Suspense - Murder Aboard The Alphabet [episode 0] Broadcast Unknown

Summary

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Old Time Radio Stories Podcast

Episode: Suspense – “Murder Aboard The Alphabet”
Date: June 21, 2026 (Original Broadcast Date Unknown)
Host/Curator: Old Time Retro Radio

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Episode Overview

This episode presents the classic radio thriller "Murder Aboard The Alphabet," revived from the suspense anthology series. Set aboard the deep-sea tug Alphabet during a tense transatlantic voyage, the drama unfolds as crew members start vanishing under mysterious circumstances. The story explores themes of authority, madness, paranoia, and betrayal, culminating in a twist on both trust and justice at sea.

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Key Discussion Points & Story Breakdown

1. Setting the Scene & Characters

• Midnight Account:
  The story is told retrospectively by Mr. Marshall, First Mate, who records the voyage's harrowing events for posterity.

  "It is well past midnight now, and I write these words so that other men may know the full story of that ill-fated voyage of the deep sea tug Alphabet."
  (Mr. Marshall, 01:35)

• The Crew:

  • Small, reduced complement—12 men.
  • Key Figures: Captain Godfrey Walker (commanding, eccentric), Mr. Marshall (chief officer, narrator), Chief Engineer Alec McTavish, Second Mate Harvey Goodrum.

2. The Captain’s Eccentricity and Obsession with Order

• Alphabetical Order:
  Captain Walker insists on an almost obsessive order—crew tasks, watch rotations, and even cabin décor arranged alphabetically or by size and season.

  "All items and of work will be carried out in alphabetical order. Alphabetical order decided starting with A and carrying through to Z. You understand me now, mister?"
  (Captain Walker, 06:23)

• Uncompromising Authority:

  "First of all, I demand complete, unquestioning obedience...while I'm in command of this vessel, I hold the power of life and death."
  (Captain Walker, 06:18 / 07:04)

• Atmosphere of Unnerving Precision:
  Descriptions detail his unnatural neatness and looming madness.

  "There was something inhuman in its ordered meekness, as if the warmth of man had not touched it... The man was mad."
  (Mr. Marshall, 07:26 / 07:49)

3. The Disappearances Begin

• First Victim:
  The wireless operator, Abercrombie, vanishes without a trace.

  "The wireless operator, sir. AB Cromy. He's gone."
  (Second Mate/Captain Walker, 10:45)

• Growing Fear and Suspicion:
  Crew members become anxious, linking the disappearances to the captain's madness—and note the beginning letter of Abercrombie’s name.

  "But haven't you thought of this: Abercrombie—what of it? Beginning with A. The first of the Alphabet. Abercrombie was the first. But he won't be the last."
  (Higgins, 12:33)

4. Paranoia and Mutiny

• Further Victims:
  Butterfield (B) disappears, followed by Chadwick (C), seemingly following the alphabetical order.

  "There's another man gone, sir."
  (Mr. Marshall, 15:58)

• Crew’s Breaking Point:
  Higgins suggests mutiny to prevent further deaths.

  "We think the skipper should be put away, sir...he'll murder us all. Abercrombie, Butterfield—he'll go clear on down the Alphabet if we don't stop him."
  (Higgins, 18:22)

5. Confrontation with Captain Walker

• Execution of Mutiny:
  Mr. Marshall confronts the captain with a loaded gun and restrains him after yet another disappearance.

  "This gun is loaded... One move and I'll shoot..."
  (Mr. Marshall, 22:21–22:36)

• Captain’s Taunt:

  "You swing for this, Marshall. And you and all the rest."
  (Captain Walker, 22:42)

6. The Final Twist

• Arrival & Revelation in Boston:
  Captain Walker, bound in his cabin, exposes a chilling twist—the real murderer may not be him, but Marshall.

  "You think I'm mad, don't you? Well, maybe I am. But you bungled it badly, mister... I know all about you, mister. Under a bit of a cloud, eh? Not the first vessel you've been on where men have disappeared in the black of the night, eh?"
  (Captain Walker to Mr. Marshall, 24:04–24:36)

• Incriminating Evidence:
  The captain used his infrared camera to photograph Marshall pushing Chadwick overboard.

