Episode 81: The Firing Squad

[00:00:16] Speaker A: The Mysterious Old Radio Listening Society podcast. Welcome to the Mysterious Old Radio Listening Society a a podcast dedicated to suspense, crime and horror stories from the golden age of radio. I'm Eric. [00:00:35] Speaker B: I'm Tim. [00:00:35] Speaker C: And I'm Joshua. 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 B: It was my choice this week and I have brought us the Firing Squad, another episode of the Witch's Tale. The groundbreaking series ran from May 21, 1931 to June 13, 1938. It was created by St. Paul native Alonzo Dean Cole, who also wrote and directed the show. [00:00:59] Speaker A: The series featured the first radio horror host, Old Nancy the Witch of Salem, who would introduce each story. Veteran actress Elladay Fitzallen provided the voice of Old Nancy until she passed away in 1935 at the age of 79. When Cole auditioned actresses to replace Fitz Allen, only one person could capture the voice, 13 year old Miriam Wolf, who provided Nancy's voice until the series ended in the summer of 1938. [00:01:25] Speaker C: Occasionally, episodes of the Witch's Tale were told in two parts. This was usually unintentional. The show was performed live and intended to be 30 minutes long. If it ran long, Cole would turn the script into the first half of two parts on the fly. During the performance, he would frantically write new pages and pass the new material to actors during the show. Cole would then take the opportunity to later rewrite the rest of the script to be next week's conclusion to the story. [00:01:53] Speaker B: This recording of the Firing Squad was the third time the Witch's Tale presented the script. It was first performed Aug. 31, 1931, just 15 years after the end of World War I, during which the story is set. The script was presented a second time on August 21, 1933. This recording was broadcast on January 20, 1938, and it seems more connected to the near future than it does to the past. It was September of the following year that World War II would break out with Germany's invasion of Poland. [00:02:21] Speaker A: So with Miriam Wolf as Old Nancy and remember, she's only 13 years old and Alonzo Dean Cole himself providing the voice of her cat Satan. Here is the firing squad from the Witch's Tale. [00:02:35] Speaker C: It's late at night and a chill has set in. You're alone and the only light you see is coming from an antique radio. Listen to the sounds coming from the speaker, listen to the music and listen to the voices. [00:02:58] Speaker D: The witch's tale. The fascination of the Eyrie, Weird blood, Chilling tales Told by old Nancy, the witch of Salem and Satan, her wise black cat. They are waiting, waiting for you now. [00:03:38] Speaker E: Hundred and seven year old IV today. Yes sir. A hundred and seven year old. Well, Seaton, we got a lot of yarn to spin these folks tonight. So if you'll give word to douse all rights, we'll get right smack down to business. [00:03:58] Speaker D: That's right. [00:04:00] Speaker E: Make it nice and dark and cheerful when you listens to our bedtime sorries. Now draw up to the fire and [00:04:10] Speaker D: gaze into the embers. [00:04:12] Speaker E: Gaze into em deep and soon you'll see a ruined village behind the Western front in war torn France in 1918. And so begins our tale about the firing squad. The firing squad. [00:04:39] Speaker D: Squad. Why do you make me look at this, Mac? Because that man's a traitor, Steve. But why should I watch him die God blindfolded against a wall? Quiet with the men here. All righty, Captain Mason, proceed. God. And watch this execution. That's an order. Yes, sir. Squad quote. He's dead. They shot him right shoulder. He sold his people. He's received his pay. Squad left hard, but they shoot him down in cold blood. I don't care what that man did. Ah, but I've seen butchery enough. I can't look at any more death. I can't look at any more death. Lieutenant Buckley, you forget yourself. I. Yeah. A good soldier must have no emotions, merely a blind obedience. I hasten to apologize, Captain, before you prepare charges that may stand me before a firing squad. Let's take a little walk, boy. I want to talk to you. Very well, sir. The command of my superior officer is law. Steve, an extra bar on my shoulders hasn't made any difference between us. You know that in good relationship we may be only cousins, but I've always looked upon you as a younger brother. You're in trouble, kid. I want to help you. You've helped me enough already by bringing me to France when I might have stayed at home. And when you get me here, instead of leaving me in Paris, you took me into below wood. Steve, you're not really a coward. I didn't realize it was going to be so hard. I thought this war would bring out your stronger side. You have a stronger side? If I could only find it. Ah, your nerves are gone. That's the whole trouble with you. You need a change, a rest, a few days in Paris. What are you driving at, kid? You can go to Paris. In my pocket is a pass in your name. A pass? A pass to Paris? Mike, you're not kidding. You're not here. It is a pass to Paris. To a clean bed and sheets, to a bath, to women who wear white dresses and smell of perfume. Why, you're a new man already. When can I leave? Tonight. Thanks, Mike. Thanks. But before you thank me, there's a condition attached to this past. Steve. Why? What do you mean? When you were in Paris before, you felt pretty hard for that Coudray woman. Steve, you mustn't see her again. Vera's not a plaster saint. I know that. I have no interest in her morals. Kid, this is in confidence. Vera Coudray is under strong suspicion of being a German spy. Our Lord, I know you've received another letter from Uncle Charles. He believes there's a spy hiding behind each blade of grass. Uncle Charles is in a position to have reason for such beliefs. Yeah, but why pick on Vera? If she were a German agent, how has she gotten away with it in Paris for four long years? Because Mademoiselle Coudray is very clever. So clever that others are caught and punished in her place. Ah, that's ridiculous. No, Steve. The man you just saw die