ongoing bad guy in classic Doctor who, so that's another warm, fuzzy blanket for me. And then, I do love John Dixon Carr's novels. I really like Gideon fell, who is, in fact, both in personality and in physical appearance, modeled after GK Chesterton, who I adore and who also is the creator of Father Brown, a famous detective character himself. [00:36:47] Speaker B: With Tom Bosley? [00:36:48] Speaker D: No, no, there was some, I think, Father Brown mysteries. They're terrible. [00:36:55] Speaker B: Yeah, with Tom Bosley. [00:36:56] Speaker D: Tom Bosley is a fine man. [00:37:00] Speaker B: But anyway, Chesterton, the red light Bandit. [00:37:03] Speaker C: Yeah, the cigarette. [00:37:06] Speaker A: Ah. [00:37:07] Speaker D: So I guess what I'm saying is I have nerdy reactions to this. [00:37:11] Speaker B: Sure. [00:37:12] Speaker D: So do not take me as an authoritative voice whatsoever. Take me more as a nerd crying in the wilderness. [00:37:23] Speaker C: That's a. That's a glass house. I don't want to throw rocks in. [00:37:27] Speaker D: I know. So all I have to do is keep my dukes up for eric, I've already put Tim in place. [00:37:33] Speaker A: It. [00:37:33] Speaker G: The. [00:37:34] Speaker B: The detective is a lot like listening to John lovett's actor character, you know, like, it's a parody of an actor. [00:37:44] Speaker C: Yeah, I think that is, whether that is bonus content or a detraction is better. [00:37:50] Speaker D: Like, I loved it. [00:37:52] Speaker B: Yeah, yeah, yeah. Okay. [00:37:54] Speaker D: Can I might have loved it also because I knew how much you would dislike it. [00:38:00] Speaker C: Yeah, that's the context of, like, I love it. And I don't disagree with what you're saying. Like, that was a big, crazy character. [00:38:06] Speaker B: Yeah, too much. Can I ask the plot hole question to get it out of the way? [00:38:12] Speaker C: Why do they just let this guy come and go as he pleases? [00:38:14] Speaker B: Well, there's that. Just. She's got 2 hours to go. Just explain. Okay, you guys, hold on. Give me the jacket in here. I think the jacket, the bullet holes don't match up to the thing, you know, like, this whole drawn out performative ridiculousness. [00:38:33] Speaker D: Eric, have you watched or read or seen a classic mystery? You're like, why would they bring all the suspects to the drawing room? And one by one, talk about their motivation? [00:38:46] Speaker B: Just cut it too close. He could have said it so much earlier, and this poor woman's like, tick tock, tick tock. And with seconds left, he could have had that. He could have said, hey, bring him in here. Look at this. These bullet holes will match up with an hour to go. I just felt bad for her how much he was milking this at her psychological expense. It was terrible to do to her. That was the thing. [00:39:11] Speaker D: He was also, I think, hoping to get a response out of the murderer himself. So, like, a lot of those scenes where they bring everyone together in the library, the scene to sort of smoke out the villain. [00:39:25] Speaker F: Yes. [00:39:25] Speaker C: You wonder if they're just kind of vamping for a little while. Like, hopefully somebody just kind of coughs up a confession here, because I don't know who. [00:39:30] Speaker G: Yes. [00:39:30] Speaker D: Yes. We've all been in those improv scenes. We're like, I'm gonna just keep talking. Hope somebody else saves this. [00:39:37] Speaker B: That's everything I have in my notes. I thought the woman was great. I thought her performance was fantastic. [00:39:43] Speaker D: Scream. [00:39:44] Speaker B: Yep. [00:39:45] Speaker C: That was bone chilling. [00:39:47] Speaker B: I liked everybody else in it. I like the tool that the writer uses of the brother or brother in law. I can't remember getting away with the murder because luckily, the hit on her head causes her memory loss. Oh, nice advantage. I just didn't like the character, the guy, and how it's played. And I also didn't find that they had the justification in place to draw it out. They tried a little bit with, we need that evidence here. They can't find it. Okay, we've got to find it. I think there was something to that, like the ticking clock of hurry, hurry, hurry. We got to find the evidence. But they got it. With an hour to go. He could have said, great, somebody throw this on. Look at this. So you guys can now talk, because that's everything I got to say. [00:40:37] Speaker D: Your argument is that they should have removed all drama from this ticking clock. [00:40:42] Speaker B: They could. [00:40:43] Speaker D: Possible crime. [00:40:44] Speaker B: They could have made the ticking clock premise more plausible. Instead of it just being his ego to draw this out. [00:40:52] Speaker C: It is, I think, fair. John Dixon Carr, his writing is often very contrived. Like, I'm gonna create this weird, bizarre circumstance for which there is only one way to thread this needle that I. [00:41:04] Speaker D: