The Man Upstairs by Patrick Hamilton

Oldtuberadio

The Man Upstairs Studious, gentle George Lumford was grateful to his friend Charles Waterbury for the loan of a furnished flat that he hoped would allow him to spend a quiet evening working on his dictionary. His hopes were not to be realized. A ring on the front doorbell and the pleasant tranquil scene soon becomes charged with an atmosphere of violence brutality and intimidation. Who was the strange Mr. Armstrong who appeared framed in the doorway? And why once he was admitted did he begin to adopt a sinister, menacing attitude? George Lumford .... Bruce Miller Cyrus Armstrong .... Donald Monat Mrs Lumford .... Marjorie Gordon Charles Waterbury .... Stuart Brown Written by Patrick Hamilton Produced and directed by Michael Silver First broadcast on Lux Radio Theatre South Africa in 1954 Broadcast on the BBC World Service in 1955    Do you enjoy the variety on Oldtuberadio? Like, Share and Subscribe to be notified of our new shows #radio #crime #thriller #drama To Support this channel please visit https://www.buymeacoffee.com/oldtuberadio https://ko-fi.com/oldtuberadio98 https://www.patreon.com/oldtuberadio https://locals.com/Oldtuberadio

Transcript

00:00Good evening, this is Peter Tobin introducing Lux Radio Theatre.

00:30This week we bring you The Man Upstairs by Patrick Hamilton.

00:36Studious, gentle George Longford was grateful to his friend Charles Waterbury for the loan of a furnished flat that he hoped would allow him to spend a quiet evening working on his dictionary.

00:46His hopes were not to be realized. A ring on the front doorbell and the pleasant, tranquil scene soon becomes charged with an atmosphere of violence, brutality and intimidation.

00:58Who was the strange Mr. Armstrong who appeared framed in the doorway, and why, once he was admitted, did he begin to adopt such a sinister, menacing attitude?

01:08It is from this moment on that Patrick Hamilton's brilliant radio play begins to make your nerves tingle with excitement and apprehension, and reaches a climax that is as shattering as it is unexpected.

01:22The Man Upstairs has been produced for Lux Radio Theatre by Michael Silver.

01:26It is understood that the belt of rain coming from the pharaohs and arriving in the North Sea will not be welcomed by the North Sea.

01:51The North Sea dislikes belts of any kind.

01:53As a consequence, the further outlook is absolutely foul for everybody.

02:01One, two, three, four, five, six. How are we doing, George? Can you help me down there?

02:05Couldn't be better. Clear as a bell.

02:07So that's that little technical confusion cleared up. What's the time, George?

02:11About 7.25, I make it.

02:137.25? I've got to get going in a hurry.

02:16What for?

02:17I've got to meet Miss Caroline Audley at the Lord Hood Shepherd's Market at 7.30.

02:22You're coming too.

02:22I'm not, you know.

02:23You are, you know.

02:24No, boy, I really do want a quiet evening.

02:26Oh, can't you step out for once?

02:28No, honestly, Charles, I know a guest ought to do what he's asked, especially when he's only just in the flat beneath you.

02:33But we're old chums.

02:34And anyway, as I'm a guest in a furnished flat belonging to you, I'll jolly well be a guest in your furnished flat and stay put there. See?

02:41All right.

02:43And I'll bet it's all that enormous dictionary of yours at the bottom of it.

02:47You can't leave the thing alone, can you?

02:49Well, I do look at it a good deal.

02:51What do you mean, look at it a good deal? You're in love with the thing.

02:55Well, so long, George. It's a usual time tomorrow, okay?

02:58Yes, usual arrangement. Goodbye, Charles.

03:00Goodbye.

03:00Can you hear me up there?

03:03Hello? George?

03:05Charles, I was wrong about the time. It's pretty nearly a quarter to eight.

03:08My wristwatch is crazy. I just thought I'd tell you.

03:12That means I'm going to be late. I've got to fly. Goodbye.

03:14Goodbye, Charles.

03:22Oh, no. I wonder who that is.

03:30So, Mr. Longford, you are Mr. Longford, aren't you?

03:34My name's Armstrong.

03:37Now I come in.

03:37Yes, of course.

03:41Won't you come and warm yourself by the fire?

03:43Ah, yes.

03:45I'm glad I found you in.

03:46Oh? Why? Is it important?

03:48No.

03:49Not particularly.

03:51In fact, it's not important at all, really, if you come to think about it.

03:55If it's not important, what is it, Mr. Armstrong?

03:57I mean, what can I do for you?

03:59Well, it's not really so much a question of what you can do for me.

04:02It's really more a question of what I can do for you.

04:06Or perhaps to you, Mr. Longford.

04:09You know, I'm awfully sorry, Mr. Armstrong, but I don't quite get it.

04:13Do you mean you've come round here to do something to me?

04:15It sounds a lot frightening.

04:17You haven't come round here to murder me or beat me up or anything like that, have you?

04:21I mean, what have you come round for?

04:23Oh, nothing.

04:25Nothing at all, really.

04:27Just to look at you, I suppose.

04:28You know, this is all terribly mysterious.

04:31Couldn't you tell me what you're really here for?

04:33I hate mysteries, don't you?

04:34No, no.

04:35I love them, as a matter of fact.

04:37Well, I like them in books and plays, but they're their salt, aren't they?

04:41You see, I don't even know who you are.

04:43Have I met you somewhere before?

04:44No.

04:45No, you've never met me.

04:47But I have met you, Mr. Longford.

04:51That only makes the mystery deeper, doesn't it?

04:53Uh, well, perhaps I used a slightly wrong expression.

04:57I should have said to be entirely correct, I've seen you, but you haven't seen me.

05:03You follow me?

05:05Yes.

05:06And where was this?

05:07Oh, quite near here.

05:08Very near, in fact.

05:09Oh, yes?

05:09Where?

05:11Just round in Shepherd's Market.

05:13Well, that's certainly very near, but what part of Shepherd's Market?

05:16In a house or in the street or what?

05:18In a house.

05:20Oh, that's funny.

05:21I don't know that I've ever been in a house in Shepherd's Market.

05:24I don't lead much of a social life, you know.

05:26What sort of house?

05:27Oh, a very unusual sort of house.

05:30Ah, sandwiches.

05:32I say, those are my sandwiches, you know.

05:36Yes, I'm...

05:37I'm aware of that.

05:39You know, Mr. Armstrong, you seem to be behaving rather strangely.

05:43Yes, perhaps I do.

05:45But there you are.

05:46I mean, one must take it or leave it.

05:48Mustn't one?

05:49Yes, apparently one must.

05:51However, we were talking about the house where you saw me and I didn't see you.

05:56You said, I think, that it was a very unusual sort of house.

05:59Quite correct, yes.

06:00Then will you please tell me what house?

06:03This is getting extremely tiresome, you know.

06:04Certainly I will.

06:06But don't get angry, Mr. Lord.