was one of that woman's lovers. I don't believe that Letters were found on improving it. Unfortunately, they didn't connect her with his act of treason. And as you saw, he went to his death in silence. It may be purely coincidence, but four other soldiers who are intimates of that woman have faced a firing squad for similar crimes. Four others? Yes. Three French and one English. This poor devil was the first American. All acted very strangely during their courts martial. None of them seemed to comprehend or realize the thing they'd done. Their minds appear to be in a sort of haze. Crazy as it may sound, I believe that woman has some power that enslaves men's brains. You must promise you'll never see her again. I see now why you made me watch this execution. I've admitted to you I'm no patriotic hero. So you think me a possible traitor? That man's death was to be my object, lady. Ah, don't be a fool. I don't think anything of the kind. I did make your watch only to show you the sort of woman you're in love with. You haven't shown me anything. You've merely talked a lot of rot. And the moment I get to Paris, I'm gonna call her up. No, you're not. Give me that pass. Mac, your superior officer's speaking. [00:08:51] Speaker E: Now. [00:08:51] Speaker D: Give me that pass. No, you can't. You won't. I've gotta get away. Mac. If I have to listen to those guns. Another day I'll go crazy. I've gotta get away. Give me that pass. No, no. Oh, for three days in Paris, I'll promise anything. I promise, Mac. Don't take it away from me. Swear you'll not see Vera Caudray. That you won't even telephone her. That if you meet her by accident, you won't speak to her. Swear it on your word of honor. I. On your word of honor. I swear upon my word of honor. Thanks, Steve. Aw, don't be sore at me for this. You know I'm only trying to help you out of a possible trouble. I've done that ever since we were kids. It's become sort of second nature. Here. You pack now and be on your way. A good spree will put those jumpy nerds of yours to sleep. And when you come back, we'll go up there and do our job together. Yeah, up there where those guns are booming. Up there where death is waiting. But I have three days now to live. Three days to live in Paris. Three days to live. Three days to live in Paris. Oh, what does the word of honor matter when you gotta go back and die? That's what I figured, Vera. So I telephoned you to meet me in this cafe. [00:10:27] Speaker E: I do not understand, Mongluertino. Why should you not have telephoned me? And why do you speak of words of honor? [00:10:34] Speaker D: That's a joke. It's a personal, private joke. I'll teach old Mac to try and run my life. And if you only knew the silly reason he gave for one meter promised it. [00:10:49] Speaker E: I do not compromise your legal joke. But I will laugh with you. I will pour another glass of wine. Then perhaps you will tell me all about it. [00:10:57] Speaker D: Yeah, pour me another glass. Hey, Vera, you only had one drink all the time we've been here. Don't you like this wine? [00:11:06] Speaker E: I prefer to remain quite sober as I can enjoy your happiness the more. And you are so happy, mon cher, to be away from the awful front. [00:11:15] Speaker D: I'm so happy I could sing. Say, let's both sing. Vera. [00:11:21] Speaker E: Wait, wait. Your glass is empty again. You will sing better when it is once more full. I do my best. Drink more, share your company, your. What you call division. I am so ignorant of military terms. When you return, it will occupy the same place in the line as before. [00:11:44] Speaker D: I don't know why. All the time asking me questions about the front. Why you remind me I gotta return. I want to forget that. [00:11:53] Speaker E: I don't blame the homo on me. Would it not be wonderful if this wicked war was over. [00:11:59] Speaker D: This war is never going to be over. It's going to last forever. And I'm going to be killed. [00:12:05] Speaker E: You mustn't think such things. Why? If Paris were taken, the war would be over in one week. [00:12:10] Speaker D: What do you mean? [00:12:11] Speaker E: Oh, the Bosch are only 70km away. If they should break through where you're so brave, American troops hold the line. This war would have to end. [00:12:20] Speaker D: You. They won't break through. [00:12:22] Speaker E: No, I suppose not. Here, mon cher. You must have one more little drink. [00:12:27] Speaker D: All right. Thanks, Vera. [00:12:29] Speaker E: Your uncle, the major general, what does he say about this dangerous situation? You have told me you write left to your cousin and tells him things when he sees him. Your cousin tells you about these letters, right? [00:12:42] Speaker D: Yeah. Your Mac tells me. Look out for spies. Everybody's a spy. You're a spy. Yeah. He made me promise not to see you. Now, I told you, Vera, we can laugh together. He said you have strange powers that enslaves men's brains. Why is your lapping, Vera? Why are you looking at me like that? So steady. [00:13:12] Speaker E: So look at me. [00:13:14] Speaker D: Sure, I like to look at you. I'm crazy about you, Vera. You know, you got the most wonderful eyes. [00:13:24] Speaker E: Looking towards them deep. [00:13:26] Speaker D: All right. I. Your eyes are awful wonderful, Vera. I feel so funny. Your eyes make me feel funny. They make me feel. [00:13:36] Speaker E: Gaze into them. Do not try to look away. You cannot. [00:13:41] Speaker D: No, I cannot. [00:13:42] Speaker E: You are very much in love with me? [00:13:45] Speaker D: Yes. [00:13:45] Speaker E: You trust me Absolutely? [00:13:47] Speaker D: Yes. [00:13:48] Speaker E: You are afraid of death. You wish this war to end. [00:13:52] Speaker D: Yes. Yes. [00:13:53] Speaker E: And you believe that I can show you how to end it? [00:13:56] Speaker D: I. [00:13:57] Speaker E: You believe that I can show you how to end it? [00:14:00] Speaker D: Yes. [00:14:01] Speaker E: And you will do anything I tell you to bring it end about. Say I will do anything you tell me to bring it end about. I. I don't say I will do anything. [00:14:11] Speaker D: I will do anything you tell me to bring