Unknown Broadcast | War’s Long Shadow: Wartime Secrets & Old Time Radio Suspense

0:09 My dear, well, you look surprised to see me. Ah, well, I was making the most of the time of year, but I'm happy to be back here and happy to have you here with me. What's that? Oh, it was a grand old time, but nothing I should share, per se. Maybe once I get a little more tea in me. The kettle is hot. It's all steeping now, ready to warm our cool bones, only for them to be chilled again by a good fright. I'm sorry I stepped away. I'm sure you thought me vanished like, hmm, like the ghost of Andersonville.

1:23 Come in. Welcome. I'm Tammy Grimes. When death and murder become an everyday occurrence, it is generally labeled war. When brother kills brother on the. Battlefield, it is the most pyrrhic of victories. Nobody wins, everyone loses. And it is in such times that cowards and heroes abound. We will meet both today. And knaves and cheats. And some American history we're not too proud of. Willie, get me out of here. I can't face that man.

2:04 He betrayed 1,500 of us. His orders killed us. You've got to face him, Calvin. What are you running away from? Here you accuse the general of a despicable act, of sacrificing 1,500 of our own men without a thought. Cal, you hold the rank of Major in the Union Army. Talk to your former commanding officer. Tell him to his face what you think of him and why. Your ghost has come back from Andersonville and orders you to speak up. Our drama, The Ghost of Andersonville, was adapted from.

2:48 An actual account of the Civil War. especially for the Mystery Theater by James Agate Jr. and stars Tony Roberts. I'll be back shortly with Act One. Act One. It is the last year of the Civil War. The Confederacy is about to collapse. Re-elected Abraham Lincoln is loved and hated. And Washington bigwigs are looking towards who will be the next president. They are looking to someone from the army, perhaps a general. For that they need heroes, not always easy to come by.

3:46 General Cutler, have you heard the latest? Can't say I have, my boy. But you men with the Secret Service, you seem to know all the Washington scuttlebutt. I was in Bill Wood's office. We were getting our assignments, so many for counterfeit detection, so many detailed to protect Lincoln and Stanton and so on. And then Wood said, they tell me Cutler's the man. I'm the man for what? The party is picking you to follow Lincoln. That's the thinking. The thinking of nominating me when Lincoln's. Term runs out? That's the talk. What makes them think Lincoln won't ask for a third term? He might. Then again, he might not. Who would I be running against?

4:27 Grant. Grant? Oh, I wouldn't stand much of a chance. He's got command of all the Union armies. General, I think the people would prefer a Cutler in the White House and a Grant in the barracks. Nicely said, Forrest. But do the people even know who I am? Word will get around. You've already earned your stars, sir. No one has forgotten Fredericksburg or your gallant attack on Chattanooga, sir. That was some time ago. And that you are the acknowledged hero of the prisoner exchange plans. defeat the rebels. But it's who looks after our boys. Tim, if you put it that way, I'd say I might have a chance. I hope when Bill Wood was making these secret service assignments, he intended to keep you at my side.

5:17 You have given me excellent. Protection since I came out of the hospital, and it appears you have a political mind as well. I'd like to know I can count on you. An honor, General Cutler. I hope to continue to serve you. Timothy, I think I'll ride down to Burnside and surprise Mrs. Cutler with the news. Benjamin, that is the most exciting thing I have ever heard. You should be very proud. Well, I am a little pleased. However, we're a considerable distance from the White House. If the election were held tomorrow, I'm afraid most voters would say, Benjamin Cutler who? I shall have to drum up some ideas to bring me to the attention of the public.

6:12 What about that prisoner of war who's leaving. Richmond for Washington? What about him? Isn't he the last prisoner of war to be returned to us from Andersonville? Yes, but I don't see. Doesn't it occur to you that this could be a story that would make all of America sit up and take notice? I don't quite see how. If we arrange to have all the newspapers here the day the prisoner arrives. Now? Now do you see? You mean. I welcome him here at Burnside. Benjamin, it is you who have organized the exchange of prisoners. Those rebels we hold here for our brave Union men in Andersonville... Finally, the last prisoner returns home.

6:56 If you welcome that man bringing him to our home. You become a symbol of the kind of leadership we all look to. Mary, I like that. I like that. Well, I'd better get cracking on the idea. I'll talk it over with Tim Forrest. Oh, I'm glad he's still assigned to you. He's so faithful. And quite clever. He's just the one to make the high-level arrangements with Stanton. The Secretary of War. He can fix it up to have the man. Welcomed here in our own home. Play on the law. Oh, I can just see it. Major, what's his name? Calvin Russell. Major Russell arrives on the noon train. He's probably accompanied by Red Cross nurses.

7:40 Is he married? No, no, he's not. Oh, good. You and I are at the station. We whisk him in our carriage here to Burnside. The band strikes up the Star Spangled Banner. Reporters from newspapers all over the world are here. Oh, Benjamin, can't you just see it? You must make a marvelous welcoming speech. You might even have some photographs taken. Oh, it's going to be so exciting. The event of the century. Please, folks, all you reporters, please don't crowd the observation platform of the train.

8:21 Tim, when's he coming out? The train's been here for ten minutes. Where is he? General, you know the major's lame. I don't know which car he's in. It'll take him a little time to get out here. I mean, there's such a thing as a schedule. Here we've got a carriage waiting and an army of reporters and photographers hanging around at home on the lawn. That Calvin Russell was always unreliable. Oh, I didn't know you knew the Major. Personally? He was in my outfit. Got captured in the Chattanooga raid and shipped off to Andersonville. Oh, Forrest, send word back into the coach. I want the Major out here in three minutes, not one second more. Yes, sir. There's I'm not going out there.

9:10 Major Russell, everyone has come a very long way to welcome you home. You are taking this ceremony all the wrong way. Am I? Now, what about your friends? You must have friends out there in the station. Some of my friends drowned in the Mississippi. Those who didn't swam with me to shore and were shot as they swam. The rest, the few who escaped, died in the prison at Andersonville. Nurse Wilson, today I'm alone. I have no friends left. Well, I guess I was wrong, Major. I thought you agreed to be greeted by General Cutler because you wanted to honor all the men who died during the war and wanted. To speak for them. But I guess I was mistaken.

9:54 Well, I... maybe I. Hadn't thought of that. Now, there's going to be a reception secretary of war stanton himself is supposed to be there they'll want you to speak. Do you suppose i could meet president lincoln. Of course you can and you will i'm sure general cutler has it all arranged. Cutler that that what never mind Is he still out there? I'm sure he is. He arranged all this for you, Major. Nurse Wilson, you go out to the observation platform and you tell whoever's in charge that if Cutler will go away.

10:34 I'll come out. I don't want to be in the same state as that man. Go see who that is. I don't want anyone to come into this compartment. I'll duck into the lavatory. Go on. Yes. Oh, nurse. I'm Tim Forrest, Secret Service. General Cutler asked me when the major would be making an appearance. Now, we're a little late and a little tight on the schedule. Is he all right? Oh, yes, he's fine. Tell everyone he'll be out directly. Oh, thank you, nurse. I heard all of that. Why didn't you tell him? Go on, you go on out there and tell him what I told you. Cut the leaves, Russell arrives.

11:20 Won't you change your mind? I don't wish to have anything to do with the General. He can stay if he wants to, but I'll not see him. Hand me my crutch, please. I'll be waiting right here when you come back. Major, they won't understand. No one has any idea that you. That's exactly it. No one has any idea what kind of a man he is. But I know, and the dead know. I haven't been in a hell on earth all these months to be welcomed by a man who doesn't deserve his stars. I hate him. I saw him from the window, alive and fat. Well, I'll do what I can. I cannot tell them what you want me to. I'll have to think of something else.

12:13 General, some of us have been waiting since six this morning. Do you know for a fact that the Major is on the train? Yes, of course I know it for a fact. The man could be ill. Anything. General Cutler, may I talk to you? Forrest, this is ridiculous. Fifteen minutes we've been waiting. What is it? Is Russell sick? Why the delay? I look like an idiot standing up here on the observation platform all by myself trying to answer reporters. There appears to be a slight problem. So? What is it? His nurse is on the way out and she wants to tell you herself. What is all the mystery? General Cutler here. I'd like a word with him. What is it, nurse? Where's the Major?

12:54 I'm General Cutler. Is he coming out soon? I'm afraid not. The Major sent his regrets, but he is a little shy, I'm afraid. Shy? All we want him to do is come out here, shake my hand, and we. Take a few pictures. I make a speech, and we whisk him off to my farm. General, what happened was, as soon as the train pulled into the platform, he. Well, he started getting very nervous. You do understand he's been a prisoner for well over two years. Almost everyone he knew died in prison. What's your name? Nurse Wilson. Nurse Wilson? You go back to him on the double. Tell the Major we honor him and wait for him to make an appearance. Tell him I personally am waiting for him.

13:45 It won't make any difference, General. No difference? Does he know I'm here? Yes, he's been watching you from the window. You mean he can see me now? He just said to send his regrets, but right now he doesn't feel like leaving the train. General, may I see what I can do? Please give me a moment. Nurse Wilson, if you'd lead the way, I'll have a talk with the Major. He's coming out! Here he comes! General Cutler, allow me to place the major by your side. Calvin Russell. Good to see you. So good, my old buddy.

14:27 I have to make a speech first. Forrest, will you make an introduction, please? Ladies and gentlemen, gentlemen of the press, guests... General Benjamin Cutler would like to say a few words to welcome Major Calvin Russell, the last of the Union prisoners to be released from Andersonville. Major Russell, gentlemen of the Fourth Estate, citizens of this great country. From Pennsylvania Avenue to the length and breadth of this vast, great country, our hearts go out to the men who so gallantly fought and gave their lives so.

15:10 That this nation.... And that is why we are honored to welcome from the bottom of our grateful hearts this. Hero of heroes. Major Calvin Russell. May we have a picture of you, General Cutler, shaking hands with the Major? Will you take me back to my compartment, please? But the picture! What is this? Forrest! Forrest, do something! He turned his back on me and walked out!

15:54 Forrest, do something! Forrest! Not a very auspicious beginning to a ceremony which General Cutler hoped would solidify his political career. What is it that. Makes Major Russell turn away from his old commander in the field at this point one can only guess it is of such magnitude that the former prisoner of war risks a reprimand or even a court martial I shall return shortly with act two.

16:42 We are in Washington at the end of the Civil War. General Benjamin Cutler seeks a political opportunity which might make his name better known. To further that desire, he has arranged for the last prisoner of war to be released from the infamous Andersonville prison and arrive for a ceremonial welcome.

17:26 Only the Major isn't buying. He will not cooperate. Have they left the railroad station yet, Nurse Wilson? They are leaving now. Major, what are you going to do? Sit here in the compartment until the whole party's gone? The only person I don't wish to lay eyes on is Cutler. When he goes, I'll come out. But there is a reception planned at his house. The Secret Service agent told me the Secretary of War plans to be there. You're not going to insult him, are you? You think there's something wrong with me, don't you? One doesn't have to be very clever to realize something happened between you two during the war and that you haven't forgiven him.

18:09 No, I haven't. Major Russell, the general has left. May I say a word to you? Shall I leave? Of course not. Come in, Forrest. I guess I owe you an explanation. You don't owe it to me. Well, I don't owe Cutler anything either. What are we going to do now? Mrs. Cutler is at their home and everything is laid on. A message will be read to you from President Lincoln. Even the Marine Band is there. I don't mind all that. It's Cutler himself. Well, then you're in luck. The General had to return to the capital. Everything ran so late, he won't be going with you to his farm.

