Episode 349: David Dexter

[00:00:16] Speaker A: The mysterious old Radio Listening Society podcast. [00:00:25] Speaker B: Look out. [00:00:27] Speaker A: 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. [00:00:35] 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. [00:00:43] Speaker A: This week, we're listening to an episode I chose, David Dexter from a series we have not featured before, Diary of Fate. [00:00:52] Speaker D: The show ran for only 35 episodes, starting at the end of 1947 and concluding in August of 1948. Each installment was named after the character whose fate had been recorded in the titular diary. To the best of our knowledge, 24 episodes have survived. [00:01:12] Speaker A: Ray Erlenbourne provided the sound effects for Diary of Fate in his long career as an actor and Foley artist. He also provided sounds for suspense. Big town and the Jack Benny show. [00:01:23] Speaker C: Diary of Fate was co produced by Larry Finlay and Herb Litton. Litton also served as the show's host. Fate, whose distinctive qualities are probably what the show is best remembered for. I'm sure we'll talk about that more after the episode. But first, let's listen to David Dexter from Diary of fate, first broadcast May 4, 1948. [00:01:43] 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. [00:02:02] Speaker E: The diary of faith. Faith plays no favorite. It could happen to you. Book 41, page 106 in the Diary of Faith. Yeah, here it is. The name David Dexter. A clever man who outwitted himself. Dexter is not his real name. But in another moment, it will not matter, for the man who calls himself David Dexter will be dead. I will write his final entry in my diary. Listen well, all you who blame fate for your misfortunes. In a moment, I will read from the record of David Dexter in the diary of faith. You were always a brilliant sort of fellow, David Dexter. Other men envied you. Your good looks, your smooth manners, and above all, your ability to dominate those around you. You were so sure of yourself that you didn't even pay heed to me. And now I, fate, look back over the record to a single entry, an entry which sets the final phase of the plan in motion. It was in your hotel room. [00:04:17] Speaker F: So you can't bluff me, Dexter. You can't get away with it. But I'm not bluffing, Lamar. I mean every word I say. Now, shall we complete our transaction? There's nothing but blackmail and I will hard. Whatever you like, Lamar, but I'm through talking about. Maybe that'll help you make up your mind. What do you want, Dexter? You know what I want. A check from you for $100,000. And right now. [00:05:02] Speaker E: That was a mistake, David. But of course the whole affair was a mistake. Beginning with the day you arrived at the luxurious rolling Sands hotel, winter home of the wealthy, where you found just what you were looking for. A wealthy, attractive woman, alone and probably bored. For a generous tip, the desk clerk told you her name was Misses Stephen Lamar. That first evening you arranged for a table conveniently near her at dinner. Then an old device, a dropped napkin, a mumbled apology and a charming smile. And soon you were chatting amiably with just the right amount of reserve in your manner and tone. [00:05:59] Speaker B: Are you planning to stay in rowling sand for the winter, Mister Dexter? [00:06:03] Speaker F: Oh no, probably only a few days, misses Lamar. Chicago is so blustery this time of the year. I couldn't resist a bit of sunshine. [00:06:11] Speaker B: Chicago's your home? [00:06:13] Speaker F: Yes, I'm in the grain brokerage business there. [00:06:15] Speaker B: Oh, how interesting. My husband is a broker too. You may have heard of him. Stephen Lamar of the Mar and company in New York. [00:06:22] Speaker F: Oh, you don't say. Why of course I've heard of him. I'd certainly like to meet him. [00:06:27] Speaker B: I imagine your chance of seeing him is even better than mine, Mister Texas. [00:06:32] Speaker F: Well, just what does that mean? [00:06:33] Speaker B: Oh, I really shouldn't have said that. I sound just like the typical complaining wife. But even if always so busy that. Well. [00:06:43] Speaker F: Oh, I understand, misses Lamar. A situation of that sort doesn't allow for much companionship or home life, does it? [00:06:50] Speaker B: No, it doesn't. That's why I decided that I'm going to buy a home here at rolling Sands and stay permanently. If I'm to grow old alone, I might as well be comfortable. [00:07:00] Speaker F: Oh come, come, misses Lamar. You've years and years before you start thinking of that. Speaking of age though, we're not too old for a dance or two in the ballroom after dinner, are we? [00:07:11] Speaker B: I haven't danced. I haven't danced for a long time, Mister Texas. [00:07:15] Speaker F: And neither have I. But I'll chance it if you will. [00:07:17] Speaker B: Well, all right, let's do. [00:07:28] Speaker E: That was a good start, David. When you left her at the end of the evening, you could see that Elaine Lamar was radiant. After that there was nothing to do but follow your usual formula. Then one night you knew the time had come. You and Elaine were sitting in your car far down the beach, silently watching the breakers dancing and tumbling in the moonlight. [00:08:00] Speaker B: Beautiful, isn't it, David? [00:08:02] Speaker F: Yes, it is, darling. I hate the thought of leaving all this and you leaving. David, I have work to do, you