its end of that. [00:14:15] Speaker E: Now let your waking mind remember that and forget that I have made you so remember. Mommy, wake up. Wake up. Is this the proper way to entertain a lady? [00:14:27] Speaker D: I fell asleep. [00:14:28] Speaker E: You were what you call dead to the world. Come, let us leave this stuffy place and walk to my apartment. It is pleasant there and we will talk. [00:14:37] Speaker D: Yeah, yeah. Just you and me, Vera. I'm crazy about you. I've only three days to live. Then I gotta go back there and die. [00:14:45] Speaker E: Oh, no, mon chef. You will live to see this war [00:14:48] Speaker D: all ended funny, Vera. But you know the idea just come to my mind that maybe you and me could end it. [00:15:10] Speaker E: Lieutenant Steve will be ill at any moment. [00:15:12] Speaker D: You are sure? We will run no risk. [00:15:14] Speaker E: Have I ever led us into danger? [00:15:16] Speaker D: No. Your hypnotic powers have been of great value to the fatherland, mademoiselle. [00:15:20] Speaker E: In three days, I have made this lieutenant my slave. [00:15:23] Speaker D: And his uncle is a major general. [00:15:25] Speaker E: If he is like his nephew, Germany does not need aria to win the war. Now, listen. His leave is up. Tonight he returns to his company. No matter what happens, he will obey my will. Talk plainly to him and have no fear. [00:15:38] Speaker D: I rely upon you. [00:15:39] Speaker E: Hush. [00:15:40] Speaker D: You wanted me, Vera? [00:15:42] Speaker E: Yes, mon petit. Come in. The gentleman of whom I spoke is here to see you. Monsieur Charbonneau, I present Lieutenant Buckley. [00:15:51] Speaker D: I am charmed, Lieutenant. Monsieur Charbonneau. Of course. I know that's not your real name. Mademoiselle Corduet has told me of your conversations. She told me how to end the war. It doesn't matter who wins. Just so it's over, she says. She's right. And once the line is pierced between Soissons and Reims, Paris will be occupied. Within a week, the war will be over and men will cease to die. Yeah. What am I to do to save my life and that of others? General Ludendorff wishes to learn the weakest spot in the line. How can I find it? One who looks may see much. And to the nephew of a major general, things may be told. It doesn't seem right. [00:16:33] Speaker E: Look into my eyes, monsieur. Because you wish to live, you will do as you are told. [00:16:38] Speaker D: Yes, I'm going to live for you. You will give the information we desire to a man wearing the uniform of a common American soldier. He will have a bandage bound around his head and his arm will be carried in a sling. He will give you the password. Koblenz. This man will meet you a week from today. What if I am killed within the week? That, of course, would be a misfortune. [00:17:03] Speaker E: Remember, you are not to fear, monsieur. Nothing can harm you. I have told you, no. [00:17:08] Speaker D: Nothing can harm me. Not even a firing squad. [00:17:12] Speaker E: Of that I have forbidden you to think at all. [00:17:14] Speaker D: To ensure your safety. When the drive begins, Lieutenant, you will take this capsule. It will make you very ill. Ill enough to be sent to a hospital in the rear where nothing can harm me. Can I have two capsules? [00:17:28] Speaker E: Monsieur worries about his cousin, Capitaine Mason. I have told you many times that he will also be safe. [00:17:34] Speaker D: Yeah. Mac'll be safe too. You've told me to make mademoiselle's assurance more certain of fulfillment. Here are two capsules. Mademoiselle will Enlighten you concerning any further details. It may be dangerous for me to remain here longer. Goodbye, Lieutenant. Goodbye, Mademoiselle Bordevoir, Monsieur. I offered him my hand. He didn't take it. What am I doing? What am I doing? [00:18:05] Speaker E: Exactly what I tell you to. That and nothing more. [00:18:33] Speaker D: Everybody in, Steve? Yeah, all in. Trouble's over now for a while. Battle the lines again tonight for a change. Means sleep and safety. Yeah, safety. Easy, boy, easy. That one fell 300 yards away, but maybe not the next one. Maybe. No, nothing could harm me. Nothing can harm me here. Don't let your nerves get you again. You've been a different man since you came back from Paris. Stay that way. Lord, what a brannigan you must have had there. Though I've been sort of dazed ever since. I'm all right. And I've been different this time in because I know nothing can harm me. Are you either, Mac? Because I know the war is going to end. Sure we'll be out of the trenches by Christmas. Some Christmas. Say, is that one of our men coming down the road? There's a bandage around his head and an arm in the sling. Bandage on his head? Arm in a sling? Yeah. What's the matter? Nothing. [00:19:30] Speaker E: Nothing. [00:19:30] Speaker D: Here, grab yourself 40 winks, kid. I'll see you later. No, no. I've got you. I. Sergeant. Sergeant Potter. If Captain Mason comes back looking for me, I'll be up the road up there with that man whose head is bandaged with Aaron. The war will soon be over, Sergeant. The war will soon be over. This map will explain most of it. I memorized everything carefully, just as she told me. It is all very clear. The weakest point you see is just behind Doormans. Yeah. Yet just behind Doormans. All is in readiness. The blow will be hard. Then the war will be over. It'll be finished, as she said. I must hurry away now. Goodbye, Lieutenant. Goodbye. I. What am I doing? What am I doing? Oh, Darren. Buckley. Quickly. Steve. Come in, Steve. Steve, I've been looking everywhere for you. Bad news, kid. We have to go back. Bank back where the lines Waters. Just can't. Amended our rest orders. They need us to plug a weak spot back of dormans. Considerable hike back. Dormans? What's the matter? Get that man with the bandaged head. Don't let him get away. No. Now don't pay any attention to me. Jude told me. What are you talking about? Nothing. It's all right. Nothing can harm us. See to the men, Sergeant. Get ready to march. Yes, sir. Comedy. Fire, you bugs. Come on, get your pack. I. I can't find the capsules. I can't find the capsules. But nothing