WEBVTT 00:00.000 --> 00:22.400 Suspense. 00:22.400 --> 00:29.720 Radio's outstanding theater of thrills bring you an hour, a full 60 minutes of suspense. 00:29.720 --> 00:33.240 Produced by Anton M. Lieder and produced by Robert Montgomery. 00:33.240 --> 00:36.640 Tonight, two great suspense dramas. 00:36.640 --> 00:41.640 John Collier's Wet Saturday and W.F. Harvey's August Heat. 00:41.640 --> 00:45.180 Performed by two distinguished casts of radio actors. 00:45.180 --> 00:55.360 Two complete stories joined in one hour of suspense. 00:55.360 --> 01:00.080 This is Robert Montgomery with a forecast, a weather forecast. 01:00.080 --> 01:04.200 If you doubt my qualifications as a meteorologist, I don't blame you. 01:04.200 --> 01:05.640 I have none. 01:05.640 --> 01:11.160 But I do have more specific information than the chap in Walt Mason's poem, The Statesman. 01:11.160 --> 01:12.760 Perhaps you remember. 01:12.760 --> 01:18.680 The Statesman throws his shoulders back and straightens out his tie and says, my friends, 01:18.680 --> 01:20.920 unless it rains, the weather will be dry. 01:20.920 --> 01:23.400 Yes, I can do much better than that. 01:23.400 --> 01:28.360 Even with the same elements, rain and dry weather, I can improve on that forecast. 01:28.360 --> 01:32.920 For the next hour, I predict rain, followed by a sudden hot spell. 01:32.920 --> 01:37.660 Further, and you can check me on this, I predict that the rain will fall in the first half 01:37.660 --> 01:42.600 of the hour and that the second half will be given over exclusively to heat. 01:42.600 --> 01:46.520 I guess you could say I predict weather in two acts. 01:46.520 --> 01:47.920 Unusual weather too. 01:47.920 --> 01:53.000 A unique combination of wet Saturday and August heat. 01:53.000 --> 01:55.320 Each of these dramas is set in England. 01:55.320 --> 01:57.600 Each is complete in itself. 01:57.600 --> 02:02.440 And each is conditioned by its own weather and by its own suspense. 02:02.440 --> 02:07.420 Because these plays exemplify two classic studies in radio suspense drama, we have selected 02:07.420 --> 02:10.200 established radio stars to interpret them. 02:10.200 --> 02:17.120 Dennis Hoey as Mr. Princey in Wet Saturday and Barry Kroger as James Clarence Withencroft 02:17.120 --> 02:22.240 in August Heat with supporting casts of distinguished radio players. 02:22.240 --> 02:27.280 Next week when we present the suspense version of the screen drama Night Must Fall, we shall 02:27.280 --> 02:30.240 feature a cast of motion picture actors. 02:30.240 --> 02:35.960 As Danny, I will be joined by Dame Mae Whitty in her original role of Mrs. Bramson together 02:35.960 --> 02:38.580 with Heather Angel and Richard Nye. 02:38.580 --> 02:43.580 But now to the first half of our show and my prediction for rain. 02:43.580 --> 02:48.760 With the performance of Dennis Hoey as Mr. Princey and with John Collier's English classic 02:48.760 --> 03:07.120 Wet Saturday, we again hope to keep you in suspense. 03:07.120 --> 03:13.640 On this rainy afternoon, we should like you to meet the Princey family and their visitor. 03:13.640 --> 03:16.040 They are of course at home. 03:16.040 --> 03:22.880 This is Princey, daughter Millicent, George, the son and heir, sprawled on a couch, and 03:22.880 --> 03:27.000 finally Mr. Princey, biting on a dry pipe. 03:27.000 --> 03:30.480 Their living room is dull and overstuffed. 03:30.480 --> 03:32.560 Rain beats at the windows. 03:32.560 --> 03:39.640 They are any middle class family at home on a wet day, except for one small item. 03:39.640 --> 03:44.440 As you sit with them in the living room, you can see through the door to the sun porch 03:44.440 --> 03:50.440 a pair of man's feet encased in black boots. 03:50.440 --> 03:54.600 They look like the feet of a curate. 03:54.600 --> 03:56.960 There is a tenseness in the room. 03:56.960 --> 04:11.080 The air is charged with excitement, but the feet are very still. 04:11.080 --> 04:13.960 Don't keep staring at them. 04:13.960 --> 04:16.240 Listen to me, all of you. 04:16.240 --> 04:18.240 Don't you see they'd hang her. 04:18.240 --> 04:19.920 That's what they do when they hang her. 04:19.920 --> 04:21.920 Oh Fred, it's too awful. 04:21.920 --> 04:22.920 Awful? 04:22.920 --> 04:23.920 It's catastrophic. 04:23.920 --> 04:29.840 A supposedly sweet, gentle, intelligent girl, respected, loved by the whole village doing 04:29.840 --> 04:30.840 a thing like this. 04:30.840 --> 04:33.640 Think of the publicity, the disgrace. 04:33.640 --> 04:38.320 You think I'm going to resign from the bench, the vestry, sell out, live in some foggy hotel 04:38.320 --> 04:39.320 abroad? 04:39.320 --> 04:40.320 Oh no. 04:40.320 --> 04:41.320 No, I'll kill myself. 04:41.320 --> 04:42.320 I will, I will. 04:42.320 --> 04:43.320 Don't be a fool. 04:43.320 --> 04:46.320 Any more than you have been, the governor of Mayhem. 04:46.320 --> 04:47.320 Be quiet. 04:47.320 --> 04:50.200 It wouldn't be so bad if it were you, George. 04:50.200 --> 04:52.920 Everybody in the village knows you're not responsible. 04:52.920 --> 04:53.920 George. 04:53.920 --> 04:54.920 Yes? 04:54.920 --> 04:55.920 Get off that couch. 04:55.920 --> 04:56.920 Sit up on your spine. 04:56.920 --> 05:00.920 You might be of a little use here, if you could think. 05:00.920 --> 05:04.720 Oh, but I say, governor, this isn't my funeral. 05:04.720 --> 05:06.720 Shut up. 05:06.720 --> 05:13.720 As long as I can remember, George, you've been a trial and a tribulation to me. 05:13.720 --> 05:15.120 Oh, I can't stand it. 05:15.120 --> 05:16.120 I can't stand it. 05:16.120 --> 05:18.120 You've got to stand it, my dear. 05:18.120 --> 05:20.600 Keep that hysterical note out of your voice. 05:20.600 --> 05:22.600 Do you hear? 05:22.600 --> 05:23.600 Yes. 05:23.600 --> 05:29.720 We, uh, we are talking about the weather. 05:29.720 --> 05:31.720 Now, George. 05:31.720 --> 05:32.720 Hmm? 05:32.720 --> 05:33.720 George. 05:33.720 --> 05:40.880 If he fell down the old well, say, striking his head several times, what about him, hmm? 05:40.880 --> 05:43.160 I really don't know, Governor, what about? 05:43.160 --> 05:44.160 Don't be an ass. 05:44.160 --> 05:45.160 I'm asking you to think. 05:45.160 --> 05:55.720 He'd have had to hit the side several times, 30 or 40 feet, and at all the correct angles. 05:55.720 --> 05:57.720 Now, I'm afraid not. 05:57.720 --> 06:00.320 I'm afraid not. 06:00.320 --> 06:02.920 We'll have to go over it all again, Melissa. 06:02.920 --> 06:05.920 Oh, no, Father, no, I couldn't. 06:05.920 --> 06:09.920 Millicent, we must go over it all again. 06:09.920 --> 06:11.920 Fred, you're torturing us. 06:11.920 --> 06:16.920 Oh, face facts, Mater, with him lying there, still he's pretending it's a pig. 06:16.920 --> 06:18.920 They might hang you, Millicent. 06:18.920 --> 06:20.920 Oh, stop that shaking. 06:20.920 --> 06:21.920 Stop it here. 06:21.920 --> 06:22.920 You must stop it. 06:22.920 --> 06:25.920 You must keep your voice quiet, Millicent. 06:25.920 --> 06:26.920 Millicent. 06:26.920 --> 06:31.920 We are talking of the weather. 06:31.920 --> 06:34.920 Now, we will proceed. 06:34.920 --> 06:38.920 I can't, I can't, not with those boots. 06:38.920 --> 06:40.920 Should have thought of that, Millicent. 06:40.920 --> 06:42.920 I'm not moving. 06:42.920 --> 06:45.920 Sit up, George, and stop shuffling your feet. 06:45.920 --> 06:48.920 Now, Millicent, look at me. 06:48.920 --> 06:50.920 Answer me truthfully. 06:50.920 --> 06:53.920 You hear? 06:53.920 --> 06:56.920 Answer me. 06:56.920 --> 06:58.920 You were on the croquis court. 06:58.920 --> 06:59.920 Yes. 06:59.920 --> 07:03.920 You, who knew you were in love with this wretched kid? 07:03.920 --> 07:05.920 Oh, the whole village knows. 07:05.920 --> 07:07.920 They've been snickering about at the pub for three years. 07:07.920 --> 07:08.920 Shut up, George. 07:08.920 --> 07:10.920 Millicent, we continue. 07:10.920 --> 07:12.920 You were on the croquis court. 07:12.920 --> 07:13.920 Yes. 07:13.920 --> 07:15.920 You were putting the croquisette in its box. 07:15.920 --> 07:17.920 Yes, it was starting to rain. 07:17.920 --> 07:20.920 I was carrying the balls and the mallets into the sun porch. 07:20.920 --> 07:21.920 The box was there. 07:21.920 --> 07:25.920 You heard someone enter the garden gate and come across the yard. 07:25.920 --> 07:26.920 Yes. 07:26.920 --> 07:27.920 Could you see who it was? 07:27.920 --> 07:30.920 Not at first. I was going into the sun porch. 