know. [00:08:13] Speaker B: Yes, of course you do, David. It's just that I. I've been so happy these past two weeks, and I guess I'd forgotten it had to end sometime. [00:08:22] Speaker F: Does it have to end? [00:08:24] Speaker B: Darling, how can it be otherwise? [00:08:26] Speaker F: Oh, I love you, Elaine, very much. [00:08:32] Speaker B: You shouldn't have said that. [00:08:33] Speaker F: David and I. I think you love me a little. [00:08:38] Speaker B: But I'm married. [00:08:41] Speaker F: Oh, you're not in love with Stephen, nor is he in love with you. [00:08:44] Speaker B: No. I can't deny that. For my part, I've been in love with only one man in my life, and I lost him. [00:08:54] Speaker F: I'm sorry, dear. [00:08:55] Speaker B: My first husband was killed in an accident out in Nevada ten years ago. [00:09:00] Speaker F: In Nevada? What sort of an accident? [00:09:06] Speaker B: He was a mining engineer and had a syndicate with two other men to reclaim abandoned mines. They were just promoted. My husband did all the work. [00:09:13] Speaker F: Yes. [00:09:14] Speaker B: I got a letter from George saying that he didn't trust them. Two days later, his body was found at the bottom of a mine chest. [00:09:21] Speaker F: That's terrible. [00:09:22] Speaker E: What happened? [00:09:23] Speaker B: The authorities called it an accident. I always felt that he was murdered. [00:09:29] Speaker E: Murdered? [00:09:30] Speaker B: Yes. Every scent that I have and the fortune that Stephen has built up since we were married came from that mine. If those men thought they could get control of it by murdering George, they were mistaken. He had protected his claim thoroughly. [00:09:44] Speaker F: But maybe it was an accidental. [00:09:47] Speaker B: Nobody will ever convince me of that. [00:09:49] Speaker F: David, your husband. I've known a lot of mining men. What was his name? [00:09:56] Speaker B: George Evans. [00:09:58] Speaker F: No, I guess I never knew him. Who were those other two partners? [00:10:05] Speaker B: I never met either of them. But I'll never forget their names as long as. As long as I live. Henry Ballard and Lowell Garrison. [00:10:16] Speaker E: Henry Ballard, Lowell garrison and George Evans. Three names you had never expected to hear again. Your mind raced back ten years with a hot, dusty afternoon when you and Henry Ballard stood at the brink of the mine shaft, straining to hear any sound that might come from below. At last, in the desert stillness, you looked at each other and nodded. You knew that George Evans was dead. You found later that killing him had been in vain. And you had parted company with Ballard. Tonight, a ghost had risen out of the past. It made you the more anxious to complete your plan and get away. So you decided to play your trump card when you met elaine at breakfast the next morning. [00:11:20] Speaker F: Oh ho. There you are. Good morning, darling. [00:11:24] Speaker B: Good morning, David. [00:11:25] Speaker F: I'm sorry I was late, dear, but I've been on the phone. I have to go back right away. But I'll be only be gone about a week. And from the looks of things, I. I can stay here the rest of the winter. [00:11:34] Speaker B: Wonderful. Tell me all about it. [00:11:36] Speaker F: Well, this is very confidential. Now, don't tell us all. [00:11:40] Speaker B: I won't. [00:11:41] Speaker F: We're running a corner on the winter wheat market. We have a chance to make a fortune in the next few days. If wheat advances only ten cents a bushel, we'll make over a half a million dollars. [00:11:50] Speaker B: Sounds fantastic. [00:11:51] Speaker F: Not at all. That's how people make big money. Now, here's what I wanted to talk to you about. How much money do you have that is ready cash? [00:12:02] Speaker B: Well, I don't have very much with me. [00:12:03] Speaker F: David, I thought you were going to buy a house here. [00:12:06] Speaker B: I have some negotiable bonds here at the bank that I'm going to use for that $50,000. [00:12:11] Speaker F: Oh, good. Darling, I want to cut you in on this deal. Now, I can double, perhaps triple your money within a week. [00:12:17] Speaker B: You can? [00:12:17] Speaker E: Sure. [00:12:18] Speaker B: I suppose something goes wrong. [00:12:20] Speaker F: Oh, nothing can. But even if it does, I'll personally guarantee that you get your money back. You can't lose. [00:12:27] Speaker B: Really? You think that? [00:12:28] Speaker F: Think? I know, Elaine. Believe me, dear, it's the opportunity of a lifetime. [00:12:33] Speaker B: Well, all right. When are you leaving? [00:12:37] Speaker F: Well, there's a plane out of here to Chicago around 03:00 and it's almost eleven. Now, if you go to the bank right after breakfast and get the bonds, I'll do a little packing and be ready to take that plane. [00:12:49] Speaker B: All right, David, I'll do it. It sounds wonderful. [00:12:58] Speaker E: It was working out perfectly, David, just as you had planned. Yes, it was a great day for you, David, except that you forgot me. Faith. Then another little thing happened. You had almost finished packing when the phone rang. [00:13:28] Speaker F: Yes? [00:13:29] Speaker G: David, this is Alain. Something's happened. [00:13:32] Speaker F: Happened? [00:13:33] Speaker G: I've just received a telegram. Stephen's coming in on the afternoon train. [00:13:37] Speaker F: Oh, well, that doesn't make any difference, does it? [00:13:40] Speaker G: Yes, David, I want to talk