can harm us. Even back of dormans. Oh, quit acting like a lunatic, Steve. We're going back of dormants. Dormants. But nothing can harm us. Nothing can harm us. Nothing can harm us. Steve. He got him. He's hit. Get that doctor a stretcher. He's coming with blood. And I'm responsible. I didn't look out for him. I brought him into this. Steve. Don't die, kid. Don't die. Don't die. They'll get rude in Bucky's. [00:21:38] Speaker E: Captain. [00:21:38] Speaker D: Oh, thank God you're here. Doc. [00:21:40] Speaker E: Quick. [00:21:41] Speaker D: Don't let him die. Don't let him. Doc. He isn't already. No, he isn't dead. He isn't going to die. Shell fragment greased his head and knocked him cold. Plenty of blood, but just a flesh wound. Oh, thank God. He's coming to already. Lucky guy. He won't have to go with us. He's got a ticket to the hospital. Meg. Meg, where are you? Here, kid. Here. You're all right now. What are they doing? Where are they going to take me to a hospital. Kid. We'll have to go ahead without you. But where are you going? [00:22:16] Speaker E: Why, [00:22:18] Speaker D: you're going back of Dormans. And she lied. When she said nothing could harm us. She lied. She lied. He's Raven. Doc. Don't go back at Dormans. Mac. Don't go back at Dormans. Give him a shot, Doc, and quiet him down. No, no, no, don't. I gotta leave you now, kid. No, Mac, listen. Let me tell you. Mac. Lieutenant Clark, take the rear. Company. Company inside. Mack, Rampstick. Oh, wait. Much back. Come back. Come back. Oh, he's gone. She lied. And he'll be killed. I'll have killed him. Back of dormant. Gee. They didn't do us no favor when they brung that nutty lieutenant to this hospital. Two idolies. And a noise was sitting on his chest when I ducked out for a smoke just now. DTs if you ask me. Did you hear him carrying on? Claims his skipper standing by his bed with a big hole in his stomach. And that his outfit's been wiped out all but 18 men. Yeah, I heard him. Cooper was a clock. Yeah. Just the same, I'd hate to be imagining things like he is. Geez, an ambulance is coming. Come on, Sam. Maybe the driver's found a bottle somewhere. Yeah. Come on, you. Sky's going down. There's plenty there. What? So what's the Matter? You got a car full there? Yeah, yeah, more coming. Big fight and make a doorman's way. Come on. Say, help me get these poor guys out of here, will you? All right. Just pull on the bottom first. Hey, wait a minute. Well, hey, dumbbell. You ambulance guy. Don't you know it better than to be hauling stiffs? What? One of them fellas croaked on me. Say, look at him. No wonder with a hole in his stomach like that. Sam, he's got bars on his shoulder. A captain, he was. Well, he ain't no longer. See if he's got his dog tag and help me with these other guys. Sam, wait a minute. His tag reads Captain Macklin Mason. That's who that crazy Louis says is standing by his bed. [00:24:14] Speaker E: Gee, how did he know? [00:24:16] Speaker D: This guy was hit in the stomach 20 km away? [00:24:28] Speaker E: Even mon cher, all is forgotten now. You are out of the hospital unarmed. The war is over and you are with me. [00:24:36] Speaker D: And you said. I remember that nothing would harm us. [00:24:40] Speaker E: Nothing did harm you. [00:24:41] Speaker D: But you promised protection for him as well. He just looks at me and never speaks a word. But his eyes are telling me to come to the lines just back of Dorman's Stop. [00:24:52] Speaker E: There is no one here beside you. [00:24:53] Speaker D: Oh, why can't you see him when he's always here? You were his murderer as well as I, and he knows. See, he's turned. He's looking at you now. [00:25:04] Speaker E: You make the cold run up and down my spine. I tell you that there is no one there. [00:25:09] Speaker D: You'll see him one day. And the others? 18 left of the men I slept with, marched with, fought with. 18 left. We've killed the others. You're afraid to have him gazette. Oh, you say you cannot see him. [00:25:24] Speaker E: Nothing so sure. [00:25:27] Speaker D: Yeah, I know the reason for his presence. His eyes are telling me to come to the lines to spike adornments. [00:25:33] Speaker E: No, no. We are leaving from. [00:25:34] Speaker D: But before we leave, we must go to the lines in pack of dormants. [00:25:47] Speaker E: Oh, this terrible idea of yours that had brought us to these muddy fields tonight. Since you had to come, why could we not wait till morning? [00:25:55] Speaker D: I told you, dear Mac wanted it this way. He's spoken to me twice since we started from Paris. Not angry, as though he hated me for what I've done. Just kind. Just as he used to be. It's strange you haven't heard him speak. [00:26:10] Speaker E: I have not heard for the same reason I have never seen. There is no one, nothing there beside you. There has never been. I came here only to humor you and to keep you from talking to people who might believe the crazy things you say. [00:26:22] Speaker D: We're walking where they fought the night when the vice broke through. But the place we told them was the weakest. They're walking over graves. The graves we made here. They died, the men we killed. [00:26:33] Speaker E: I cannot stand it. I will leave you. [00:26:35] Speaker D: You can't leave. Nor can I. I knew we couldn't when I brought you here. [00:26:40] Speaker E: What do you mean? [00:26:41] Speaker D: That we have come to pay a. [00:26:48] Speaker E: Where is that bugle they're on? Those soldiers here? [00:26:51] Speaker D: Yes. Can't you see them? They're gathering all about us. [00:26:55] Speaker E: I see nothing but shadows. Only shadows. [00:26:58] Speaker D: Listen. The shadows are marching. Here comes our firing squad. [00:27:03] Speaker E: You are not insane. I see them coming towards us. And I see your captain, too. Let me get away. Oh. [00:27:08] Speaker D: Oh. [00:27:09] Speaker E: I cannot move. [00:27:10] Speaker D: We sold our people. Now we receive our pay. [00:27:14] Speaker E: Oh, no. No, no, no. [00:27:16] Speaker D: Already? Captain Mason. Percy. Eddie. [00:27:21] Speaker E: No, no, no. [00:27:23] Speaker D: Hey. [00:27:24] Speaker E: No, no, no, no. [00:27:28] Speaker