Think, probably more so for Joshua. [00:41:05] Speaker C: And I like, that's the appeal, that this is this weird, unthinkable situation that, like, why would you do it that way? Because it's fun to do it that way narratively. [00:41:15] Speaker D: My favorite type of mysteries are these mysteries or locked room mysteries, because why waste your time trying to make this incredibly artificial thing like a mystery novel grounded in reality? Because it just isn't. And I like just leaning into how, like, let's just make it a crazy, over the top puzzle. I'm not saying this is the best example of that, but it's why I like Dixon Carr's novels and this entire genre, because it just. [00:41:44] Speaker C: There is a degree to which, if you pick at it, if you examine it, it starts to kind of like, what? This is nonsense. This is crazy if you don't, if you're not enjoying it for what it is. [00:41:53] Speaker B: But I do like crazy, over the top puzzles. I'm the only person on the planet that likes the DaVinci code. Movies like everybody hate. That's as puzzle. [00:42:02] Speaker C: They were incredibly popular movies. [00:42:04] Speaker B: Oh, but everybody hates them, don't they? And same with national treasure. Doesn't everybody hate those movies? I thought everybody hated them. [00:42:10] Speaker D: They're not gonna end up on the sight and sound 100 best films of all time. No, but that doesn't mean people hated them. [00:42:16] Speaker B: I love them. They're in my top hundred. [00:42:19] Speaker D: Yeah, but that's. [00:42:20] Speaker B: But my point being is I like puzzle, puzzle, puzzle. Solve the puzzle, puzzle. And so that doesn't bother me. [00:42:28] Speaker D: What I'm saying is not the puzzle, but that it embraces the artificiality of creating the puzzle in the first place. [00:42:35] Speaker B: Right. I get what you're saying. The end. [00:42:38] Speaker D: I do think there are some nice touches in here beyond my own nerdy enjoyment. [00:42:43] Speaker C: I mean, not as good as final vance, but way better. [00:42:49] Speaker D: But I did enjoy the prison warden's, how he clearly either didn't think she was guilty or didn't want to believe it. So he calls his friend the detective there, and intentionally tells him, like, there's no way she didn't do it. But it's very clear. The subtext is that, please tell me she didn't do it. Yeah, she only has 2 hours. And I think that's a great setup where. So he's. He's playing a foil to his own hopes. And it helps to explain why Gideon fell's there. [00:43:24] Speaker C: And the. Again, highly contrived that she has suddenly regained her memory with hours to spare. That up to this point, there's just been no disputing her guilt. [00:43:37] Speaker D: Yes. And the pressure is on. They literally hear her wailing down the corridor. And again, if you're familiar with GK Chesterton and you're familiar with the red. [00:43:52] Speaker B: Light bandit. [00:43:57] Speaker D: One of the things I loved about this guy's voice is that he actually portrays the size of Gideon fell, who is supposed to be just hugely overweight, like Nero Wolf, and which is what GK Chesterton was, who walked with two canes to get himself around. There was a voice suggests that. [00:44:16] Speaker C: Yeah, I saw of this character Fel, who. It's just an orb, just a sphere with a coat on. [00:44:24] Speaker B: Like the. The moon from a trip to the moon with the rocket in its eye. [00:44:30] Speaker C: The illustrations from the back. So I assume. [00:44:32] Speaker B: So that's what I just pictured, is that moon with a jacket on. [00:44:38] Speaker D: I also loved how the framing device of starting on that ticking clock. And we've all talked about how unnerving a clock ticking in the background is and come back. I agree with you 100%, Eric, that this is nothing new or groundbreaking or novel. I just think it's really well executed. The plot hole, I would point out, if I were gonna be on Team Eric and try to help for once. Steel man. Eric's opinion of this was I can come up with reasons that her brother in law was just hanging around, hanging around the prison. But just in case you need me. [00:45:15] Speaker C: To be found guilty. [00:45:17] Speaker D: But it would have been nice if we had some idea of why he was there. I think he's there just to be like, I want to make sure this happens. As soon as she hangs for this, I am in the clear. [00:45:30] Speaker B: Yeah, except for the haunting. [00:45:32] Speaker D: Yeah, but it's still odd enough that it felt like it needed to have some narrative acknowledgement. [00:45:39] Speaker C: I will confess. When we're going into the end, I thought, like, aha. I get what it is. The two brothers were five foot ten, and she's gonna turn out to be, like, four foot two. So that if she's shooting, she's gonna. [00:45:52] Speaker B: Be shooting up at an angle, right? She's four foot two. She, like, comes up to my knee. [00:45:59] Speaker C: There are four foot two people out there who shoot people. I mean, not all of them, but I don't know, half. [00:46:07] Speaker D: This isn't a criticism of this story. It's just fun from this vantage point in time to think about. And this is true of all these golden age mystery stories. Like, someone's murdered, and it's always like, so I opened my table drawer and pulled out my loaded. 