07:30.920 --> 07:34.920 I threw down all the mallets, but the red one, and turned around. 07:34.920 --> 07:35.920 It was Withers. 07:35.920 --> 07:36.920 Yes. 07:36.920 --> 07:37.920 So you called him? 07:37.920 --> 07:38.920 Yes. 07:38.920 --> 07:39.920 Loudly? 07:39.920 --> 07:40.920 Oh. 07:40.920 --> 07:42.920 Did you call him loudly? 07:42.920 --> 07:43.920 Could anyone have heard? 07:43.920 --> 07:45.920 No, Father, I'm sure not. 07:45.920 --> 07:47.920 I didn't really call him. 07:47.920 --> 07:49.920 I just spoke his name. 07:49.920 --> 07:51.920 He saw me when I went to the door. 07:51.920 --> 07:53.920 He just waved his hand and came over. 07:53.920 --> 07:56.920 How can I find out whether there was anyone about, 07:56.920 --> 07:57.920 whether he could have been sent? 07:57.920 --> 08:00.920 I'm sure not, Father. I'm quite sure. 08:00.920 --> 08:03.920 Right, so you went on to the sun porch. 08:03.920 --> 08:06.920 Yes, it was raining hard then. 08:06.920 --> 08:07.920 What did he say? 08:07.920 --> 08:09.920 He said, hello, Millie. 08:09.920 --> 08:11.920 An excuse is coming in the back way, 08:11.920 --> 08:14.920 but it set out to walk over to Lyston. 08:14.920 --> 08:15.920 Yes? 08:15.920 --> 08:18.920 And he said, passing the park, he'd seen the house, 08:18.920 --> 08:20.920 and suddenly thought of me. 08:20.920 --> 08:22.920 And he thought he'd just look in for a minute. 08:22.920 --> 08:25.920 He had something he wanted to tell me. 08:25.920 --> 08:26.920 What was it? 08:26.920 --> 08:28.920 He said he was so happy, 08:28.920 --> 08:30.920 and he wanted me to share it. 08:30.920 --> 08:33.920 He'd heard from the bishop that he was to have a vicarage, 08:33.920 --> 08:34.920 and it wasn't only that. 08:34.920 --> 08:36.920 It meant that he could marry. 08:36.920 --> 08:40.920 And he began to stutter and get all confused, 08:40.920 --> 08:42.920 and of course I thought he meant me. 08:42.920 --> 08:44.920 Don't tell me what you thought. 08:44.920 --> 08:47.920 Tell me exactly what he said and nothing else. 08:47.920 --> 08:49.920 Well, well... 08:49.920 --> 08:50.920 Oh, don't cry. 08:50.920 --> 08:51.920 Stop crying. 08:51.920 --> 08:54.920 It's a luxury you can no longer afford. 08:54.920 --> 08:55.920 What happened? 08:55.920 --> 08:56.920 He said... 08:56.920 --> 08:58.920 He said, no. 08:58.920 --> 09:00.920 He said, it... 09:00.920 --> 09:02.920 It wasn't me. 09:02.920 --> 09:05.920 It's Ella Bragdon Davis. 09:05.920 --> 09:10.920 And he was sorry and all that. 09:10.920 --> 09:13.920 And then he went to go. 09:13.920 --> 09:15.920 And then? 09:15.920 --> 09:17.920 I went mad. 09:17.920 --> 09:19.920 He turned his back. 09:19.920 --> 09:22.920 I had the red mallet of the croquet set in my hand. 09:22.920 --> 09:24.920 I'd forgotten to drop it when he came in. 09:24.920 --> 09:26.920 I... I went... 09:26.920 --> 09:29.920 Did you shout or scream, I mean as you hit him? 09:29.920 --> 09:31.920 No, no, I'm sure I didn't. 09:31.920 --> 09:32.920 Did he? 09:32.920 --> 09:33.920 Come on, speak up. 09:33.920 --> 09:34.920 No, Father. 09:34.920 --> 09:35.920 And then? 09:35.920 --> 09:36.920 I threw it down. 09:36.920 --> 09:37.920 I came straight in here. 09:37.920 --> 09:39.920 I went to look for Mother, that's all. 09:39.920 --> 09:40.920 Oh, my poor friend. 09:40.920 --> 09:42.920 And you're sure no one else was about? 09:42.920 --> 09:43.920 No, no one, no. 09:43.920 --> 09:45.920 Leave the child alone, Fred. 09:45.920 --> 09:48.920 Oh, not such a child, mate. 09:48.920 --> 09:51.920 Oh, Millie, I had no idea. 09:51.920 --> 09:54.920 Deep, why aren't I thinking? 09:54.920 --> 09:59.920 You see, George, he probably told people he was going to Lyston. 09:59.920 --> 10:02.920 Certainly no one knows he came here. 10:02.920 --> 10:05.920 But he didn't decide until he crossed the park. 10:05.920 --> 10:07.920 He might have been attacked in the woods. 10:07.920 --> 10:10.920 You must consider every detail. 10:10.920 --> 10:13.920 A curate with his head battered in. 10:13.920 --> 10:14.920 Don't, Father, don't. 10:14.920 --> 10:16.920 A curate with his head battered in. 10:16.920 --> 10:20.920 Who, uh, who would want to kill with us? 10:20.920 --> 10:22.920 Who'd kill with us? 10:22.920 --> 10:23.920 When I would. 10:23.920 --> 10:24.920 With pleasure. 10:24.920 --> 10:26.920 How do you do, Mrs. Princy? 10:26.920 --> 10:27.920 Captain Smollett. 10:27.920 --> 10:28.920 Captain Smollett? 10:28.920 --> 10:29.920 Well, well. 10:29.920 --> 10:31.920 Oh, sit down, pray. 10:31.920 --> 10:32.920 You mustn't get up for me, Mrs. Princy. 10:32.920 --> 10:33.920 You are the menace. 10:33.920 --> 10:34.920 My word. 10:34.920 --> 10:37.920 Just being neighbourly on a bad day. 10:37.920 --> 10:40.920 I wanted to ask you about those dah-ya bulbs, Princy. 10:40.920 --> 10:41.920 Mm-hm. 10:41.920 --> 10:42.920 Took a shortcut on account of the rain. 10:42.920 --> 10:43.920 Walked right in. 10:43.920 --> 10:44.920 Knew you wouldn't mind. 10:44.920 --> 10:45.920 He heard you, Father. 10:45.920 --> 10:47.920 My dear, we can all have our little jokes. 10:47.920 --> 10:50.920 Don't pretend to be shocked. 10:50.920 --> 10:51.920 This way, Smollett. 10:51.920 --> 10:52.920 This chair facing the fireplace. 10:52.920 --> 10:53.920 Sit down, Mother. 10:53.920 --> 10:57.920 Oh, uh, just, uh, just straighten the curtains on the sun porch, dear. 10:57.920 --> 10:59.920 It looks so gloomy out there. 10:59.920 --> 11:01.920 Might as well shut the rain out. 11:01.920 --> 11:02.920 Yeah. 11:02.920 --> 11:06.920 We were just talking about a little theoretical parson-killing, Smollett. 11:06.920 --> 11:09.920 Young people these days like thrillers. 11:09.920 --> 11:10.920 Parsonicide. 11:10.920 --> 11:13.920 Justifiable parsonicide. 11:13.920 --> 11:17.920 Have you heard about Ella Bregdon Davis? 11:17.920 --> 11:19.920 I shall be most properly laughed at. 11:19.920 --> 11:20.920 Why? 11:20.920 --> 11:23.920 Why should you be laughed at, Smollett? 11:23.920 --> 11:27.920 Oh, had a shot in that direction myself. 11:27.920 --> 11:28.920 Ha-ha. 11:28.920 --> 11:29.920 Yes. 11:29.920 --> 11:31.920 She half said yes, too. 11:31.920 --> 11:32.920 Haven't you heard? 11:32.920 --> 11:34.920 She told most people. 11:34.920 --> 11:38.920 Now it'll look as though I got turned down for a white rat and a dog collar. 11:38.920 --> 11:39.920 Too bad. 11:39.920 --> 11:40.920 Oh, well. 11:40.920 --> 11:43.920 Fortune of war, you know. 11:43.920 --> 11:44.920 Yes. 11:44.920 --> 11:46.920 Yes, fortune of war. 11:46.920 --> 11:48.920 Odd how it happens, isn't it? 11:48.920 --> 11:49.920 Sit down, Smollett. 11:49.920 --> 11:53.920 Mother Millicent, console Captain Smollett with your best light conversation. 11:53.920 --> 11:55.920 George and I have something to look at outside. 11:55.920 --> 11:56.920 This will be no bad, very bad. 11:56.920 --> 11:57.920 Come on, George, come on. 11:57.920 --> 11:58.920 Oh, right, Captain, right. 11:58.920 --> 11:59.920 The president needs rain, Captain. 11:59.920 --> 12:00.920 Oh, no, no, no, no, no, no, no, no. 12:00.920 --> 12:01.920 Just make yourself at home, Smollett. 12:01.920 --> 12:02.920 Make yourself at home. 12:02.920 --> 12:03.920 Uh, a cigarette, Captain Smollett? 12:03.920 --> 12:04.920 Yes, yes. 12:04.920 --> 12:11.920 Thank you. 12:11.920 --> 12:14.920 Nasty dude, going out. 12:14.920 --> 12:16.920 It's something about the old well. 12:16.920 --> 12:19.920 Just off the sun porch door, you know. 12:19.920 --> 12:23.920 This terrible, sudden weather seemed to have loosened some of the stones. 12:23.920 --> 12:24.920 Too bad. 12:24.920 --> 12:25.920 There's too bad. 12:25.920 --> 12:27.920 Spoils the tennis in Croquant. 12:27.920 --> 12:29.920 I mean a day like this. 12:29.920 --> 12:31.920 Doesn't it, Millicent? 12:31.920 --> 12:32.920 Yes, it does. 12:32.920 --> 12:35.920 She was practicing out in the Croquant court earlier. 12:35.920 --> 12:39.920 But, uh, do pull your chair near the fire, Captain. 12:39.920 --> 12:42.920 It was so damp we thought it would be cosy to light it. 12:42.920 --> 12:43.920 Oh, thank you. 12:43.920 --> 12:44.920 I'm quite comfortable. 12:44.920 --> 12:49.920 I hope you don't feel too bad about Ella Bragdon Davis. 12:49.920 --> 12:52.920 Well, can't always win an hour. 12:52.920 --> 12:57.920 Can't understand, though, what you women see in these bloodless clerics. 12:57.920 --> 13:00.920 Oh, I always thought Mr. Withers was... 13:00.920 --> 13:03.920 Oh, is a very charming man. 13:03.920 --> 13:05.920 Oh, yes, quite agree. 