D: Give me Ma. It's all right, kid. Now I can look. And in the morning, two bodies were found lying on the deserted battlefield. Two dead bodies of a woman and a man. On their chests were little blue marks, such as spent bullets might have made. Bullets that had come from too far away to have pierced. [00:28:29] Speaker E: Well, that's the end of that, Satan. You folks come shears next week when I has a birthday, and we'll have another cheerful yarn to spin. Yeah, [00:28:56] Speaker A: That was the firing squad from the Witch's Tale here on the Mysterious Old Radio Listening Society podcast once again. I'm Eric. [00:29:04] Speaker B: I'm Tim. [00:29:05] Speaker C: And I'm Joshua. [00:29:06] Speaker A: And that was Tim's choice this week. This is the second Witch's Tale. [00:29:10] Speaker B: Yes. [00:29:10] Speaker A: That we've delved into, but the one we did before was called the Devil Doctor. Devil Doctor, yes. And we did that live on stage, which was a lot of fun and it was nice to revisit the Witch's Tale. I have not delved back into any other witch's tale until Tim brought this to the table. So I was really happy to do that. And I will start this by saying that from Devil Doctor. And now this. I realized I need to listen to even more of these because I thoroughly enjoyed this. The Witch's Tale, historically, was kind of at the forefront, not kind of really was at the forefront of the first radio horror. Was anybody doing it before or were they the first? [00:29:51] Speaker C: It's really the first in this familiar style, inventing the horror host, essentially, that now is familiar not just in old time radio, but in comic books later, and in movies and television shows. I Always think, I've heard more Witch's Tale episodes than I have. Just because it is such a template for everything that comes afterwards. You always feel like, oh, yeah, that old, comfortable Witch's Tale and everything. No, I haven't listened to many of those. It just feels like I have because so many people copied it. [00:30:21] Speaker A: I have to tell my daughter all the time if we watch any I Love Lucy and she says, that's not funny or that's predictable, or I've seen that before. I have to remind her, yeah, this was the first time anybody did anything like this. So, yes, the reason you're bored is because it's been copied a billion times. This style of comedy and these jokes. But imagine seeing this for the first time in this style. [00:30:44] Speaker B: I have to put in a short little anecdote. I'm so sorry, but back when Mel Gibson's Hamlet was in theaters, I love the beginning. I went to go see Mel Gibson's Hamlet in the. And I sat behind someone who, throughout most of the first part, they said, alas, poor York. [00:31:03] Speaker C: I knew him well. [00:31:03] Speaker B: Alas, por York. So we were misquoting it. Alas, poor York. I knew him well. And they just repeated over and over again, so it was a little maddening. And then it got to the line, alas, poor York. I knew him, Horatio. And they felt like they nailed it. [00:31:13] Speaker D: You got it wrong. [00:31:17] Speaker B: This is a really long anecdote. I'm sorry. [00:31:18] Speaker A: No, we're good. [00:31:19] Speaker C: You'll get there. [00:31:20] Speaker D: I'll get there. [00:31:21] Speaker B: So we watch the movie and it concludes. And this person in front of me who'd been talking through the whole thing at the end goes, it was all right, but it had so many cliches. Whenever I hear a story like that, that's what I think of. This was the first time everybody else was copying this. [00:31:45] Speaker A: To be or not to be heard it. [00:31:46] Speaker D: Yeah. [00:31:50] Speaker A: Tim, why did you bring Witch's Tale back to us? And why the firing squad Witch's Tale? [00:31:56] Speaker B: Just because it has been so long, we haven't listened to as many as we think we have. It's such a groundbreaking series. Alonzo Dean Cole's a native son of Minnesota, so I felt attached to him, strangely. I just deliberately wanted to go dig back into Witch's Tale and find another one to bring. And I actually did have to do a little bit of digging. There were several that I felt like this is just another version of devil doctrine that's not as good as. And then I found this one, which is radically different, that I was excited About. [00:32:27] Speaker A: So that's really interesting that you say that because I said just a minute ago, oh, I want to hear more what you said. [00:32:31] Speaker B: Oh, I know you might be disappointed. I would dissuade you, but they like people popping up out of their coffins. [00:32:38] Speaker A: So far, you haven't dissuaded me. [00:32:40] Speaker D: All right, me too. [00:32:41] Speaker C: You're gonna like this series. [00:32:43] Speaker A: How much Bela Lugosi do they have? [00:32:46] Speaker B: Not a witness. [00:32:48] Speaker A: This is a really interesting piece of horror for a lot of different reasons. And it's a lot different than Devil Doctor in that sense of horror. It's real horrifying. It's a realistic, not supernatural. So that's an interesting take. [00:33:00] Speaker C: It takes so long for any supernatural element to be introduced that you really forget it's a possibility. [00:33:08] Speaker A: Yeah. Because it's already watching him just be afraid or listening to him be afraid. And the emotions he's going through is disturbing in its own sense. [00:33:18] Speaker C: It opens with such an alarming scenario to just start with Steve being forced to watch a traitor being shot by a firing squad. And again, like I said, it's real life horror. [00:33:31] Speaker B: I don't know how much at the time they knew about trauma and PTSD or the World War I. I think they called it the thousand yard stare. [00:33:39] Speaker A: Oh, yeah, yeah. [00:33:40] Speaker B: But from our perspective, like, we know this guy's hurting. [00:33:43] Speaker A: From what we know now, he would have been taken out of there. [00:33:47] Speaker C: Come on, guys. He just needed three days in Paris. You big wimps. Oh, let's give him a hug. [00:33:54] Speaker A: No, he'll be fine. [00:33:55] Speaker C: No, there is a suggestion