Feb. 9, 2025
Unknown Broadcast | "Death Pays the Freight"
The radio show dives into a captivating narrative set against a backdrop of darkness and desperation, led by a haunting host who welcomes listeners into a world rich with suspense and intrigue. The central tale begins with Joe Harris, a young man trapped in the monotony of his life in Kansas City. Dressed in a cheap suit and determined to escape the biting cold of winter, Joe opts for an unconventional means of travel—hitching a ride in a freight car to California, where he believes life may hold more promise.
However, once aboard the train, Joe discovers that he is not alone. In the dim confines of the boxcar, he encounters a man who eerily resembles him, initiating a tense and fateful confrontation. As the two men grapple in a struggle for survival, Joe is forced to kill his double in self-defense, sparking a panic that leads him to alter his identity by switching draft cards with the deceased. The realization that he has committed murder sets the tone for Joe’s spiraling descent into a world of crime and deceit as he grapples with the weight of his actions.
After escaping the scene, Joe finds himself stepping off the train in a small town called Wisey, Oklahoma—a place he learns is tied to his victim. As Joe navigates his way through this unfamiliar territory, he soon crosses paths with Bliss, a character who holds information about Joe's past and has a sinister proposition: to eliminate an old uncle in exchange for money. Joe, now trapped in a cycle of fear and deception, reluctantly agrees to Bliss's plan, unwilling to reveal his true identity for fear of being caught for his previous crime.
The tension escalates as Joe grapples with moral dilemmas in his newfound precarious situation. Under pressure, he is drawn into a deadly plot involving the uncle, Old Man Carew. As he prepares to commit murder for Bliss, Joe’s internal conflict reaches its peak, culminating in a shocking act of violence. However, Joe's actions lead him into further entrapment, as he unwittingly becomes embroiled in a scheme designed to frame him for the very crimes he hoped to escape.
The narrative unfolds with gripping suspense as Joe navigates the consequences of his decisions, ultimately culminating in a chilling realization that he cannot outrun his past. As the police begin their investigation into the unfolding events, Joe's story takes a tragic turn, leading to a fateful encounter with the dead body of Martin Pell—the very aspect of his own self he had sought to leave behind.
The show underscores themes of identity, moral ambiguity, and the inescapable nature of one's actions through Joe's harrowing experience. The closing remarks by the host echo the somber fate of Joe Harris, leaving listeners with a haunting reminder of the shadows that linger when one tries to evade their true self. Ultimately, the show captures the essence of classic horror storytelling, weaving a tale that lingers long after the final line is delivered, leaving the audience to ponder the chilling connections that bind them to the characters’ dark destinies.
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👨💼 Executive Producers: Rob Fields, Bobbletopia.com
🎥 Produced by: Daniel Wilder
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WEBVTT
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Well, hello, my dear Ida, good to see you again.
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Happy you twiddled through your radio dial until you found me,
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yet again, always happy to share a little fun and
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fear with you. What's that? What's that?
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Oh?
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No, no, no, no, no, you don't need to worry about them. No, no, no.
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They couldn't get in here. Even if they could, what
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would they do? Would they do? And frankly, I don't
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think they know they know you're here. And but tonight
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I've been thinking a lot about getting what you pay for.
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It means a lot of different things and a lot
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of different contexts. But tonight you know what's most important,
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and is that death. Death pays the freight free. And
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I find that to be the very accurate. So get comfortable,
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my dear, it's cold, have some teeth, and let's enjoy
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the sports together together.
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Good evening, friends of the Creaking Door. This is your
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host to welcome you once again into Vines, Sanctor, Come
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on in. I never mind looking back over your shoulder.
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Whatever it is that's behind you can't be half as
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bad as what's in the front. As the man whose
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throat had just been made the scene of an experiment
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with a razor while he slept, said, I'm going from
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bed to hers. All right, settle down now it's coming
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and there's nothing you can.
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Do about it.
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Just keep a good hold on yourself and your wife.
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If your life insured, it's paid out. Joe Harris, twenty one,
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wearing a cheap blue serge suit and a thin top coat,
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cold and wet and a cold and rainy night, decides
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to make a change.
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Kansas City's okay, but there's nothing there for me.
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I've got to get out.
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My wardrobe ain't built for a hard winter, so I
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figured it could be more comfortable on the coast of California.