13:05.920 --> 13:07.920 But why should anyone want to marry him? 13:07.920 --> 13:10.920 You wouldn't want to marry him, would you, Millicent? 13:10.920 --> 13:12.920 Not now. That is, I... 13:12.920 --> 13:15.920 Are you... Oh, no, no, of course not. 13:15.920 --> 13:16.920 Smollett. 13:16.920 --> 13:18.920 Yes? Oh, Fancy. 13:18.920 --> 13:20.920 Oh, good Lord, then. 13:20.920 --> 13:22.920 You do come in on a fellow suddenly. 13:22.920 --> 13:23.920 Yes, I do. 13:23.920 --> 13:26.920 Oh, don't mind this old double-barrelled shotgun. 13:26.920 --> 13:28.920 I've been working on it. 13:28.920 --> 13:32.920 Smollett, may I have your attention for a minute? 13:32.920 --> 13:36.920 There's something on the sun porch I'd like to show you. 13:36.920 --> 13:38.920 I, um... Yes. 13:38.920 --> 13:40.920 Yes, of course. 13:40.920 --> 13:44.920 Smollett, George and I went out to see if we could shoot some rats 13:44.920 --> 13:47.920 which have been driven out of the old well with the high water. 13:47.920 --> 13:50.920 Afraid they might get into the house, you know. 13:50.920 --> 13:55.920 Now, you must listen to me very carefully. 13:55.920 --> 14:02.920 Very carefully, or you will be shot by accident. 14:02.920 --> 14:08.920 Um, Fancy, what's got into you? 14:08.920 --> 14:11.920 Well, you heard me ask as you came in who would kill Withers. 14:11.920 --> 14:15.920 You also heard Millicent make a comment, an unguarded comment. 14:15.920 --> 14:18.920 Well, what of it? 14:18.920 --> 14:24.920 Very little, unless you were to hear that Withers had met a violent end this afternoon. 14:24.920 --> 14:30.920 And that, my dear Smollett, is what you are going to hear. 14:30.920 --> 14:33.920 What? Withers? Ben? 14:33.920 --> 14:35.920 Yes. 14:35.920 --> 14:39.920 Well, um, who killed him? 14:39.920 --> 14:41.920 Millicent. 14:41.920 --> 14:43.920 Good Lord. 14:43.920 --> 14:45.920 Yes, it's a mess. 14:45.920 --> 14:51.920 And, of course, you would have remembered and guessed. 14:51.920 --> 14:57.920 Maybe. Yes. Yes, I suppose I should. 14:57.920 --> 15:00.920 Therefore, you constitute a problem. 15:00.920 --> 15:02.920 Yes, but, um, why did she kill him? 15:02.920 --> 15:06.920 It's one of those disgusting things, you know, pitiable, too. 15:06.920 --> 15:08.920 She deluded herself that he was in love with her. 15:08.920 --> 15:09.920 Good heavens. 15:09.920 --> 15:11.920 Many? 15:11.920 --> 15:15.920 Ah, yes, of course, I see. 15:15.920 --> 15:20.920 He told her about the Davis girl, Ella Brandon Davis. 15:20.920 --> 15:22.920 I understand. 15:22.920 --> 15:27.920 I no wish, as you will comprehend, that you should be proved either a lunatic or a murderess. 15:27.920 --> 15:29.920 I could hardly go on living here after that. 15:29.920 --> 15:34.920 Besides, I'm, uh, I'm rather fond of many. 15:34.920 --> 15:35.920 Right. 15:35.920 --> 15:40.920 On the other hand, you know about it. 15:40.920 --> 15:44.920 Yes, I see. That, um, makes me a problem. 15:44.920 --> 15:45.920 Mm-hm. 15:45.920 --> 15:51.920 You're, um, wondering if I could keep my mouth shut if I promised. 15:51.920 --> 15:56.920 I'm wondering if I could believe you, but, um, if I promised. 15:56.920 --> 15:59.920 If things went smoothly, yes. 15:59.920 --> 16:03.920 But not if there was any sort of suspicion, any questioning. 16:03.920 --> 16:06.920 You would be afraid of being an accessory. 16:06.920 --> 16:08.920 Uh, I don't know. 16:08.920 --> 16:12.920 I do. What are we going to do? 16:12.920 --> 16:17.920 Well, I can't see anything else. 16:17.920 --> 16:20.920 You would, um, never be fool enough to do me in. 16:20.920 --> 16:23.920 Can't get rid of two corpses, you know. 16:23.920 --> 16:25.920 I regard that as a better risk than the other. 16:25.920 --> 16:29.920 Could be an accident, you know, or you and Withers could both disappear. 16:29.920 --> 16:32.920 There are possibilities in that. 16:32.920 --> 16:33.920 Oh, see, here, you can't... 16:33.920 --> 16:36.920 I can, but there may be a way out. 16:36.920 --> 16:38.920 There is, Smollett. 16:38.920 --> 16:40.920 You gave it to me yourself. 16:40.920 --> 16:43.920 I? I did? 16:43.920 --> 16:45.920 Mm-hm. What? 16:45.920 --> 16:48.920 You said you would kill Withers. 16:48.920 --> 16:50.920 You have a motive. 16:50.920 --> 16:51.920 Oh, look, here, I was joking. 16:51.920 --> 16:53.920 Listen, Smollett. 16:53.920 --> 16:56.920 I can't trust you. You must trust me. 16:56.920 --> 17:00.920 Else I will kill you now, in the next minute. 17:00.920 --> 17:02.920 I mean that. 17:02.920 --> 17:05.920 You can choose between dying and living. 17:05.920 --> 17:07.920 Oh. 17:07.920 --> 17:09.920 Well, go on. 17:09.920 --> 17:13.920 There's the old well just outside the Sunch porch door. 17:13.920 --> 17:15.920 That's where I'm going to put Withers. 17:15.920 --> 17:18.920 No one outside knows he's come up here this afternoon. 17:18.920 --> 17:23.920 No one will ever look in there for him unless you tell them now. 17:23.920 --> 17:28.920 You must give me evidence that you have murdered Withers. 17:28.920 --> 17:30.920 I murdered him. 17:30.920 --> 17:32.920 Why do you want that? 17:32.920 --> 17:36.920 So that I should be dead sure that you will never open your lips on the subject. 17:36.920 --> 17:38.920 Ah, I see. 17:38.920 --> 17:40.920 What evidence? 17:40.920 --> 17:42.920 George, hit him in the face. 17:42.920 --> 17:44.920 Sure. 17:44.920 --> 17:46.920 Oh, George, don't. 17:46.920 --> 17:48.920 Captain, you should be more careful. 17:48.920 --> 17:50.920 Look what your teeth did to my knuckle. 17:50.920 --> 17:52.920 Again, George. 17:52.920 --> 17:54.920 Oh, I can't stand that. 17:54.920 --> 17:56.920 Father, how can you? 17:56.920 --> 18:01.920 I'm sorry, Smollett, but there must be traces of a struggle between you and Withers. 18:01.920 --> 18:05.920 Then it will not be altogether safe for you to go to the police. 18:05.920 --> 18:07.920 George, get the croquet mallet. 18:07.920 --> 18:09.920 There it is on the, er, some porch. 18:11.920 --> 18:13.920 There, Captain. 18:13.920 --> 18:15.920 There's your weapon. 18:15.920 --> 18:19.920 As I told you, Smollett, now you'll just grasp the end that mashed Withers' head. 18:19.920 --> 18:21.920 I shall shoot you if you don't. 18:21.920 --> 18:23.920 Yes, but good Lord, you can't. 18:23.920 --> 18:25.920 Or? 18:25.920 --> 18:27.920 All right. 18:27.920 --> 18:29.920 That's it. 18:29.920 --> 18:32.920 Now, deposit it by the side of the house outside. 18:32.920 --> 18:34.920 Out of the rain, of course. 18:34.920 --> 18:36.920 Oh, wait, George. 18:36.920 --> 18:40.920 You'd better pull a few hairs out of his head and put them under the nails of Withers' right hand. 18:40.920 --> 18:41.920 Oh, no, wait. 18:41.920 --> 18:43.920 I'm sorry to mess up your hair, Captain. 18:43.920 --> 18:45.920 Shut up, Smollett. 18:45.920 --> 18:47.920 Now, that's all we need. 18:47.920 --> 18:49.920 Enough, Mr. Withers, and we'll fix it right up. 18:49.920 --> 18:51.920 I'll be right with you, Captain. 18:51.920 --> 18:55.920 Smollett, you may turn round. 18:55.920 --> 18:59.920 Withers is just there on the sun porch. 18:59.920 --> 19:01.920 Draw back the curtain. 19:01.920 --> 19:03.920 Good Lord. 19:03.920 --> 19:05.920 Yes, messy. 19:05.920 --> 19:13.920 Now, you, Smollett, you've just got to drag him through the door and dump him in the old well. 19:13.920 --> 19:15.920 Just beyond the door, Captain. 19:15.920 --> 19:17.920 I won't touch. 19:17.920 --> 19:19.920 All right, stand aside out of range, George. 19:19.920 --> 19:21.920 Any place where I want this shot to go, only one place. 19:21.920 --> 19:23.920 Oh, Father, Father! 19:23.920 --> 19:25.920 Keep quiet. Keep out of this. 19:25.920 --> 19:27.920 My aim is not too sure. 19:27.920 --> 19:29.920 Wait a minute. 19:29.920 --> 19:31.920 That's better, Smollett. 19:31.920 --> 19:33.920 Much better. 19:33.920 --> 19:35.920 Go on now. Go ahead. 19:35.920 --> 19:37.920 You have to take him outside. 19:37.920 --> 19:39.920 By the shoulders, what to do, Captain. 19:39.920 --> 19:41.920 Keep quiet, George. 19:41.920 --> 19:43.920 Go on, Smollett. 19:43.920 --> 19:45.920 Go on. You've seen a dead man before. Drag him. 19:45.920 --> 19:47.920 Drag him. 19:47.920 --> 19:53.920 I'll just hold the gun here to make sure everything goes all right. 19:55.920 --> 19:57.920 Oh, come away from the window, dear. 19:57.920 --> 19:59.920 Don't look. 19:59.920 --> 20:01.920 Captain Smollett. 