18:52 Well, I'll go to the reception. I'll meet his wife, sure. Anything, so long as I don't have to shake his hand. Or talk to him. Major, it's all in your honor. Everyone who is here today honors you. I'm sorry my husband had to go back to Washington, but he has a great deal to attend to. We saw each other on the platform of the last car of the train. I wonder if I could speak to you for a moment. Oh, certainly, Timothy. Major, will you excuse us? I shall be right back and give you a first-hand tour of our little farm. Don't let any of the reporters intimidate you. Oh, that's all right, Mrs. Cutler.

19:33 I won't. Mrs. Cutler, we have a problem with the Major. I didn't have time to explain to you why we arrived from the railroad station so late, but he refused to come out on the observation platform for the general's welcome. Refused? He finally did. It took a lot of persuading. There's been some experience the major and the general shared at Chattanooga, and the major still holds some kind of a grudge. Could you, Mrs. Cutler, somehow get the major to agree to talk to the reporters. At least to one of them? Well, of course he will. Make him after all the whole purpose of having him arrive here in the first place is so that we could generate some publicity to help the general's political image now if we could only get the major to acknowledge his indebtedness and all of those freed from andersonville indebted to the general well you can imagine how the public would react.

20:29 You are talking to the one person who could not agree with you more timothy. Well, here we are back. Mr. Forrest, I think that's a wonderful idea. And I suggest you pick up whoever you think will do the best job and have them down by the lily pond. I'll do that. Thank you very much. Now, Major, did my husband tell you of his infatuation with growing water lilies? No, ma'am. No, we never got around to talking about that. He's mad for them. You wouldn't think so, a big burly soldier like him. And now we shall tour Burnside. We named our farm after the Major General himself.

21:11 Oh. Well, he'd be pleased, ma'am. Yes, over a thousand acres of good farming land. Well, he'd like that. I want to show you the lily pond. It's quite a little distance down this path. You don't mind that? Walking with the cane. I mean. Mrs. Cutler, with this cane, I've walked to Hades and back. And I intend to keep on walking. I would like to see all the sights on the General's farm. You just show me the way. I'll follow. There it is.

21:53 Isn't that the most beautiful lily pond you ever saw? They're not all water lilies, you know. That one's a floating heart. And all around the edge, those big leaves, elephant ears. And there's a water hyacinth. Mrs. Cutler, may I introduce myself? Wilbur May of the New York Weekly News. Well, how do you do? Tim Forrest said the major might be ready to be interviewed. I think so. I hope you agree, Major Russell. You know, there are 150 reporters from up north covering the war, and for me to get the first crack at interviewing Calvin is a great piece of luck. Right, Cal? You and the Major know one another? Calvin and I are cousins. We're real proud of.

22:36 You at home, Cal. Well, that's splendid. I think I can safely leave you two alone. Oh, there's only one thing I'll ask of you, Mr. May, and that is, I'd like your readers to know it was General Benjamin Cutler who was responsible for getting so many of our boys out of Andersonville. Certainly. I hope it all goes well. Well, how do you feel, Cal? Did you hear what she said about Cousin Cutler getting our men out of Andersonville? Uh-huh. If it weren't for him, there wouldn't have been so many Union boys in Andersonville. Oh, is that so? Well, this is some celebration I got going for you.

23:19 Oh, don't fool me, Willie. Cutler never did anything for anyone but himself. Huh. If it hadn't have been for Cutler, we'd never have been in that prison. We were betrayed. That's the real story. Betrayed by who? Well, you print it if I tell you. Now, come on. What a question to ask. An exclusive with a top-ranking former prisoner of war? Why wouldn't I? Now, for one thing, it knocks the stuffing out of your big Washington hero. General Cutler? Hmm. Take the load. Off your feet, Willie, and thank the Lord you got the use of both of them. You know, I have to go into a hospital for a wooden leg.

24:02 Yeah, very sorry about that. Were you tortured at Andersonville? Yes, but that's not how I lost my leg. I'll tell you how. Where do you want me to begin? Cal, it was your war. You tell it. It was November, back in 63'. Longstreet had pushed us with our backs to Chattanooga. Bragg did nothing and just sat there thinking he could. Starve out the rebels. We were upriver. And then Cutler got the bright idea to build rafts and float the troops past the enemy and gain a foothold on the southern bank.

24:46 Williams, how many rafts are ready now? Only enough for about 500 troops, sir. Why are they so slow? I've got to move 2,500 men before dawn. Men are doing the best they can, sir. Russell! Colonel Russell! Has anyone seen Major Russell? General Cutler, yes, sir. What is it, General? Williams tells me the rafts won't be finished before tomorrow night. So we wait. I'm sure Williams could supply enough rafts tonight. For 1,000 troops. What are you thinking? Well, we send two contingents. One tonight of 1,000 men and one tomorrow of 1,500.

25:27 If the 1,000 men get through tonight, the Johnny Rebs on Lookout Mountain aren't going to be caught napping tomorrow night. Absolutely. Tomorrow, that'll be your responsibility, Cal. With the 1,500 men? I have every confidence you'll make it. Floating downstream, armed with just our rifles, they'll be waiting for us and they'll cut us into small pieces. Major, it's an order. And that's just what the rebels did. We never got as far as the southern bank. Of the 1,500 with me on the chained.

26:09 Rafts, 1,000 were blown out of the water. 500 were shot as they tried to swim to shore, and the rest of us were rounded up and taken to Andersonville. It was in that action that my leg got shut up. That's never been told. There was only one man to blame, Will, and that's Cutler. He was responsible. When you're locked up and you see 500 men dying of scurvy, no food worth eating, mush for days, weeks, months. I understood it was pretty fierce. You don't know the half of it, Will. My men, the best men in the world, dead and dying. All around me. Because one man gives an order against all common logic and common sense, he orders 1,500 floating sitting ducks to their death?

26:56 Yeah, I... I can't tell you how horrified and sorry I am. Sending men down to Mississippi like that in two groups may have been a tactical error. It happens in war, Cal. But it shouldn't. I told him not to. We had one chance to make it, not two. Sure, the first rafts got through, but the next night they were waiting for us. But do you hold Cutler responsible for conditions in Andersonville? I do. For those who died there because of him, you bet I do. And he has the nerve, the gall to ask me to be his standard bearer for his political career. I almost exploded when I heard that.

27:36 All right. I'll write it, Cal. Is there any more you'd like to add? Just more of the same, Willie. In hell. I don't like to interrupt you, gentlemen, but I have wonderful news. Mrs. Cutler, the Major has given me all I need. The General has returned. He's here. Isn't that marvelous? Mr. Forrest is just bringing him down. I'm going up the path to meet them. Willie, get me out of here. What am I going to do? You are going to face him, Calvin. Here you are, accusing the. General of a despicable act, of sacrificing needlessly 1,500 of our own men without a thought. Only you are telling me. Cal, you're a major in the Union Army. Talk to the general.

28:25 Tell him to his face what you think of him and why. Your ghost has come back from Andersonville and orders you to speak up. Here I am again, Major. off to the. Capital of our great nation, but business before pleasure any time. Benjamin, this is Mr. Wilbur May. He's with the New York Weekly News. Oh, an excellent newspaper. I'd be glad to make a statement. No, Benjamin, not now. You two men will feel more at ease if I take Mr. May off with me. Please, sir, do come along. All right. We'll leave you both alone. Mr. May, may I take your arm?

29:06 Willie? Willie? I'll talk to you later. Calvin, I'm sorry the way it turned out. Deeply sorry. You scum. You never once admitted you gave that order that killed so many of us. Admitted it? How? How? Publicly. I knew you didn't. I had a nurse who came down especially from Washington. She didn't know a thing about Chattanooga. Said no one did. It was unforgivable. I've never. forgiven myself either, Calvin. But that was two years ago. Why bring it up now?

29:47 I see them all floating down the Mississippi that night. Fifteen hundred of us. And the gunfire and the screaming. Have you ever heard hundreds of men screaming in agony at the same time? Hundreds diving and falling into the water. Hundreds more gasping and drowning. The river red with their blood. All dead. All but a handful. And myself ending up to die by inches in Andersonville. Because cursed Cutler railroaded us to that death. Don't tell me you had no way of knowing. You were the general. I was only a major. I warned you what would happen.

30:28 You're getting yourself all hit up. Did you honestly think. I would come out of a rebel prison to praise you so that you could hold some political office? Suppose you got elected. What would you do. Under fire to the American people? Sell them down? I have nightmares about it still. But life must go on. Why must it go on, Ben? Why must it go on for you? What are. What are you going to do with that gun? Not for you, life won't go on. Join the others who died in the river and in prison.

31:24 A gun is fired. Its sound echoes not only across the general's farm near Washington, but across the entire country. The bullet misses its mark. It grazes but does not wound the general. But there is a gaping wound in his reputation which will never heal. I shall return shortly with Act. Three. It's not easy to arrest a war hero for attempted murder, and General Cutler won't permit it. In the scuffle, he pockets the Major's gun and quickly retires to his room.

32:16 Secret service agent Timothy Forrest tries to spread the story that what happened. Was an accident. A service revolver discharging unintentionally. But fear is in the air, and the night is churned by thunder, lightning, and rain. Then, it is morning. Is that you, Forrest? Tim Forrest? Wilbur. I'm not too pleased to see you. Have you seen the general? He grabbed that gun of Cal Russell so fast and disappeared. I haven't had a chance to get his side of the story. What they said to each other. How it happened, you know. I told you it went off accidentally. Tim, I didn't believe that. Have you seen General Cutler? Mrs. Cutler said he may be walking the grounds.

32:57 He isn't. I've searched every inch of the place, up at five to do it. I want to get to the general before every other reporter in the country shows up. Now you know where he is. That's your job. Are you sure he's not out there? A thousand acres? He'll show up. Tim, I've got a press deadline. Why don't we try his room, just in case? I suppose he could have returned and gone upstairs, back way, so he wouldn't be seen. Hiding from the press. All right, I'll follow you. No, no, no, I can find it alone. No, you don't. If you interview the general, I am going to be there. General?

33:39 General Cutler? You think he went back to bed? General Cutler, are you in there? Try the door. It's unlocked. Let's go in. Well, there he is. With his back to us, sitting at his desk. General, I'm sorry to disturb you. I hope you don't mind my barging in like this, but Wilbur May here wanted to get a statement. Good Lord. He's fainted. He fell forward. Forced. What's the matter? It's his blood. Look on the desk. It's... in heaven. I'll get someone.

34:20 No, no, it's too late. He's dead. The general's dead? How can that be? He's been dead a couple of hours. Sitting like that with a bullet hole in his head. Leaning back in his armchair and then falling onto his desk. Forrest, I have to write this. All of it. Those powder burns on his temple. He's been shot at close range. Very close. Somebody knew. Someone he let come right up to him. Tim, maybe it wasn't murder. Maybe it was suicide. A shame, you know? What the major accused him of.

35:02 No, it couldn't have been suicide. Well, what are you looking for? For the two missing things that might... Might, I said... Make me think, suicide. But they're not here. Two things are missing? Do you see a farewell note? Any note? A word to his wife? A written explanation why he killed himself? And the other missing item, even more important. If the general shot himself, where's the gun? You're right. Where's the gun? It was murder. Murder? And the murderer took it with him. I'll bet a year's wages when they examine the bullet, they'll find it was fired from the Major's gun.