as well that he's always been needing help or sensitive because his cousin Mac makes some suggestion like, I've taken care of you since you were young. So not to disagree with the post traumatic stress side of it, but if you take someone who already is very sensitive. [00:34:13] Speaker A: I don't think it was suggested. I think it was very obvious that he had no business being in war. He is not cut out for the front line duty. Well, who really is? But I guess there are those that perform better in that situation than others. [00:34:28] Speaker C: And the usual cliche is the other way. Like if you have family members and relatives in high places, it means by modern storytelling standards, you get out of all the war. The story would be the opposite if he had an uncle who's a general and his cousin's a captain, that he wouldn't have to be on the front line. And it would be a story of some guy kind of using his nepotism to get out of fighting. [00:34:49] Speaker A: The further you Go back. In war stories, the more high profile people are, the more in the fray they were. You hear about it all the time in Civil war stories where the guy is in charge of the troops. I don't have anything specific, but raises a sword and drives right into battle, you know, and that doesn't really happen anymore. The more important you are, the more in the bunker you are. [00:35:10] Speaker C: It seems like his family here is trying to make a man out of him. [00:35:13] Speaker A: Yeah. Here's an angle that I had on this that I want to see if you guys felt. What year was this, Tim? 31. [00:35:20] Speaker B: First on. Yeah, 31. [00:35:21] Speaker A: The one we're listening to is this 38. [00:35:23] Speaker B: Yes. [00:35:24] Speaker A: So we're listening to the 1938 version. [00:35:26] Speaker B: Yes. [00:35:26] Speaker A: So correct me if I'm wrong, but I believe Germany had at this point gone into Poland. [00:35:32] Speaker C: No, not yet. [00:35:32] Speaker A: Not. 39. They went in. [00:35:34] Speaker B: Yes. [00:35:34] Speaker A: Okay. But still, the threat was starting to become obvious. Do you think, I can't remember, historically, [00:35:40] Speaker B: enough time to nail down how much in America they would have been aware of what was coming. [00:35:46] Speaker A: Right. What I'm getting at is this, is that I don't know if America at this point was saying, yeah, looks like we're heading down the barrel, that we might end up involved in this. But then again, I think it really was Pearl harbor that was the instigator. Like, we're in. [00:36:02] Speaker C: I think there was a lot of debate in this country before. [00:36:05] Speaker A: Before that. Okay. [00:36:06] Speaker C: So you can hear those in all those arch Ober propaganda plays that he was fighting to rally the troops to participate in this fight. [00:36:13] Speaker A: So getting to my point, it had an overtone of propaganda to it. [00:36:17] Speaker B: I don't know if that's us putting it on there, but, I mean, it's a big coincidence if it. [00:36:22] Speaker A: It felt like, hey, buck up, there's a loose lips lecture in there, you know, to keep your mouth shut. And there's all of these wartime things. [00:36:30] Speaker C: I took it the exact opposite, that in a couple more years, you would never have this sympathetic of a portrayal of someone who didn't want to fight. Once Pearl harbor happens, this protagonist would be a sniveling, awful coward. I think you're supposed to feel some sympathy for him. He really can't take this and he is manipulated and then feels regret at the end in a human way, a human regret. And by the time we get into the propaganda area, I don't think we would be allowed this much sympathy for the character. [00:36:59] Speaker B: That's probably true, although I do think the main lesson that came from this his main failing was that he would rather see the war end than win. [00:37:07] Speaker A: Right. That's what I'm getting. [00:37:08] Speaker B: And that's. That's the thing he has to pay the price for. [00:37:11] Speaker A: And also, Joshua, I get what you're saying about they wouldn't show a sympathetic character three years later like this unless they were using him to make a point about what happens if you don't, pardon the expression, man up, look what's going to happen. So you better be strong because your country's counting on you. [00:37:28] Speaker C: Oh, I totally agree that that's all there. I just think it's extra interesting because it falls this window of time in which both those points of view are sitting side by side in this story. [00:37:38] Speaker B: Different tone of the conversation historically than after Pearl Harbor. [00:37:41] Speaker C: Yeah, Let me jump to my favorite thing about this story. I think the most original part of the story is the very end when the ghost of his cousin comes to him and says, it's all right, kid, now I can look after you again. And instead of it being this blood curdling, avenging ghost that comes from the fog, yes, they die, but he likes takes him away. There's this sort of compassion in his voice, and it just a. It supports what I was saying about it being a somewhat compassionate look at this character who is being branded as a coward. It's also just an original horror idea. A ghost that's back from the grave to kill him, but not purely out of vengeance. [00:38:20] Speaker A: Right. The plot itself. Here we go. It's time for an Eric moment. I got a little confused, and instead of going back, I thought, I'll just ask Tim live during the podcast. What exactly happened? [00:38:37] Speaker B: It's a little loosey goosey there. [00:38:39] Speaker A: Thank you. So it wasn't just me. What do you mean? Where I know that there's a woman he shouldn't talk to that can hypnotize men. [00:38:46] Speaker C: She can enslave their brains. It's a little different, right? [00:38:51] Speaker A: And I know that he isn't supposed to talk to her, and this guy got shot for the same thing, and he ended up being a traitor. And you should watch this. And this is your warning. Now you can go to Paris, but don't I get all that? And then he gets there and he's like, screw that. I'm gonna drink and