20:01.920 --> 20:03.920 Oh, your father is a very resourceful man, Mellison. 20:03.920 --> 20:05.920 I'm sure what he's doing is... 20:05.920 --> 20:07.920 But, Captain, I can't understand it. 20:07.920 --> 20:09.920 Oh, you must question your dear father. 20:09.920 --> 20:11.920 You can still add it. 20:11.920 --> 20:13.920 There's enough trouble around here without your blubbery. 20:13.920 --> 20:15.920 Don't you call me blubbering, George, Mellison. 20:15.920 --> 20:17.920 Everything is perfect, Mellison. 20:17.920 --> 20:21.920 Remember, no one knows that Withers came here. 20:21.920 --> 20:25.920 Everyone thinks he walked over to Lyston. 20:25.920 --> 20:27.920 That's five miles of country to search. 20:27.920 --> 20:29.920 They'll never look in our well. 20:29.920 --> 20:31.920 You see how safe it is? 20:31.920 --> 20:33.920 Uh, I guess so. 20:33.920 --> 20:35.920 Good heavens, man, you're dripping wet. 20:35.920 --> 20:37.920 Why didn't you slip on your raincoat? 20:37.920 --> 20:39.920 Tea ready, my dear? 20:39.920 --> 20:41.920 In just a minute, dear. 20:41.920 --> 20:43.920 I'll live for Bridget. 20:43.920 --> 20:45.920 Exactly what you need, Smollett, a cup of tea. 20:45.920 --> 20:47.920 Best thing in the world, a water for cold. 20:47.920 --> 20:49.920 Sit down, won't you? Sit down. 20:49.920 --> 20:51.920 Oh, don't mind getting the chair wet. 20:51.920 --> 20:53.920 Thank you. 20:53.920 --> 20:55.920 Cigarette? Help yourself. 20:55.920 --> 20:57.920 I stick to my pipe. 20:57.920 --> 20:59.920 Funny how you get attached to them. 20:59.920 --> 21:01.920 My wife always says... 21:01.920 --> 21:03.920 See, Mrs. Princey, everything is hot, man. 21:03.920 --> 21:05.920 Oh, yes, Bridget. 21:05.920 --> 21:07.920 Put the tray in front of me. Here, here on the table. 21:07.920 --> 21:11.920 I say, Captain, you've caught your lip. 21:11.920 --> 21:13.920 Huh? 21:13.920 --> 21:15.920 I just marked it. 21:15.920 --> 21:17.920 Why, how dreadful. 21:17.920 --> 21:19.920 Here, Bridget, here. Give the Captain his cup. 21:19.920 --> 21:21.920 Uh, no, thank you. 21:21.920 --> 21:23.920 I think I'll be running along, if you don't mind. 21:23.920 --> 21:25.920 Why, Captain Smollett, without any tea? 21:25.920 --> 21:27.920 If you don't mind, Mrs. Princey, 21:27.920 --> 21:29.920 if I could just have my raincoat... 21:29.920 --> 21:31.920 Oh, I'll get it for you, Captain. 21:31.920 --> 21:33.920 This is very distressing, Smollett. 21:33.920 --> 21:35.920 Very. 21:35.920 --> 21:37.920 Yes, well, I'll be all right. Present, I'm sure. 21:37.920 --> 21:39.920 Here you are, sir. Let me help you. 21:39.920 --> 21:41.920 Thank you, young man. 21:41.920 --> 21:43.920 There. 21:43.920 --> 21:45.920 Better go out the front way, Smollett. 21:45.920 --> 21:47.920 Walk is drier. 21:47.920 --> 21:49.920 Let me hold the door for you, dear. 21:49.920 --> 21:51.920 Don't worry, old fellow. 21:51.920 --> 21:53.920 Don't worry at all. 21:53.920 --> 21:55.920 There. 21:55.920 --> 21:57.920 Now I won't. 21:57.920 --> 21:59.920 Well, good afternoon. 21:59.920 --> 22:01.920 Oh. 22:01.920 --> 22:03.920 Hmm. 22:03.920 --> 22:05.920 Nothing serious, I imagine. 22:05.920 --> 22:07.920 A little rest, and you'll be as right as rain. 22:07.920 --> 22:09.920 By the way, Millicent, 22:09.920 --> 22:11.920 you're not looking any too well. 22:11.920 --> 22:13.920 Oh, not well at all. 22:13.920 --> 22:15.920 I'm sure it was the croaky court. 22:15.920 --> 22:17.920 Being outdoors in weather like this is simply foolhardy. 22:17.920 --> 22:19.920 The Major's right, Millie. 22:19.920 --> 22:21.920 You saw what happened to Captain Smollett. 22:21.920 --> 22:23.920 Come along, dear. 22:23.920 --> 22:25.920 I shall give you a hot foot bath and put you to bed. 22:25.920 --> 22:27.920 A couple of days in bed. 22:27.920 --> 22:29.920 I'm dead. 22:29.920 --> 22:31.920 Get plenty of rest, Millicent, and don't worry about a thing. 22:31.920 --> 22:33.920 That's the best cure. 22:33.920 --> 22:35.920 Oh. 22:35.920 --> 22:37.920 I guess I'll have a little rest too, Governor. 22:37.920 --> 22:39.920 It's a fine afternoon for a man. 22:39.920 --> 22:41.920 Indeed it is, son. Indeed it is. 22:41.920 --> 22:43.920 Well, enjoy yourselves. 22:43.920 --> 22:45.920 See you later. 22:45.920 --> 22:47.920 See you all later. 22:47.920 --> 22:49.920 Da-da-da-dum-dum-dum. 22:49.920 --> 22:51.920 Da-dum-dum-dum-dum. 22:51.920 --> 22:53.920 De-de-da-dum-dum-dum. 22:53.920 --> 22:55.920 Da-da-da-dum-dum-dum. 22:55.920 --> 22:57.920 Da-da-da-dum-dum-dum. 22:57.920 --> 22:59.920 Your number, please. 22:59.920 --> 23:01.920 Oh, would you get me the police station? 23:01.920 --> 23:03.920 Police station? 23:03.920 --> 23:05.920 Right away, sir. 23:05.920 --> 23:07.920 Da-da-da-de-de-da. 23:07.920 --> 23:09.920 De-de-de-de-de-de. 23:09.920 --> 23:11.920 Da-da-da-dum-dum-dum-dum. 23:11.920 --> 23:13.920 Police Headquarters, Sergeant Yancey speaking. 23:13.920 --> 23:15.920 Oh, hello, Sergeant. 23:15.920 --> 23:17.920 This is Princey of Abbots Road. 23:17.920 --> 23:19.920 I believe you know me. 23:19.920 --> 23:21.920 Indeed I do, Mr. Princey. 23:21.920 --> 23:23.920 Um, Sergeant, 23:23.920 --> 23:25.920 a rather horrible thing has just occurred. 23:25.920 --> 23:27.920 Quite extraordinary. 23:27.920 --> 23:29.920 Murder, in fact. 23:29.920 --> 23:31.920 Murder? 23:31.920 --> 23:33.920 I'm afraid it looks rather bad for... 23:33.920 --> 23:37.920 well, for a close friend of ours, unfortunately. 23:37.920 --> 23:39.920 We saw him do it. 23:39.920 --> 23:41.920 I, uh... 23:41.920 --> 23:43.920 I think you'd better send someone over right away. 23:43.920 --> 23:45.920 Our man should be there right about now, Mr. Princey. 23:45.920 --> 23:47.920 Uh... 23:47.920 --> 23:49.920 I beg your pardon? 23:49.920 --> 23:51.920 I say our man should be there now. 23:51.920 --> 23:55.920 Constable Martin has his post right below your house there. 23:55.920 --> 23:57.920 I just rang him. 23:57.920 --> 23:59.920 Uh, seems Captain Smollett was with him. 23:59.920 --> 24:01.920 Captain... 24:01.920 --> 24:03.920 Smollett? 24:03.920 --> 24:05.920 He reported some rather queer goings-on at your place, 24:05.920 --> 24:09.920 but I certainly didn't understand it was murder. 24:09.920 --> 24:11.920 Just don't touch anything, Mr. Princey, 24:11.920 --> 24:13.920 and don't worry. 24:13.920 --> 24:15.920 Don't worry at all. 24:15.920 --> 24:17.920 No. 24:17.920 --> 24:19.920 I... I won't, Sergeant. 24:21.920 --> 24:23.920 Thank you. 24:27.920 --> 24:29.920 Where are you going? 24:29.920 --> 24:31.920 Right here. Stop shouting. 24:31.920 --> 24:33.920 We have some visitors, Governor. 24:33.920 --> 24:35.920 Yes, I can see that. 24:35.920 --> 24:37.920 Well, Constable, uh... 24:37.920 --> 24:39.920 Good afternoon. 24:39.920 --> 24:41.920 Mr. Princey. 24:41.920 --> 24:43.920 And, uh, Smollett, I see what a remarkable fellow you are, 24:43.920 --> 24:45.920 coming back like this. 24:45.920 --> 24:47.920 Here to re-enact the crime? 24:47.920 --> 24:49.920 Only the one against me, Princey. 24:49.920 --> 24:51.920 The one against the curate I leave to you people. 24:51.920 --> 24:53.920 Extraordinary sense of humor. 24:53.920 --> 24:55.920 Mr. Princey, 24:55.920 --> 24:57.920 I just had a look at what's in your well. 24:57.920 --> 24:59.920 Not a pretty sight, that. 24:59.920 --> 25:01.920 Not pretty at all. 25:01.920 --> 25:03.920 Yes, Constable, Captain Smollett was thorough, 25:03.920 --> 25:05.920 if nothing else. 25:05.920 --> 25:07.920 You saw him when he did it, sir? 25:07.920 --> 25:09.920 Out in the back? Quite. 25:09.920 --> 25:11.920 We were just returning from a walk. 25:11.920 --> 25:13.920 Smollett evidently had been laying for the curate, 25:13.920 --> 25:15.920 hiding out there in those bushes by the road, I imagine. 25:15.920 --> 25:17.920 He was never inside this house? 25:17.920 --> 25:19.920 No, never, never. 25:19.920 --> 25:21.920 And you, say, Captain? 25:21.920 --> 25:23.920 I say that while I was inside this house, 25:23.920 --> 25:25.920 a guest of the family, 25:25.920 --> 25:27.920 I was coerced into dragging the curate's body outside 25:27.920 --> 25:29.920 and dumping it into the well. 25:29.920 --> 25:31.920 Well, there we are. 25:31.920 --> 25:33.920 No, not entirely, Constable. 25:33.920 --> 25:35.920 I'll just remove my raincoat. 25:35.920 --> 25:37.920 There. 