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But I ain't playing for rail transportation this year, so
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I head for the KC Freight Guards and I picked
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me out a nice long freight job that happened to
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have an empty car and pull a slide in the
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door over lead him just to crack for air and
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finger hole for when we reached the Land of Oranges,
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the old boiler up fronts got the steam on him
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and we're off. I relax. All I gotta do is
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let a couple of days slide by it. Sunshine. Hey,
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what I didn't notice nobody else was in the car
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didn't you know, Pally. No, that's too bad. He leaned
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back into the darkness of his corner, so I couldn't
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see him very good. He was a young guy, maybe
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my age, maybe a couple of years older too, same
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color hair and eyes, almost close enough to be brothers.
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But there was something in his eyes that had never
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been in mind. I was scared. You know something funny?
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You look like me?
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Yeah, I kind of noticed that myself, and that why, Well,
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lots of guys look a little like each other. I mean, huh, nobody.
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Looks like me.
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Well, okay, so I don't you're trying to. That means
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you must be one of one of what they have
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ways of changing their appearance.
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You're one of them.
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You can't fool me. Look, I don't know what you're
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talking about. No use, you can't fool me. You know
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you have to punish you. Watch out what that night
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when I got the resemblance away and I know what
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you really look like? Crazy?
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Go on my hand.
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I'm gonna got you away. No I can't, Mom, I
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listed when the night was pointing that you're hot. No
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drop nobody, just run out and stomp it. If you
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stomp at all.
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Said, I gonna do this all I told you, I told.
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You, I.
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Told you dead.
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Hey, no, she's dead. I gotta get out the door.
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Slide it open, odd boasting, Yeah, no one of these
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sliding does. Why don't they snap a propa, give me ahead?
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Shot it? Okay, you locked it? No, I can't get out.
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I can't get out. So there I was locked in
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with him in the dock. He was dead, so I
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wasn't afraid of him at first. I even gave him
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a going over. His eyes were open, but I flopped
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him over and I went through his pockets, just a
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couple of bucks and some small change and his draft card. Funny,
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he was for f just like me. His name was
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Martin Pell. That's a laugh too, finding out who a
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guy is after you kill him, kill him. Yeah, I
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was a murderer. I just realized that they'll hang me
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for that. No, No, it was self defense. But but
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what chance have I got to proven that? Me with
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a record too? But maybe I can lose that record. Maybe. Yeah.
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So I've switched draft cards with him, and now he's
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Joe Harris and I'm Martin Pelle. Martin Pell love that
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says on his card of wisey Oklahoma. And the hours
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go by and I'm there with him locked in a
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box card and the wheels keep pounding underneath, and he's dead.
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I gotta get out. There's gotta be a way for thought. Shut.
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I gotta think. I think, Hey, wait, we'll stop. Now,
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we'll stop. Yeah, he's coming up. Maybe they won't spint
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him anyways. I gotta get out. I'm yellow. I'll yell
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and I'll pound on the door. Yeah that's the way.
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That's the.
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Pull me on, holl me on.
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Nobody at me. Somebody be heard me? Was gone on
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catching a ride bomb? Get out of it here, yeah, sure, sure,
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but do not against the law. Ride in the freight Yeah, yeah,
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I know.
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Maybe it's a hunk, you remember.
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So I get out of here, get fast past as
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I could. I got away from there. The yard boat
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took a quick look into the car, but he didn't
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spot upout him out of the sack, and the train
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started up, and it began moving away, with Martin tell
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Land under a pile of dirty second with a knife
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in his heart and a funny look in his eyes.
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Oh ye, I'm Martin pell Now there was only a
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water and stop where the train stopped, So I walked
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across the prairie, not knowing where I was going and
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not caring much well. I keep walking across the dark
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face of the land until I spun a light, a
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couple of lights. It's a small town. It looked like
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a small town somewhere where. Right on the edge of town.
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There's a lunch wagon and it's open, and there's a
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light shining earth. And I'm hungry, so I go into
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the lunchway. Hi, how about some need? Huh? Sure thing?
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Martin?
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Sure thing? What What did you say? I said, sure,
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you're gonna have something to eat?
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Martin?
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What would be? Martin? What town is this? Why you
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ort to know?
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Martin?
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Missus? Why is Why is the Oklahoma? Why is he?
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But that's the same place. It can't be. That's no
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way to talk about your own hometown. Of course, you've
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been away quite a few years. You look good, now,
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wouldn't you say I've changed? Oh? No, Morten's not true.
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Of course you're only around sixteen when you left. Kind
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of an advanced sixteen though. Yeah, ain't many kids at
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that age would have stuck up the bank, knocked off
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the night watch. I kill him. Oh, don't get modest fella. Sure,
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old man Henshaw, Hey, hey, I was near forgetting you
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said you're hungry, not anymore? Oh, come on, have some need?