  "You should have taken more interest in my photography, mister. My infrared film, for instance. You can take pictures on the darkest night. Would I have one, mister? An excellent likeness. A likeness of you, mister. Tonight you push Chadwick over the side."
  (Captain Walker, 24:44–25:15)

• Marshall’s Fate:
  The story closes with Marshall’s somber reflection, revealing his own guilt and the cost of his obsession with the sea:

  "They could readily understand how a man could hate and fear the sea and yet love it like a woman...But now they say they must send me away to a place where the sea can no longer torture me. A place of no land, or sea, or wind, or rain, but only rest."
  (Mr. Marshall, 25:15–25:55)

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Notable Quotes & Memorable Moments

• "If we hit it heavy, there’ll be many a man on board who wish he never left the dockside."
  (Captain Walker, 03:50)
• "While I’m in command of this vessel, I hold the power of life and death."
  (Captain Walker, 07:04)
• "Abercrombie, Butterfield—he’ll go clear on down the Alphabet if we don’t stop him."
  (Higgins, 18:30)
• "You really think they’ll hang a mate for mutiny when they can hang a captain for murder?"
  (Mr. Marshall, 22:46)
• "But you bungled it... I have an excellent likeness. A likeness of you, mister. Tonight you push Chadwick over the side."
  (Captain Walker, 24:04–25:15)
• "But now they say they must send me away to a place where the sea can no longer torture me..."
  (Mr. Marshall, 25:15–25:55)

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Key Timestamps for Important Segments

• Opening & narrative setup: 01:35–03:30
• Captain Walker’s commands & obsession revealed: 05:10–08:45
• First disappearance (Abercrombie): 10:30–11:00
• Crew's suspicions & link to alphabetical order: 11:46–12:33
• Second disappearance (Butterfield): 15:15–16:09
• Crew proposes mutiny: 18:16–19:14
• Third disappearance & the mutiny: 20:55–22:46
• Twist and Captain Walker’s accusation: 23:46–25:15
• Marshall’s confessional epilogue: 25:15–25:55

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Tone & Atmosphere

The episode skillfully recreates the claustrophobic tension of a voyage gone awry, using measured pacing, shadowy motives, and suspenseful music to deliver a story in classic noir-horror radio tradition. The interplay of chillingly formal dialogue and psychological unease keeps the listener guessing right up to the final haunting twist.

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Summary for New Listeners

This haunting episode will captivate fans of classic mysteries and psychological thrillers. Through the backdrop of an isolated ship, meticulously drawn characters, and a fatal game of trust and order, "Murder Aboard the Alphabet" dramatizes the perilous dance between sanity and madness—leaving listeners with lasting questions about guilt, obsession, and the dark secrets we carry to sea.

Transcript

[Mr. Marshall]

You are listening to Old Time Retro Radio.

[Captain Walker]

For full access to our archive, visit patreon.com old time RetroRadio.

[Narrator/Announcer]

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[Captain Walker]

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[Narrator/Announcer]

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[Captain Walker]

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[Narrator/Announcer]

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[Captain Walker]

of Fresno, California bring you Mr. John Lund in Murder Aboard the Alphabet as a Sense Play Produced, edited and directed for Shenley by William Spears.

[Mr. Marshall]

It is well past midnight now, and I write these words so that other men may know the full story of

[Narrator/Announcer]

that ill fated voyage of the deep sea tug Alphabet.

[Mr. Marshall]

Ours was not a large vessel, but sturdily built for its past. And though it seems an age, it was only a little over six months ago that we sailed from Liverpool, England, bound out across the North Atlantic to deliver our ship to her new owner, a salvage firm of Boston, Massachusetts,

[Captain Walker]

and my Costco.