I love you anyway because I'm under her spell. [00:39:07] Speaker C: And there's this or the spell of alcohol, right? [00:39:09] Speaker A: What's the difference? He ends up back at the line, and he needs to report to her where the weakness is. And Then there's something about a guy with a head bandage on 20ft away. [00:39:20] Speaker B: All right, so the mind is enslaved. Then he goes to meet her boss, I think, who sets this up. [00:39:29] Speaker A: Right. [00:39:29] Speaker B: That he gives him two capsules that will make him and Mac so sick they can't continue to fight. [00:39:35] Speaker A: Okay. [00:39:36] Speaker B: And he sets up this meeting with the guy with the bandage to tell him where the weakest point is. [00:39:41] Speaker A: Yes, in the line. [00:39:42] Speaker B: So we never actually get the conversation with the guy. The bandage, that's kind of off. All right, so that's where it feels like it's missing something. [00:39:49] Speaker A: And that's where I went. [00:39:50] Speaker D: Wait, what? [00:39:51] Speaker C: We can see the scene. He tells the guy with the bandage, and just as he's done telling the guy with the bandage, he finds out from Mack that his whole troop is being sent to that weak spot. [00:40:01] Speaker B: That's correct. [00:40:02] Speaker C: So he's not going to have time to use those capsules. [00:40:04] Speaker B: He lost the capsules. [00:40:05] Speaker C: He can't find them in that moment, and they're all going to die. And he's screaming at the guy to come back before he goes to give this information to the enemy because he knows they're about to be attacked. And then he ends up getting hit by a piece of shrapnel. So he gets out. He gets out of the fight and everyone dies. [00:40:21] Speaker D: Yeah. [00:40:21] Speaker A: Thank you. Then the supernatural part. So they all die and they all come back to life. [00:40:27] Speaker C: Suggestion. Or they're ghostly. Ghostly. I think they see shadowy figures, which suggests that. [00:40:32] Speaker A: Which freaks out hypno lady. [00:40:34] Speaker D: Yep. [00:40:35] Speaker A: Okay. And thank you for telling me that. It wasn't just me. It was sometimes difficult. [00:40:40] Speaker C: The audio quality, these early recordings, combined with accents, and it can be really difficult to hear. I couldn't quite make out the very last line. When there is a. [00:40:52] Speaker A: He said, join us next week. [00:40:57] Speaker C: No, when they find the bodies marked by little blue dots as if hit by spent bullets. And the line sounds to me like bullets that came from too far away to Pierce. Was that the line? [00:41:07] Speaker B: That could be. [00:41:08] Speaker C: But it was a little muddled. So it seemed to suggest that again, that ghostly retribution, these bullets that came from the afterlife but still killed them. [00:41:17] Speaker A: All of that being said, that I got a little tiny lost in there. And then I got back in. I was like, okay, I get it now. I know what's going. Going on. It didn't affect my enjoyment at all. And I, yes, very easily could have gone back and listened and figured all out, but instead I just wrote, ask Tim what happened in that one part. So thank you for Clearing that up for me. I thought the acting and the writing and the story was phenomenal. I thought it was really, really, really well done. [00:41:46] Speaker B: Witch's Tale has a reputation, certainly so for big acting. And it's in this one. But I like it. [00:41:52] Speaker C: It's very consistent throughout some of these shows. You'll have the one rogue actor who's totally doing his own thing and everyone else is trying to do something else. I feel like this is really internally consistent. I felt for this guy. He seems so weak and so vulnerable that I even questioned the hypnotic powers of this woman. Because in most of the scenes, it just seemed like he was. [00:42:13] Speaker A: I could have hypnotized that guy. [00:42:14] Speaker C: Yeah. He's been drinking. He thinks he's in love, and he instantly regrets his actions. He has a real justification for it, even in his muddled mind. That we just end this war will save everyone's lives. [00:42:28] Speaker B: It was nice in that drunken monologue that he starts out with. There's this thing I can't tell you. Talk, talk, talk, talk. Now I'm gonna tell you. [00:42:36] Speaker C: And his drunk acting was fun. It was just enough over the top, but not too over the top. [00:42:42] Speaker A: I made the note. Cause Joshua and I, outside of this podcast, have had this conversation a lot. And here we go. Joshua and I both play a drunk on stage very well. We both have this skill set where we have gotten a lot of compliments for it. So I'm a little. That's experience. But I'm critical. You can screw up playing drunk. And my note was, I thought he did really well. [00:43:06] Speaker C: I think so, too, because it's such a physical performance to be drunk and to channel it all through your voice. [00:43:11] Speaker A: Yeah. [00:43:12] Speaker C: It has to be a little extra exaggerated because you don't have any of the body movement or physicality at all to sell it. [00:43:19] Speaker A: It's that idea that is lost on a lot of people. Being drunk means trying your best not to look drunk. That's what we do. [00:43:28] Speaker C: And it provided a moment of dark comedy because it is funny to hear him drunk. But you know something terrible is going to happen as soon as it cuts to him. They're drunk. You're like, well, that's it. [00:43:38] Speaker A: Hypno lady's boss. Was that a French accent? It was that a German French accent? Because it sounded like Bela Lugosi. He had moments where he's like, you will go and take this bill. [00:43:51] Speaker C: I think they were both supposed to be French traders. [00:43:53] Speaker A: Okay. [00:43:54] Speaker B: Yeah. [00:43:55] Speaker A: Because that was a terrible French accent. [00:43:57] Speaker C: Maybe he was German doing a bad French accent. There's key players there. Yeah. [00:44:05] Speaker B: Prepared for this role for months. [00:44:09] Speaker A: Table work was insane. Vera. That was her name. Not Hypno Lady Vera. I would like to see