this over with him before I invest the bond. [00:13:44] Speaker F: But there isn't time, Elaine. I've got to go at 03:00. [00:13:49] Speaker G: Then perhaps you better go on, David. Stephen understands all about these things and. Well, I feel better for you about it. I could wire you the money later. [00:13:57] Speaker F: Oh, no, no, that won't do, Elaine. [00:14:00] Speaker G: Well, then why don't you stay over until tomorrow? [00:14:03] Speaker B: Have dinner with us tonight and explain. [00:14:05] Speaker G: It all this evening? [00:14:08] Speaker F: Well, yes, maybe I could do that. [00:14:10] Speaker G: Oh, wonderful. Meet us at our suite at 06:00. Yes. And then we'll all have dinner together. [00:14:16] Speaker F: All right, fine. Yes. Yes, I'll do that. [00:14:18] Speaker G: Let's. Sweet of you, David. Bye. [00:14:21] Speaker F: Here, sir. [00:14:22] Speaker E: Goodbye. [00:14:25] Speaker F: What do I do now? [00:14:38] Speaker B: Oh, David, come in. [00:14:41] Speaker F: Thanks. Elaine. [00:14:42] Speaker B: I've been telling Stephen how wonderful you've been to me. Oh, Stephen, this is Mister Dexter. [00:14:48] Speaker F: What? Oh, how do you do? How do you do, Mister Lamar? [00:14:54] Speaker B: Now, I've mixed cocktails for you too. So suppose you drink them and get acquainted while I fix my makeup and get a rapid. [00:15:00] Speaker F: Yes, yes, we'll do that, my dear. [00:15:02] Speaker B: I'll only be. [00:15:07] Speaker E: Shut up, you fool. So you are the great Stephen Lamar. Henry Ballard. [00:15:16] Speaker F: How in the world did you ever get away with this? Garrison, stop that. You'll hear you. No. Mister Lamar. Your name is Dexter. David Dexter. [00:15:32] Speaker E: Now, Lowell Garrison, alias David Dexter. You began to believe in me, faith, but you thought I was on your side. You were wrong. I am but the instrument of a plan, and that plan is justice. Hearken well, you who listen. In a moment, I shall read further from the record of David Dexter in the diary of faith. You thought you were on safe ground, David Dexter, when you met the Stephen Lamar and found that he was really Henry Ballard, your former partner and the man who had helped you kill George Evans, Elaine's first husband. Now, you were elated. Here was the promise of a greater success than you had dreamed of. Stephen was moody all through dinner, but Elaine hardly noticed. Her eyes were for you alone. Later, you and Lamar were alone in your room. Now you are ready for the next step. [00:17:21] Speaker F: What do you have, Mister Lamar? Bourbon or scotch? [00:17:25] Speaker E: Neither. [00:17:26] Speaker F: I see here, Garrison, remember, you're Lamar and I'm Dexter. We never heard of anyone named Ballast and Garrison, did we? No, I guess we didn't. You know, I've got to hand it to you, Stephen. You're a smarter guy than I thought you were. Huh? What do you mean? Why didn't I think of marrying George Evans widow and cashing in on the mine like you did? You're driving at something extra. [00:17:54] Speaker E: Just what is it? [00:17:56] Speaker F: You're a suspicious sort, aren't you, Stephen? Well, what I want from you is very simple. I'm going to invest some of your wife's money, $50,000 in the Chicago gray market. That's a lie. Let's not quibble, Stephen. All I want you to do is to assure her that it'll be a good deal. What she does with her money is her thing. I knew you'd see it that way, when she asks you about it, just tell her it's a great idea. Is that all you want? Yes, I think so. And I'm going to bed. Yes, you look like you do need some rest, Mister Lamar. Good night. Good night. Oh, Stephen. What do you want? Funny, I just thought of something. I intended to invite you up here to my room for breakfast. Sorry, I don't think I could. You'll make it. I'll expect you. At 930. [00:18:59] Speaker E: It felt good to dominate a man as prominent as Stephen Lamar. Yes, David, you always got your way with people by one means or another. You knew he would be there in your room next morning. [00:19:16] Speaker F: Not eating very much, Stephen? I'm not hungry. Look here, Dexter, just what do you want? Well, you know, I've been thinking, Stephen. You've made such a lot of money out of marrying Elaine, and I've made nothing yet. After all, we were partners in that deal, and I know what you're driving at. Well, that'll save a lot of talk. You're in this Chuck desire. Yes, but you have a lot more to lose than I have if anyone finds out the truth, Lamar. Isn't that right? What do you want? Well, let's just call it a nest egg, shall we? For the lane's $50,000 and a check from you. I could get started again. But without your check, I'm afraid someone might find out what really happened to George Evans. No, you can't bluff me, Dexter. You can't get away with it. But I'm not bluffing, Lamar. I mean every word I say. Now, shall we complete our transaction? There's nothing but blackmail. And I will. But I'm through talking. About what? There. Maybe that'll help you make up your mind. What do you want? You know what I want. A check from you for $100,000. And right now. All right, fix it. You don't need that gun. I'll do it. That's better. And one other thing. I want Elaine to think that everything is lovey dovey with you and me. So we're all going to meet for lunche the terrace. It's 01:00 shop. Got that? And Elaine is to have those bonds with her. Then. I don't want any slip up on this, you understand? You be on the terrace at