25:37.920 --> 25:39.920 And, um, demonstrate 25:39.920 --> 25:41.920 how damp I got my clothes 25:41.920 --> 25:43.920 when I went outside without it. 25:43.920 --> 25:45.920 Oh, that's interesting, isn't it? 25:45.920 --> 25:47.920 It's quite. 25:47.920 --> 25:49.920 He undoubtedly removed his coat 25:49.920 --> 25:51.920 at some point between here and your post. 25:51.920 --> 25:53.920 I might as well tell you 25:53.920 --> 25:55.920 that his weapon, a red croquet mallet, 25:55.920 --> 25:57.920 is out by the side of the house. 25:57.920 --> 25:59.920 I shouldn't be at all surprised, 25:59.920 --> 26:01.920 but you might find his fingerprints all over it. 26:01.920 --> 26:03.920 All over the end of the mallet, Constable, 26:03.920 --> 26:05.920 the end that mashed Wither's head. 26:05.920 --> 26:07.920 Not the end I'd have to grasp 26:07.920 --> 26:09.920 in order to do the mashing. 26:09.920 --> 26:11.920 Covener, uh... 26:11.920 --> 26:13.920 That's a decent try, Smollett, but it won't work. 26:13.920 --> 26:15.920 There must be other evidences, Constable. 26:15.920 --> 26:17.920 You'll undoubtedly find them 26:17.920 --> 26:19.920 when you examine the body. 26:19.920 --> 26:21.920 He means my hair under Wither's fingernails. 26:21.920 --> 26:23.920 Well, sir, 26:23.920 --> 26:25.920 you know, I happen to notice something 26:25.920 --> 26:27.920 when young George there opened the door for me. 26:27.920 --> 26:29.920 I was wondering 26:29.920 --> 26:31.920 if you'd look carefully. 26:31.920 --> 26:33.920 I believe you'll find a few of my precious hairs 26:33.920 --> 26:35.920 under his nails, too. 26:35.920 --> 26:37.920 What are you trying to suggest? 26:37.920 --> 26:39.920 Shut up! 26:39.920 --> 26:41.920 Constable, this is an utter waste of time. 26:41.920 --> 26:43.920 So far as violence struggle between Smollett 26:43.920 --> 26:45.920 and Wither's is concerned, 26:45.920 --> 26:47.920 Smollett's face speaks for itself quite eloquently, I believe. 26:47.920 --> 26:49.920 Oh, yes, but no more eloquently 26:49.920 --> 26:51.920 than your son's knuckle. 26:51.920 --> 26:53.920 As you see, Constable, look here. 26:53.920 --> 26:55.920 A fresh abrasion. 26:55.920 --> 26:57.920 He did that on my teeth. 26:57.920 --> 26:59.920 Oh. 26:59.920 --> 27:01.920 Or, um, did he? 27:01.920 --> 27:03.920 What? 27:03.920 --> 27:05.920 I say, or did he? 27:05.920 --> 27:07.920 You know, 27:07.920 --> 27:09.920 he might have done that on Wither's teeth. 27:09.920 --> 27:11.920 Ha, ha, ha. 27:11.920 --> 27:13.920 Here, here, I see, I... 27:13.920 --> 27:15.920 I see what you mean. 27:15.920 --> 27:17.920 But I didn't, Governor. He said that I... 27:17.920 --> 27:19.920 Keep still, you nitwit! 27:19.920 --> 27:21.920 Let me think. 27:21.920 --> 27:23.920 Let me think. 27:23.920 --> 27:25.920 As a matter of fact, George, 27:25.920 --> 27:27.920 the more I think of it, the more I'm convinced 27:27.920 --> 27:29.920 it was your voice I heard. 27:29.920 --> 27:31.920 Quite a vigorous quarrel. 27:31.920 --> 27:33.920 Something about the, um, 27:33.920 --> 27:35.920 curate jolting your sister. 27:35.920 --> 27:37.920 Don't be ridiculous, Smollett. 27:37.920 --> 27:39.920 Very well, Princey. 27:39.920 --> 27:41.920 If he didn't do it, who did? 27:41.920 --> 27:43.920 That's what I'd like to know. 27:43.920 --> 27:45.920 How about it, Mr. Princey? 27:45.920 --> 27:47.920 That, uh, that is a sticker, all right. 27:47.920 --> 27:49.920 Ha, ha, ha, ha. 27:49.920 --> 27:51.920 George, my boy. 27:51.920 --> 27:53.920 It looks like you're elected. 27:53.920 --> 27:55.920 Elected? 27:55.920 --> 27:57.920 What do you mean, I didn't do it? 27:57.920 --> 27:59.920 Keep your mouth shut. I won't! 27:59.920 --> 28:01.920 I'm not going to take the blame for her. 28:01.920 --> 28:03.920 Millie did it. She did it with that mallet I saw do it. 28:03.920 --> 28:05.920 You can prove that. Prove it. 28:05.920 --> 28:07.920 Well, yes, her fingerprints on the mallet, on the handle. 28:07.920 --> 28:09.920 Why, George, 28:09.920 --> 28:11.920 don't you remember when you made me 28:11.920 --> 28:13.920 touch the mallet? 28:13.920 --> 28:15.920 When you picked it up with your handkerchief? 28:15.920 --> 28:17.920 George, 28:17.920 --> 28:19.920 I'm sure you wiped that handle clean. 28:19.920 --> 28:21.920 Oh, well. 28:21.920 --> 28:23.920 I could hardly expect you to remember that 28:23.920 --> 28:25.920 if you, um, 28:25.920 --> 28:27.920 can't even remember killing the carrot. 28:27.920 --> 28:29.920 Governor, the... 28:29.920 --> 28:31.920 I told you to keep still, 28:31.920 --> 28:33.920 George. I'm thinking. 28:33.920 --> 28:35.920 Governor, 28:35.920 --> 28:37.920 you're not going to stand there and let him say that I... 28:37.920 --> 28:39.920 As long as I can remember, 28:39.920 --> 28:41.920 George, you've been a trial 28:41.920 --> 28:43.920 and a tribulation to me. 28:43.920 --> 28:45.920 Oh. 28:45.920 --> 28:47.920 Um... 28:47.920 --> 28:49.920 You shouldn't have done it, George. 28:49.920 --> 28:51.920 You shouldn't have done it. 28:51.920 --> 28:53.920 Now, let's all have a cup of tea. 28:53.920 --> 28:55.920 Nothing like it in weather like this. 29:13.920 --> 29:15.920 So ends Wet Saturday. 29:15.920 --> 29:17.920 The first of two half-hour stories 29:17.920 --> 29:19.920 combining dramatic weather 29:19.920 --> 29:21.920 and dramatic suspense. 29:21.920 --> 29:24.920 Our thanks to Dennis Hoey for an excellent performance, 29:24.920 --> 29:26.920 and to Harold Medford, who adapted 29:26.920 --> 29:28.920 John Collier's story. 29:28.920 --> 29:30.920 True to our prediction, we'll return in a moment 29:30.920 --> 29:32.920 with August Heat, 29:32.920 --> 29:34.920 a second study in suspense. 29:42.920 --> 29:45.920 This is CBS, the Columbia broadcasting system. 29:45.920 --> 29:48.920 And now, back to our Hollywood sound stage 29:48.920 --> 29:51.920 and to our producer, Mr. Robert Montgomery. 29:51.920 --> 29:54.920 The rains of Wet Saturday are gone. 29:54.920 --> 29:57.920 In their stead, a blazing sun burns down 29:57.920 --> 30:00.920 on the damp earth of the English countryside, 30:00.920 --> 30:02.920 steaming the atmosphere with a heat 30:02.920 --> 30:04.920 that's humid and smothering, 30:04.920 --> 30:06.920 like a tight outer garment, 30:06.920 --> 30:08.920 like a shroud which cannot be loosed 30:08.920 --> 30:10.920 and cast aside. 30:10.920 --> 30:12.920 Such a heat weighs upon your entire being 30:12.920 --> 30:14.920 and saps from you the last strength of hope 30:14.920 --> 30:16.920 and freedom. 30:16.920 --> 30:18.920 This is the setting for the companion piece 30:18.920 --> 30:20.920 to our first drama, Wet Saturday. 30:20.920 --> 30:23.920 This, then, is August Heat, 30:23.920 --> 30:25.920 the second of two suspense dramas 30:25.920 --> 30:27.920 complete in this hour. 30:27.920 --> 30:29.920 And now, with the performance of Barry Kroger 30:29.920 --> 30:32.920 as James Clarence Withencroft 30:32.920 --> 30:35.920 and the reappearance of Dennis Hoey as the man, 30:35.920 --> 30:37.920 and with W.F. Harvey's August Heat, 30:37.920 --> 30:39.920 we promise a narrative well calculated 30:39.920 --> 30:41.920 to keep you in... 30:41.920 --> 30:44.920 Suspense! 30:59.920 --> 31:09.920 Fennistone Road, Clapham, August 20, 1947. 31:09.920 --> 31:13.920 I have had what I believe 31:13.920 --> 31:24.920 to be the most remarkable day in my life. 31:24.920 --> 31:36.920 And while the events are still fresh in my mind, 31:36.920 --> 31:43.920 I wish to put them down on paper 31:43.920 --> 31:47.920 as clearly as possible. 31:53.920 --> 31:55.920 Let me say at the outset that my name is 31:55.920 --> 31:57.920 James Clarence Withencroft. 31:57.920 --> 31:59.920 You must remember that in order to have 31:59.920 --> 32:02.920 the full implication of my story. 32:02.920 --> 32:06.920 James Clarence Withencroft. 32:06.920 --> 32:09.920 I'm 35 years old, in perfect health, 32:09.920 --> 32:11.920 never having known a day's illness. 32:11.920 --> 32:14.920 By profession, I'm an artist. 32:14.920 --> 32:17.920 Not a very successful one, but I earn enough money 32:17.920 --> 32:21.920 by my black and white work to satisfy my necessary wants. 32:21.920 --> 32:25.920 My only near relative, a sister, 32:25.920 --> 32:27.920 died five years ago, 32:27.920 --> 32:29.920 so that there is no one in particular 32:29.920 --> 32:32.920 to whom I address this manuscript. 