[Mr. Marshall]

We put out with a reduced compliment, just a handful of them, 12 in all. We were a new crew sent on board for this journey over the beach. Sea Lane and I sailed at chief officer under the command of Captain Godfrey Walker, Second Mate Harvey Goodrum and Chief Engineer Alec McTavish being the other members of our small saloon. I remember we departed on a cold, wet day with the fog lying low over Birkenhead and the northwest wind blowing fresh in our feet as the drab ray of the Liverpool's oxide dropped back into the soaking mist. I doubt if any man aboard should have foretold what lay ahead over those 3,000 miles of heaving sea. When we had cleared the light ship, I went into the Captain Walker searched the channel ahead, his deep black eyes staring out from under his shaggy eyebrows. I saw him, his huge plane bundled in assault, saying, great.

[Captain Walker]

Ah, Mr. Marshall, everything secured for sea?

[Mr. Marshall]

Yes, sir. Everything on deck is lashed down as tight as a whistle.

[Narrator/Announcer]

Sure.

[Mr. Marshall]

Good.

[Captain Walker]

We may get a dirty crossing this

[Mr. Marshall]

time of the year. Oh, it should be uncomfortable, sir, when it the ships I'm used to something a little bigger.

[Captain Walker]

You're on. No, 10,000 ton an hour, mister. If we hit it heavy, there'll be many a man on board who wish he never left the dockside.

[Mr. Marshall]

Oh, I think the crew can take it, Sir.

[Captain Walker]

Yeah, maybe, Mr. Maybe. Few days out and we'll see. Keep it to a course FOR all right, Mr. Mar. She's a taker now.

[Mr. Marshall]

Very good, sir.

[Captain Walker]

Your course is south 70 west.

[Mr. Marshall]

South 70 west, sir.

[Captain Walker]

Need his helmet to keep her on the course. I'll be back in the cabin if you want. I I.

[Mr. Marshall]

Queer cousin, is he?

[Captain Walker]

The creeping gun?

[Mr. Marshall]

Oh, he's probably harmless enough. Used to bigger commands than this, I imagine.

[Captain Walker]

But I'll keep a watch on him, sir.

[Mr. Marshall]

Far with you. Keep a watch on him.

[Captain Walker]

Why, why, if you don't know now so you'll find out soon enough.

[Mr. Marshall]

South 70 west. Check your course now. Simply wait.

[Captain Walker]

Take a chair, Mr.

[Mr. Marshall]

Thank you, sir.

[Captain Walker]

No, not that one over there. Oh, certainly, sir.

[Mr. Marshall]

Is Is there anything wrong?

[Captain Walker]

No, no, no, no, no, nothing's wrong. I just want to talk to you, discuss the affairs of the ship with you.

[Mr. Marshall]

Give you some idea of what I expect. Oh, here.

[Captain Walker]

See that.

[Mr. Marshall]

Oh, thank you.

[Captain Walker]

Why, by the way, you will not use that ash tray on your life. No, you will not use it. You may place your ash carefully on the other one.

[Mr. Marshall]

This one?

[Captain Walker]

Yes, yes, that one. Tell me, how long since you had

[Mr. Marshall]

your last birth, Mr. Why, it's been some time, sir.

[Captain Walker]

Port captain says you know, ma'. Am.

[Mr. Marshall]

Well, only by reputation, sir.

[Captain Walker]

Would it surprise you to learn that I know something of you by reputation, Mr. Why, I don't exactly. We ought to make quite a fair Mr. Quite affair. Oh, well, no matter. Now I shall tell you the reason I summoned you to my cabin again, Marshall. You will find, if you do not know already, that I have very definite ways. I wish things to be done very definite ways. First of all, I demand complete, unquestioning obedience.

[Narrator/Announcer]

Of course, sir.

[Mr. Marshall]

I'm sure you'll get the fullest cooperation from myself and the crew.

[Captain Walker]

Good, good. I want that to be perfectly clear. I also insist that your supervision of the web on this ship be done in a certain manner. I shall prescribe. All items and of work will be carried out in alphabetical order. Alphabetical order decided starting with A and

[Mr. Marshall]

carrying through to Z. I'm afraid I don't understand.