one. Now write that check. I've got to get to the bank. [00:21:29] Speaker B: David, have you been waiting long? [00:21:31] Speaker F: Oh, why, no, darling, just a few minutes. Where's Stephen? [00:21:37] Speaker B: That's what kept me, David, after I got back from the bank of the barns I went to our room to freshen up and I found this note from. Stephen's. [00:21:45] Speaker F: Note? [00:21:45] Speaker B: Yes, it's rather strange, isn't it? Elaine, I've been suddenly called back to New York business and must kept the train at 145 in order to arrive there on time. Sorry I could not wait to see you before I left. I'm due to arrive in New York at 430 and we'll phone you immediately if you do not hear from me by 05:00. There is a small bag I left. [00:22:09] Speaker F: In our room which I'm over here with. Here you are, sir. [00:22:15] Speaker E: A very urgent phone call for you, sir. It's a bank lease. [00:22:18] Speaker F: A bank? Oh, yes, yes, yes, I'll take it right away. Thank you. And since the check was for such a large amount, Mister Dexter, naturally we had to call Mister Lamar bank in New York. Yes, yes. Well, what about it? We found that Mister Lamar had telephoned a stop payment order to his bank on that check this morning about 11:00. Does that mean that you can't catch. Cash the check for me. That's right, Mister pickaxe. Dirty crook. Waiter. Yes, sir. Yes, sir. Get my car around front right away and then tell misses Lamar I'll see her later. Yes, sir. 114. This plane goes at 145. Plenty of time. [00:23:06] Speaker E: You hadn't counted on Stephen Lamar's betrayal, David. You didn't think he'd dare with the whip you held over him. And when you got back to the hotel that afternoon, you went immediately to your room and called Elaine. [00:23:34] Speaker F: Hello, Elaine, this is David. [00:23:37] Speaker G: David, what happened to you at lunch? Why didn't you come back? It's almost 330. [00:23:42] Speaker F: I know, darling, but. Well, I had to go to the bank and I had a flat tire on the way back. Took quite a while to take. [00:23:51] Speaker G: Have you made your plane reservation yet? [00:23:53] Speaker F: Yes, I'm to leave at 630. Do you have the bombs, dear? [00:23:57] Speaker G: They're in the hotel seat, but I'll get the number. [00:24:03] Speaker F: I am. [00:24:04] Speaker G: Then why don't you lie down for a while? I'll wait. And perhaps we can have a cocktail together before you go to the airport. [00:24:11] Speaker F: Oh, will you do that for me, Elaine? Oh, you're a wonderful girl. [00:24:20] Speaker G: I am not going to marry. [00:24:49] Speaker F: Hello, David. Oh, Elaine. [00:24:54] Speaker G: Yes, it's Elaine. [00:24:57] Speaker F: Time for me to get up, darling. [00:24:58] Speaker B: Yes, it is. [00:25:00] Speaker G: Ten minutes up five. [00:25:02] Speaker F: Oh, good. Have lots of time. [00:25:04] Speaker G: Yes, you have lots of time. [00:25:09] Speaker F: Did you get the bonds out of the safe? [00:25:11] Speaker G: I think you'd better come to my room as soon as you can. [00:25:15] Speaker F: Well, I thought we were going to have a cocktail and you give them to me then. [00:25:19] Speaker G: I don't feel like. [00:25:22] Speaker F: Okay. Okay. I'll be right there. Soon as I'm dressed. [00:25:34] Speaker E: Yes, David Dexter, you would be there. You felt confident as you dressed and started for Elaine Lamar's room. Confident that you had taken care of everything. And indeed, you had everything, including your own death. Now it is time to write the final entry under the name of Lowell Garrison, alias David Dexter. In a moment when I have written, I will read again from the diary of faith. No mortal can long escape the reaping of his sowing. The end is certain if your decision be for evil. Even the cleverest of men cannot escape justice. And David Dexter had never felt more clever confident than at this moment as he approached the door of Elaine Lamar. [00:27:12] Speaker B: Come in. [00:27:14] Speaker E: Hello, darling. I. Elaine, what have you got that gun for? [00:27:18] Speaker B: To make certain that you don't leave until the police get here, Mister Lowell Garrison. [00:27:24] Speaker F: Garrison. Elaine, how did you. Oh, no, you don't, sister. You're not going to. I wish you wouldn't shoot me. Give me that gun. [00:27:54] Speaker B: My husband. Miss Lamar. That's instructions in his note for me to open the bag. [00:27:59] Speaker E: Mm hmm. It just wasn't what you wrote, Misses Lenoir. I mean the instructions. [00:28:04] Speaker B: Here it is, inspector. If you do not hear from me by 05:00 there is a small bag I left in our room which you are to open. The contents will be self explanatory. If I do call you by 05:00 I will tell you what other dispositions make of it. [00:28:22] Speaker E: So you opened a peg, eh? [00:28:23] Speaker B: Yes. I delayed waking Mister Dexter until after 05:00 so that my telephone line would be open in case Mister Lamar call. When 05:00 came, there was no call up. I opened the bag. I found this. [00:28:45] Speaker E: If it is necessary for you to read this, I will be dead. You'll know that Dexter caught me. Before I die, I owe you an explanation. A confession. Dexter is lowell Garrison and I am Henry Ballard. You know the rest. I am leaving you this gun in case you need it. I'm Steven. And what do you know? Here are the conflicts. [00:29:14] Speaker F: Before Dexter killed him, Dexter did kill him. [00:29:18] Speaker E: Yeah. We found Mister