35:49 What are you going to do about Cal Russell? What can I do but place him under arrest? He's the prime suspect. I don't look forward to the next two steps. Oh? What's that? Placing the Major under arrest and then finding Mrs. Cutler and breaking the terrible news to her. But I didn't kill him. Major, you'll have to do more than merely say so. A great many witnesses saw you take the shot at him. Yes, that was yesterday. I know that I must have been out of my mind to do it. I know that. To hate a man is one thing, but to be a judge, jury, and executioner is another. Besides, you say there's no gun.

36:38 Yes, that's a consideration at this moment, but whoever shot the general could have thrown the gun in any of a hundred places, but it will be found. And make no mistake about that. Hasn't it occurred to the Secret Service, Mr. Forrest, that since I was sleeping way off in the servant's wing, if during the night I'd hobbled with my crutch all the way to the General's room, and I still don't know where that is, isn't it likely in all that time from my room to his and back someone would have seen me? Someone probably did. But right now they're not coming forward. Maybe they hated the general also, and you did their job for them.

37:22 On one foot and one crutch. You believe that? I believe a man of your will, who can survive death and imprisonment, can do almost anything he wants to, Major. So my word means nothing to you. What are you going to do? I've sent for some irons for your hands and feet. You're going to put irons on one crutch and my one good foot? You knew he was dead before I saw you, Mrs. Cutler. My maid came and told me, Timothy. You're a very brave woman. You become very acquainted with death when you're married to a soldier.

38:07 Let's keep walking, Timothy. Mrs. Cutler... Are you sure you feel like walking the grounds just now? I feel. If I don't keep moving, I shall die. All of us in Washington love the General. He'll be missed. Yes, all of us. We'll miss him. I'm going to get to the bottom of this, I promise you. It's the last thing I do. I can't tell you how desperate I feel over this tragedy. When I was assigned to the General, it was such an honor... The department trusted me to protect him. Timothy, don't blame yourself. Who else is there to blame?

38:49 What has Major Russell said? He denies everything. Says he was asleep. Isn't that possible? How can he prove it, Mrs. Cutler? What angers me as much as shames me is the story the Major gave as reason for his hatred for your husband. The more I go over it in my mind, sending rafts with 1,500 men, knowing the rebels must be lying in wait, the more I realize it's a wicked, wicked lie. No, Timothy. It wasn't. Calvin Russell's story of what happened was not a lie. It was the truth? Yes. Every word.

39:33 Mr. Forrest, how long am I going to be kept under restraint? I've sent for the Attorney General. He'll decide. Did you grant me my request? Yes, I did. Oh, that must be her. Come in, Mrs. Cutler. What? What have you done to him? He's in irons, Mrs. Cutler. Oh, no, that is horrible. It's horrible. Timothy, you must undo those irons immediately. I'm sorry, but I cannot. I must wait for the Attorney General and the prosecutor of the military court. We are treating him worse than the Southerners did in Andersonville.

40:13 No one was hobbled like this. I can't bear it. I won't have it. I'm truly sorry, Mrs. Cutler, but the Major is the only suspect we have. At the moment. I can't have a human being treated this way. Major, I'm going to take steps this very moment so that these terrible things are. Removed and you are set free. How do you aim to do that? I'm going to show you who killed my husband. You know that? I have known it since the night he died. It's there, Timothy. There at the bottom of Benjamin's lily pond. If you take a stick and move some of those water lilies, I'm.

40:59 Sure you'll see it. What will I see? The gun that killed him. You saw the murderer throw it down there? I threw the gun into the pond. Yes, it's so. That night, in spite of the thunder, I. I heard the shot. I ran to his room. He had killed himself. On the desk was a note. It's down there also. I threw it into the pond. What did it say? That he knew he gave the wrong command. And since that day, he had been haunted by every death of every man.

41:44 He couldn't live any longer with the shame of it. And asked me to forgive him. What could I do? I wanted so. Even in death to protect Benjamin. It never occurred to me the Major might be accused of his death, so... I took what Ben had written... And pulled the pistol from his hand. And threw them down there in the lily pond. So now. Will you remove the irons. From that brave man? As I said before.

42:45 This slightly tarnished piece of Americana is a tale of the brave and the mistakes and tragedies that followed. Here at the Mystery Theater, we have condensed many of the events as well as changed the names of the actual participants. Otherwise, it is what it is. A rather battered and torn page of American history. I shall return shortly. If you've been reading about wise money management in your favorite publications, you've undoubtedly heard about Dreyfus Liquid Assets, one of the world's largest money market funds, and about the big yields you can get on your money right now. Start with as little as $ 2, 500. Make added investments as low as $ 100. With Dreyfus Liquid Assets, your money is yours whenever you need it. Phone for it, have it sent to your bank, or write a redemption check for cash or to pay your larger bills. You keep right on earning that high yield, compounded daily until your check clears. No penalties on interest.

43:40 No sales charge, no charge for the checks. It's so simple, sensible, convenient. But find out for yourself. Call toll-free 800-228-5000 for free information and a prospectus, including management fee charges and expenses. Read the prospectus carefully before investing or sending money. Discover how Dreyfus Liquid Assets can help you get the lion's share of today's high money market rates. 800-228-5000. Toll-free 800-228-5000. The End.

44:40 Socrates said it so very much better than anything I could devise. So permit me to speak his words. The long, unmeasured pulse of time moves everything. There is nothing hidden that it cannot bring to light. Nothing unknown that may not become known. The history of the great events of this world is little more than the history of crimes. Our cast included Tony Roberts, Keir Dullea, Bob Caliban, and Terry Keene. The entire production was under the direction of Hyman Brown.

45:29 My dear, I'm positively jubilant getting to spend this time with you and... Enjoy a cool fall night. Well, it's hard to beat. Although, I did enjoy my sojourn quite a bit. But that's neither here nor there. All I know is I have this grin on my face. Not a Cheshire grin. No, no, no. A grin so true. So legitimate. I feel like... The man who won the war.

46:13 Tired of the everyday routine? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you. Escape! Designed to free you from the four walls of today... for a half hour of high adventure. Tonight, we escape to the coast of Flanders. in October 1914... into the story of a man chosen by a strange destiny... to win the First World War.

46:55 As Robert Buckner tells it in his classic tale... The man who won the war. Gentlemen, I have asked this board to meet by the authority vested in me as chairman of the Naval Committee of the House of Commons. A great run has been done, gentlemen, and. I have been asked by my colleagues of the House to see if it cannot be righted. An English naval officer was found guilty of treason by this board ten years ago. I have asked you gentlemen to meet and reconsider his case. I ask you to remove the stigma from the name of a man whom I consider to be one of England's greatest heroes. I refer to Commander Edward Bradbury.

47:49 Now see here, Mr. Ordway. Yes, Admiral. I am compelled to say, Mr. Ordway, that it is a waste of the Admiralty's time and a sorry commentary upon the times in which we live. When the Royal Navy is brought to heel by a parliamentary committee. Bradman had a thoroughly fair court-martial. No single piece of evidence came to light to. Substantiate his fantastic story. There is no record of his action in the Belgian War Office. There is not a single witness to his weird adventure up on the Flanders Beach that night in October 1914. Why, dammit, man! The Royal Navy itself tried to find the evidence, but we couldn't. And why couldn't we? Because it does not exist. I have evidence, gentlemen.

48:30 New evidence. That is why you have been asked to meet. And as for. The Navy's attempts to clear Bradman's name, I would like you to meet a young man and listen a. Moment to him. Edward. Edward, would you kindly tell the. Gentleman your name? I am Edward Bradman III. How old are you, Edward? Thirteen years and six months. Who is your father, Edward? Commander Edward Bradman, sir. And your grandfather, who was he? Admiral Edward Bradman. And your great-grandfather? Lieutenant Edward Bradman, sir. He was killed in action aboard the Victory at Trafalgar. And you, Edward, what do you wish to become?

49:10 A midshipman, sir. I shouldn't be surprised. And have you made application? Yes, sir. At the Royal Naval College at Dartmouth. And where you accept it? No, sir. Why not? They said there was no place in the Royal Navy for traitors or their sons. Well, gentlemen. This is scarcely added proof, and I must censor you, Mr. Ordway, for bringing this lad in here, wrapped in the Union Jack, so to speak, subjecting him. To such an ordeal, a disgraceful cheap show. Admiral, I am on trial here. The Royal Navy is. If you want added proof of Commander Bradman's innocence, you shall have it. Here.

49:52 Here is a letter from the Commander, brought to me three days ago by the gentleman sitting here beside me. Commander Bradman is lying ill at Newport across the Channel in Belgium. Seriously ill of a tropical fever he contracted during those years when he fled the disapproval of navy men throughout the empire. This may be the last word you will ever hear from Commander Bradman, gentlemen. I charge you, listen carefully. It is dated October 24th, Auberge de Dermatlo, Newport, Belgium, gentlemen. It is ten years ago tonight that I first set foot upon this Flemish beach. I have returned here tonight under a sort of compulsion like a criminal returning to the scene of his crime.

50:36 But I am no criminal, and what I did here ten years ago was no crime. I am tired of saying it and of being disbelieved. I am tired, and I am ill. I shall not make this statement again. I make it this last time at the encouragement of the man who brings it to you, the proprietor of this little inn, and the one man in the world who has ever believed my story. When the war began, I was placed in command of the destroyer fire break attached to Admiral Hood's battle force on North Sea Patrol. On the night of October the 28th, 1914, the fire break was cruising up the Belgian coast to join the main fleet. We'd taken aboard some extra shells and ammunition at Plymouth along with several cases of Scotch whiskey. Since the fleet was looking forward to extended action. And I'm afraid those kisses were uppermost in our mind that night as we sat around the wardroom after dinner. I say, Commander, what.

51:36 Brand of whiskey did ship suppliers put aboard? Why, I don't know. Johnny Walker, I dare say. I don't believe so, sir. Cameron Highlander, I think it said on the boxes. Oh, come now, Mr. Ainslie. They always supply us with Johnny Walker Black Label. Johnny Walker Cameron Highlander, essence of the Loch Ness Sea Serpent, so long as there's whiskey aboard. Now, that wouldn't be a hint, would it? Oh, no, no, no, sir. But it is nippy on deck tonight. Do you concur, Mr. Ainslie? Oh, yes, indeed, sir. The wind's got a bite to it. Man could catch himself a nasty cold out there tonight. Very well, you scoundrels. Hopper. Aye, sir. Go down to the storeroom and break out a bottle of that whiskey we took aboard this afternoon. Aye, sir. Anything new on the fighting in Flanders, Commander? What there is, is all bad. General Haig has his hands full in the center. On the right, the French are just barely holding...

52:23 But the real danger is right up there to our stubborn. How's that, sir? A left flank. A Belgian sector. Van Klook's third army is pressing hard. If he breaks through the Belgian line, you can ride off France. I don't understand, sir. Well, if the Belgians don't hold, Van Klook will cut off the channel ports Calais, Boulogne and Le Havre. There's nothing to stop him until he reaches the Atlantic. And that would also cut off our supply line to our troops. Precisely. It's the close of its strategy for the conquest of Western Europe. Paris would be bypassed and caught between giant pincers. To be taken later at the Kaiser's letter. Thank you, sir. Here's Hopper with our wee drop.