[Captain Walker]

I think my meaning is perfectly clear. If the hands are facing ship, they will start with the alleyways and all other items beginning with A, then the bulkhead, then the Decks and so forth. You understand me now, mister?

[Mr. Marshall]

Oh, yes.

[Captain Walker]

Yes, sir.

[Mr. Marshall]

I. I think I understand. But I'm afraid I don't quite see your reason.

[Captain Walker]

Mr. Martin. My reasons are not to be questioned. You will remember, while I'm in command of this vessel, I hold the power of life and death. Well, sir.

[Mr. Marshall]

He was sitting across from me on the small set. He. His massive face half hidden in the shadows. His eyes piercing into mine. In the nearness of him, I could see the bloodshot veins like thin red tracings against the white. The man was mad.

[Captain Walker]

Higgins was right.

[Mr. Marshall]

He was mad. Yes.

[Captain Walker]

Life and death.

[Mr. Marshall]

I looked about his cabin. There was something inhuman in its ordered meekness, as if the warmth of man had not touched it. I saw the books stacked evenly in the bookshelf. I saw the titles arranged in alphabetical order. It was a pattern, complete in itself. The desk, the bunk immaculate. Not a wrinkle or speck of dust

[Captain Walker]

visible to the naked eye.

[Mr. Marshall]

On the bunk head were four photographs. Enlargements of outdoor scenes. For the start, I realized they too were in perfect order, arranged according to the season, from left to right. Spring, summer, autumn, winter. My eyes darted about me again. And on the shelf above his bunk I saw three cameras. They also fitted the pattern. The smallest on the left, the largest on the right. I remembered the chair on the ashtray and turned towards him as he spoke again.

[Captain Walker]

Is that perfectly clear, Mr. Marshall?

[Mr. Marshall]

Yes, sir. Perfectly clear.

[Captain Walker]

Good, good. Now, one final thing. I insist that the quartermasters taking the wheel appear in sequence of the first letter of their surname.

[Mr. Marshall]

But, sir, that will mean rearranging the watches.

[Captain Walker]

Surely you will do as I order.

[Mr. Marshall]

Very good, sir. The watches will be changed.

[Captain Walker]

That's better. Much better. Well, Mr. Now that we understand one another, we shall see. Talking about the ship, I see you've noticed my photograph.

[Mr. Marshall]

Well, I can't say I know much about it, sir, but I'd say they're excellent.

[Captain Walker]

Of course they're excellent. I took them myself. A hobby of mine, you may have noticed. I have three cameras. Two of them are of German, like the other American. The medium sized one in the middle I use with infrared film. Comparatively recent development. The other two I use for general purposes. Are you interested in photography, Mr. Margaret?

[Mr. Marshall]

Well, I can't say I am particular, sir. I've never done anything like that for a holiday. Very well.

[Captain Walker]

If you're not interested, you may go for.

[Mr. Marshall]

I didn't mean that I would.

[Captain Walker]

That is in order, Mr. Mar. You will now go.

[Mr. Marshall]

I left him, then stumbled into the cold darkness. Outside, the thoughts tumbling unendingly through my head as I made my way to my cabin. We were pushing our way over the restless waters of the North Atlantic with a madman in command. On the morning of the third day, the second officer came running onto the bridge and flung himself excitedly into the wheelhouse.

[Captain Walker]

Mr. Marshall, I'd like a word with you.

[Mr. Marshall]

Go ahead, madam.

[Captain Walker]

What is it? Will you come outside? I. I can't tell you here.

[Mr. Marshall]

Certainly. Now, what in the world is the matter with you?

[Captain Walker]

The wireless operator, sir. AB Cromy. He's gone.

[Mr. Marshall]

You mean he's disappeared off the ship?

[Captain Walker]

Disappeared maybe. But I wouldn't wonder if there was a better name for it than that.

[Mr. Marshall]

What do you mean? I need murder. Abercrombie was gone, vanished without a trace to the decks of the Alphabet. And although I didn't have the feeling myself, there was an uneasiness within the crew. Now that seems perfect. Frightened, and they quietly drifted out of sight. Whenever the captain made an appearance on the deck, you could see they feared him. And somehow connected his madness to the disappearance of the wireless operator.