06:08Well, what about this unusual house?

06:11Well, what I should have said is that it's not a private house.

06:15That's all that's unusual about it.

06:16Not a private house?

06:18What could that be, then?

06:20A public house, Mr. Longford.

06:23That's simple enough, isn't it?

06:24A public house?

06:25Ah, the Black Miller.

06:28Yes.

06:29Yes, it is.

06:30You know, Mr. Armstrong, I don't want to be difficult in any way, but why couldn't you

06:35have said straight out that you'd seen me in the Black Miller?

06:37Why you've had to go all that roundabout way of telling me, I simply don't understand.

06:41Oh, well, I suppose I'm naturally a roundabout sort of man.

06:46Sorry if I puzzled you.

06:47No, not at all.

06:48But now it's all over.

06:50Can't we come to the point?

06:51What point, exactly?

06:53Well, I mean, why are you here?

06:55Is it important or not?

06:56I mean, what does it matter if you saw me and I didn't see you round at the Black Miller?

07:01Well, I'll explain.

07:03Shall I?

07:04Please.

07:05I will.

07:05Oh, don't hurry me.

07:07You see, it's not so much a question of my seeing you, it's a question of the person

07:12I saw you with.

07:13Oh, who was that?

07:15A very important person to me, at any rate.

07:18Yes, but who?

07:19Who was he?

07:21He or she.

07:22Oh, you mean a girl or a woman?

07:24I do, yes, a girl.

07:26I see.

07:27Now, let me think.

07:29What girls have I met in the Black Miller?

07:31I can't think of any at the moment.

07:33Oh, yes, I can, though.

07:34But there's a girl I talk to a lot.

07:36Yes, I know you do, yes.

07:38Yes, that's right.

07:39We're great chums.

07:41What about it?

07:42You know her name?

07:43Yes, Brenda something.

07:44I just call her Brenda.

07:46She calls me George.

07:47And what is your opinion of her?

07:49I think she's extraordinarily nice.

07:52In fact, I hope I'm going to run into her again.

07:54Extremely nice and extremely intelligent.

07:56And anything else?

07:58In what way?

07:59Well, didn't she strike you as being extremely beautiful?

08:02Well, now I come to think of it, I'd say she was.

08:04Very pretty.

08:05Beautiful, actually, was the word I used.

08:08Very well.

08:09Beautiful, probably.

08:10And perhaps something more than extremely beautiful?

08:13More than extremely beautiful?

08:14That's asking a lot.

08:15What could that be?

08:18Extremely innocent, Mr. Longford.

08:21Innocent?

08:21Well, you know, I don't know about these things.

08:24You can't recognize an innocent look when you see one, Mr. Longford?

08:27I don't know.

08:28Perhaps I could.

08:29It just never struck me with Brenda, whatever her name is.

08:32Really?

08:33How odd.

08:35Tell me, Mr. Armstrong.

08:37Something's just come across my mind.

08:39Two things, in fact.

08:41Yes?

08:41What are they?

08:42Well, you don't think there's anything between this very nice girl and me, do you?

08:47Because I can assure you there isn't, you know.

08:50And the other thing which crossed your mind?

08:54Well, I was wondering, to use the same expression, whether there's anything between you and her.

09:00You see...

09:01Yes, go on.

09:03Well, that would account for a lot, wouldn't it?

09:05For what?

09:07Well, for your rather...

09:08Your rather strange attitude, ever since you've been here.

09:12How strange?

09:13Just strange.

09:15Slightly hostile.

09:16I might almost say menacing at moments.

09:19I mean, if you were in love with her or something, then that might account for it.

09:22Are you in love with her?

09:24I should be guilty of a great crime, if I were, Mr. Longford.

09:28The innocent girl in question is my sister.

09:32As you seem not to know it, I may tell you that her surname is Armstrong.

09:37Oh, I see.

09:38And I see you use the word innocent again, and that, as her brother, you might have a suspicion of some sort.

09:45Explain yourself.

09:46Well, you might in some way suspect that someone is attempting to deprive her of her innocence.

09:51And more than that...

09:52What more?

09:54That it's I who am attempting, or have attempted, to do the depriving.

09:58And if that's so, may I here and now assure you, you're mistaken.

10:01Oh, yes, you can assure me, yes.

10:03That sounds as though you doubt my word.

10:06So, may I here and now repeat that nothing of the sort has taken place, or will take place.

10:10And if that's all you've come round to talk to me about, the conversation can close here.

10:15I wanted a quiet evening.

10:16Don't you think it'd be better if you had a quiet evening, too, and went home?

10:20I mean, it's all so silly, isn't it?

10:23You know, I think I will change my mind and join you in a drink after all.

10:28Oh.

10:28All right.

10:29Certainly.

10:30I'll get you one.

10:31No, no, no, no.

10:32What?

10:33I'll get it myself.

10:36Oh, have you any whiskey here?

10:37Oh, yes.

10:39Yes, indeed.

10:40And so, that's excellent.

10:42Yes, this is what I'm here.

10:44Mr. Armstrong?

10:46Yes?

10:47Do you know that good whiskey is very expensive these days?

10:50Oh, yes.

10:51And do you know that that whiskey belongs to me?

10:53Of course.

10:54Who else would it belong to?

10:56Unless you'd stolen it.

10:57Unless you'd deprive someone else of it.

11:00Unless you were, after all, a depriver, Mr. Longford.

11:04Oh, dear.

11:05Now you seem to be harping back to that.

11:07What are you talking about, Mr. Longford?

11:09You're one ahead of me.

11:10Your sister?

11:11I gather you're reverting to that matter.

11:13Now, what on earth should make you think that?

11:15You used the words deprived, Mr. Armstrong.

11:18Depriver.

11:19A moment ago, that word was used in connection with your sister.

11:24Ah, yes, delicious.

11:25No, no, you're imagining things, Mr. Longford.

11:28Why, shouldn't I use the word deprived twice?

11:31It's a very nice word.

11:35Mr. Armstrong?

11:36Yes.

11:37Would you like to finish off that drink as soon as possible and then go home?

11:40Well, I shall certainly finish off the drink, if I may.

11:45Why, what a good-looking little man you are.

11:49I'm not surprised that the girl's falling for you.

11:52Yes, a remarkably good-looking little man.

11:56Little, of course, is the operative word.

12:00Here, Mr. Armstrong, do you know I don't like having my cheeks pinched?

12:04A cheek?

12:05Mr. Longford, not cheeks.

12:07I mean, let us be precise.

12:09I only pinched one of your cheeks.

12:11And why should you resent it?

12:13It's a sign of affection.

12:15Napoleon used to pinch his soldier's cheeks, you know.

12:18Mr. Armstrong, have you come round here just to talk about Napoleon?

12:23What more interesting topic could there be?

12:26I mean, what is wrong with an interesting and disinterested and peaceful conversation?