53:03 You needn't have brought the whole case, Hopper. I wanted you to see it, sir. I've opened four of them, and the contents are all the same. You see, I was right. It says Cameron Highlander on the box. Yes, sir. But the contents are not Cameron Highlander whiskey. They're Cameron Islander uniforms. What? Yes, sir. See here? The kilts. The Glengarrys. The Sporan. But where's the whiskey? Well, near as I can make out, there ain't any, sir. What's that? But I say them box contain. Nearly 200 Scotch Islander uniforms. Oh, well, I'm afraid that this will be a dry voyage, gentlemen. How could they have made such a stupid mistake? Blame it on the war. Well, I just hope that our shells don't turn out to be coffee canisters. What shall I do with these boxes? Oh, stow them out of the way until we make port again, Harper. Meantime, I dare say there are some poor Scotch beggars somewhere in France who'll have to do with their old clothes a little while longer.

53:54 Speaking to you, sir. Pretty, pretty, pretty. Mr. Twiddle, request the captain to come to the bridge. I'll acknowledge. Will you please, Mr. Gilliam? Yes, sir. What kind of trouble do you suppose Twiddle's run into? Are you coming along, Ainsley? Oh, might as well. Can't drink kilts and Lingeries. It's freshening up a bit. Yes, you'll be on our beam ends before morning. Yes, Mr. Twiddle? I thought you ought to see this, sir. What? Look out there on our starboard quarter. A tiny light. Ah, yes. I see it. Take a look through the nightglasses. Flashing on and off. According to my reckoning, we're off the mouth of the Issa River. Now, if you look at this chart, you'll see that there are no lighthouses along this stretch of coast.

54:42 Yet there's a flashing light where no light ought to be. Perhaps it's a signal of some sort, sir. Yes, undoubtedly. But whose? Germans can't have gotten this far. How can you be sure, Mr. Angler? Now, wait a minute. What? That light's flashing a message in Morse code. G-R-O-G. G-R-O-G. Quartermaster. Aye, sir. Change course to 1-1-0. Change course to 1-1-0. Aye, sir. What are you going to do, sir? I'm going to take a closer look. But, sir, this might be a trap. Yes, it might. But don't you recognize the code word drug, Mr. Twiddle? No, sir. You didn't serve in the Royal Navy as a midshipman, did you, Mr. Twiddle? No, sir.

55:22 My apprenticeship was in the merchant service. Well, then, of course, grog wouldn't mean anything to you. I don't understand, sir. Well, Mr. Tweedle, G-R-O-G is a midshipman's joke. It means good rum on goose days. I still don't understand, sir. When is goose day? That's the joke, Mr. Tweedle. Goose day never comes. Ah. They're juvenile, I admit, but fascinatingly esoteric when you're 14 years old. But why would anybody be sending a midshipman's code word from the coast of Belgium in the middle of a war? That, Mr. Ainslie, is what we're going in to find out. Be good enough to tick off a landing party, will you? Number two, power launch. We'll go ashore in ten minutes. But, Captain... You have your orders, Mr. Ainslie. Yes, sir. You can't be serious, Captain. I am, Mr. Twain. This might be a trap.

56:03 We have no way of knowing whether the Germans have advanced beyond this point or not. Yes, it might be a trap. Or it might be some poor beggar trying to escape the advance. Well, it's well worth looking into. If they were sending a plane SOS, I might be suspicious, but the choice of that half-secret smarty's code word makes me think it's worth looking into. But suppose it is a trap. Mr. Tweddle, it would be somewhat the reverse of the classic rules of warfare for a land force, no matter how large, to attempt the capture of a naval vessel on the high seas. Nevertheless, the enemy's devilishly clever. Oh, don't you worry, Mr. Tweddle. I'm not asking you to go ashore. I'm leading the landing party myself. Well, it's not a matter of fear, sir. Naturally. But one of caution. Yes, of course. I'll speed ahead. The fleet orders clearly state.

56:44 I am quite aware of the contents of the fleet orders, Mr. Treadle. And they state that elements of the Royal Navy are to give all possible aid and assistance to shore positions. They also limit such aid to ship to the Class of the Mercy in Severn. That is very true, Mr. Treadle. Then we'll stretch the limits of that portion of the orders a little, shall we? Furthermore, we're under specific orders to rendezvous. With the flagship at dawn. Then we may be a little late. Sir, I protest that this is not. Mr. Treadle, apparently things are different in the Merchant Service. But in His Majesty's fighting ships, an executive officer does not protest to his commander. You will heave to and drop anchor. If I've not returned within an hour, you will proceed to the fleet rendezvous. Is that clear? Yes, sir. Carry on.

57:34 I'd say we're about a half mile down the beach from the light. Now, sir. Good. Swing her inshore. Aye, sir. That light is getting dimmer and dimmer. That is probably only a pocket torch. Battery's burning out. All right, men. Now then, listen to me. Yes, sir. When we get to the beach, we'll spread out ten feet apart and proceed toward that light. I'll keep well darned, walk with the utmost quiet. If you encounter a sentry, you try to knock him out before he challenges you. Use your firearms only at the last resort. We are not here to get into a battle, only to investigate that light. Now, if we should be engaged by the enemy, I will fire three rapid shots as a signal to return to the boat. Hopper and Spurgeon will remain with the boat. No, Hopper. Yes, sir.

58:15 If we have to retreat in a hurry, you wait until the last possible moment before you shove off. Yes, sir. Any questions? All clear, sir. All right. Brace yourself, lads. We're coming into the surf. Come in. Move. Over the side and hold your rifles high. Yes. You may imagine the fearful anxiety with which our little landing party hit the beach that October midnight in 1914. We had no way of knowing whether the coast was in Belgian or German hands. We did not know indeed whether we were being drawn into a German trap by the tiny light we had seen flashing out to sea. That tiny weakening light tore us apart. which we were now slowly advancing, spread out across the beach, alert for any danger, watchful for enemy sentries or patrols. And then, not a hundred yards from where we landed, we encountered a German sentry.

59:26 He was asleep. Poor beggar, I... I suppose he imagined no one would be around the sand dunes in the middle of the night. And he was undoubtedly done in. He was sitting on a log. He'd taken off his boots to bury his aching feet in the cool sand. I'm afraid he wasn't a very fearful example of the German military machine that night. But with no trouble at all, Mr. Ainslie and I crept up on him. We had him bound and gagged before he was quite awake. There we are. I don't think you'll raise too much of a hue and cry. Now, sir. No, I should think not. Now, my friends, lighten the oil. Take him along, Mr. Hindley. Mark it. Sir. Put on this fellow's spiked helmet. Remain at his post.

1:00:06 If a relief sentry appears, you take care of him. But no shooting unless absolutely necessary. Yes, sir. Now let's get cracking, men. Hold up, sir. What's that? I thought I heard voices. All right, men. Hold. Ah, they're speaking French. And they're allies. Still, we must make certain. You take two of them, then, and come up on them from the rear. Yes, sir. I'll approach from the side. I'll do the talking. If it's a trap, I'll give the signal to fire. After one volley, you break for it and round it with the launch. Yes, sir.

1:00:52 Evans, Stanley, come with me. Wilkins, Rodman, Knorr. Aye, sir. Follow me quietly. Keep your heads down. He said to approach. I, the Belgian, the French. Come on, men. Bonsoir, messieurs. Bonsoir, mon ami. Est-ce que vous parlez anglais? Comment? Why, yes, I speak English a little. Well, I dare say your English is better than my French. May I introduce myself?

1:01:41 I'm Commander Bradman of His Majesty's ship, Fyldrick. I can't tell you how glad I am to meet you, Commander. And I am Major de Lesseps of the 3rd Belgian Dragoons. This is Lieutenant Chapotin. And here's one of my company, Lieutenant Ainslie. Bonjour, Lieutenant. Bonjour, monsieur. And who is this bound and gagged? Oh, that's an enemy sentry we picked up on the way. You can have him. Thank you. We saw your light from the ship. Why don't you flash the word Grog? I thought a Royal Navy man would respond more quickly to. Grog than S.O.S. It's an inspiration, but where did you learn it? I used to sail in the regattas at Cowes when I was younger. And one of my best friends was Albert Hollister. He was a midshipman in those days.

1:02:24 Oh, Bertie Hollister. Yes, I knew him well. He's a three-striper now. Gunnery officer on the repulse. Yes. We can go into that another time. What was the reason for your signal, Major? Simply this, Commander. We're in trouble. Serious trouble. We've been pushed back day after day until our men are completely exhausted. Our orders are to make a stand here at the Iser River long enough to give the sappers time to blow the dikes. Once the dikes are broken, the river. Should stop the enemy. How long will it take to blow the dikes? We must hold the line until sundown, roughly 18 hours. And you can't do that? I seriously doubt. It, Commander. We've appealed to General Haig for help, but he's completely engaged on our right and can't send us any reinforcements.

1:03:05 The French are too far south, and they have their hands full, too. It was my suggestion at tonight's staff meeting to seek help from the sea. It's our last chance. Well, what do you want us to do? Stand by us. Bring your guns to bear on the enemy's advance. But we're only a destroyer, Major. Our firepower is too low to do any good whatsoever. And we haven't the range for offshore bombardment. Alas. Then we are finished. And so is the war. There is nothing between Von Kluck and Paris but us. I'm sorry, Major. They are starting the barrage early this morning. I suppose they know. This is the last day. Yes, I suppose. Oh, wait a minute. I've an idea. Mr. Ainslie.

1:03:48 Sir? The kilts. The kilts, sir? Yes, we can put a company of Cameron Highlanders into the Belgian lines. I'm sorry, sir, I... Major, Major, we can help you. It's a long, long shot, but it might work. What might work, Commander? Well, somebody made a botch back in Plymouth and loaded us with eight cases of Scotch uniforms instead of Scotch whiskey. There are nearly 200 complete uniforms of the first Cameron Highlanders aboard. Yes, but I don't understand... We'll give them. To you, Major. You put them on a company of your men. Let them show themselves in the front line. When the attack begins this morning, perhaps... perhaps the Germans will think the British have rushed in a crack division to reinforce you. Yes, yes, it might work. Yes. We can let you have a few Lewis guns, too. But they will not be much help unless the uniforms do the trick.

1:04:28 It's, as you say, a long shot, but let's try it. Very well. Mr. Ainslie? Sir? You go back to the ship at once, fetch those cases of uniforms and four cases of Lewis guns with ammunition. Aye, sir. I'll remain here with the Major and help him get his men lined up. Oh, and, uh, Ainslie. Sir? Should Mr. Tweddle inquire, you might tell him I'll be, uh, Detained while longer winning the war. Yes, sir. It was a sight I shall never forget. Two hundred men solemnly changing their battle dirty green uniforms for the gay kilts and tartans in the pale light of the setting moon. Everything was done with the utmost dispatch and in utter silence.

1:05:12 And it seemed to me that the bright cloud put new energy as well as hope into the battle-weary Belgians. They look like the real thing, don't they? Yes, they certainly do. You know, I believe this will work. Oh, I nearly forgot, sir. What is it? Mr. Tweddle asked me to tell you the flagship's been trying to reach you for wireless. Oh? What did they want? Mr. Tweddle didn't say, sir. Well, they'd have to wait until this business is finished. Mr. Tweddle said he'd replied, sir. Oh. Very well, then. That's the last of him. A thousand thanks. Oh, not at all. Scotch kilts are precious little use to a ship full of sailors. But they may do a turn for you this morning. I feel sure they will. Well, we must be on our way. Less than an hour until daybreak. Goodbye, Major. Goodbye, Commander. You must look me up after the war.