[Captain Walker]

That night I stood in the darkness

[Mr. Marshall]

of the wheelhouse, the faint light from the binnacle shining on the face of Higgins as he stood his trick at the wheel.

[Captain Walker]

A rough soldier at Abomi didn't just

[Mr. Marshall]

all over the side by himself.

[Captain Walker]

Mark my words on that.

[Mr. Marshall]

Oh, come now, Higgins. Many a man has disappeared from shipboard. Swept over the side by a sea

[Captain Walker]

on a stormy night. That may be, but last night was pretty quiet one. Just a little kiss of rain. Stunning, he was. But why? What reason? Reason? No one had no reason, sir. Except maybe the queer one.

[Mr. Marshall]

The queer one?

[Captain Walker]

Hi. The skipper, sir.

[Mr. Marshall]

Good heavens, man, are you accusing the captain of.

[Captain Walker]

He's not a normal man, sir.

[Mr. Marshall]

I wouldn't be too loud about the captain, Higgins. You can't accuse people without evidence.

[Captain Walker]

I'll keep me coming, but the skipper's off his rocker. You have that as well as I don't, sir.

[Mr. Marshall]

Oh, he's got some set ideas about things.

[Captain Walker]

But let us house up that it's large. Well, yes, but haven't you thought of this line, Abercrombie? What of it? Beginning with the hay. The first set of the Alpha deck. Abercrombie with the first. But he won't be the last. He won't be the Lord. For suspense, Roma Wines are bringing you Mr. John Lund in Murder aboard the Alphabet. Roma Wines presentation tonight in radio's outstanding theater of thrills. Just fence.

[Narrator/Announcer]

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[Captain Walker]

And now, Roma wines. Bring back to our Hollywood soundstage. John Lund as Perch mate Marshland and Joseph Kearns as Captain Walker in Murder aboard the Alphabet, a play well calculated to keep you in just then.

[Mr. Marshall]

Needless to say, the conclusions of the men were no surprise to me. But I didn't feel the time was right for further action. On the evening of the following day, the barometer started dropping and next morning saw the low gray clouds cutting swiftly before the wind and the Alphabet laboring heavily in the rising sea. Within eight bells of the morning watch,

[Captain Walker]

the sixth day at sea.

[Mr. Marshall]

Who's there?

[Captain Walker]

It's McDarvish, Mr. Mason.

[Mr. Marshall]

Oh, come in, Chief. Take a chair, Chief.

[Captain Walker]

What is it? You look bothered, but the field, mister. He's lost blood. Hi.

[Mr. Marshall]

Are you sure, mister?

[Narrator/Announcer]

I am sure enough.

[Mr. Marshall]

We search for a motor in the ship that's near place, mister. Have you informed the captain?

[Captain Walker]

Ah, the old man. Do you think he knows it?

[Mr. Marshall]

Come on.

[Captain Walker]

I come. Well, mister?

[Mr. Marshall]

There's another man gone, sir.

[Captain Walker]

Butterfield.

[Narrator/Announcer]

Butterfield, eh?

[Mr. Marshall]

Ay, sir.

[Captain Walker]

How long have you known this, Mr. Marshall?

[Mr. Marshall]

The chief engineer informed me only a few moments ago, sir.

[Captain Walker]

Are you sure of this, Mr. McDavish?

[Narrator/Announcer]

I am sure. There's nay a trace of him anywhere aboard the ship.

[Captain Walker]

Very well, Mr. McDavish, you may go. I wish to speak to the chief officer alone. What's a good Butterfield, sir? Go, Mr. McCavish. That's an order. Well, Mr. Marshland?

[Mr. Marshall]

I'm afraid this is beyond me, sir.

[Captain Walker]

No, I'm not referring to the engineer, mister. He's obviously disappeared. There's nothing we can do about it. Well, why are you standing? Why don't you sit down?

[Mr. Marshall]

Well, I thank you, sir.

[Captain Walker]

It's Thursday. You may sit in the armchair.