Lamont's body in the grass an hour ago, ma'am. Miss notes tells us that Dexter was a murderer. Now it is time to close the book. A plan set in motion ten long years ago is finally completed. Finished. David Dexter is dead. Even I, fate could not alter that plan. Elaine Lamar was exonerated for the shooting of David Dexter, but she shot in self defense. Justice has been served. Ponder well tomorrow, you who listen and remember, there is a page for you in the diary of faith. Our cast included Herbert Litton, Tom Brown, David Ellis, Adrian Martin, Ray Erlenborn, Ivan Ditmars, and Hal Soyez. Diary of Faith is a Larry Finley transcription brought to you from Hollywood. [00:31:48] Speaker A: That was David Dexter from Diary of Fate here on the mysterious old radio Listening Society podcast. Once again, I'm Eric. [00:31:57] Speaker C: I'm Tim. [00:31:57] Speaker D: And I'm Joshua. [00:31:59] Speaker A: That was my pick. And going back a couple weeks ago on this podcast, I said, oh, you know, we sit down and we record a bunch of episodes in one sitting. And this is our final episode of this current recording session. And for this round, I had two selections that were mine. And if you go back to the Sam Spade episode a few weeks ago, I explained that, that I randomly picked two shows we'd never done before and then randomly selected two episodes, sent them out without listening to them and rolled the dice for a couple reasons. One, I've always wanted to do that just to see what would happen. And two, it was the 4 July weekend. And yes, I had time to fix them after I listened to them in case they were, oh, you know, inappropriate for any reason. So screaming, right? So I picked diary of fate and I said, ooh, never heard of this. And I went and I saw, oh, this all just named after people. And I said, david Dexter. I don't know. I literally, for no reason, pick David Dexter and then listen to it. The reason I didn't write you back and say, let me change this up. Let me try another. Let me listen to some more of these. [00:33:16] Speaker D: I just went, laziness. [00:33:19] Speaker A: Nope. I am. [00:33:21] Speaker C: Eric Webster was too lazy to change. [00:33:23] Speaker A: His choice that day. [00:33:24] Speaker D: There's an episode of Diary of Fate. [00:33:26] Speaker A: Named Eric Webster I wanted to see. Here's, first of all, after I listened to it and I saw the titles and went, what's the point? I know what the formula is. They're all going to be like this. Different storylines, of course, but this is, this is the basic premise. And I got the distinct feeling that they were all terrible from this first one. I wasn't going to sit and listen, oh, the Billy Anderson one was much better than the. I didn't want to do it, just go with this. [00:33:55] Speaker D: But what if, what if there is like a forbel board just sitting in there just waiting to be discovered and. [00:34:02] Speaker C: You'Re like the beautiful, transformative story of Billy Anderson. [00:34:08] Speaker A: Let me tell you. Here's where our safety net is on that. Our listeners, somebody will tell us, you guys I've listened to all these. Here's the one that you got to listen. [00:34:20] Speaker D: Can't believe you picked David Dexter. It is the worst episode of Diary of Fate. [00:34:27] Speaker A: But let's talk more at the top here. I would like to discuss more, not. [00:34:32] Speaker C: To say that this is a bad episode. We don't want to just jump to an opinion like that. [00:34:36] Speaker D: This is stupid. [00:34:37] Speaker A: Yeah, but let's talk about the structure. [00:34:42] Speaker D: That's what's mostly stupid. The diary of fate sounds like a romance anthology. There's nothing about a diary that is ominous. It is brightly colored. It has a little plastic lock. It probably has kitty cats on the COVID There's, like, bubbly handwriting in it. This just does not. [00:35:00] Speaker C: Fate loves Bobby. [00:35:01] Speaker A: Yes. [00:35:03] Speaker D: Dear diary, today I killed David Dexter. There's. It's really anticlimactic. [00:35:10] Speaker A: So the premise of this is that you have a narrator who is fate, which borders on God. Right. I mean, right. That's like, I'm in control of everything. And then you say, okay, so let's watch someone's story and watch them try to avoid their fate. Right. And tell them that they already told. [00:35:37] Speaker D: You that he's going to die. [00:35:38] Speaker A: Not only that, fate has told you that it's fate, so it can't be changed. Right. Yet many times the narrator says, not even I could have fixed that. Like, wait, so you're not. Wait, what is this? It's really too. This isn't well thought out. [00:35:58] Speaker D: No, because he says that fate plays no favorites. It could happen to you. But the story, and maybe there are other stories that are different from this, suggests that this is not random in any way, that this is justice. [00:36:14] Speaker C: Bad dude. [00:36:14] Speaker D: Yeah. Needed out. [00:36:15] Speaker C: Yes. [00:36:16] Speaker D: So, yes, this could happen to you if you murdered a man and then tried to swindle his widow. It's not random. It couldn't just happen. [00:36:27] Speaker A: So now let's break it down a little. [00:36:29] Speaker C: I want to dive in here. I think the quality of this program would be improved immensely without the constant haranguing of the host. [00:36:39] Speaker A: Correct. That's just what I was about to say. Let's remove the concept. Let's