32:32.920 --> 32:38.920 Only you, who might by chance read it some day, 32:38.920 --> 32:40.920 for because of the peculiar circumstance 32:40.920 --> 32:42.920 about which you will soon hear, 32:42.920 --> 32:44.920 I have the strong premonition that I shall never live 32:44.920 --> 32:47.920 to tell anyone about it. 32:55.920 --> 32:57.920 I breakfasted this morning at nine, 32:57.920 --> 32:59.920 as the usual time. 32:59.920 --> 33:01.920 It was no different from any other morning, 33:01.920 --> 33:04.920 and after glancing through the morning paper, 33:04.920 --> 33:06.920 I lighted my pipe, 33:06.920 --> 33:08.920 and I proceeded to let my mind wander 33:08.920 --> 33:10.920 in the hope that I might chance upon 33:10.920 --> 33:12.920 some subject for my pencil. 33:12.920 --> 33:16.920 The room, though door and window were open, 33:16.920 --> 33:18.920 was oppressively hot, 33:18.920 --> 33:20.920 and I just made up my mind that the coolest 33:20.920 --> 33:22.920 and most comfortable place in the neighborhood 33:22.920 --> 33:24.920 would be the deep end of the public swimming bath, 33:24.920 --> 33:27.920 and that I would be able to swim there. 33:27.920 --> 33:31.920 Then I...I was suddenly shaken. 33:31.920 --> 33:33.920 A feeling swept over me 33:33.920 --> 33:35.920 such as I had never experienced before. 33:35.920 --> 33:38.920 I attempted to rise to my feet. 33:38.920 --> 33:40.920 Somehow it seemed as though 33:40.920 --> 33:42.920 I had suddenly been fastened to my chair. 33:42.920 --> 33:45.920 My hand went out in an effort to brace myself, 33:45.920 --> 33:49.920 and then, before I knew what I was doing, 33:49.920 --> 33:51.920 my pencil was in my hand, 33:51.920 --> 33:53.920 and I began to draw. 33:53.920 --> 33:55.920 It was as though someone had taken my hand 33:55.920 --> 33:57.920 and was moving it across the paper 33:57.920 --> 34:00.920 swiftly in bold strokes. 34:00.920 --> 34:04.920 And then, eyes seemed to take over. 34:04.920 --> 34:09.920 My hand, under its own power, began to draw. 34:09.920 --> 34:12.920 So intent was I on the sketch 34:12.920 --> 34:15.920 which began to appear before me. 34:15.920 --> 34:17.920 I soon forgot the oppressive heat, 34:17.920 --> 34:20.920 the roughness of the table. 34:20.920 --> 34:22.920 Everything was forgotten. 34:22.920 --> 34:24.920 This frantic feeling, 34:24.920 --> 34:28.920 the sketch must be finished as soon as possible. 34:34.920 --> 34:37.920 I had no idea how long I worked 34:37.920 --> 34:40.920 until I heard the clock of St. Jude's in the distance. 34:43.920 --> 34:45.920 It was four o'clock, 34:45.920 --> 34:48.920 and I had started just after breakfast. 34:48.920 --> 34:51.920 Now, for the first time since I'd begun, 34:51.920 --> 34:55.920 I actually seemed to see what I'd been sketching. 34:55.920 --> 34:57.920 I was surprised. 34:57.920 --> 35:00.920 The final result was, I felt sure, 35:00.920 --> 35:03.920 the best thing I'd ever done. 35:03.920 --> 35:05.920 It showed a criminal in the dock 35:05.920 --> 35:08.920 immediately after the judge had pronounced sentence. 35:08.920 --> 35:11.920 The man was fat, enormously fat. 35:11.920 --> 35:15.920 The flesh hung in rolls about his chin. 35:15.920 --> 35:18.920 It creased his huge, stumpy neck. 35:18.920 --> 35:20.920 He was clean-shaven. 35:20.920 --> 35:22.920 Perhaps I should say a few days before, 35:22.920 --> 35:25.920 he must have been clean-shaven, 35:25.920 --> 35:27.920 and he was almost bald. 35:27.920 --> 35:29.920 He stood there before the judge, 35:29.920 --> 35:33.920 his short, clumsy fingers clasping the rail, 35:33.920 --> 35:36.920 looking straight in front of him. 35:36.920 --> 35:39.920 The feeling that his expression conveyed 35:39.920 --> 35:41.920 was not so much one of horror, 35:41.920 --> 35:45.920 but of utter, absolute collapse. 35:45.920 --> 35:48.920 There seemed nothing in the man strong enough 35:48.920 --> 35:51.920 to sustain that mountain of flesh. 35:54.920 --> 35:57.920 And then I saw that the sketch was not complete, 35:57.920 --> 35:59.920 for the man's other hand 35:59.920 --> 36:01.920 seemed to be clutching an instrument of some kind, 36:01.920 --> 36:05.920 a weapon, but had not been completed. 36:05.920 --> 36:07.920 I had made this sketch, 36:07.920 --> 36:10.920 yet I had no recollection of what I'd intended 36:10.920 --> 36:13.920 the man to carry in his other hand. 36:13.920 --> 36:15.920 I took my pencil again, 36:15.920 --> 36:19.920 and I attempted to fill in the fuzzy outline. 36:22.920 --> 36:24.920 It was useless. 36:24.920 --> 36:28.920 It was as though my fingers had suddenly turned to lead. 36:28.920 --> 36:30.920 I sat down, 36:30.920 --> 36:34.920 and I felt the moisture slowly forming on my forehead. 36:39.920 --> 36:43.920 And I was conscious of the oppressive heat again. 36:43.920 --> 36:48.920 And then I knew that there would be no finishing of the sketch. 36:48.920 --> 36:50.920 At any rate, not for the moment. 36:50.920 --> 36:53.920 So I rolled up the sketch, 36:53.920 --> 36:56.920 and without quite knowing why, 36:56.920 --> 36:58.920 I placed it in my pocket. 36:58.920 --> 37:01.920 In spite of my peculiar inspiration, 37:01.920 --> 37:04.920 I was filled with the rare sense of happiness 37:04.920 --> 37:13.920 which the knowledge of a good thing well done gives. 37:16.920 --> 37:20.920 I believe that I set out with the idea of calling upon Trenton, 37:20.920 --> 37:22.920 for I remember walking along Lytton Street 37:22.920 --> 37:25.920 and turning to the right along Gilchrist Road. 37:25.920 --> 37:30.920 At the bottom of the hill were the men where it worked on the new tram lines. 37:30.920 --> 37:34.920 From there onward, I have only the vaguest recollection of where I went. 37:34.920 --> 37:38.920 Through parks, along crowded streets, 37:38.920 --> 37:41.920 always fully conscious of the awful heat 37:41.920 --> 37:47.920 that came up from the dusty asphalt pavement as an almost palpable wave. 37:49.920 --> 37:51.920 And I remembered, too, 37:51.920 --> 37:55.920 the hollow sound of my footsteps as I moved along. 37:55.920 --> 37:57.920 Although walking aimlessly, 37:57.920 --> 38:00.920 I somehow knew that there was a goal, 38:00.920 --> 38:03.920 something to which I was drawn. 38:04.920 --> 38:08.920 I longed for the thunder promised by the great banks of copper-coloured clouds 38:08.920 --> 38:11.920 that hung low over the western sky. 38:13.920 --> 38:15.920 I must have walked five or six miles. 38:15.920 --> 38:18.920 I've really no idea how far I walked, 38:18.920 --> 38:20.920 when a small boy roused me from my reverie. 38:20.920 --> 38:22.920 Got the time, mister? 38:23.920 --> 38:25.920 Twenty minutes to seven. 38:25.920 --> 38:27.920 Thanks. Hot, isn't it? 38:27.920 --> 38:29.920 Yes. 38:31.920 --> 38:35.920 When he left me, I began to take stock of my bearings. 38:35.920 --> 38:37.920 I found myself standing before a gate 38:37.920 --> 38:42.920 that led into a yard bordered by a strip of thirsty earth. 38:42.920 --> 38:47.920 There were flowers, purple stock and scarlet uranium, 38:47.920 --> 38:51.920 and great numbers of bees droned over them. 38:51.920 --> 38:54.920 I stood looking down at them a moment. 38:54.920 --> 38:57.920 Then, for some reason, I looked up. 39:01.920 --> 39:03.920 Over the entrance to the place, 39:03.920 --> 39:06.920 there was a board with the inscription 39:06.920 --> 39:10.920 Charles Atkinson, Monumental Mason-worker, 39:10.920 --> 39:13.920 in English and Italian marble. 39:13.920 --> 39:16.920 WHISTLING 39:19.920 --> 39:22.920 From the yard itself came a chilly whistle, 39:22.920 --> 39:24.920 the noise of hammer blows, 39:24.920 --> 39:28.920 and the cold sound of steel meeting stone. 39:28.920 --> 39:30.920 A sudden impulse made me enter, 39:30.920 --> 39:33.920 and I went in the direction of the noise. 39:34.920 --> 39:38.920 There was a man sitting with his back towards me. 39:38.920 --> 39:43.920 He was busy at work on a slab of curiously veined marble. 39:43.920 --> 39:45.920 He was not conscious of my presence 39:45.920 --> 39:48.920 as I stood there watching him for some time. 39:48.920 --> 39:51.920 Then, without turning, 39:51.920 --> 39:53.920 his hammer stopped in midair 39:53.920 --> 39:56.920 as he was about to bring it down on his chisel. 39:56.920 --> 39:58.920 He looked up, 39:58.920 --> 40:01.920 and then he held his position a moment before turning, 40:01.920 --> 40:04.920 but I knew that he was aware of my presence. 40:04.920 --> 40:08.920 And when he turned, I saw his face. 40:08.920 --> 40:10.920 It was... 40:10.920 --> 40:14.920 Although I had never seen him before, 40:14.920 --> 40:21.920 it was the face of the man I'd been drawing. 