1:05:54 Always reach me at the Navy Club in St. James's Square. Thank you, sir. I'll do that. Au revoir. Au revoir, Major. A bon chance. That sort of thing. Well, Mr. Tweddle, I think we can get underway now. Finished with your visit ashore, sir? Scarcely a social call, Mr. Tweddle. I think we may have been of some help to our allies this morning. Of course, sir. Oh, Captain, the flagship's been trying to reach you. Yes, yes, Mr. Ainslie.

1:06:34 I signaled them that you'd gone ashore. Oh, you did? Well. That must have intrigued them. Well, I shouldn't say they were pleased. I just have received this reply from them. As senior officer present aboard, you are ordered to take command of fire break and proceed to fleet rendezvous immediately. Well, that's a neat double cross, Mr. Tweddle. I'm sorry, Mr. Bradman, but my responsibility is to the ship on which I serve. Yes, yes, I can see it is. However, since you're once more aboard. Oh, no, Mr. Tweddle. You have your orders from the flag. Follow them. Meddling rule book sailor. His captious wireless message had made an unnecessary embarrassment for me. But I had no doubts that my explanation of the night's work would fully satisfy the admiral. So, let Mr. Twiddle have his little moment of triumphant command.

1:07:33 I stood out on the starboard bridge wing as we pulled away from the Belgian coast. Through my binoculars in the grey dawn, I thought I saw the flashing red and yellow of the Cameron flag as the last day of the first battle of Flanders began. As I expected, the Admiral made a thorough investigation of the matter and a few days later I faced him in his quarters aboard the flagship. Mr. Bradman. Your little adventure of a few nights ago involved some very serious breaches of discipline. You disposed of war material without authorization. You left your ship without authorization. You deliberately violated the fleet orders regarding assistance to land forces.

1:08:21 And I managed to stop the German advance dead. In its tracks, sir. Mr. Bradman, we know that the German advance has been stopped. But it was stopped by opening the dikes of the Iso River. A plan which has been part of the Belgian and French grand strategy for years. Yes, sir. The dikes would never have been opened if the Belgian lines hadn't held that last day of the battle. And they were held because the Germans' attack was slowed down. And it was slowed down because the Germans thought the Belgians were reinforced by the first camera in Highlanders. Mr. Bradman, I have given your story the benefit of every doubt. I have even queried the Belgian general staff to try to substantiate it. I have their reply. They have no record of any unit being outfitted in Highlanders' uniforms. This wasn't a general staff matter, sir. It was on a regimental letter.

1:09:01 I may say there is even some doubt on the part of the members of your crew whether or not the men who received the uniforms were Belgians. What? Yes, Mr. Tweddle says. Mr. Tweddle, that meddling fool from the cargo ship. That is enough, Mr. Brant. It is the decision of the fleet inquiry board that you be relieved of your command. Placed in Irons. and be returned to Hull to face court-martial at the earliest possible moment. Court-martial at Hull sustained the Board of Inquiry's decision, and I spent the rest of the war in prison. Afterwards, naturally, I had to leave England, and wherever I went, Cape Town, Vancouver, Singapore, Melbourne, sooner or later, the story, their story, followed me. Sooner or later, some ex-Navy man would turn up who recognized me...

1:09:54 and I would have to move on. At last, I have come back to this Belgian beach where it all happened. And here I have found the one man who believes my story. He is the proprietor of this little inn where I now lie ill... and too tired to fight any longer. It is too late now to worry about my reputation. But he has persuaded me to write this letter that my son... may not have to bear the undeserved infamy which. I have been forced to endure. And he has kindly offered to carry this message to any who may yet be interested in clearing the record of Edward Bradman, Commander. Royal Navy.

1:10:34 That's all very well, Mr. Ordway. But there is not a single statement in that letter that has not been entered as evidence in Bradman's court-martial. There's no new proof. There's nothing here... Excuse me, Admiral. I wish to present to this board the bearer of Commander Bradman's letter, Mr. Wolfgang Bechtel. Guten Tag, gentlemen. You are the proprietor of the Auberge des Deux Matelots, where Commander Bradman is now staying. Here I am. But your accent, you are German, aren't you? Yes. How is it that you own an inn on the Belgian coast? After the war, I could no longer bear to live in Germany in the midst of the misery that I had helped to cause. So I, too, like a criminal returning to the scene of his crime, went back to the beach at Neupost.

1:11:28 I have been there, I have seen. This is all very interesting, but I don't see what it is. Sir, bitte, please. I am the proof you have been asking for. I swear that every word of Commander Bretman's statement is truth. Commander Bretman is indeed the man who won the war. I know because I'm the man who lost the war. I was the sentry who fell asleep.

1:12:12 Midshipman Edward Bradman. Here, sir. Advance three paces. Midshipman Bradman, as Commandant of the Royal Navy College, it is my honor, by order of His Most Gracious Majesty, George V, to ask you to receive this Victoria Cross, awarded posthumously to your late father, Commander Edward Bradman, for gallantry... but in trepidity beyond the line of duty. And to try to accept the humble apologies of a belatedly grateful empire.

1:12:54 Escape. Is produced and directed by William N. Robeson and is tonight presented The Man Who Won the War by Robert H. Buckner, dramatized for radio by Mr. Robeson. Featured in the cast was Ben Wright as Commander Bradman. Also heard were John Daner, Terry Kilburn, Joseph Kearns, Barton Yarborough, Jeff Corey, Ian Wolfe, Paul Freese, Charlie Lung, and John Hoyt. Special music was arranged and conducted by Del Castillo.

1:13:35 Next week.... You are standing on the floor of the sea in the middle of the sunken city of Fort Royale with its fabulous chests of treasure waiting to be hauled to the surface. But your life depends on the ship above you where the treachery of your partners has left you with no escape. Next week, Escape will be heard at a new time on Friday evening. Next week, we. Escape with the story of a diver who discovered an entire city beneath the sea, Port Royale, an exciting tale suggested by Lieutenant Harry Reisberg's.

1:14:19 Book, I Dive for Treasure. Goodbye, then, until a week from Friday, when once again we offer you Escape. Now stay tuned for the adventures of Philip Marlowe, which follow immediately over most of these same CBS stations. This is CBS. The Columbia Broadcasting System. Stay tuned for the adventures of Philip Marlowe. 10 p.m., B-U-L-O-V-A, Boulevard Watch Time. Boulevard Maxim, including band, valued at $ 12. 75. Complete, only $ 29. 75. President Truman, General Marshall, and Henry Fonda will tell you about a gallant fight against misfortune 30 minutes from now on a special broadcast entitled Across the Street.

1:15:03 Across the nation. WCBS AM and FM New York. Well, my dear, are you enjoying yourself? The tea is hot as usual, and the company is, I would say, appropriate. Ha, ha, ha. An odd word, but I think it does apply. What's that? Well, the chill is a bit oppressive tonight. I suppose I should put another log on the fire. There we go.

1:15:47 Nice and hot. Now please, relax. Warm yourself. After all, as we used to say, the cold may be brutal, but... Tarawa was tough. Suspense. And the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson. The story you are about to hear is a true story, a war story. It happened only 14 years ago, but already it seems a little dated, almost quaint in these days of an ever bigger and bigger bomb. But it wasn't quaint to the men who lived through it or died during it.

1:16:32 For no matter how huge and lethal our weapons become, our real strength lies in men. The men of Bataan and Normandy, of the Argonne and Seoul. The men who today stand constant guard upon our far-flung ramparts. The men of the armed. Forces of the United States of America. To them. This historical footnote is dedicated. Tarawa was tough. Starring Mr. John Lund. Friend now. John Lund stars in Tarawa was tough. A tale well calculated to keep you in. Suspense. This is the way it was when they went island hopping.

1:17:13 This is the way it was at Tarawa. But you can call it Kwajalein or Macon or Namur. Or Los Negros. This is how they fought a war where it's tomorrow, tonight. The training's all over now. You're ready to ship out. You're tough and you're hard and you're raring to go. But wars move slowly, even the best of them. So you sit and wait, crowded into a shed on a pier in the harbor of Wellington, New Zealand. You've been laying around this shed for 12 hours now, waiting to get aboard your transport, and you'd go box-sock if it wasn't for the radio that the Red Cross fellow rigged up.

1:18:04 It's tuned to your favorite station, Radio Tokyo. Hey, what a tune, huh? What a tune. Can you imagine what Sinatra would do to that? Sinatra would murder it. Listen to Bing. Bing, Bing. You're getting old, Les. Sinatra's a kid nowadays. I reckon Moish is right, Les. We've been out of the States too long. Here's a whole new generation grew up since Pearl Harbor. Like these two boots. Can I help it if I was born later than you? Or something, I wished I was born even later. Shorty, what did I ever do down in the canal to get a boot like Odie assigned to my squad? You shouldn't have let your squad get cut up so bad at the Teneroo.

1:18:44 Hey, look at what you're saying, Shorty. Les is the best sergeant in the whole Marine Corps. Now, Odie, just keep your coveralls on. I was at the Teneroo myself. I know all about how Les got those ribbons. Yeah? You get a Guadalcanal patch on your sleeve and you get too big for your britches. Well, listen to what's talking. The commando of Camp Lejeune. I wish I was listening to that record at Eddie's dog cart back in Allentown. Homestead. Get it? Huh? I was just thinking. Hey, Les. Hey, how'd they get them new platters like that in Tokyo? By a midget submarine direct from Catalina Island. Oh, come on now. No kidding. How do they? What do you think Argentina stayed neutral for? Huh?

1:19:24 Just so they could send the latest American jive to Japan so Tokyo Rose can play them for us? Gee. You know, I never was able to understand that international politics. Well, boys, how did you like that one? Pistol Packin' Mama, sung by Bing Crosby and the Andrews Sisters. And this is your chin-up girl in Tokyo. Get her. I wonder who writes her material. Chin-up girl. It's kind of cute, huh? Pistol-packing mama. Your mama in Tokyo is packing no pistols tonight. She's packing a heart full of pity for you kids. They're selling you down the river back home. Four more strikes were called today. Doesn't look like you boys are going to get those planes and ships they promised you.

1:20:06 You know, I don't like that all the time. You get used to it. Too bad, you boys. All of you couldn't be back home tonight where you're really needed, protecting those near and dear to you. And now I have a special word for the brave Marines down in New Zealand. Hey, that's us, yeah. You boys are waiting now for transports. You don't know yet where you're going, but I do. You will sail in the morning to attack the Gilbert Islands in the Central Pacific, but you'll never get there. We're waiting for you with hundreds of submarines. I'm sorry for you boys.

1:20:46 None of you will ever see land again. And now a recording which seems appropriate to the occasion. Asleep in the deep. Well, how do you like that? How does she know where we're going? Ah, Moish, you remind me of that tired old gag about the guy who reads a sign on the door that says, Keep out, this means you. And he asks, How did they know I was coming? Oh, very funny. Sure, that's just a lucky guess. Nobody's going to ask. In case you boys waiting on the piers in Wellington think I was kidding. Huh? She means us. In case you think I don't know what I'm talking about, the time is now five minutes after eight. If you'll look out the window at the clock in the Customs House Tower down there in Wellington, New Zealand, you'll discover that it stopped 20 minutes ago. At exactly a quarter to eight.