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Don't you believe in putting anything in your stomach before
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doing a job?
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Doing a job me, Why do you think.
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I sent for him? Why should I promise you a
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grand I don't remember? Oh, for Pete's sake, Martin, how
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many many you kill that you don't remember a job
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like this? Never mind the acts? Play it straight? Huh. Okay, okay,
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don't get nasty. It's too late to talk business anyway.
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Come on, I got a room fixed up for in back.
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Get a good night's sleep. We'll talk in the morning
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about an old man it's lived way past his time,
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About how you were going to take care of that Martin.
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I sent for you because I need money. I ain't
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got me. My uncle has old man CAREW. I'll get
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it from him when he dies, I will, so I
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want him to die. Oh, I got a grand in
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cash and yours for what come? My uncle don a
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little earlier than expecting. No dice, no diet, Martin. You
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take care of old man CAREW, so help me. I'll
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turn you in on that bank, John, I had Tunny,
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and I can prove that I And then I shut
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up quick Bliss was watching me with those little pig
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eyes in his fat face. Sure I could prove I
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wasn't Martin Pell, that I'd never been in Wisey, Oklahoma
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before in my life. Sure, But to do that, I'd
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have to admit I was Joe Harris. And when they
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found that corpse in the box car with my draft
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cart on him, that I'd be fine. A lot of
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attention that jury had paid to my plea of self defense,
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no witnesses, and me on the lamb, and me switching
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draft cards and panic. Sure, even the hangman that burst
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out laughing when he slipped a noose around my neck.
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I shut up quick Bliss watching me close, And then
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I said, Okay, Bliss, it's the deal. What's the layout.
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I'll pull in here. Trees will cover the car in
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case anybody happens to be out late on the highway.
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Can't be too careful.
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Ain't that so?
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Mum?
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That's so?
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Eh, let's get going. Oh here, you better take this what?
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Oh the tire iron? I picked it up in a
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junk yard. They never trace it to me. It's for
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old man crew. They bombing, and I ain't used to
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him anymore. The house Old man crew never bleed in
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buying curtains for the windows. There he is rocking in
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his chair. And watch the porch step. It's busted. I
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guess we're knocked. It's blive mhm. But now, uncle crew,
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it's me that you used to come in, brought a visitor,
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old friend of yours. Yeah, and set what you like?
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Set my rocker. Ain't nobody setting it to me? Who's
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the man? Yeah? Don't you recognize him? Looks like a
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cow boy. A two is Martin Fell And it wasn't
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a good thank you bless ilight you visited? Going home
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now tind the cold out. It was a chance to
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walm off.
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Huh and I care what you do?
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And okay, what you do dozen off a bidding go on,
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Martin boy, he ain't looking this way. Now's the time.
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I ain't gonna here's an old man, give me the iron?
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What do you give it to me? All right? Here?
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Yeah?
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Uncle uncle?
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Yeah, yeah, handle me that un hockeyts Yeah.
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Uncle was caring for quite a bit of dough on him,
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Martin here, ah, yeah, take the money it's your payment. No,
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I'll put it in your pocket myself. That's very important.
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When they find you here and knocked out tripping over
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that busted porch step, they'll know why you killed old
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man Carew. What are you talking about? And knowing you're
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wrecking Martin, They'll never look for anybody else now when
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they find you on the premises with the old man's
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dough in your pocket and your fingerprints on the pine. No.
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Right, I was walking up a long flight of.
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Stairs with nothing at the top but more stairs and
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more stairs, and my head was hurting, and then I
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woke up, woke up lion outside of old man Carew's
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house with a bloodstained tire iron in my hand, I
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let go of it. I pulled myself to my feet,
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and then I heard cars. They were coming, and there
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I still was. I had to get away fast. I
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didn't know the country, but I was hunted, and a
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hunted animals got an instinct to hide, to run, and
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to hide from the killers. They didn't find me that
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day because I fooled them. I didn't try getting out
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of the county, getting away from the town. Oh no,
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that's why they were watching for me. So I stayed
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put close to town, which pooled them. And also I
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had a job to do. Where is it? H me?
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What are you doing here? I got paid for a
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killing I didn't do, so I figured maybe I better
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do a killing now for no pay at all. Stay
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where you are now we're alone here. I got this
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knife node. Listen, you've got a pen. Yeah, then sit
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down and write a little note about how you killed
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old man carew No, I got the knife against your heart.
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