40:25.920 --> 40:28.920 Yes, it was the face of the man 40:28.920 --> 40:31.920 whose sketch was in my pocket. 40:31.920 --> 40:36.920 He sat there on his low stool, huge and elephantine, 40:36.920 --> 40:40.920 the sweat pouring from his scalp, not speaking. 40:40.920 --> 40:42.920 Then he took a red silk handkerchief 40:42.920 --> 40:44.920 and he mopped his brow. 40:44.920 --> 40:48.920 Although this face that looked up at me was the same as my sketch, 40:48.920 --> 40:50.920 the expression was absolutely different. 40:50.920 --> 40:54.920 And suddenly the puzzled expression left his face, 40:54.920 --> 40:57.920 and he smiled as if we were old friends. 40:57.920 --> 40:59.920 And he walked over and he took my hand. 40:59.920 --> 41:01.920 Good day, sir. 41:01.920 --> 41:03.920 Good day. I'm sorry to intrude. 41:03.920 --> 41:05.920 Not at all. 41:05.920 --> 41:07.920 Everything's hot and glary outside. 41:07.920 --> 41:09.920 This seems as an oasis in the wilderness. 41:09.920 --> 41:12.920 I don't know about the oasis, but it certainly is hot. 41:12.920 --> 41:14.920 Take a seat, sir. 41:14.920 --> 41:17.920 He pointed to the end of the gravestone on which he was at work, 41:17.920 --> 41:18.920 and I sat down. 41:18.920 --> 41:20.920 Very hot. 41:20.920 --> 41:22.920 It's a beautiful piece of stone you've got held over there. 41:22.920 --> 41:24.920 In a way it is. 41:24.920 --> 41:27.920 The surface is as fine as anything you could wish, 41:27.920 --> 41:31.920 but there's a big flaw at the back, though I don't expect you'd ever notice it. 41:31.920 --> 41:33.920 I shouldn't think so. 41:33.920 --> 41:36.920 I could never really make a good job of a bit of marble like this. 41:36.920 --> 41:39.920 It'd be all right in the summer right now. 41:39.920 --> 41:41.920 I wouldn't mind a blasted heat. 41:41.920 --> 41:43.920 But wait till the winter comes. 41:43.920 --> 41:45.920 Winter? 41:45.920 --> 41:49.920 Yes, there's nothing like a bit of frost to find out the weak points in stone, 41:49.920 --> 41:51.920 and gravestone, you see. 41:51.920 --> 41:53.920 Oh, I see. 41:53.920 --> 41:55.920 Then what's this one for? 41:55.920 --> 41:59.920 You'd hardly believe me if I was to tell you it's for exhibition. 41:59.920 --> 42:01.920 But it's the truth. 42:01.920 --> 42:03.920 Artists have exhibitions, so do grocers and butchers. 42:03.920 --> 42:05.920 Well, we have them too. 42:05.920 --> 42:08.920 You're the latest little Edd stones, you know. 42:08.920 --> 42:10.920 He went on to talk of marbles. 42:10.920 --> 42:13.920 Which sort of marble best withstood wind and rain, 42:13.920 --> 42:16.920 and which were easiest to work? 42:16.920 --> 42:21.920 Then of his garden and the new sort of carnation he'd bought, 42:21.920 --> 42:27.920 at the end of every other minute he would drop his tools, wipe his shining head. 42:27.920 --> 42:29.920 This heat. 42:29.920 --> 42:31.920 This heat's bad. 42:31.920 --> 42:35.920 A man's not responsible for what he does in this heat. 42:35.920 --> 42:38.920 I said little, for I felt uneasy. 42:38.920 --> 42:42.920 There was something unnatural, uncanny in all of this. 42:42.920 --> 42:45.920 The feeling that I'd experienced it all before, 42:45.920 --> 42:49.920 exactly as I was experiencing it now. 42:49.920 --> 42:51.920 The oppressive heat, 42:51.920 --> 42:54.920 the fragrance of the purple stock in the air, 42:54.920 --> 42:57.920 the conversation about the marble, 42:57.920 --> 42:59.920 the flowers, 42:59.920 --> 43:04.920 everything as though I'd experienced it before. 43:04.920 --> 43:10.920 And yet I knew that I'd never even been in this section of the town before. 43:10.920 --> 43:13.920 I tried to persuade myself that at least I'd seen him before, 43:13.920 --> 43:18.920 that his face unknown to me had found a place in some out-of-the-way corner of my memory. 43:18.920 --> 43:24.920 But I knew that I was practising little more than a plausible piece of self-deception. 43:24.920 --> 43:27.920 As I sat there quietly watching him, 43:27.920 --> 43:30.920 he looked up at me and he said... 43:30.920 --> 43:33.920 Yeah? What do you think of that? 43:33.920 --> 43:37.920 He said it with an air of evident pride, of a job well done. 43:37.920 --> 43:46.920 I could sense that he was experiencing the same feeling I had experienced when I'd finished my sketch. 43:46.920 --> 43:49.920 Then he got up with a sigh of relief. 43:49.920 --> 43:51.920 What? What ain't it? 43:51.920 --> 43:55.920 I was seated in such a position that I was unable to see his work, 43:55.920 --> 43:58.920 and for some reason I didn't move. 43:58.920 --> 44:02.920 Suddenly he began to read what he'd carved on the tombstone. 44:02.920 --> 44:05.920 He spoke deliberately and with a flat voice. 44:05.920 --> 44:09.920 In the midst of life we are in death. 44:09.920 --> 44:13.920 Born January 18th, 1912. 44:13.920 --> 44:16.920 I looked up with a start. 44:16.920 --> 44:20.920 This man had read my exact birth date. 44:20.920 --> 44:26.920 He passed away very suddenly on August 20th, 1947. 44:26.920 --> 44:28.920 That's today. 44:28.920 --> 44:32.920 I usually use the present date on these exhibition stamps. 44:32.920 --> 44:35.920 Do you usually put a name on them too? 44:35.920 --> 44:37.920 Yes. 44:37.920 --> 44:51.920 Sacred to the memory of James Clarence Wyverncroft. 44:56.920 --> 45:01.920 I just sat there in silence. 45:01.920 --> 45:11.920 The sound of birds and crickets seemed loud in my ears as we stood there, 45:11.920 --> 45:15.920 looking at each other, saying nothing. 45:15.920 --> 45:18.920 And then he mopped his brow again. 45:18.920 --> 45:20.920 What? What? 45:20.920 --> 45:23.920 I was finally able to speak. 45:23.920 --> 45:26.920 Where did you see that name? 45:26.920 --> 45:28.920 I didn't see it anywhere. 45:28.920 --> 45:32.920 I wanted some name and I put down the first one that came into my head. 45:32.920 --> 45:37.920 It's a strange coincidence, but it happens to be mine. 45:37.920 --> 45:43.920 That's your name? You're James Clarence? 45:43.920 --> 45:46.920 Wyverncroft, yes. 45:46.920 --> 45:48.920 Wow. 45:48.920 --> 45:54.920 And the dates? 45:54.920 --> 45:57.920 I can only answer for the birth date. It's correct. 45:57.920 --> 46:01.920 Oh. It's a... 46:01.920 --> 46:04.920 It's a run-go. 46:04.920 --> 46:06.920 I... 46:06.920 --> 46:08.920 I made a sketch this morning. 46:08.920 --> 46:10.920 Of you. 46:10.920 --> 46:14.920 Of me? What, you've never seen me before? 46:14.920 --> 46:16.920 No. 46:16.920 --> 46:20.920 Oh. Oh. 46:20.920 --> 46:24.920 I took my sketch from my pocket and I showed it to him. 46:24.920 --> 46:27.920 As he looked, the expression on his face altered, 46:27.920 --> 46:32.920 and it became more and more like that of the man I had drawn. 46:32.920 --> 46:35.920 It was only the day before yesterday 46:35.920 --> 46:40.920 that I told Mariah there was no such things as ghosts. 46:40.920 --> 46:44.920 Neither of us had seen a ghost, but I knew what he meant. 46:44.920 --> 46:46.920 Then I spoke to him. 46:46.920 --> 46:49.920 You probably heard my name someplace. 46:49.920 --> 46:52.920 Yes. You must have seen me somewhere and forgotten it, huh? 46:52.920 --> 46:54.920 Yes. 46:54.920 --> 46:58.920 Were you at Clacton-on-Sea last July? 46:58.920 --> 47:01.920 No. 47:01.920 --> 47:04.920 Now I've never been to Clacton in my life. 47:04.920 --> 47:06.920 Oh. 47:06.920 --> 47:08.920 Then we were silent for some time again, 47:08.920 --> 47:11.920 and we stood there looking at one another 47:11.920 --> 47:14.920 and at the two dates on the gravestone, 47:14.920 --> 47:17.920 and the birth one was right 47:17.920 --> 47:21.920 and the other was today. 47:21.920 --> 47:24.920 Come inside and have some supper. 47:38.920 --> 47:41.920 His wife was a strange little woman 47:41.920 --> 47:45.920 who was pallid with the look of those who lived their lives indoors. 47:45.920 --> 47:48.920 Her husband introduced me as a friend of his who was an artist 47:48.920 --> 47:51.920 and informed her that I was staying to supper. 47:51.920 --> 47:56.920 I spoke, making some comment that I hoped I would not be an intrusion, 47:56.920 --> 47:59.920 and she looked up at me. She said... 47:59.920 --> 48:03.920 You have a pleasing voice, Mr. Wythencroft, 48:03.920 --> 48:06.920 and you're welcome in my home. 48:06.920 --> 48:19.920 I'm sorry Charles has not brought you here before. 