12:31Let's have a peaceful conversation.

12:34Why don't you have another drink?

12:36Are you interested in cricket, Mr. Longford?

12:45Yes, very.

12:46Are you?

12:47Oh, yes, I am.

12:48Tell me, what is your view of the test matches between this country and the continent of Australia?

12:53Well, lately we seem to have been putting up a pretty good show, it seems to me.

12:56You say we.

12:58That means England, of course.

13:00Yes, of course.

13:01Yes, naturally.

13:03But it sounds a little funny to me.

13:05You see, I am Australian and think of it the other way round.

13:08I think of Australia as we.

13:11Oh, I see.

13:12You don't speak like an Australian.

13:14Well, in point of fact, I'm not Australian, technically.

13:17It's just that I was born there and I've spent most of my life here.

13:21I think of myself that way.

13:24Oh, yes?

13:24Well, here's your very good health.

13:27Of course, the last two tests have been played under freak conditions, haven't they?

13:30And yet I like freak conditions in cricket.

13:33It's so much more exciting.

13:35I wish they'd make the conditions even more freak.

13:37I'm not sure you're not right.

13:39What alterations would you personally make?

13:40Have you any ideas in mind?

13:41Yes, I have.

13:42One in particular.

13:43I feel very strongly about it.

13:46Oh, yes?

13:46What's that?

13:46Well, why not alter the light, for instance?

13:49The light?

13:49How on earth could you do that?

13:51That's a question of luck, isn't it?

13:52How could you arrange the light in a cricket match?

13:54Well, why not, for instance, have it all played underneath the moon?

13:59The what?

14:00The moon.

14:01Well, I must say that's an original idea.

14:04I'm an original man, Mr. Longford.

14:06I mean, how would you see?

14:08Oh, not at all difficult.

14:09It's very easy when the moon is really bright and the night's clear.

14:13Then, if necessary, you could have the ball painted white.

14:17Then you could have white stumps and white balls and white scoring boards with the figures in black and so on and so forth.

14:24Well, if it comes to that, one might have all the spectators painted white, mightn't one?

14:28You know, that's not at all a bad idea.

14:31It never struck me.

14:33I have an impression, however, that you're not taking me seriously.

14:39Why?

14:40Mr. Armstrong.

14:42Mr. Longford.

14:42Tell me something.

14:44You said you were a very peaceful man.

14:46No one more, sir.

14:48Go on.

14:49Well, it's rather hard to put.

14:52But have you been suffering from any sort of nervous upset lately?

14:55I mean, something you might see a doctor about.

14:58Something which just required rest.

15:01I mean, oughtn't you to go home and have a good rest now?

15:04Oh, I see what you mean.

15:06You're suggesting that I'm out of my mind, aren't you?

15:11No, but I think you may be, purely for the time being, a little upset.

15:16In other words, raving mad.

15:19I don't mince matters, Mr. Longford.

15:21I know every thought that goes on in your head.

15:23And I can assure you that I'm certainly not a man.

15:28I'm afraid you took my perhaps rather silly little joke about playing cricket under the moon.

15:32But quite seriously.

15:35Oh, was it a joke?

15:36I'm sorry.

15:37I'm losing my sense of humor, I'm afraid.

15:39You certainly are.

15:40And I can promise you that in addition to being sane generally,

15:44I've never been saner in my life than at this moment.

15:47Perhaps a little too sane and shrewd for you.

15:50About what?

15:51My sister.

15:53Oh, dear.

15:53Have we got to go back to that again?

15:55No, not just at the moment.

15:57At the moment, we're just conversing, aren't we?

16:00I like conversing with you.

16:02It's useful, too.

16:04It enables me to go on looking at you, to sum you up.

16:10Listen to me, Mr. Armstrong.

16:12I do not like strangers coming into my flat to look at me and to sum me up.

16:16I still do not know whether you are a maniac or whether you really have something to say to me.

16:20If you have, will you please say it quickly and then clear out?

16:23If you don't, I shall have to take other measures.

16:25And what would they be, Brian?

16:28I shall telephone for the police and have you slung out.

16:31They come very quickly nowadays, you know.

16:32Yes, but you strike a major difficulty there, don't you?

16:37What?

16:37How would you get to the telephone?

16:39And if you should manage to scramble to it in time, how would you manage to dial 999 before being beaten to a pulp by your present guest?

16:49Very well, Mr. Armstrong.

16:54There's another more peaceful alternative.

16:56I'll just leave you to it.

16:57I shall walk out to my flat and let you stew in your own juice.

17:01Yes, but how would you get to the door?

17:05I may be large, but I'm remarkably quick, you know.

17:09And now, Mr. Longford, the session will continue as before.

17:16Now, on second thoughts, not quite as before.

17:19You can get me, my dear good-looking man, another whiskey.

17:24Come along now.

17:25Here's the glass.

17:25I will not get you another whiskey.

17:28You heard my words.

17:30You heard mine.

17:32Well, I'll get it myself.

17:35It really doesn't matter.

17:36You will not go near that sideboard.

17:37Sit down, Mr. Longford.

17:39I will do nothing of the sort.

17:40I said sit down, Mr. Longford.

17:42Sit down on that chair, that one.

17:44I'll die before I do that, Mr. Armstrong.

17:45Yes, that is exactly what you may do.

17:49Now, sit down on that chair.

17:52Sit down on that chair!

17:54I said I'd...

17:56Hello.

17:57That's the bell, isn't it?

17:59Yes.

18:02So it seems.

18:03I wonder who it could be.

18:05Yes.

18:07Yes, I wonder.

18:09I...

18:09I have a guess, though.

18:11Shall I go and answer it?

18:13Yes.

18:15Perhaps you'd better.

18:16Where is he?

18:42You said my boy wasn't here, Mr. Longford.

18:44So he was.

18:45He's probably gone through that door.

18:46It leads to the kitchen.

18:48You're Mrs. Armstrong, I take it.

18:49Yes, but please don't just bother about names at the moment, Mr. Longford.

18:54Cyrus?

18:57Cyrus?

19:00Cyrus?

19:01My son, come out from the kitchen.

19:07Don't pretend to yourself that you can hide from me.

19:11If you don't obey me, you know what will happen to you.

19:16Now, come out to your mother.

19:18I shall give you 15 seconds.

19:22I'm beginning to count.

19:25One.

19:27Two.

19:29Three.

19:31Four.

19:33Ah.

19:34There you are at last.

19:37Don't stand like that.

19:38Hold yourself up.

19:39Yes, mother.

19:40Put your hands behind your back.

19:42Yes, mother.

19:43What are you doing here?

19:44I...

19:44I don't know, mother.

19:46Don't tell me you don't know.

19:47What are you doing here?

19:49I came to see Mr. Longford.

19:51Didn't I tell you to stay in your room tonight until I came back?

19:55Yes, mother.

19:56Then why didn't you?

19:57I...

19:58I don't know, mother.