32 and shot him. And no one's ever shocked that you just, like, right. You know, keep a loaded gun in your drawer in case of, you know, a moment of great passion where you might kill your spouse. It's like, wow. [00:46:36] Speaker B: I'm always shocked today history that people have loaded guns in their houses, period. I grew up in a different house. [00:46:45] Speaker D: So that's always shocking with a very responsible gun owner. Yeah, the guns are locked. The ammo is somewhere else. [00:46:55] Speaker B: Did you grow up with guns in the house? [00:46:56] Speaker D: Yes. [00:46:57] Speaker B: Yeah. [00:46:58] Speaker C: I mean, some of them I didn't know were in the house. [00:47:00] Speaker B: Right. I'm just from my own background. Like, if I had fun, some of. [00:47:03] Speaker D: Them were always in my dad's sock garter, just in case. [00:47:08] Speaker B: Yeah, not my world. [00:47:11] Speaker D: Oh, I'm sure it was. You just weren't. Not in your house, but you probably weren't aware of it. Probably neighbors. [00:47:16] Speaker B: Oh, I'm sure they did too. I'm just saying, I, like, there was never one in mind, but we were. [00:47:21] Speaker C: Also, like, my dad would not, like, go off to the shooting range every week or anything like that. [00:47:25] Speaker G: Oh, yeah. [00:47:26] Speaker D: My dad went to the shooting range, and he shoot them off. He wasn't even a hunter. He just enjoyed the history of them and the design and all the nerdy information about it. Yeah. [00:47:37] Speaker C: And the power you feel. [00:47:41] Speaker B: We had slingshots, which couldn't hurt about. We didn't have slingshots. I had a wrist rocket once, and it was taken from me immediately. And that's not some kind of social or political agenda. My parents just knew this kid should not have a wrist rocket. And they were right. Anything else? [00:48:04] Speaker C: It particularly tickled me in that whole idea of, like, okay, we're gonna wait till the last possible minutes. And I'm gonna do this elaborate theatrical presentation to show you. But I'm gonna take this guy, you're gonna wear the murder victim's clothes. I'm gonna take the actual gun, and I'm gonna point this gun at you and make you reenact the whole thing. Yeah, of, like, has Fel just snapped and we're about to watch him kill this guy. [00:48:30] Speaker A: Oh, well. [00:48:30] Speaker D: And he does a little, like, when he realizes it all, he's like, yes. And he's very excited about it. And the warden has to be like, this woman's about to die. [00:48:40] Speaker A: Right? [00:48:40] Speaker D: Can you take it down a notch, Phil? So I enjoyed that. I mean, another really convenient thing in here is that she got hit over the head by something that didn't leave a mark. [00:48:53] Speaker I: Yeah. [00:48:53] Speaker D: Yeah. I think Carr should have done that little extra bit of research. I know it was harder then. Didn't have the Internet, might have to go to the library. But to, like, name the object or place it somewhere in the room with her. I just assumed it was a bag of oranges. The classic, classic Beverly Marx. Yeah. But, yeah, her laugh, sobbing at the end is pretty horrific. [00:49:23] Speaker C: Yes. I was having a lot of fun with this story. You're making it kind of real and I don't like it. Yeah. [00:49:29] Speaker D: But it calls back to the beginning narration when he does say, I saw what the human soul can endure without quite going mad. So it's a nice circle back to. She's just short of insane in that final moment. [00:49:45] Speaker B: Right. [00:49:47] Speaker D: And my last observation here is I did enjoy that. The man in black had a very raymond worthy, ghoulish joke at the end when he says, if you've ever been able to say only the graveyards have yawned during this whole thing, I delivered that very poorly. But imagine Valentine dial saying that. But, yeah. So it was fun to see all the connections between just this whole universe of radio shows, of future entertainment, of literature, of mystery, and even to today, the latest reprint, which I'm probably going to go up and buy today, of a John Dixon Carr novel has an introduction by Rian Johnson praising the John Dixon Carr novel. And you can easily see that as an inspiration to his work. [00:50:39] Speaker C: I was looking at it, didn't realize St. Joshi has written, I think, collection of essays about his work. [00:50:44] Speaker B: I also like the end of the show where he is not so covertly begging the audience to write in and ask for more shows to keep the show going. [00:50:53] Speaker C: I was curious when we were listening to it, like, I don't know what date