her in an episode versus the Shadow just staring at each other. Now you look into my eyes. [00:44:22] Speaker C: Well, there actually is a shadow episode very close to that. [00:44:26] Speaker A: Is there? [00:44:26] Speaker D: Yeah. [00:44:27] Speaker C: But we are working the Shadow into every single podcast we record now. I think it's the Temple Bells of Nabon. I think, wow, I could be wrong. I could. And you wouldn't know the difference. [00:44:39] Speaker A: And I just go, mmm, yes. Nabong. [00:44:42] Speaker D: Nabon. [00:44:42] Speaker C: It's called the Hypno lady of Death. I did have to chuckle a little at the beginning when Mac is basically saying, I'm gonna give you a three day pass to France. There's this woman who you're just uncontrollably attracted to. Just don't hang out with the sexy woman when you have three days off in Paris and everything will be fine. [00:45:06] Speaker A: Could I go to another city then? [00:45:09] Speaker B: No, no, Paris. [00:45:10] Speaker D: Paris. [00:45:10] Speaker A: Okay, that's. Thanks. I also had to chuckle at the beginning. Now, we talked about Wolf, the 13 year old girl. What's her first name? [00:45:19] Speaker B: Miriam. [00:45:19] Speaker A: Miriam Wolf, 13 year old girl playing the witch. And it's so good. It's unbelievable that she's 13, but she has a line at the top that made me chuckle and she says I won't do her impression of her. The firing squad. [00:45:36] Speaker D: The firing squad. [00:45:38] Speaker A: She says it twice and then goes, you know, And I get it, she's a witch. She's laughing. But sometimes when people do witches laughing and it's like, what? What's so funny? Why is that so funny? But she repeated it and I went, all right, we got it. It's the firing squad and it's hilarious. [00:45:55] Speaker B: Keep track and make sense of. In the Witch's Tale, each time they start a show, she starts by IB108. Whatever number she comes up with years old today. So it's always her birthday. And her age does not progress by any sense. [00:46:09] Speaker C: No, she's younger, she's older. It goes all up and down the scale. Yeah. That's awesome. [00:46:14] Speaker A: So the canon's impossible to write. [00:46:18] Speaker B: Exactly. [00:46:20] Speaker A: All right, well, I'll start some voting. Unless someone's got something really important to say. No, no. I really enjoyed this. I didn't bring this up, but the Foley at the top, the very distant shelling. Very distant shelling. Like it felt like it was a mile and a half, two miles away, but you could barely hear it. That might have something to do with quality recording, but it really worked well. Like, they weren't quite on the front, but they were in a war. [00:46:45] Speaker D: The. [00:46:46] Speaker A: The Foley in the bar, in the restaurant was really subtle and beautiful, and I thought it was well performed. I thought it was a great story. I liked everything about it. And I think it Stand the test of time. I don't have a lot of complaints or anything that I can say that I wouldn't recommend this to other people. I guess I'm holding dearly to my votes of classic because we have to have something that we hand out to just those few moments and episodes of things. So I won't go with classic, but I will say stands a test. [00:47:19] Speaker D: Time. [00:47:20] Speaker A: And really well done. Really fun. [00:47:21] Speaker B: Yeah, I would agree with all of that. In fact, it's proven itself, even its own history, to have relevance well after it was first made. [00:47:29] Speaker D: Mm. [00:47:30] Speaker B: I think it still has relevance today. [00:47:32] Speaker A: It's interesting, right? War doesn't change. Right. The lessons of it and what it does and the effects of it. It's never been different. That's what it is. [00:47:40] Speaker C: Yeah. Definitely Stand the test of time. And the Witch's Tale itself is a classic. Just because every single story I might like better by another horror series would not be a classic if it weren't for the Witch's Tale in general. And I think this is definitely one of the best episodes of the Witch's Tale I've heard so far. Writing wise. Definitely Stand the test of time. [00:48:00] Speaker A: All right, thank you so much for listening, everybody. Tim, tell him some stuff. [00:48:04] Speaker B: Please go visit ghoulishdelights.com youm'll find other episodes of this podcast as well as information about our live shows. We do live shows and you can get information about [email protected] yes. [00:48:15] Speaker C: And you can also go to Patreon and support us. And through that support, you can become a member of the Mysterious Old Radio Listening Society. There's all sorts of fun rewards on there, including a monthly members only podcast, the Secrets of the Mysterious Old Radio. It's very different from this podcast. No, not really at all. But it's still. You'll never know. [00:48:38] Speaker A: But it's only available to you. Sign up for that. [00:48:41] Speaker C: Yeah. Also go write us a review on itunes because we super like that as well. [00:48:46] Speaker A: And they can buy merchandise, right? [00:48:49] Speaker B: Yes. Actually, go to slice.com you'll find links to our Facebook page and our Instagram page and please check those out because we love interacting with people. You guys are awesome. And also link to our threadless page where you can get, like, a Mysterious Old Radio Listening Society cup or sweater or blanket. There's all kinds of awesome things we've discussed. [00:49:10] Speaker C: A shower curtain, but we're holding off. So you email us if you desperately want a Mysterious Old Radio Listening Society shower curtain. [00:49:18] Speaker A: We're trying to figure out the exact placement of the word mysterious in our see through shower. [00:49:28] Speaker C: All right, who's got more information than we need? Eric? [00:49:32] Speaker B: I believe Joshua is next. [00:49:33] Speaker C: Yes, I have the next episode. And speaking of classic radio shows, we are revisiting. Quiet, please. For a story called Beezer's Cellar. Until then, look out. [00:49:45] Speaker E: And so begins our tale about the firing squad. The firing squad.