19:59Hold yourself up.

20:01Yes, mother.

20:02And when you go to your room, you will do your usual exercises.

20:07Only tonight, you will do them six times.

20:11Thoroughly.

20:12Do you understand?

20:13Thoroughly.

20:14Yes.

20:15Yes, I understand, mother.

20:16Very well.

20:17You may go now.

20:19But first of all, you will apologize to Mr. Longford.

20:22How do I apologize, mother?

20:25Look at him straight in the eyes and say,

20:27I'm sorry, Mr. Longford.

20:30I'm sorry, Mr. Longford.

20:32That's quite all right.

20:33Good.

20:34Very well.

20:35Now go.

20:36And on the way, you are not to look back.

20:40Not once.

20:41You understand?

20:42Yes, mother.

20:43Very well.

20:44Go on.

20:45Go on.

20:45Quickly.

20:46I shall come to your room later tonight.

20:48If you've obeyed me in every particular, you may be forgiven.

20:53Now go.

20:54Well, that was one of the most remarkable...

21:06One moment.

21:07One moment.

21:07All right, he's gone.

21:14Now, Mr. Longford, do you mind just for a minute if we have all the lights out in here?

21:19The lights out?

21:20Yes.

21:20Well, you know, it seems to me that I'm in a sort of madhouse.

21:24Must we have all the lights out?

21:25Yes.

21:26You are in a sort of madhouse, Mr. Longford, and a very dangerous one.

21:30And I am here to save you from it.

21:32To save everybody concerned.

21:34And I'll explain everything in a minute.

21:37In the meantime, will you do as I ask?

21:39And quickly, will you?

21:41Very well.

21:42You see, I am the only one who can control him.

21:48I am the only one who knows his mind.

21:50And I must use my own methods.

21:53You see, I want to watch him from the window without him seeing me.

21:57To see if he obeys me and does not look back as I told him.

22:01And if he does look back and sees me watching,

22:04he'll think I'm afraid and I might lose half the battle.

22:07Well, I have to make him think that I think he obeys me absolutely without question.

22:17Yes.

22:19Here he goes.

22:20Yes.

22:21It's all right.

22:22I can tell by his walk.

22:24Come here and watch him.

22:27You see?

22:28He's like a soldier on parade.

22:31There.

22:32Yes.

22:33That's all right.

22:34You can put on the light again now, will you?

22:39Now, Mrs. Armstrong, could you explain?

22:42Could you explain all this?

22:43It's all very confusing, you know.

22:45One moment, Mr. Longford.

22:48I'm not feeling very well.

22:50I'm feeling faint.

22:52You don't know what a strain it is.

22:55You feel worse when it's just over.

22:57Yes, I understand.

22:58I'm sorry.

22:59Now, come and sit down by the fire, won't you?

23:01You can explain later.

23:03Oh, dear.

23:07It's only the shock.

23:08Only the strain.

23:10I'll be all right in a moment.

23:13I'll get you a drink.

23:14A little brandy.

23:15Thank you, Mr. Longford.

23:17Very small one.

23:18Good.

23:18Fine.

23:21What did he do and talk to you about, Mr. Longford?

23:25Oh, a lot of things.

23:27Did he talk about the moon?

23:30Why, yes, he did, as a matter of fact.

23:32How do you know?

23:33I'll explain later.

23:35And did he talk about his sister?

23:37Yes.

23:37He talked a lot about her.

23:39Yes.

23:40So I thought.

23:46I'm quite myself again now.

23:50Good.

23:51I can't say that I am.

23:53You know, I'm a bit shaken still, I must say.

23:58Now, Mrs. Armstrong, do you feel up to explaining?

24:01Yes, Mr. Longford.

24:03May I ask you a question?

24:04After what you've just been through, it may seem a nonsensical one, as nonsensical as anything

24:11he said, but it isn't, and I must ask it.

24:13Yes?

24:15Mr. Longford, do you believe in the moon?

24:22I'm awfully sorry, but I don't follow you, Mrs. Armstrong.

24:25The moon?

24:26Believe in it?

24:27Of course I do.

24:27It's just there.

24:28It exists.

24:29No.

24:30I don't really mean that.

24:32I mean its powers.

24:35You see, unless you do, I can't really begin to explain.

24:40I mean, it affects the tides and all that, doesn't it?

24:43Yes.

24:43But its other powers, Mr. Longford, its other, much more dreadful powers, its powers on the

24:53mind.

24:54Mr. Longford, do you believe in the moon?

25:00Oh, say you believe in it, Mr. Longford, say you believe in the moon, say you believe

25:08in the moon.

25:09Oh, no.

25:13Oh, Mr. Longford, I'm ashamed of myself.

25:18I never dreamt I could break down in that way.

25:21I was taught never to break down, ever.

25:24Well, everybody has to break down sometimes, don't they?

25:26It's a very normal thing.

25:27Not in my family.

25:29We were what people used to call a family of soldiers.

25:33However, I mustn't talk of the past.

25:36We are in the present, and a very real and urgent present for both of us.

25:41Yes.

25:41You said you were going to explain.

25:43Just tell me quietly, in your own time.

25:46He talked of his sister?

25:48Yes.

25:49And her innocence?

25:50Yes.

25:51And did he mention Napoleon?

25:55Why, yes, he did.

25:57And then he talked about the moon?

26:01Yes.

26:01Tell me, Mr. Longford, do you know anything about psychiatry?

26:08What do you mean?

26:09Freud, Jung, all that?

26:10Do you know it's an established fact that certain people are affected sometimes in a violent and

26:16dangerous way by certain phases of the moon?

26:18No, I wouldn't say established.

26:20I should say it's quite likely, but not a certainty.

26:22I know it's a fact.

26:24I have reason to know.

26:28Mr. Longford, do you know what psychiatrists call a fixation?

26:33Why, yes, a fixed idea.

26:35I need a fix.

26:36It's a form of mania.

26:37Yes, it is.

26:39And sometimes extremely dangerous to another person.

26:43Yes, I suppose.

26:44Yes.

26:45Do go on.

26:46This is what is not easy for me to say to you, Mr. Longford.

26:50Never mind.

26:51Go on.

26:52My son has a fixation, Mr. Longford.

26:55A very violent and dangerous one.

26:57And what's it about?

26:59About yourself, Mr. Longford.

27:01Oh.

27:02I must say that's not frightfully pleasant news, is it?

27:05No.

27:06And I'm afraid that's not the worst.

27:08Really?

27:09Tell me, what form does his fixation take?

27:12He thinks you've stolen something, Mr. Longford.

27:15So I rather gathered.

27:17It's all getting clearer now.

27:19In other words, Mrs. Armstrong, we must put things bluntly, mustn't we?

27:23In other words, your son's completely out of his mind and thinks I've robbed your daughter of her innocence.

27:29No, no.

27:30He's not out of his mind.

27:31He's not.