1:21:38 What? Maurice. Huh? Take a gander out of that window, will you? Yeah. Hey! Hey, yeah, she's right. Eight and a half to put in a quarter of eight. My watch says eight-five. There you see, boys. Don't ever doubt your Tokyo chin-up girl again. Chin's up. And bon voyage. Oh, well, you can't load 20 transports full of Marines and tanks and Jeeps and guns without somebody getting wise. When you pull anchor early in the morning and. Meet your naval escort outside the harbor, you forget all about that dizzy broad on the Tokyo radio.

1:22:20 Let them send all the subs they've got left. You'll be ready for them. Because you've never seen so many carriers and cruisers and battle wagons in your life. You know you're on your way to something big. And they don't leave you in the dark about it. New Zealand is just slipping under the horizon to the south when they heard you together for a chart talk. Men, there's been a lot of scuttlebutt about where we're going. And it's time we give you the lowdown. Because all of us have got a lot of work to do before we get there. Our job is to take Tarawa. What's that? Never heard of it. Tarawa is the principal atoll in the Gilbert Islands. The Gilbert Islands? Tokyo Rose was right. She was only guessing. Part of the task force will attack Macon Island to the north. I think some of you boys are pretty well acquainted with making. Now, another force will attack Abamama in the south. But our job is to take Tarawa.

1:23:14 And we expect it to be plenty tough. Now, take a good look at this map. Study it. Study it hard. By the time we. Go over the side, I want you to know it as well as you know the drill ground at North Island. Now, the island of Badeo. Badeo, here on the extreme southeastern tip of the atoll, is where the Nips. Have their strongest fortifications. Now, you men who are at Guadalcanal will find this a much different operation. There's no jungle on Tarawa. That's a break. You mean we'll be able to seed a little... before we shoot them? I won't guarantee that. Air reconnaissance shows that they're strongly entrenched.

1:23:58 The airstrip is surrounded with pillboxes and echelons. That'll take flamethrowers. You'll be supported by flamethrowers, light and heavy tanks. Brother, this is going to be easier than a dry run in Paris Island. Don't be too sure about that. You'll have the strongest support any Marine force has ever had. The island will. Be softened up for us by naval and air bombardment and all that, but remember, you're going to have to take the island yourselves, on foot, with the weapons you can carry. That's okay with me. Now, the beaches will be designated red, yellow, and blue. You men are assigned to beach red. Hour after hour, you go over the maps and the charts and the air photographs, printing each detail in your memory, cramming like a kid before a geography exam. You only take time off to chow, to hit the sack, and to take your turn topside on the sunny deck.

1:24:53 Oh, man, what a. Way to fight a war, huh? Can't I get paid for laying out. Here, getting this lovely tan? That's what you think. Oh, man. You know, I hope I'll be able to keep tan like this until I get back to Brooklyn. Boys, you better cover up. You look like a bad case of the 4th of July. Nah, nah, I'm okay. I always get red like this here at first. But don't mean nothing. Now, listen, Marsh. We're getting near the equator. This sun is different than the sun in Canarsie. What are you talking? I don't see no difference. There ain't two suns, is there? No, it's the same sun. Well, then. You know what I'd like right now? Huh? What? A bottle of Mexican beer and a bowl of chili. Hey, chili. Hey, did you ever know any Mexican girls, Shorty? You know, if I try real hard, I can see a connection there.

1:25:44 Don't try it. I knew a Mexican girl in Dago West while I was at North Island. No kidding. Yeah. Ever know a Mr. Smith in New York? No. Oh, I never run into him. That's funny. Yeah, friend of yours? No. Well, this Mexican girl, she was. What? Friend of mine. Get Casanova, Greenberg. Huh? It was just you calling me Odie, a son of dirty. Oh, not necessarily. Casanova was a guy who had a way with women. Oh, you notice that about me, too, huh? Did I ever tell you about that Aussie girl I met in Sydney? She had false teeth, uppers and lowers, full set. So you talk, but just to talk. Because nobody really listens.

1:26:29 You talk because you don't want to listen to the pounding of your own heart, racing against time, against the too-soon time when it may stop forever. You talk, or you just lie there and look out at the blue, blue water. And you wonder, what are you doing here? How did you get here? And you wonder if Tokyo Rose was guessing or did she really have the word? And you wonder, most of all, if you ever will reach dry land again.

1:27:14 In a moment, we continue with... Suspense. Now.... We continue with... Starving Mr. John Lund. A tale well calculated to keep you in. Suspense. There are 2,000 Marines aboard this transport. And below decks, it isn't exactly a cruise ship. The bunks are stacked four deep, and there isn't any headroom. You have to slip in sideways. Your gear hangs on the steel upright.

1:28:02 Your netting-covered tin hat swings slowly with the motion of the ship. It's hot down here and it stinks. It stinks of the sweat and cigarette smoke of hundreds of men. But you're not noticing any of this now. You're lying on your bunk with Moish up above you and Shorty below, studying that map of Tarawa. I sure wish we were going into Beach Yellow instead of Beach Red. Why? Beach Red's next to that pier. I bet the Japs will have guns all over it. Kid, by the time we get ashore, that pier just won't naturally be there. The bombardment will take care of it. And brass has learned a lot since Guadalcanal. Was the canal tough, Shorty? The West never tells me much about it. Kid, it was tough, it was rugged, it was hell. Mr.

1:28:46 Rowleth ain't gonna be a breeze. I hope you're right. Oh, boys, I just got the dough from the skipper. Yeah, what is it? When do we go over? Hey, oldie. Don't sit up so sudden. How's the sunburn, Moish? Terrible. My back is just killing me. Why don't you lie on your stomach? It's burned worse. Don't tell me I told you so. But I did. You wouldn't have listened. What did the captain say, Liz? D.J. Is the 20th. 8th hour is 8.30 in the morning. Tonight's the 18th. And we go over day after tomorrow. We go over tomorrow night. And if you guys got any letters to write, now would be a good time to do it. You rid your mouth, Odie? No, not today. You better do it, kid. They're going to be pretty busy.

1:29:27 From now on. But you can't write. What can you say? You got too much on your mind to write. They spring a boat station drill along about 400 hours. By the time that's over, you got to line up for chow. You spend the rest of the day checking over the maps and photographs and your equipment down to the last cartridge and grenade. And as the day passes, you start to tighten up. You can feel the other guys tightening up, too. It's all over the ship. Everything's the same. The placid blue sea with the sun sparkling across it. The flung out lines of transports and carriers. And battle wagons. It's just like it has been for six days. But inside you, inside every man on board, it's different. It's hard to get your breath. Your heart's pounding like a trip hammer. Your nerves stretch tighter and tighter... And by nightfall, you feel that something has got a snap inside you.

1:30:25 And then along about midnight, a loud speaker box. All hands secure condition three. Set condition 1A. Hey, you hear that, Wes? Come on, get your gear together. Relax, kid. That's for the Navy crew that's running this tub. The hired help. Yeah, you got plenty of time, Odie. That's the most you got of anything. In a war, Ty. Yeah, but maybe they changed the plan and were going in earlier, huh? Now, you know the Admiral wouldn't go and do anything like that without consulting you, Moyes. Odie, did you write your ma tonight? No, I've been too. I've been getting my gear together. Listen, kid, you better write your ma now. You've still got time. I don't know what to tell her.

1:31:06 Tell her you're having a wonderful time. Tell her about how pretty the palm trees look in the moonlight. Tell her you hope she's getting enough to eat back home. Tell her anything to keep her morale up. While the Marines lay around on their bunks down below in the blue battle lights, there's plenty doing topside. From the boat deck, davits creak and groan as the LCPs, the landing craft personnel, go into the water. From the forward and. After decks, the winches sputter and choke, dropping the big LCMs, landing craft mechanized, over the side. Finally, they're all away. and cruising astern in a loose, turning circle. Aboard ship, the loudspeaker is squawking. Hey, hey, 15 and 16.

1:31:49 They ought to be calling us pretty soon now, huh? They'll call us when they call us. Relax. Hey, you can't take that island all by yourself, boy. You gotta have some help. Oh, it ain't that. I want to get over with so I can take this equipment off. Hey, he strapped some mortar in my sunburn. Oh, don't you worry about that. Japs will take the sunburn off you, man, won't they, Les? Yeah. How do you feel, Odie? I'm okay. Scared, kid? Me? Scared? Heck no. Listen, brother. Let me tell you something. You look scared. You act scared. You're lying like a. The only difference between you and Les is Les don't look or act scared. Are you scared, Les?

1:32:29 Sure I am. Scared to death. Oh, Les, I'm glad you said it, because honestly, I'm so scared. I know, kid, it's just natural. Hey, you guys, where's the chaplain? Well, he ain't there in the head. I'm looking for him everywhere. Last I saw him, he was after in the sickbay hearing prayers. Thanks, Mac. You better hurry. He's got to land down that deck as long as a gene artery pitcher in Abilene on a Saturday night. Divisions 17 and 18 report to the parking station. Hey, 18, that's us. Come on, Les. Hurry up. Come on, Shorty. You better save your strength, kid. You're going to need it later. They're crouching in the landing bars now. 36 of them have come tumbling over the side and down the cargo net, and now they huddle in the bottom of the LCP.

1:33:17 They don't look like the ads in the slick magazines back home. They're just three dozen American kids of assorted sizes, creeds, and color of hair. They aren't quite as slap-happy as a football team on its way to the Rose Bowl, but they aren't acting like they had a date with. Destiny, either. They're just a bunch of well-trained kids talking shop. Now, Odie, mind what I told you. When we get a show, you keep your butt down. Yeah, that's important, Odie. You ain't got a tin hat on your tail. Another thing, first time on the fire, maybe you'll freeze. Well, don't let that worry you. Just freeze. I'll be there to look after you. Well, unless you treat me like a kid, I can take. Care of myself. Now, you hear me. I'm looking after you, see? Who's going to look after you, Sergeant York?

1:33:57 It's not yet dawn, and the boats are cruising around in a circle at the rendezvous point, a mile. Off the beach. It's quiet, except for the purring of the engines and the low talk of the men. And then, way off toward the horizon, there's a jack of all sparks. Hey, what was that? The Navy. Battleships and cruisers offshore. Sure, now work for us. Brother, when they get through pounding that beach, there won't be a chap left to rig a booby trap. That, boys, is what it's known as. Softening up. Oh, I told you, this is going to be a pushover. It takes hours to organize and land an invasion force. You don't rush off toward the beach at top speed yelling, gung-ho. You wait. You circle and wait while the big guns of the Navy pound the 800-yard-wide island of Bajio. And then the sun bounces up out of the ocean off toward Hawaii, and it's daylight and hot, and still.

1:34:43 You wait, circling slowly. And when the battle wagons leave off, the dive bombers take over, swarming up from the flat decks of a dozen carriers hidden behind the horizon, roaring down on the Japanese gun positions, crumbling the pillboxes, pulverizing the concrete ramparts in the most intensive air bombardment in history. To you, crouching mouth agape. Offshore in the MCP, it looks as though nothing could remain alive under that murderous fire. It's getting close to 8-hour now, and you get the flash from the flagship, and the circle breaks up and the boats pan out heading for Beach Red. But you don't go in full throttle. You're creeping slowly, feeling for a safe channel through the treacherous coral reefs, praying the high tide will hold its promised four and a half feet of water so you can unload these kids on the page of a history book.