48:19.920 --> 48:22.920 Very little was said during the meal, 48:22.920 --> 48:26.920 and after the sardines and watercress had been removed, 48:26.920 --> 48:28.920 she walked over to a cupboard, 48:28.920 --> 48:31.920 and she took down a thin, black book, 48:31.920 --> 48:35.920 and as she handed it to me, she spoke. 48:35.920 --> 48:43.920 Would you read aloud, Mr. Wythencroft? 48:43.920 --> 48:50.920 Puzzled, I looked down at the book which she'd opened and placed before me. 48:50.920 --> 48:55.920 It was a very tiny book, a prophet, it was called, 48:55.920 --> 49:01.920 by an author unknown to me with a strange eastern name, Khalil Gibran. 49:01.920 --> 49:05.920 My eyes fell across the page, 49:05.920 --> 49:12.920 and suddenly I was reading aloud as she'd asked me to. 49:12.920 --> 49:15.920 Then Almitra spoke, saying, 49:15.920 --> 49:20.920 We would ask now of death, and he said, 49:20.920 --> 49:23.920 You would know the secret of death, 49:23.920 --> 49:28.920 but how shall you find it unless you seek it in the heart of life? 49:28.920 --> 49:33.920 The owl whose night-bound eyes are blind unto the day 49:33.920 --> 49:36.920 cannot unveil the mystery of light. 49:36.920 --> 49:40.920 If you would indeed behold the spirit of death, 49:40.920 --> 49:45.920 open your heart wide unto the body of life, 49:45.920 --> 49:53.920 for life and death are one, even as the river and the sea are one. 49:53.920 --> 50:01.920 In the depth of your hopes and desires lies your silent knowledge of the beyond, 50:01.920 --> 50:08.920 and like seeds dreaming beneath the snow, your heart dreams of spring. 50:08.920 --> 50:15.920 Trust the dreams, for in them is hidden the gate to eternity. 50:15.920 --> 50:19.920 Your fear of death is but the trembling of the shepherd 50:19.920 --> 50:24.920 when he stands before the king whose hand is to be laid upon him in honor. 50:24.920 --> 50:27.920 Is the shepherd not joyful beneath his trembling, 50:27.920 --> 50:31.920 that he shall wear the mark of the king? 50:31.920 --> 50:37.920 Yet is he not more mindful of his trembling? 50:37.920 --> 50:44.920 For what is it to die, but to stand naked in the wind, and to melt into the sun? 50:44.920 --> 50:50.920 And what is it to cease breathing, but to free the breath from its restless tides, 50:50.920 --> 50:56.920 that it may rise and expand, and seek God unencumbered? 50:56.920 --> 51:02.920 Only when you drink from the river of silence shall you indeed sing. 51:02.920 --> 51:08.920 And when you have reached the mountaintop, then you shall begin to climb. 51:08.920 --> 51:15.920 And when the earth shall claim your limbs, then shall you truly dance. 51:29.920 --> 51:36.920 When I looked up, Mr. Atkinson had gone, but his wife stood before me. 51:36.920 --> 51:40.920 And as she took the book, she spoke. 51:40.920 --> 51:45.920 Oh, thank you. 51:45.920 --> 51:50.920 Then I went outside, and I found Atkinson sitting on the gravestone and smoking. 51:50.920 --> 51:52.920 He looked up at me. 51:52.920 --> 51:56.920 He thought, what? 51:56.920 --> 52:02.920 A man's not responsible for what he might do in this heat. 52:02.920 --> 52:07.920 Eh, she never asked anyone to read aloud before. 52:07.920 --> 52:11.920 And then we talked about the sketch again. 52:11.920 --> 52:12.920 He looked at it. 52:12.920 --> 52:16.920 A likeness is me, all right. On trial. 52:16.920 --> 52:22.920 You must excuse my asking, but do you know of anything you've done for which you could be put on trial? 52:22.920 --> 52:26.920 Yes, I've done nothing. Not yet. 52:26.920 --> 52:32.920 He got up, fetched a can from the porch, and he began to water the flowers. 52:32.920 --> 52:35.920 Twice a day, regular in the yurt weather. 52:35.920 --> 52:38.920 And then he'd sometimes get the bed of the delicate ones. 52:38.920 --> 52:43.920 And ferns? Good Lord, they could never stand it. 52:43.920 --> 52:45.920 Where do you live? 52:45.920 --> 52:47.920 I told him my address. 52:47.920 --> 52:50.920 It would take an hour's quick walk to get back home. 52:50.920 --> 52:55.920 Then he stopped watering, and he faced me squarely. 52:55.920 --> 52:59.920 It's like this. We look at the matter straight. 52:59.920 --> 53:04.920 If you go home tonight, you're taking a chance of accidents. 53:04.920 --> 53:06.920 A cock may run over you in this. 53:06.920 --> 53:11.920 Or was banana skins and orange peels to say nothing of falling ladders? 53:11.920 --> 53:18.920 He spoke of the improbability with an intense seriousness that would have been laughable six hours before. 53:18.920 --> 53:20.920 But I did not laugh. 53:20.920 --> 53:24.920 The best thing we can do is for you to stay here till twelve o'clock. 53:24.920 --> 53:27.920 Then it'll be tomorrow, do you see? 53:27.920 --> 53:30.920 We'll go upstairs and smoke. 53:30.920 --> 53:34.920 Phew. It may be cool out inside. 53:34.920 --> 53:37.920 To my surprise, I agreed. 53:44.920 --> 53:52.920 We are sitting in a long, low room beneath the eaves. 53:52.920 --> 53:59.920 Atkinson has sent his wife to bed. 53:59.920 --> 54:11.920 He himself is busy sharpening some tools and a little oilstone, smoking one of my cigars. 54:11.920 --> 54:14.920 The while. 54:14.920 --> 54:23.920 And as I look at my sketch before me, I suddenly see the fuzzy outline of what the man in the picture holds in his hands. 54:23.920 --> 54:29.920 While I had not been able to sketch it before, I am able to do so now. 54:29.920 --> 54:40.920 It is a chisel, and it is stained with dark liquid. 54:40.920 --> 54:43.920 The sketch is completed now. 54:43.920 --> 54:49.920 The air seems charged with thunder, and I hear it in the distance. 54:49.920 --> 54:54.920 It is ominous, but it carries the hope of rain. 54:54.920 --> 55:00.920 Perhaps this damnable heat will be broken soon, and the day will soon be over. 55:00.920 --> 55:08.920 It is close to twelve. In seconds, the day will be over. 55:08.920 --> 55:14.920 I am writing this at a shaky table before the open window. 55:14.920 --> 55:40.920 The leg is cracked, and Atkinson, who seems a handy man with his tools, is going to mend it as soon as he has finished putting an edge on his chisel. 55:40.920 --> 55:46.920 There. It is twelve. 55:46.920 --> 55:56.920 The day is over, and I shall be going home. 55:56.920 --> 56:15.920 But the heat is stifling. 56:15.920 --> 56:35.920 This heat is enough to send a man mad. 56:45.920 --> 57:05.920 This is Robert Montgomery again, with thanks to Barry Kroger and Dennis Hoey for superb performances in August Heat, and to Mel Dennelly, who adopted W.F. Harvey's story. 57:05.920 --> 57:12.920 Our appreciation and our applause, too, goes to the cast of both plays who made our weather experiments so very successful. 57:12.920 --> 57:21.920 Next week, we'll turn a full hour's attention again to the English scene and to Emlyn Williams' great play, Night Must Fall. 57:21.920 --> 57:36.920 You'll meet Mrs. Bramson, Olivia Grain, and Hubert Lorry, and you'll meet Danny, Danny with the quick smile, happy, cheerful Danny, whose appearance is as pleasant as the melody that's always with him. 57:36.920 --> 57:55.920 Mighty like a rose, that's Danny. Yes, that's Danny. 57:55.920 --> 58:08.920 Next week, with Dame May Witty, Heather Angel, Richard May, and myself, and with Night Must Fall, we'll again hope to keep you in suspense. Good night. 58:08.920 --> 58:26.920 Mr. Montgomery may currently be seen in the Universal International Production, Ride the Pink Horse. Wet Saturday by John Collier was adapted for suspense by Harold Medford. August Heat by W.F. Harvey was adapted for suspense by Mel Dennelly. 58:26.920 --> 58:38.920 Both were directed by Anton M. Leder and produced by Robert Montgomery. Lud Gloskin is our musical director and conductor, and Lucian Morrowak composes the original scores. 58:38.920 --> 58:55.920 Next week, here, Night Must Fall, starring Robert Montgomery with Dame May Witty, Heather Angel, and Richard May on radio's outstanding theater of thrills, one hour of suspense. 59:08.920 --> 59:29.920 A program you won't want to miss. That's Report Card, the next production of the famed CBS documentary unit. Overcrowded schools, out-of-date equipment, and a shortage of trained teachers. 59:29.920 --> 59:43.920 All of these are contributing to a breakdown in American education. For a dramatic report, here, Report Card, Wednesday, March 24th, over many of these stations. This is CBS, where 99 million people gather every week, the Columbia Broadcasting System.