27:32It's only the moon, don't you see?

27:35Now, please, don't get upset again, Mrs. Armstrong.

27:37It's really for me to be upset.

27:39You've just said that you haven't told me the worst.

27:42But the moon is everything.

27:46These phases come in cycles every seven years.

27:51Normally, he's harmless.

27:53Good.

27:54I know his history, you see.

27:56Very well, then.

27:57Tell me his history, Mrs. Armstrong.

27:59Cyrus was born in Australia, Mr. Longford.

28:02One of twins.

28:03I'll tell you about the other boy, Harry, later.

28:06He is absolutely normal.

28:08Thank heaven.

28:10Cyrus.

28:11Cyrus.

28:11Yes?

28:12It began when he was eight.

28:14He was an enormous boy, even at that age.

28:17You'd hardly believe his size.

28:19It was freakish.

28:20And what happened when he was eight?

28:22There was an episode, Mr. Longford.

28:25Oh, yes?

28:26An episode with an animal of atrocious cruelty.

28:30A cat.

28:31I can't go into it.

28:33My husband beat him for it.

28:35Beat him fearfully.

28:35It was a mistake.

28:37Such things cannot be treated that way.

28:39Then, for seven years, he was normal.

28:44A good, gentle boy.

28:47But then, he began to talk of the moon again.

28:51To go out and look at it for hours and...

28:54Oh, I can hardly bear to speak of it.

28:56Do try, Mrs. Armstrong.

28:58There was another episode.

28:59We had to move from Sydney.

29:01Then he was normal again.

29:03Utterly normal.

29:04Until the age of 22.

29:07And then there was another episode, as you call it.

29:10There was.

29:11Oh, yes, indeed there was.

29:13And then?

29:14Normal again.

29:16Until he was 29.

29:18Then he began to talk of the moon again.

29:20And this time, it was definitely connected in his mind with his sister.

29:24It was only then that I began to realize that there was some connection between these incidents and the moon.

29:32To realize that they took place every seven years.

29:39Well, that is all, really.

29:43Then he joined the commanders.

29:46He has a record of great bravery and distinction.

29:48And now, he is 36.

29:53And 29 from 36 leaves seven?

29:57Yes.

29:57Every seven years, you say?

30:00Yes.

30:03This is a funny thing to happen to anybody trying to have a really peaceful evening by himself, isn't it?

30:08It's horrible, Mr. Longford.

30:09It's horrible.

30:10Yet, Mrs. Armstrong?

30:12Yes.

30:12You spoke of certain episodes.

30:14What sort of episodes?

30:16What does he do?

30:17Oh, no.

30:17Please don't go into that.

30:19But, Mrs. Armstrong, after all, it's not fair to me, is it?

30:21I mean, the unknown's worse than the known, isn't it?

30:24Does your son carry a revolver or anything?

30:27No, no.

30:28It's much more horrible than that, Mr. Longford.

30:31Your son was a commander?

30:32He was, yes.

30:33That means an expert in unarmed combat.

30:35Yes, Mr. Longford.

30:37An extreme and excruciating expert.

30:41Will you leave it at that?

30:43Mrs. Armstrong, are you trying to be cruel?

30:45All this dreadful hinting.

30:47Mr. Longford, let me put it this way.

30:49You are in danger of awful disfigurement.

30:54Disfigurement which will cause you physical agony, such as few men on this earth have ever had to suffer,

31:00and which will leave you with no further desire to live.

31:03Now, will you let that suffice?

31:06Oh, well, I suppose I'll have to.

31:08You've made things fairly plain on the whole, I think.

31:11Have you consulted a doctor or the police about your son's condition?

31:15No, I haven't.

31:16But why not?

31:17That seems rather unfair to society at large, and to me in particular.

31:20Oh, Mr. Longford, I have a thousand excuses.

31:23I'm his mother, and I deceived myself after each incident.

31:27But he was meant to be well.

31:30I see.

31:37Well, it seems as though I'm rather up against it, doesn't it?

31:40You must go away, Mr. Longford, now.

31:42You must go where he can never find you.

31:44It'll only be for three months.

31:45You must hide.

31:47You must go tonight.

31:48But, Mrs. Armstrong, this is fantastic.

31:50There might be some other alternative.

31:52Yes.

31:53Actually, there's one other.

31:54Oh, but that's not worth discussing.

31:56The plain thing is for you to pack your things down.

31:58Go.

31:59But the whole thing's ridiculous.

32:00First of all, I haven't enough money.

32:02And I can't suddenly throw up my business and take three months' holiday.

32:05Mr. Longford, wouldn't it be better to risk your business than take this dreadful risk?

32:10I see.

32:12Now, let's try and take things a little more easily.

32:14We got panicky.

32:17But I think I'm a little calmer now.

32:19It seems to me that there are a lot of ways out, apart from the one you suggest.

32:23I have three in mind, actually.

32:26Firstly, if he cares to assault me in any way, it's not quite impossible that I could defend myself, is it?

32:33I, too, was in the army, you know.

32:34No, you couldn't, Mr. Longford.

32:36He has been very expertly trained.

32:38Yes, a commando.

32:39I appreciate the difficulty.

32:41Very well, then.

32:42I have friends.

32:43I could go and stay with them, couldn't I?

32:45And what about when you were out in the streets, alone?

32:48You have to go to your work.

32:49But surely he wouldn't do anything to me in public, Mrs. Armstrong.

32:52Oh, yes, he could.

32:53He's as quick as lightning, though he may not look it.

32:55But suppose I got friends to escort me in the street.

32:58Utterly useless, utterly.

33:00You don't know the things he's done.

33:01You know, if you'd only tell me what he does, all this would be so much more simple, wouldn't it?

33:05He has many methods, Mr. Longford.

33:07Among other things, he can strike from a distance.

33:10He can throw.

33:10What do you mean?

33:12Boomerangs or something?

33:12And your third and last alternative, Mr. Longford.

33:18Do you mean boomerangs?

33:19No, go on.

33:20Your last alternative.

33:22Why, the simplest of the lot.

33:24And it's for you to do.

33:25What is it?

33:26Ring up the police, Mrs. Armstrong.

33:28Now, ring them up and tell them the entire story.

33:30Oh, no, Mr. Longford.

33:31The police are no good.

33:33They could not prevent your disfigurement.

33:35What do you mean, the police are no good?

33:36I've got to have protection, and that is what the police are for, isn't it?

33:41Come to think of it, I can ring the police myself.

33:43No.

33:43Why?

33:44The police are practical men.

33:46The police do not believe in the moon.

33:50Besides, I am a mother, Mr. Longford, and my unhappy boy, cursed by the moon, is not going

33:56to end his last few years in any sort of dark prison.

33:58If you telephone the police, I should deny everything.

34:05His last few years, you said?

34:07Yes.

34:08Why?

34:09Do you imagine he's going to die before long?

34:10I know he is.