1:35:29 You peel your eyeballs, searching the coral formations beneath the rippling green water. And then, suddenly, something's changed. Something is not quite the same. And then you get it. It's quiet. It's quiet. The Navy guns have ceased firing. The Navy planes have let up. So the men can go in. It's H-hour. And no sound comes from Bejo. Not a single rifle barks a challenge to your coming. How you doing, kid? Okay. Okay. Look at that. Look at that. Not a peep out of them and only a couple of hundred yards to. Go. What's that? What's that? We're on the ground. Yeah, you've run aground. You can back away, all right, but you can't go forward. Your bottom's crunching coral.

1:36:14 This is the end of the line. All right. Oh, here we go. Okay, boys, get on your overshoes. This is as far as we go. How do you like that? It might take a race to. Red Beach and return. Got to eat something to stay afoot. All right, boys, over you go. And keep those rifles out of the water. All right, guys. All right, come on, let's go. Too many Japs went to school in the States. Too many nips read American history... They know about Bunker Hill and don't fire until you see the whites of the enemy's eyes. And as soon as the boys dropped into the water, they opened fire up from a dozen hidden pillboxes. Shut your heads when you see the splashes coming your way.

1:36:54 Hey, come on, let's go. Keep waiting, guys. Hey, little kids, come on, let's go. Hey, it's murder. It's murder, all right. All up and down the beach, the men are pouring out of the LCPs into a hot wall of death. This is Beach Red. Brass has to make up the code, named it well for this day. The beach is red, all right. And the surf's breaking red upon it. Blood red. The landing barges are helpless. All except one. It finds a curving channel through the coral and pushes its clump nodes inshore to pick up the wounded. It's tough going, waiting for water up to your chest, holding your gun over your head, the machine gun bullet kicking up rows of white splashes. Just in front of you.

1:37:35 But you're not scared now. You've only got one thing on your mind now. You've got to get to that beach. No, you're not scared. But you're mighty glad Les is right here beside you. Come on, kid. It's not much further. Tonight we'll be less. Hey, who said this was going to be a pushover? Hey, Les. Odie. Where are you? Hurry up, shorty. We got to get to that beach and dig in. Where are you? Les? Odie. Les, look. Johnny, he's waiting back out at the sea looking for us. This beast is all shot up as he flies. Don't look, kid. There's nothing we can do for him. We've got to get to that beast. Hey, we ain't going. Anyplace if we're not careful. What's the matter? There's a sniper in that wrecked OCB duck. They're shooting this way. Get down on the gate!

1:38:16 Stop! Clack! Clack! He stopped one! He stopped one and had my name on it! All right, there's an LCP over there picking up wounded. We got to get him on it. LCP! Over this way! Move it, man! Name it! Bring that boat over here! I seen this, Tony. They're coming. It's going to be okay, Les. I'll take care of it. I'll get you back to the transport. You're going to be okay, Les. You're going to trip. Home high with this kid. You'll get back home to see Mark. Get over here, Mark. Is he hurt back? I don't know. He can't talk. All right, give me a hand. Boost him up, will you? He's pretty heavy. Okay. Hey, wait a minute. What's the matter? I can't take this man.

1:38:56 I'm only picking up water. He's dead. He's dead? Yeah, I'm only picking up water. Look, sailor. Look, he's my brother. Your brother? Yeah, you see, I can't leave him here. Yeah, I see that's tough. You got to take him. Yeah, yeah, well, hey, give me a hand with him. I guess I can report he died on the way out. Thanks, Henry. Thanks a lot. Hey, hey, that one got you in the arm. You better climb it, too. I mean, I'm okay. You take care of that, will you? Come on, boys, we got some jobs to kill.

1:39:47 Yes, Sarawa was tough. So was Halandia Bay and Guadalcanal and Saipan and Iwo Jima, Okinawa and Iwitak. But they were won and held by men Even the final island of Honshu, on which the two first adolescent bombs burst, was finally won and held by men. The men of the armed forces of the United States. The men whom America honors. Suspense. In which Mr. John Lund starred in Tarawa Was Tough. Written, produced, and directed by William N.

1:40:33 Robeson. Listen. Listen again next week when we bring you another tale well calculated to keep you in. Suspense. Supporting Mr. Lund in Tarara was tough for Ellen Morgan, Jack Crucian, Dick Crenna, Joe DeSantis, Robert Easton, John Daner, Larry Thor, and Lou Krugman. Suspense has come to you through the worldwide facilities of the United States Armed Forces Radio and Television Service. Good, good. Drink up. I'll make some more tea in a moment. You know, it can be hard not to feel a little down. What with the holidays coming up, And the holiday already over for now. But I try to keep a positive attitude as much as I think anyone would. What's that? Oh, don't bother looking over there.

1:41:46 That's just the lady on a yacht. The Whistler. Presented by the United States Air Forces in Europe. I am the Whistler. And I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes. I know the nameless terrors of which they dare not speak.

1:42:27 And now, the whistler's strange story, Lady on a Yacht. Oh! A beautiful woman rapidly losing money at the gaming tables attracts attention in any part of the world. Ana's guerta infante rose from the table at the resort of San Bresano in Argentina and left the room with a tall, dark spangler.

1:43:17 All eyes were upon her. You wish to speak to me, Carlos? Yes. Yes, little sister. I am not your sister, Carlos. You are my sister-in-law, the widow of my dead brother. It is the same. As the head of the family, I must take care of you. You must not be careless, Gerta. Do not forget there are places in Europe where you are badly wanted, where you would face... Certain imprisonment and possible execution. I took care of myself before I married your brother, before I came to Argentina. I knew this enough. Now you are a member of our family.

1:43:57 As the oldest son, I have the authority to demand that you come home with me before you lose the little fortune that my dead brother left to you. It is too late for that. It's gone. It's gone? All of it? Every peso. Then I am too late. Well, you must not worry. I'm not worried, Carlos. I have lost money, yes. But I have been playing for bigger stakes. I do not understand you, Gert. I have never understood you. It is the rich Americans. You mean Senor Philip Collins? Yes. For weeks I have been gambling. So has he. While losing at the tables, I attracted his attention. He has fallen in love with me. And I with him.

1:44:43 A North Americano. I wonder, does he know? That I am the widow of your brother, of course. But before that, if... Before that, before you came to Argentina. No, but there will be plenty of time to tell him. I am marrying him tomorrow morning, sailing to Argentina aboard his yacht. Yes, your gamble paid off, didn't it, Goethe? You realize just how well when the big yacht sets sail. It's been a long time since you've enjoyed such luxury, hasn't it?

1:45:23 You're deeply concerned, however, when your new husband insists on a cruise to the Mediterranean before going to the United States. You have a strong fear of many European authorities. Yes, you are one of those listed for questioning regarding certain wartime activities. You never want to see Europe again, do you? Or have anyone in Europe see you? For there are many who hate you. and would like. Nothing better than to turn you in. If any of them saw you, it could mean death or life imprisonment to you, couldn't it, Gert? You persuade Philip to agree that you will never leave the yacht. But when you reach the southern coast of Italy, he insists that you go ashore with him to a small island, where you visit a rather deserted outdoor.

1:46:08 Cafe overlooking the water. What do you think of the view, Gertrude? Oh, it's lovely, Philip. Perfectly lovely. You are happy, aren't you? Very happy. Let's sit here, shall we? Oh, it is a nice, peaceful spot, isn't it? Mm-hmm. An artist making sketches and trying to sell the paintings. No, no, look over there. Oh, yes. The quiet type with that beard and the dress. I'm going to call him over. How do you say artist in Italian? Pittore, I believe. Pittore! Si, signore. Will you come over here? At your service, senor. You wish to make a sketch of the lady?

1:46:52 Yes, but first let's have a look at your paintings. Of course. Please step over here. I am honored, senor. These are very pretty, aren't they, Goethe? Yes, Philip, they're very good. Which one would you like to have? That landscape, I believe. Then that landscape it is. How much is it? Oh. You name the price, senor. Oh. Well, little mind, we'll talk about that later. What name, Conrad Marlin? Marlin, how about doing a sketch of Mrs. Collins? With the greatest of pleasure, if madame would remove her dark glasses. I'm sorry. I'm afraid the sun is too bright.

1:47:34 Oh, but, Gerda, he can't sketch you. I'm so sorry, Philip. Oh. Well, never mind. Now, wait a minute. I have an idea. Marlin. Yes? I'll have you brought out to our yacht tomorrow. You can sketch Mrs. Collins there, where she'll be more comfortable. Now, why don't you sketch Miss Collins here, Marlon, on the deck standing against the rail? Oh, that will be very nice, Mr. Collins. What do you think about it, Jutta? Whatever you wish, Philip. Good. Well, I'll leave you two alone. But don't have a drink with me when you're through, Marlon. Thank you, Mr. Collins. You are most kind. Now, Mrs. Collins, If you will raise your head... a bit.

1:48:20 Like this? Perfect. Lovely subject. I am aware, of course, that Madame is not an American. I see. I'm from Argentina. I know. You went there early in 1945. From Germany, Frau von Reckenwitz. Why do you call me that? That is the way I addressed you when I painted the wedding portrait of you. And your illustrious husband, General von Reckenwitz. I don't understand. I have changed a great deal, have I not? This beard.

1:49:03 I am Kruber. Kruger? At one time the most popular portrait artist in Central Europe. Unfortunately, those days are gone. Now one must disguise oneself, carry papers under a false name, beg from tourists. No one can understand my position better than Madame. Who is also concealing her connection to the past? What do you mean? What makes you think that? Americans do not know the words of our names, like General von Reckenwitz. If they know? You think not? No, not even when they are as lovely as Madame. I need money badly. Say that you like the sketch so well that you want to engage me to paint your portrait.

1:49:44 Mr. Collins will agree, I'm sure. But why is the portrait necessary? I have money. I would be glad to help an old friend. No, no, no. You can help me best through the portrait. Why? Take it to America. If you hang it in your fine living room, Mr. Collins will show it to his friends. Tell them that Conrad Marlin painted it. There will be commissions awaiting me when I arrive there myself. You plan to go to America? Oh, yes. Yes, with the rich husband of my good friend, Goethe von Reckenwitz Collins, to help me. Why not? Well, Goethe, it's infuriating, isn't it?

1:50:36 You're anxious to get to America, and now the yacht remains anchored off this Mediterranean island while the artist Kruger, now known as Conrad Mullen, paints your portrait. But you know one thing. You'll see that the portrait never reaches the United States, where it could be used to further his interests. The sittings for the portrait seem endless, and you're constantly on your guard, concealing your dislike for the artist and making a pretense of friendliness. Oh, I'm so sorry. I'm afraid I moved. Oh, that's quite all right, Mrs. Collins. Turn your head a bit more to the left, please. Like this? Yeah, that's fine. I noticed Mr. Collins is not here today.

1:51:17 He went to the mainland to see someone at the American consulate. Oh? Then you plan to leave here soon? Oh, yes. As soon as the portrait is finished and my papers arrive from Argentina. Oh, about the portrait. It will be finished tomorrow. Tomorrow? Really? Why, I can hardly wait to see it. I hope that Mr. Collins will like it. I'm sure that he will. This painting, your portrait, has all been very fortunate for me. I have enjoyed our... chats together. It is good to be able to talk to someone who understands. It's been good for me, too. But you must both remember, I am married to an American now. Ah, there you are. Get up.