remove the premise. Thank you. That was the word I've been looking for. Let's remove the framing sequence. [00:36:51] Speaker D: More than a framing sequence. If it were merely a framing sequence that didn't tell you who was gonna die, it would be fine. It would be like, okay, this is old time radio, and we need this. This host character on either end. But it's the fact that he narrates it and it becomes kind of a poor man. Sealed book combined with the whistler. [00:37:11] Speaker A: Right. [00:37:12] Speaker D: Because he speaks in the second person, I think throughout talking to David Dexter. [00:37:17] Speaker A: Yeah. [00:37:17] Speaker D: It reminded me of the whistlere. [00:37:19] Speaker A: So let's be really objective and really fair. Let's take out the narrator. Let's talk about the story of David Dexter. Is this a good story? Is it well acted? Forget about the host and the framing structure. This guy swindles widow of a guy he murdered, who, blah, blah, blah. Do we like that plot? Do we like that story? [00:37:43] Speaker F: It's okay. [00:37:45] Speaker C: The. The very end is a little wobbly. Yeah, it was a little contrived. I think the ending, like, to actually stress test this. I'm gonna leave a note and a gun. And I'm gonna call you. And I call you. Don't read the note, therefore you won't see the gun. [00:38:03] Speaker A: Right. [00:38:03] Speaker C: But if I don't call you, then why is this letter so heavy? [00:38:08] Speaker A: Right. Why is this letter so heavy? [00:38:12] Speaker F: Yeah. [00:38:12] Speaker D: And then we have to believe that as she's reading this letter out loud to David Dexter, he is interrupted by the maitre D who gets a phone call that he doesn't hear part of the letter as she's reading it out loud, just to us as a listener. So, yeah, the ending is incredibly contrived. I would call back to several weeks ago and say it has some similarities to 11th hour. I mean, the first half is nowhere near as good as 11th hour, but it's stronger. The premise has potential. I like the coincidence of he, this con man has stumbled across the widow of the person he has killed and his con man partner has been smarter than him and figured out how to get the money they were unable to swindle from the man they murdered and all that. Right up to that point, I was like, okay, okay, yeah, I know David Dexter has to somehow die, but this is kind of interesting. I wish I didn't know which of the two con men were going to win in the end. [00:39:17] Speaker A: Right. [00:39:17] Speaker D: That would have been nice and more suspenseful. But if we go with what you just suggested, let's pretend we didn't know which of them was going to win in the end, then, yeah, the first 15 minutes are solid. I think, as a piece of old time radio crime drama. [00:39:34] Speaker C: Actually, for myself, I don't mind knowing that this guy's gonna die at the end. [00:39:38] Speaker A: Okay. [00:39:38] Speaker C: There's plenty of stories where, like, we know the actual outcome of the story. But it's exciting and interesting to see how it unfolds, how it twists. And even knowing that fact so I don't mind that. But it is the less charismatic, mysterious traveler, whistler figure just who is. Please leave this story alone for a minute, sir. [00:39:58] Speaker D: I think you make a very good point that there are so many crime radio dramas that, you know, the guy who is the central figure is going to somehow undo himself. And they're still suspenseful. Where I would disagree is that the concept of two con men who suddenly find themselves squaring off again when they thought they'd gone their own separate ways, the suspense of who will get the better of each other as a singular concept, not, you know, whether it works or not in the crime genre, in the bigger picture, that would be really cool if I didn't know who is going to win. [00:40:38] Speaker E: Yeah. [00:40:39] Speaker A: So you're making my argument for me, and this is where I stand on this. You take away the framing structure, the host, the whole fate thing, the diary, all of that nonsense, and the constant narration, and you just tell that story. If I went in and I edited this and I handed to someone without all those, without the host, I bet you someone say, that's pretty good show. [00:41:06] Speaker D: The end is still lame. [00:41:07] Speaker A: Okay, but it was close, but yes. [00:41:10] Speaker C: And as far as closer, we know who's going to die, to be fair to it. But it gets to that ending. Like, the other guy's dead. [00:41:19] Speaker D: Yeah. And it was just too convoluted. I had to go back and relisten to it to figure out where in the story did he kill him. Yeah. Like, where did he have. [00:41:28] Speaker A: At the oil well. [00:41:30] Speaker C: Thought it was at the airport. [00:41:31] Speaker D: No, I mean. [00:41:32] Speaker A: Oh, yeah. Yeah, yeah, yeah, yeah, yeah, yeah. [00:41:35] Speaker D: Like, but where in the story? Because it's off screen. So he has killed him before. He hears his wife read the letter that he left, or once he hears the guy read the letter, I'm leaving. [00:41:49] Speaker C: Town, but I left this letter. So there's a window of time of I will call you if I'm alive, and if I get killed, then you have this letter. So there's that window of time before he. Between when he's left the hotel to leave town, but before he actually leaves town. [00:42:02] Speaker D: And when does David Dexter kill him? [00:42:05] Speaker