34:12How?

34:13My son, strong as he is, suffered from his heart, Mr. Longford, fatally.

34:17He cannot possibly live for more than another three years.

34:21You seem to have an answer for everything, haven't you, Mrs. Armstrong?

34:23Yes, it seems that I have.

34:25There is only one course.

34:27You must go.

34:28Go now.

34:28Mrs. Armstrong, I can't.

34:30I told you.

34:31Even if I had the money to go away for three months, even if I used up all my savings,

34:35I can't give up my job here.

34:37You have savings?

34:38Why, yes, of a very modest sort.

34:41Oh, that's the telephone.

34:43I know.

34:44But why are you so frightened, Mrs. Armstrong?

34:45It may be Brenda.

34:46It must be her.

34:47Why must?

34:48Let's go and see, anyway.

34:51Hello?

34:53What?

34:54No, it isn't.

34:55Who do you want?

34:56No, my name's Longford.

35:01That's quite all right.

35:04There you are.

35:04It was only a wrong number.

35:06No need for panic.

35:07I'm sorry.

35:08I had an awful feeling, Miss Brenda, and that he'd broken out.

35:11Well, you were wrong, weren't you?

35:12Yes, I'm sorry.

35:13Now, where were we?

35:15We were talking about my savings, as a matter of fact.

35:19You asked if I had any.

35:21Oh, yes, that was it.

35:22And why did you ask?

35:23Oh, nothing.

35:25Some while back, you know, you said there was one other alternative of some sort.

35:29Was that alternative connected with my savings?

35:31Mr. Longford, there are certain things to which I shall not descend.

35:35Mrs. Armstrong, please.

35:37Very well.

35:38You must have it.

35:40Yes?

35:40Mr. Longford, you said you had modest savings.

35:44How modest are they?

35:45Oh, very much so.

35:46Yes, but what does that mean?

35:48Mrs. Armstrong, shall I tell you exactly how much I've got in the bank at the moment?

35:51Oh, no, I didn't mean to bring the subject up.

35:53Yes, you did, indirectly.

35:55And I'm glad you did.

35:57So shall I tell you?

35:58Very well, Mr. Longford, if you insist.

36:00How much money exactly have you got in the bank at this moment?

36:05£640.

36:07You have all that?

36:09I thought you said you were an extremely poor man.

36:13You see, I have little more than what I stand up in.

36:16What you do stand up in doesn't look too bad to me.

36:19Thank you for the compliment, Mr. Longford.

36:21Well, now I've told you the amount of my savings, what about it?

36:26Mr. Longford, £640.

36:31What are you so excited about, Mrs. Armstrong?

36:33Do you mean that that amount of money means that you see a way out of all this...

36:36No, no, not at all, nothing like it.

36:39But £280, that's all that's needed.

36:43No, less than that, much less.

36:46My other son, Harry, his twin brother can manage £70.

36:50Now, how much does that make?

36:52£210.

36:52Yes, not a penny more.

36:54Now, listen, Mr. Longford.

36:56We have a passage for Cyrus and myself to Australia.

37:00My son, Harry, is in shipping and has arranged it.

37:03We only wanted the money.

37:05A passage for the day after tomorrow, Mr. Longford.

37:09Actually, Harry comes back from Liverpool tonight.

37:11In fact, he should be back by now.

37:14Now, listen, I can get Cyrus, my poor sick boy, away by the night train tomorrow.

37:22You'll be free, Mr. Longford, forever.

37:24He'll go, you see.

37:26He keeps on saying that he has to see the moon again as it rises over Sydney.

37:32It's his poor brain.

37:35Mr. Longford, this is the way out.

37:39£210 only to lend, Mr. Longford.

37:41You'll get it back.

37:42I'll work my fingers to the bone to give it back to you.

37:45And you're free from this terrible menace.

37:50Who's that?

37:51I know who it is, all right.

37:52He always knocks like that.

37:54Oh, dear, must you let anyone in now?

37:57Can't you pretend you're not at home?

37:59No, it's all right.

38:00It's only my friend, the one who's left me this flat.

38:02I'll see what he wants.

38:04I'm coming.

38:26Oh, I'm frankly sorry.

38:29I didn't know you were sort of...

38:31Well, am I interrupting you?

38:33Oh, I won't be half an hour.

38:34No, not a bit.

38:36This is Mrs. Armstrong.

38:39Sir Charles Waterbury.

38:40I did, too.

38:40I was telling you about him, wasn't I, Mr. Armstrong?

38:42Yes, yes, you were.

38:44Caroline and I are going away tonight.

38:46We've suddenly decided to take a car down to Maidenhead and hit it up for a bit.

38:51So you won't be seeing me tomorrow after all, all right?

38:53Oh, how long are you going for?

38:55Oh, about four days.

38:56Four days?

38:58Yes.

38:59What's the matter?

39:00Tell me you're going to miss me.

39:02You, who spend your whole life dodging people.

39:04No, I just didn't realize you were going away all that time, that's all.

39:07Neither did I until about ten minutes ago.

39:10Well, I must fly.

39:11Well, goodbye, Mrs. Armstrong.

39:13Sorry our meeting's been so short.

39:14Goodbye, Sir Charles.

39:16Goodbye, George.

39:17See you around Tuesday next week.

39:19Charles?

39:19Yes?

39:20Yes?

39:22No, it's nothing important.

39:24You go off and enjoy yourself.

39:26Well, goodbye all.

39:27Goodbye, Sir Charles.

39:31Mr. Longford?

39:32Yes?

39:33Why did you call Sir Charles back just then?

39:35It was an impulse to confide in him.

39:38Now I sort of feel my last prop's gone.

39:41But, Mr. Longford, didn't I tell you that help of that sort was of no use whatsoever?

39:45Yes, I'm sorry.

39:47You shouldn't have done that, you know, Mr. Longford.

39:49It looks as though you don't trust me.

39:52Mr. Longford, look at me, will you?

39:55Do you trust me?

39:57Oh, say you do.

39:59Mrs. Armstrong, I not only trust you, I'm going to prove it in a very concrete way.

40:04How soon do you want the money?

40:06To tell the truth, Mrs. Armstrong, I want to get this over pretty quickly.

40:09I'm afraid it sounds a rather harsh thing to say.

40:12But the sooner I see the last of you, the better.

40:14And I could give you the money tonight.

40:15But I don't want it tonight, Mr. Longford.

40:17You've got to see my son Harry first.

40:19In any case, you've got to have some sort of security in writing.

40:23Could you see him tomorrow morning?

40:24Couldn't I see him tonight?

40:26Yes, I suppose so.

40:27But I don't know if he's back.

40:28Well, couldn't we find out?

40:30How?

40:30Do you mean I should go around now?

40:33That's Brenda.

40:34I know it is this time.

40:35Shall I answer it?

40:36But, Mrs. Armstrong, it might easily be someone who won't...

40:38No, no, I have a feeling.