1:51:58 I've brought a gentleman from the American consulate back to meet you. His name is Beardsley, an old friend of mine. He's staying for dinner. Oh, well, that would be nice. How much longer is it going to take, Martin? Oh, the sitting is nearly finished for today, Mr. Clinton. Good. I'll hurry along. And when you're through here, you'll find Beardsley in the lounge. That was a narrow escape, wasn't it, Goethe? Suppose Philip had returned a few minutes earlier and overheard Malin's remarks. It's very dangerous having him around, isn't it? But at the final sitting tomorrow, there will be no reason for him to return to the yacht. Later, when you go into the lounge, you see Philip and his guest at the far end near the bar. They don't notice you as they're looking at the landscape you bought from Marlon the first day at the island.

1:52:45 Oh, very nice. Where'd you get this, Collins? From an itinerant artist on the island. You like it, then, huh? Oh, yes, very much. Haven't you known the name of the artist? Yes, it's Marlon, Conrad Marlon. Marlon. Uh-huh. No, I never heard of him. Got a lot of talent. Yes, I should say so. He seems to be down and out. Well, that frequently happens in this part of the world. You know. I've got an idea. Why don't I take. Him to America with us? He could make a good living there. Could that be fixed up? You mean about his papers? Yes. Perhaps. If he's already applied for a deal, there wouldn't be a wait. What would I have to do? Bring him over to the consulate to see me in the next day or so.

1:53:27 I will. Well, this calls for a drink, Beardsley. Scotch? Yes, thank you. Good. And how about one for me? Oh, good. There you are. This is Gordon Beardsley, dear. Come out, Beardsley. How do you do, Mr. Beardsley? Yes, please. Beardsley, an admirer of Marlon's landscape. Oh, you like it, Mr. Beardsley? Oh, very much indeed. I'll tell you what. We'll get you one of his pictures as a present. Gerda, you see about it tomorrow when Marlon comes out to the yacht to work on your portrait? He's painting your portrait, Mrs. Collins, huh? Yes, he is. How is it coming along? Oh, very well, I believe. Now, that's interesting.

1:54:07 You know, there aren't too many men who do both portrait and landscape equally well. Is that right? Yes. There was one in Berlin, though, named Kruger. He did landscape, but also painted top political figures. What became of the artist? Hasn't been heard of since the war. Disappeared like someone else. He was wanted by the authorities. He's probably dead now. Or in South America. A lot of those political refugees went there, you know. Is that so? No, those people are scattered to the four corners of the globe. Hmm. It doesn't matter much to us where they are until they try to enter the United States. Then, of course, it's different. That's pretty closely watched, isn't it, Beardsley? Oh, yes. Of course, there are certain cases where we're virtually helpless, where certain beautiful women are concerned, for example. Some of these women were close friends or were married to key figures of the Nazi regime, and after the war, these women simply attached themselves to other important men.

1:55:03 And in that way, they entered the United States, huh? At times, yes. Well, I don't like that. I don't like it at all. No, nor do I. But before turning down an application for a visa, I have to find some proof, you know, something concrete. And in the cases of many of these women, especially when they've been away from Europe for some years or married prominent citizens of other countries, such proof is difficult to get. That's interesting, isn't it, Goethe? You're confident that if you're not recognized as a widow of the infamous General von Reckonwitz, the woman who was his willing co-worker in his ruthless and cruel atrocities against countless helpless war victims, you have little to worry over.

1:55:45 And once your husband's yacht sets sail for America, there won't be anyone who could recognize you, will there, Goethe? Except the artist Kruger, now known as Marlon. You decide you can't let Marlon join you and your husband on the yacht. No. No. You must get him out of the way on some pretext while Philip is in Rome. But the next morning, as Philip prepares to leave, he suggests you go with him. Philip, darling, that's impossible. Marlon will come this afternoon to. Get his portrait. Oh, yes, right. Let them all see him as soon as they get back. Of course. And don't forget about that painting for Beardsley. Get something really interesting. And have it sent over to the main man with a nice personal note.

1:56:34 Now, Mrs. Collins, you may look. Your portrait is finished. I am very proud of it. It is nice. Very nice. You are pleased? I'm sure it will look very well somewhere in our house. You will see it there when you come to America. Oh, you have spoken to Mr. Collins about that? Yes, and he plans to bring you into the country. He will start arrangements as soon as he gets home. Oh, madame, I cannot express my gratitude. It's nothing. But I have a suggestion to make. Perhaps you should leave Italy by another port. Another port? I do not understand. I believe Mr. Beardsley from the American Council of Suspects, who you are, from something he said last night.

1:57:18 That would make things bad for you, wouldn't it? Worse than you know. If it is learned that I am Kruger, my life will be in danger. I would never live to reach the United States. I must go somewhere else to Genoa, perhaps. I'm sure I will be able to get new papers there, but that will take money. I'll help you. I have a considerable amount with me. Here, in my bag. Here. Take it off. Oh, there is no way to thank you, Mrs. Collins. It is very little to do for an old friend. And I have nothing to offer you in return, except here. Here is a painting. I brought it for you today as a gift to celebrate the completion of the portrait.

1:57:58 Thank you. Oh, it's lovely. It is the famous Blue Grotto. The Blue Grotto? Yes. It has great sentiment. I would give it to anyone but you, and I want you to keep it. It will make me very happy. And now, if you will excuse me, I must hurry. Of course. Goodbye, madame. You are a very gracious lady. Please be assured of my undying devotion. It was simple, wasn't it, Gerda? With Marlon out of the way, there's nothing to prevent your sailing as soon as you get your visa. And you feel sure that later, after you get to America, you can tell Philip of your wartime marriage to General von Reckemitz. Convince him it was the impulsive act of a young, naive girl that you didn't know what you were doing. Yes, things are working out well.

1:58:51 And although you forget to purchase a painting for Mr. Beardsley as your husband requested, the painting of the Blue Grotto, which Marlon gave you, will serve equally well as a gift for Mr. Beardsley. By the time Philip returns from Rome, you're in excellent spirits. Philip, I'm so glad you're back. Did you have a nice trip? Yes, dear, and a profitable one. Put over a big deal. And I've got good news for you, too. Yes? I stopped at the consulate and saw Beardsley. Your papers have arrived in Argentina and everything's fine. Your visa will be ready any day. Oh, that is good news. Oh, by the way, that picture you sent Beardsley made a big hit with him. Really? Yes, he said to compliment you on your good taste. How nice. Beardsley says it's the blue grotto at Capri. He's already got it framed and hanging in his office. You know, he's very enthusiastic about Mullen. Oh, did you tell Mullen I wanted to see him today?

1:59:41 Yes, but, Philip, he's left the island. He's left? What for? I don't know. Oh, but good heavens, why would he leave? The man hasn't dissent and he knows I'm going to do big things for him. I don't understand it either. I begged him to stay. You have no idea where he went? No, Philip. I hope you don't blame me. I did everything I could. No, of course not, dear, but we can't have got very far. I'll have the police pick him up and bring him back. Bring him back? Sure. He'll come back fast and nobody knows what I want him for. I'll have his description in every. Corner of Italy. But is it really worth the trouble? It is to me.

2:00:21 The man's a great artist. I want Mullen in America. He goes to America with us no matter how long it takes to find him. You mean we won't sail without him? Goethe, this yacht doesn't budge from this spot without Mullen aboard. Oh. It's infuriating and frightening too, isn't it, Gerda? If Marlon is brought back, you'll know that you lied to him and instead of a friend, you'll be a dangerous enemy. There's nothing you can do but wait and hope that the Italian police can't locate you. Next days pass slowly. You feel trapped in this corner of the Mediterranean.

2:01:02 Pace up and down the deck of the yacht. The bright sun's annoying and you get into hate-time coastline. Then one day, Philip gets a call to come to the mainland at once. When he returns, his face... Philip, what's wrong? Has anything happened? Yes, plenty. Marlon, he's been found. Where? In Genoa. I'll give the Italian police credit. Didn't make them long. And he's coming back? No, he's not coming back. Why not? He's dead. Dead? Yes. Killed in a gun battle with the police. He fired first. But why, Philip? Well, it's a long, unpleasant story, and I hate to upset you with it. Goethe, his name wasn't Malin at all, but Kruger or something like that. Anyway, he was wanted for looting some art galleries during the war. Had stolen meaningless possession. And so when the police went to pick him up, he thought his identity was discovered and they were going to arrest him.

2:02:00 And, well, the gun battle followed. How horrible. Yes, yes, it is begrusome. But you can put Tolson right out of your mind. We're getting out of here. You mean going to jail? Just as we can. Your visa's ready. We'll run over to the mainland and pick it up tomorrow, then get underway the following morning. You're certain now that everything has turned out very well, aren't you, Gerda? Yes, at last you're free to leave for the United States with your wealthy American husband. There's a lot of activity with the yacht next morning, preparations for sailing. And you're in state of check when you order the man with Philip to get your visa from the American consulate.

2:02:43 You're quickly shown to Mr. Beardsley's private office, where he greets you warmly and tells you your visa will be ready in a moment. Oh, I hate to see you leave, Collins. I'll miss you and Mrs. Collins. Personally, I can hardly wait to hear that mum on the business was pretty embarrassing to me. I made a fool of myself. No, you didn't, Philip. How could you possibly know that Marlon was a thief? It's quite sad in a way, too. Marlon had a great talent. That blue grotto Mrs. Collins gave me was one of the nicest pictures I've ever owned. Incidentally, where is that blue grotto? It was hanging here in your office yesterday. Oh, it's in the next room. An art restorer is working on it. An art restorer? What for? Well, he's taking the blue grotto off. There's a painting underneath. How do you know?

2:03:23 I had it x-rayed. You see, Kruger had painted new scenes over several of the paintings he had stolen. Stolen masterpieces are often hidden that way. Yes, but that makes no sense. If that picture had another valuable painting on it, Hooger wouldn't simply miss his company. He'd sell you the picture if he could. Of course he did. Well, let me make a call to a restorer, and he's been working on it all morning. Well, I'd like to see that. Do you mind? No, of course not. It's different in here. Won't you come along, Mrs. Conlon? Of course. Well, sir, how is the restoration coming? Oh. I have just finished, senor. Really? That was quick work. The top picture was easily removed. The underpainting was heavily varnished with the idea of keeping it intact. And the underpainting, do you think it's a movie? No, I don't think so, senor. It is a portrait, a wedding portrait.

2:04:14 Oh, I didn't know about that. Let's have a look at it. Very good, senor. I will place it here where you can see it clearly in the light. It is a. Picture of the notorious Nazi general von Reckenwitz. And his beautiful wife, Goethe. The Whistler. Listen next week when once again the United States Air Forces in Europe present The Whistler. The Whistler.

2:05:04 Well, my dear, another night has come and gone. Soon the sun will rise, the sky will become bright again, and you'll go home, and I'll return to wherever it is I go to. But I do hope you'll return and see me again. I'll be here, same time, Same place. Always happy to have your company. But if I may ask one more request of you, one more favor before you make your way home across the river and through the woods, well past Grandmother's house, as you lay your head on your pillow and blink away the day, just take one moment for me and be thankful for what you have. And I'll be seeing you soon.

2:05:59 That's him grumbling. That's him grumbling here. Him grumbling here. Him mumbling. I would think so, baby. Poke, poke, poke, poke, poke, poke, poke.