C: It's off screen. [00:42:06] Speaker D: I mean, I know, but I think that's important. Like, where? Because he takes a nap. And we have to assume he's very confident because he's shocked. He goes back to her apartment and he opens the door. She has a gun. And, like, what? How did you figure out my plan? While I was napping, I think he. [00:42:25] Speaker C: Was leaving by plane. Yeah, I figured it was either at the airport or on the way to. [00:42:30] Speaker A: The airport, I guess in the cockpit. [00:42:33] Speaker D: It'S not so much where his right. [00:42:36] Speaker C: But just ex partner. What, did he leave and go do it? [00:42:39] Speaker D: I think it's important. Important to know, did David, upon hearing the letter that his ex partner left for his wife, did he then leave the restaurant and go find him and kill him? Or did he already know he was dead? Because if he already knew he was dead, it makes sense why he wasn't even paying attention to the letter. Because he thought he's already won for that. [00:43:02] Speaker C: Because there was a point at which he, he got the time of when the plane is gonna leave. [00:43:07] Speaker D: Yes. [00:43:07] Speaker C: And was like, okay, that's plenty of time. I can, I can get there and back. [00:43:11] Speaker D: But here's my point, is that we listen to a lot of old time radio. If we're struggling to write this out at the end, it's an important plot. [00:43:19] Speaker C: Beat to have kind of muddled vague. [00:43:21] Speaker A: Yeah, yeah. But in general, it has potential if you eliminate the guy. [00:43:27] Speaker C: That being said, the guy's there and he's a lot. [00:43:31] Speaker D: Yeah, yeah. You sound a lot like all the, like, phantom menace apologists from 20 years ago. Do you remember this? [00:43:40] Speaker A: I'm playing. [00:43:41] Speaker D: You know, if you see this six or eight times and ignore everything that's horrible about it, it's, it's not bad. [00:43:49] Speaker A: Okay, I'm just trying to play devil's advocate. [00:43:52] Speaker D: Cause I spun the roulette wheel and. [00:43:55] Speaker C: Lost Eric, and now we gotta cover your bethe. [00:43:59] Speaker A: But, hey, I want one for two on the roulette wheel, and we praised. [00:44:03] Speaker C: You the first time, and now we're ridiculing you. [00:44:08] Speaker D: We're giving you two lessons to learn here. I think I know which one you're. [00:44:13] Speaker A: Going to take away, but hold on, I could have walked into this recording session and not told you I had done that and you would have never known. So Robin thought, I want credit for that. [00:44:25] Speaker C: When I was writing the intro. [00:44:26] Speaker A: Yeah. [00:44:27] Speaker C: There was one webpage about diary of fate that listed their sound man as having gone on to work on Gunsmoke. [00:44:36] Speaker A: Oh. [00:44:38] Speaker C: I just assumed, like, that's why he chose this. I mean, it's the sound man. So I included him in there and I started writing like, okay, so this Ray person did this sound effect. And then I started researching and discovered, like, no, he did nothing. The sound man on Gunsmoke was Ray Becker, I think his name was. So I assumed our discussion was going to be. No, no, no. I thought this was the gunsmoke sound guy. And I'd say I researched it. I put a lot of work and effort, a lot of blood and sweat into making sure that I did not dissuade you from this, because I know you love gunsmoke and the sound there. So I took a lot of time and care to make sure that my research was solid, as good as I could get it. And then that had nothing to do. [00:45:27] Speaker A: With why you chose this episode and then with anything. [00:45:29] Speaker D: I just assume he went alphabetically through a list of old time at random. And I was right. [00:45:37] Speaker C: So I guess I've learned a lesson. [00:45:40] Speaker A: Would you like to have that conversation? [00:45:44] Speaker C: So, sure. You might have thought that, because there is the one source that says this guy was the sound person from Gunsmoke. [00:45:51] Speaker A: Yeah, he's a gunsmoke guy. [00:45:52] Speaker C: It's not. I did what? I looked into it. And that's Ray Becker. [00:45:56] Speaker A: Oh, of course. Becker. [00:45:58] Speaker C: Yep. But I share your enthusiasm for gunsmoke sound. [00:46:02] Speaker A: Well, you know what? I still think the sound guy in this was phenomenal. Has that helped him? [00:46:08] Speaker C: That helps a lot. Thank you. [00:46:11] Speaker D: What sounds were there? [00:46:14] Speaker A: Let me think. Eating dinner. [00:46:18] Speaker D: Yeah. There's a gunshot. [00:46:19] Speaker A: It was a gunshot. [00:46:20] Speaker C: Oh, yeah, it was a gunshot. [00:46:21] Speaker E: Yeah. [00:46:21] Speaker A: Yeah. [00:46:22] Speaker C: I looked into, actually, because I was. [00:46:24] Speaker D: Doing all this research that Eric didn't do. [00:46:30] Speaker C: There's a page that's dedicated to, like, trivia about the gunsmoke sound. The sound and gun smoke. And they took, like, three or four different guns to try to get, like, what's the best gun sound? And so Marshall Dillon's gun is a 45. [00:46:44] Speaker A: Oh, right. [00:46:46] Speaker D: It's way better than this episode. That anecdote alone. [00:46:52] Speaker A: I promise to never play the roulette game again. But that was fun for me just to see what would happen. [00:47:00] Speaker D: It is fun. I had never heard of it. [00:47:01] Speaker