40:40I know these things.

40:41Very well.

40:41Well, you answer it, Mrs. Armstrong.

40:44Yes?

40:45Oh, Brenda, dear.

40:47Brenda?

40:48Yes?

40:50Brenda, what are you saying?

40:52Yes, go on.

40:53Yes, yes.

40:54I know, my dear.

40:56Yes.

40:58I see.

40:59I see.

41:00Now, Brenda, keep your head and listen to me.

41:03It'll be all right.

41:05It'll take him four minutes to get to Brook Street.

41:08I should be there to intercept him and send him back.

41:10Have absolutely no fear.

41:12Do you understand?

41:14Now, we must bring off.

41:16Every moment counts.

41:17Yes, goodbye, darling, goodbye.

41:22It has happened.

41:23What?

41:24He's disobeyed me.

41:26I've lost my authority.

41:27He's broken up.

41:28He's on his way around here now.

41:30So he's on his way...

41:31Now!

41:32There's no time to lose, Mr. Longford.

41:34We're both in great danger.

41:35I must go and intercept him.

41:37Mr. Longford, will you do exactly as I say, please?

41:42Why, yes, of course.

41:43Very well.

41:43Both the front door and lock that one.

41:45It has a lock, hasn't it?

41:47Yes.

41:47And that one?

41:48Yes.

41:48Very well.

41:49Now, Mr. Longford, do not go near the window.

41:52Go nowhere near the window.

41:54And keep your light slow.

41:55Once he's safely home, I shall come back and ring in a special way.

41:59I shall give three rings, then silence, then three rings again.

42:04You follow?

42:05Yes.

42:05Three rings, then the silence, then three.

42:08That's it.

42:11We're too late.

42:13That was in the kitchen.

42:14Your kitchen window.

42:16Tell me, is it possible to climb up from the street to your kitchen?

42:20By the drainpipe?

42:21No.

42:21Good.

42:22Now to think quickly.

42:23He'll be lurking in the doorway.

42:25I'll find him.

42:26Have no fear.

42:27I'll find him and send him back.

42:28You do just what I said before.

42:31Barricade yourself.

42:32I shall return in ten minutes.

42:33If all goes well, now I must go.

42:35But he may be outside your front door by now.

42:39So lock this door when I've left.

42:41You understand?

42:42Yes.

42:42Charles?

42:43Charles?

42:56Charles?

42:57Is that you, Charles?

42:58Yes, my boy, it is.

42:59I thought you'd gone to Maidenhead.

43:00Never mind about that.

43:02You're a very silly boy, you know.

43:03What do you mean?

43:04You forgot to switch off when we were talking earlier tonight.

43:07Did I?

43:08You laid yourself open to being eavesdrop upon from here.

43:12I think you're going to be very grateful.

43:14Oh, I'm in a pretty blue funk, I can tell you.

43:17Wouldn't you be, Charles?

43:18Yes, I certainly would.

43:19Well?

43:20I mean, I would if I really believed in it.

43:23What do you mean?

43:24Did it never occur to you during the evening that there was something bogus about it all?

43:29Well, perhaps just once or twice.

43:31Oh, when?

43:33When she first began to mention money, and I didn't like the family of soldiers.

43:37No, I didn't like that either.

43:39She's pretty convincing.

43:40Yes, I could hear that.

43:42That's why I couldn't resist coming down to have a look at her.

43:45I've read about them and this very ugly blackmailing trick they work.

43:50My memory's right.

43:51They've done a lot of it, and they wanted for it.

43:54Mind you, I'm only working from a hunch, but I've been working very hard on it.

43:58Oh?

43:58What have you been doing?

43:59I'm bringing up all my high-up friends in the police.

44:04Hello.

44:05She's back early.

44:07Now, look, I'll telephone you.

44:10I'll pretend I'm drunk, and you pretend you can't get rid of me,

44:13and I'll really be giving you your instructions.

44:16Got it?

44:16Right.

44:18It's getting impatient.

44:20Now, you'd better go.

44:21Goodbye and good luck.

44:22Oh, Mr. Longford, this is Cyrus's twin brother, Harry.

44:32Hello there.

44:33Everything's all right now.

44:34There's no immediate danger.

44:36He's gone into one of his sleeps.

44:38It's as though he's almost dead, isn't it, Harry?

44:39It certainly is.

44:41So he's in one of those again, right?

44:42Yes.

44:42So we're safe now for six hours at least, if not more.

44:46Oh, Mr. Longford, whichever you choose, thank you.

44:49Whichever you decide, thank you truly and deeply

44:52from the depth of a very unhappy woman's heart.

44:56Goodbye.

44:57I can't trust myself to speak anymore.

44:59I'm leaving.

45:01Oh, no, let me.

45:02Just in case.

45:03He must know you're here.

45:05Just in case.

45:05May I?

45:06Yes, of course, if you think so.

45:09Yes?

45:10Yes, he is.

45:12Who is it, please?

45:14Yes, just a moment, please.

45:16Just a moment.

45:17It's a Mr. Farquharson.

45:19Farquharson?

45:20Oh, oh, yes.

45:23Hello?

45:24Hello, Ronnie?

45:26Yes.

45:28Yes, all right.

45:29Go ahead.

45:31Yes.

45:33Look here, Ronnie.

45:34Where have you been tonight?

45:35You sound as if you had a few...

45:36Shall we go, Mr. Longford?

45:37No, no.

45:38No, you can't come around here.

45:40I'm busy.

45:41I'll be seeing you tomorrow.

45:43What?

45:44Look, I'm going to ring off.

45:46Yes?

45:47I know you could get round here in three minutes, but...

45:49What?

45:50Now you go home and sleep it off.

45:53Goodbye.

45:54Oh, would you believe it?

45:56On top of it all.

45:57That was my partner.

45:58It's about business.

45:59Oh, not money trouble again.

46:01No, no, not that.

46:03But it means that I've got to sit up all night and work out figures.

46:05It's got to be quick, quick.

46:07Oh, this on top of everything, this.

46:11Now, listen.

46:12I'm just about done in tonight.

46:13I'm afraid my nerve's going.

46:15Gone.

46:16I'm going to give you the money now.

46:18I have it in cash.

46:18Oh, but, Mr. Longford, we don't...

46:20No, please.

46:21Let me have my way, please.

46:22For once, tonight.

46:24I can get the money in a moment.

46:26It's in this drawer over here.

46:34Here, now.

46:36There you are.

46:37Now, will you go away and take him to Sydney or wherever it is

46:40and promise you'll never come back?

46:41Never.

46:42Go on, promise.

46:43Oh, I don't take on so, Mr. Longford.

46:45Never mind.

46:46But will you promise?

46:48Will you promise?

46:49Oh, yes, of course.

46:50Come along now, Harry.

46:51Goodbye, Mr. Longford.

46:52You're all right, aren't you?

46:54I hate to see you looking like that.