[Mr. Marshall]

Thank you.

[Captain Walker]

What do you Think of my ship now. You still find it uncomfortable?

[Mr. Marshall]

Oh, no, sir. I like her very well. I thought a long time before I shipped aboard.

[Captain Walker]

Oh, you did, eh, mister? Huh? Well, she's small. But then any ship's a ship, eh? I'd like something a little more. But then. Then the sea is the lady that comes. Am I right?

[Mr. Marshall]

That's right, sir.

[Captain Walker]

You love her. You love her very much, don't you, Marshall?

[Mr. Marshall]

I do. Yes, I do.

[Captain Walker]

You're young, but you love her more than anything.

[Mr. Marshall]

More than anything.

[Captain Walker]

More than is. More than is natural, Captain. And now you'll see this. You like to inspect my cameras and tell me what you think of them?

[Mr. Marshall]

Well, I'm afraid I don't know a great deal about that sort of thing, sir.

[Captain Walker]

Oh, you know nothing about them. Very good. You may leave my cabin.

[Mr. Marshall]

Certainly, sir. I shall look into the Butterfield matter.

[Captain Walker]

He's left this ship, mister. You're only wasting your time. Now go.

[Mr. Marshall]

For the second time, I left the cabin of that strange man. I left him alone with his madness and steadying myself against the row of the ship. Walked the deck, thinking my own thoughts. It was that night that Higgins came to me in my cabin. I bade him enter and he settled his wizened body down upon my armchair. I was lying in my bunk, watching him as he sat there awkwardly twisting his cap in his hands.

[Captain Walker]

It's an unusual request I had, sir, and I hope I could speak in confidence like.

[Mr. Marshall]

Go on, Higgins. Whatever you have to say will be just between the two of us.

[Captain Walker]

We think the skipper should be put away, sir.

[Mr. Marshall]

Put away? What do you mean?

[Captain Walker]

Locked up, sir. But he can't arm us,

[Mr. Marshall]

you know.

[Captain Walker]

That's mutiny. Ah, yes, mutiny. But Mr. Marshland, he'll murder us all. Abercrombie, Butterfield. He'll go clear on down the Alphabet if we don't stop him. There's no proof the lads are sure enough. Are they? Just give us a word, Chad, and we'd help you. We'll put him away.

[Mr. Marshall]

Very well, Higgins. Keep it among yourselves. If you can tell the men this there's any more trouble, I'll take matters into my own hands. You can rest assured of it.

[Captain Walker]

Thank you, sir. A pretty mutiny, but there ain't a court in the world as ever would convict you at it.

[Mr. Marshall]

No, no, Higgins, I don't think there is. You had to be done very quickly, carefully, and for quite a while. I lay back upon my bunk, thinking of what Higgins had said, it would be risky. But the men were behind me. That Would more than sway the balance. Higgins was right. Any court of law would see the wisdom of my action. They would never convict from mutiny. And Captain Walker would be locked away forever. We continued on our way, and in the howl of the wind and the long seas, he could sense the cold hand of fear that settled over the Alphabet. By the evening of the seventh day, we stood well out on our great circle track, More than halfway between Liverpool and Boston. We plunged through dirty seas, rising to each crest and falling to the cross below with the water curling green over the flare of our bluff boughs. But we made fair time in the note. Slipped steadily as. During the inky blackness of that night that death struck again on the decks of the Alphabet. And another member of our dwindling band disappeared into the unknown Abercrombie Butterfield. And now the third man. His name was Chadwick.

[Captain Walker]

Who's that? Oh, good evening, sir.

[Mr. Marshall]

Dirty weather, sir.

[Captain Walker]

Well, I'll be getting below, sir. Would you please let me buy? I. I want to go below.

[Mr. Marshall]

You dropped something, sir.

[Captain Walker]

Never mind. I'll beat it there. Up rather late, aren't you, Mr. Marshall?

[Mr. Marshall]

You are too, aren't you, Captain? I thought I heard it scream.

[Captain Walker]

Oh, did you now, mister? Did you.