A: Ten years. [00:47:02] Speaker C: I wanted an average of 500. Is not bad. [00:47:04] Speaker D: Yeah. I had never heard of diarrhea fate. [00:47:06] Speaker A: Me neither. [00:47:06] Speaker D: I mean, either. I. We now know there's a reason why I haven't heard of diarrhea fate. [00:47:10] Speaker A: The other reason I stuck to my guns and brought it is because now we've done it. We did diary fate, and now we can move on. [00:47:20] Speaker C: So does this clean my record for 0 hour 20? [00:47:23] Speaker A: Yeah. [00:47:24] Speaker D: No. [00:47:24] Speaker F: Do it. [00:47:27] Speaker A: I was going to absolve them, but then again, it's me. [00:47:30] Speaker D: I mean, in all fairness to this concept, you could do something more successful with the idea of a how ketchum instead of a whodunit. You know, Columbo is a great example, right? We love Columbo, and we know who the murderer is at the top. So a good writer could take this idea, like Tim said earlier, of knowing that our protagonist is gonna die and invest us in how that's going to happen. [00:47:59] Speaker A: Yeah. [00:47:59] Speaker D: And then do something that actually satisfies us. [00:48:04] Speaker A: Right? [00:48:04] Speaker D: Instead of, I took a nap and then a lady shot me. [00:48:17] Speaker A: Oh, well, that's another t shirt right there. [00:48:21] Speaker C: Not a lot on this page. [00:48:22] Speaker E: Fate. [00:48:23] Speaker A: I'm not wearing that t shirt anywhere. I took a nap and a lady shot me. Sir, could you please leave? Eric, you are no longer teaching here. Should we vote? [00:48:38] Speaker D: Yeah, let's just. [00:48:40] Speaker A: I hated it. It's terrible. I tried my best to find some thread in this discussion to give it some merit, but it's not great, unfortunately. I don't even feel compelled to listen to another one, to give it another shot. However, let's please throw this out here. If anybody knows of an episode of Diary of Fate that is worth it, we'll give it another world. [00:48:59] Speaker D: Yeah. Like I said, the setup had promise, but the execution was poor. I mean, there's also something almost compelling. I said almost a lot. I'm really emphasizing almost about the contrast between the very over the top, corny voice of fate. And then once you enter the story, it has this tina of noir about it. It's pretty grounded in reality. And maybe even by exaggerating that contrast more, you could get more of a inner sanctum vibe, you know, where. Where the host and the content of the story don't entirely match. But this just is just too little in every aspect of it to really pop in anyway. So. [00:49:51] Speaker A: Wet trombone. [00:49:52] Speaker C: Wet trombone. Wet trombone. It really feels like this series production individually, however, hamstrings itself of, like, there's good impulses and good ideas. And what would be a story that I want to listen to and find out what happens, that the structure undercuts, which is a little frustrating. I want to enjoy this series. There's a lot of, like. This is the sort of thing I would like if it were better. [00:50:24] Speaker D: There's a certain security in being your own worst enemy, though. You know where the attack is coming from. You're not surprised. [00:50:34] Speaker C: It's not like this series is. Is past. Its. Like, in its day, this would have been as bad as it is now. [00:50:41] Speaker D: Yes. [00:50:45] Speaker A: Tim, tell him stuff. [00:50:46] Speaker C: Please go visit googlers two lights.com. let us know what you think. And if you think this episode is awesome, make your argument. We like to. No, we don't like being disagreed with. [00:50:59] Speaker D: We like to ignore people who disagree with us. [00:51:02] Speaker C: But if you know, that's why our. [00:51:05] Speaker A: Marriages work so well. [00:51:06] Speaker C: Perfect golden episode of Diary Fate that we should check out that we want to know. Or you could lie to us and then make us listen to all these episodes of dire of fate and laugh to yourself. [00:51:17] Speaker E: Ha ha. [00:51:19] Speaker C: And you can also leave comments, vote in polls, link to and visit our store, get some mysterious old radio swag and you can visit our Patreon page. [00:51:29] Speaker D: Yes, go to patreon.com themorals and please support this podcast. We have so many amazing things for you too. Consume. I don't know what we do with we have food. Yeah. Bonus podcasts. You can participate in Zoom happy hours, my Zoom book club. So much zooming. We also have a discord channel dedicated entirely to our patrons, so you can be part of a much larger morals community by simply buying your way in. So go to patreon.com the morals of. [00:52:07] Speaker A: If you'd like to see the mysterious old radio listening society theater company performing audio drama live on stage as we do recreations of classic old time radio and a lot of our own original work, we're performing somewhere monthly, if not more than once a month. Just go to ghoulishdelights.com to see where we're performing, what we're performing, and how to get tickets. And if you can't make it to any particular show, being a Patreon gets you access to video and or audio recording recordings of our shows. What's coming up next? [00:52:37] Speaker D: Next is Tim's choice. [00:52:39] Speaker C: I have chosen an episode to be filled in later. [00:52:44] Speaker A: Until then, he also provided sounds for suspense. Big town, big town and the Jack Benny show.