this was? Was this the last season of this? [00:50:59] Speaker B: Right. [00:50:59] Speaker C: Was there more episodes? It was season three out of nine. Technically ten. [00:51:04] Speaker D: Wow. [00:51:05] Speaker B: But they might have been on the chopping block, and they did pretty good. Well, should we vote? [00:51:10] Speaker D: Yes. I will say, I know your vote. You don't even have to vote. [00:51:15] Speaker B: I want to vote. Thank you. [00:51:18] Speaker D: But I will say I do think it stands the test of time. If you can get past some of the very large performance choices, you can see the influence in the popular mysteries of today. Is it a classic? No, no, no. I think the whole is less than the sum of the parts, but, oh, I enjoyed the parts so much. [00:51:44] Speaker C: I'm in the same boat. I enjoyed. It stands the test of time. And it is also historically fascinating to see both narrative wise and its place in the history of radio wise. Just all the influence it had, all the traditions it carried forward. I really enjoyed it. Not a classic, and it's certainly not great art, but it's fun and I like it. [00:52:05] Speaker B: I just realized the actor, the character, the detective, I just realized where the voice. I've heard it. It is the Monty Python. [00:52:16] Speaker A: Where's the fish? [00:52:19] Speaker B: Fishy, fishy, fishy, fish. He talks like. Do you know what I'm talking about for meaning of life? You're just not gonna. [00:52:26] Speaker D: You're not gonna give me the satisfaction of acknowledging it. [00:52:29] Speaker B: Doesn't he sound like. [00:52:30] Speaker D: I don't think he sound. [00:52:31] Speaker B: You have a bullet hole in the wrong. Where's the fish? [00:52:36] Speaker D: I think that's kind of racist against british people. [00:52:42] Speaker B: I like everything about this except that guy. If you can get past that guy, I think the story's good. I think it's well done. I think it's interesting, and I like everything else about it. It's hard to get past the. Where's the fish guy? [00:52:55] Speaker G: Fishy, fishy. [00:52:57] Speaker D: That is Gideon fell schtick. He's too much. [00:52:59] Speaker B: He's too much. It's too much for me. Can you imagine, like, taking a vacation with that guy? [00:53:06] Speaker D: I'm trying to understand how you listen to radio. Would I like to vacation with the shadow? Would I like to vacation with Joe Friday? That's gonna be how I think it is, what I do, shows going forward. [00:53:23] Speaker B: Yeah. Yeah. Would I vacation with Agnes Moorhead? Yeah. Seems okay. [00:53:28] Speaker D: Seems a little personal. [00:53:30] Speaker A: Wow. [00:53:30] Speaker C: Yeah. I think you and I vacation very differently. Tim tell himself, hey, please go visit gouldishdelights.com. That's the home of this podcast. You can certainly find this podcast anywhere. You get your podcasts. But at Gouldish, delights. You can leave comments. You can vote in polls. You can send us messages, communicate with us, let us know what you think. What do you want at a vacation, partner? You can also link to our social media pages, link to our store, and buy some mysterious old radio swag t shirts. Whatnot? I think we sell some whatnot. And you can go to our Patreon page. [00:54:04] Speaker D: Yes, go to patreon.com themorals and support this podcast. Be like Simon. [00:54:11] Speaker G: Yeah. [00:54:11] Speaker D: If you want us to listen to one of the radio shows that you want us to listen to, you need to become a patron of this podcast. And Simon, I hope you are happy with what just happened here, but I thoroughly enjoyed it. And thank you, Simon. And thank you to everyone who supports this podcast. And just a little nudge for all of you who don't do it. [00:54:36] Speaker B: Nudge. Hey, the mysterious old radio Listening Society is also a theater company that does audio drama live on stage, doing recreations of classic old time radio shows and a lot of her own original work. And you can see us performing somewhere every month, if not more than once a month, by going to ghoulishdelights.com. There you'll see where we are, what we're performing, and how to get tickets to come see us. Also, ghoulish Delights theater company has a lot of shows coming up. If you're in the Twin Cities, Minnesota area, please come see Tim Uran's adaptations and performance of Bonehouse and Bone House. Outsiders and the outsider. Yeah, it's gonna be great theater in May of 2024. And if you're a patreon, you get to see our mysterious old radio listening society audio dramas because we filmed them, and that's part of your perks package. And those are posted for you. But come see us because you can have dinner, see a show, meet us, we hang out, whatever. Okay, what's coming up next? [00:55:37] Speaker D: Next, we will be listening to another patreon. Pick the pathetic fallacy from quiet, please. [00:55:46] Speaker B: Until then, honey, Jack, Doc, Reggie, and a man called X and I are going to Disney World.