[Mr. Marshall]

Wait.

[Captain Walker]

We're all here, sir. You all know why you're here, so let us know. We're with you, mister. We'll shop it tricks, we will. Good.

[Mr. Marshall]

Now, we must do this quietly and quickly. There must be no bungling. Understand?

[Captain Walker]

All right.

[Mr. Marshall]

Here goes. Hey, Captain Walker, will you come on deck a minute?

[Captain Walker]

Well, mister, what is it you want?

[Mr. Marshall]

Come out here, sir. I want to show you something. Never mind that man, Captain. Stay where you are. This gun is loaded.

[Captain Walker]

So now it's mutiny. Marlin, you better set up.

[Mr. Marshall]

One move and I'll shoot a and

[Captain Walker]

you'll get more north in your gizzard, Mr. Marshall. And he's a stiffen out.

[Mr. Marshall]

You swing for this, Marshall.

[Captain Walker]

And you and all the rest.

[Mr. Marshall]

You really think they'll hang a mate for mutiny when they can hang a captain for murder? We sailed into Boston harbor with Captain Walker lashed securely to a chair in his cabin. After the first brief struggle, he had grown quieter, and during the last days of our voyage, he had just sat there silently saying nothing, A strange mad smile leering from his lips. We arrived in Boston late in the afternoon, and as we sailed up the harbor, we hoisted the international signal calling for the harbor police. After we had docked alongside, I went up to his cabin to ensure that all was in readiness for the arrival of the police. And as I stood over him, bound there in his chair, his eyes seemed to mock me, his smile taunting me.

[Captain Walker]

No, Mr. Marshland. This is to be the success of your little plan, eh?

[Mr. Marshall]

I have nothing to say to you, Captain. The police will be aboard at any moment.

[Captain Walker]

You think I'm mad, don't you? Well, maybe I am. But you bungled it badly, mister. You bungled it very badly.

[Mr. Marshall]

Have I?

[Captain Walker]

Who's that? Police. Police. Come in. Come in.

[Mr. Marshall]

Officer, this man is coming.

[Captain Walker]

Yes, you've bungled it, Mr. Marshal. Why weren't you content to let me be with my madness? Cuz I was content to let you be with yours. Oh, we'd have made quite a pair, as I told you, if you hadn't bungled it.

[Mr. Marshall]

What are you talking about?

[Captain Walker]

I know all about you, mister. Under a bit of a cloud, eh? Haven't shipped for quite a while. Not the first vessel you've been on where men have disappeared in the black of the night, eh?

[Mr. Marshall]

Oh, but I wouldn't have cared.

[Captain Walker]

No, I like your method. Business like by the letters. By the Alphabet.

[Mr. Marshall]

You are mad. Take him away.

[Captain Walker]

Yes, mad. Quite. But you should have taken more interest in my photography, mister. My infrared film, for instance. You can take pictures on the darkest night. Would I have one, mister? An excellent likeness. A likeness of you, mister. Tonight you push Chadwick over the side.

[Mr. Marshall]

The police have been very understanding. They could readily understand how a man could hate and fear the sea and yet love it like a woman. Love it enough to follow it and hunger for it. And make every sacrifice, even human sacrifice. But now they say they must send me away to place where the sea can no longer torture me. A place of no land, or sea, or wind, or rain, but only rest.

[Captain Walker]

It is time, my son.

[Narrator/Announcer]

Can you pray? Yes.

[Mr. Marshall]

To the sea. Only to the sea. Further aboard, the Alphabet, starring John Lund.

[Narrator/Announcer]

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[Captain Walker]

John Lund will soon be seen in Paramount's 36 star production Variety Girl. Tonight's suspense play was by Charles Turrell. Next Thursday, same time, you will hear Lloyd Nolan as star of suspense. Produced and directed by William Spear for the Roma Wine Company of Fresno, California. Sam, Don't forget, next week suspense will present Lloyd Nolan. The following week, Edmund o'. Brien. Make it a point to listen each Thursday to suspense Radio's outstanding theater thrill. This is cbs for columbia broadcasting system.