46:55You're not ill, are you?

46:57We can't help you in any way, can we?

46:59In one way, perhaps you can.

47:01Yes, yes, anything.

47:02What can we do?

47:03Oh, just listen to something.

47:04Yes.

47:05What do you want to say?

47:06No, I don't mean listen to me.

47:08Not you.

47:09Who, then?

47:10Yourself, Mrs. Armstrong.

47:12Your earlier self.

47:13When you were about an hour younger

47:15and speaking to these four walls...

47:17I don't follow you, Mr. Longford.

47:18Or other, eight walls, to be precise.

47:20Eight walls, and one person, and one thing.

47:24Above all, a thing.

47:25Shall we listen?

47:27Yes, do let's.

47:30All right, Charles.

47:31Is it okay?

47:32Yes.

47:32Here we are.

47:33Just a sec.

47:35All right.

47:35Here we go.

47:36Listen.

47:37Here we are.

47:38With a cat.

47:40I can't go into it.

47:41My husband beat him for it.

47:43Beat him fearfully.

47:44It was a mistake.

47:45All such things cannot be treated that way.

47:48Then, for seven years, he was utterly normal again.

47:52A good, sweet, gentle boy.

47:55But then, when the seven years had passed,

47:57he began to talk of the moon again.

48:00No!

48:00Will you stop that noise?

48:02Will you stop it?

48:03Who is up there?

48:04I can't speak of it.

48:05Oh, surely you know, Mrs. Armstrong.

48:08I'm just a man upstairs.

48:10We've met, don't you remember?

48:11Oh, but I didn't go to Maidenhead.

48:13I stayed and got down every word you said.

48:17All right.

48:17I'll tell them, Charles.

48:19He telephoned the police.

48:20The police?

48:21Do something, Joe!

48:22Sorry!

48:23Do something, Jim!

48:24The gate's up anyway, so do something!

48:27Oh, yes, then.

48:28That's not a bad idea.

48:30I may not be the big commando, eh?

48:31But Charles, but I'm certainly big enough for this little gentleman, I fancy.

48:34Hello.

48:34What goes on down there?

48:35A great deal, Sir Charles.

48:37And the door's locked.

48:38And there's nothing you can do about it.

48:40Go on, sir, I do something to him.

48:42Tear him to little pieces.

48:44Yes, yes, I like the idea of that.

48:47Well, get anywhere that way, you know, either of you.

48:50It'll only make things worse.

48:51In fact...

48:52Shut up there!

48:53Go on, sir.

48:54Yes, don't hurry me.

48:55It's just a question of what it's going to be.

48:58Now, come here, Mr. Longford.

49:00I said, come here, Mr. Longford.

49:04I said, come here!

49:05Come here!

49:05So, you've obeyed me, I see.

49:12Yes.

49:12Only too glad to obey you.

49:15So, Harry and his twin are one and the same person.

49:18Right, Cyrus?

49:19Don't call me Cyrus.

49:22Cyrus.

49:23The commando who wasn't one.

49:25You know, Cyrus, when I thought you were one, I was afraid of you.

49:28But now I've got to grips with the real Cyrus, I'm not a bit frightened.

49:32Cyrus is a very large man, but he was not a commando.

49:36Whereas George Longford, never actually a commando, learned a lot about Judo.

49:50You did strike it unlucky tonight, didn't you, Cyrus?

49:53Are you enjoying this?

49:55I imagine not.

49:56Very well.

49:57When I release you, you will obey me and go and sit down in the chair by the fire.

50:03Very well.

50:04You may go.

50:07No, I said the armchair by the fire.

50:09And put my money back on the table.

50:11Well done, George.

50:12I thought you could do that.

50:14Well, that seems to be the end of the evening, doesn't it?

50:17No, Charles.

50:18That's the funny thing.

50:19It's not quite.

50:21Come here, Mrs. Armstrong.

50:23I said, come here, Mrs. Armstrong.

50:25What are you doing, George?

50:27I'm doing a lot, Charles.

50:28To Mrs. Armstrong, who recently so strongly advocated something being done to me.

50:34In fact, Charles, I'm going to rob Mrs. Armstrong of her facial charms.

50:39Her somewhat maturing facial charms.

50:42I'm sure that one who comes from a family of soldiers can endure such a thing.

50:46Oh.

50:47Now, Mrs. Armstrong, close your eyes and put back your head.

50:52I'm now going to start counting.

50:54And I may tell you that every number after three will be an added disfigurement.

50:59Your own words, Mrs. Armstrong, to your face.

51:02Now, one, two...

51:05Help me!

51:06Sire!

51:07Help me!

51:08He's only bluffing.

51:09He's not the type.

51:10But that's just what I am, Cyrus, as I shall now demonstrate.

51:13Now, Mrs. Armstrong, the operation begins.

51:16Oh.

51:16You come, never forget it, from a family of soldiers.

51:20Now, keep quite still, please.

51:22What are you going to do to my face?

51:24What are you doing?

51:27Sire!

51:29What has he done?

51:30Tell me!

51:31Nothing.

51:32I told you he was only bluffing.

51:34I don't know why you yelled.

51:36I don't know what he was using on you.

51:37I was using H2O, Cyrus.

51:39Water.

51:40Iced.

51:40Your charming colleague seems to have got the impression that I was using a knife.

51:45Charles?

51:46Are you still listening up there?

51:48Did I fool you, too?

51:50Yes.

51:51You did, George.

51:54As she'll probably only get about 11 years in prison,

51:56I thought I'd give her about 11 seconds of real torture.

52:00You see, just as ice is the same as a knife with your eyes shut, Mrs. Armstrong,

52:05so fear is the same as hell.

52:09Oh, please.

52:15All right, sir.

52:16We'll take care of him.

52:17Come on, then.

52:17Take care of him.

52:18Take care of him.

52:19I'll get her protection.

52:24Charles?

52:24I didn't know you were quite like that, George.

52:29Didn't you?

52:30And I don't regret it for a moment.

52:31Yes, so I gather.

52:34Well, well, all this has rather spoiled your quiet evening, hasn't it?

52:38No, just interrupted it.

52:40I hope I'm going to have it now.

52:42Now, where's my dictionary?

52:44Perhaps a little music on the radio.

52:46All right, George.

52:47I'm off.

52:49Goodbye.

52:49See you tomorrow.

52:50Goodbye, old boy.

52:51And thank you.

52:52Not at all.

52:54Goodbye.

52:54In tonight's presentation of The Man Upstairs,

53:21you heard Bruce Miller as George Longford,

53:25Cyrus Armstrong was played by Donald Monat,

53:28and Marjorie Gordon took the part of his mother.

53:32Stuart Brown was Sir Charles Waterbury.

53:35The Man Upstairs by Patrick Hamilton

53:37was produced for Lux Radio Theatre by Michael Silver.

53:51The Man Upstairs by Michael Silver.

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