A Terribly Strange Bed by The Weird Circle

Summary

Summary of "A Terribly Strange Bed" by The Weird Circle

Podcast: The Horror! (Old Time Radio)
Host/Author: RelicRadio.com
Release Date: February 15, 2025
Episode Title: A Terribly Strange Bed

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Introduction

In the gripping episode titled "A Terribly Strange Bed," listeners are transported to the mysterious and shadowy streets of Paris, where a series of bizarre murders involving flattened corpses has left the city in a state of terror. Hosted by the eerie voices of Fat Man and Inspector Duval, the story unfolds with an intricate web of suspense, dark artistry, and supernatural undertones.

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Setting the Scene

The episode opens with Fat Man and Inspector Duval setting a haunting atmosphere:

• Fat Man (00:06): "Oh, stories, real stories."
• Inspector Duval (00:16): "Good evening. Come in, won't you? What's the matter? Surely you're not nervous."

These introductions immediately immerse the audience in a world where fear and mystery reign supreme.

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The Discovery of the Flattened Corpse

Burke Manning, a writer researching historic murder cases, and his friend Jack Westcott find themselves in Paris, where their investigation leads them to an alarming discovery:

• Burke Manning (01:33): "Jack Westcott was the best friend I ever had... His hunger for crime was bound to end in tragedy."

As they walk along the Seine, Inspector Duval reveals a shocking scene:

• Inspector Duval (02:37): "A corpse, Monsieur Westcott. A corpse that's been squashed thin as a piece of paper."

This grotesque discovery sets the tone for the unfolding horror.

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Encounter with the Fat Man

The mysterious Fat Man is introduced as a sinister figure with a macabre fascination:

• Fat Man (03:18): "It appeals to my sense of the artistic."

His obsession with the aesthetics of murder adds a chilling layer to the narrative, highlighting the intersection of art and atrocity.

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The La Belle Tavern Confrontation

Seeking answers, Burke and Cecilia follow the Fat Man to La Belle Tavern, a notorious Parisian bar. Here, they meet Monty Lauriard, whose interactions reveal deeper conspiracies:

• Monty Lauriard (07:16): "You can call me Cecilia. How about another drink?"

The tavern becomes the epicenter of deceit, where gambling and manipulation intertwine. Jack's initial luck at the gambling tables spirals into a dangerous obsession:

• Burke Manning (10:35): "That was the first time Jack won in that incredible evening."

As Jack's winnings escalate, the tension mounts, foreshadowing impending doom.

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The Trap is Set

Fat Man's true intentions come to light as he manipulates events to ensnare Jack and Cecilia:

• Fat Man (16:03): "There's beauty in death."
• Cecilia (16:09): "Then do you enjoy committing a crime?"

These exchanges reveal Fat Man's morbid fascination and hint at his role as the orchestrator of the night's horrors.

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The Terribly Strange Bed

The climax unfolds in a surreal and terrifying scene involving a sinister bed designed to inflict agony:

• Cecilia (21:14): "Funny that a French gambling house should have a bedroom."

As Cecilia attempts to escape the bed's deadly mechanism, the audience experiences her palpable fear and desperation:

• Cecilia (22:34): "I don't know how to open it."

The scene culminates in a frantic struggle to free themselves from Fat Man's lethal contraption.

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Police Intervention and Resolution

Inspector Duval reappears, now seeking to suppress the truth:

• Inspector Duval (25:30): "From the time worn pages of the past we have heard the story. A terribly strange bed."

Despite their efforts, Cecilia and Burke reveal that the Fat Man’s influence remains elusive, leaving the mystery partially unresolved and the threat lingering.

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Key Themes and Insights

• Artistic Obsession with Death: Fat Man's perspective that "there's beauty in death" underscores the episode's exploration of aestheticism intertwined with violence.

• Manipulation and Control: The Fat Man's ability to manipulate characters and events highlights themes of power and the inescapable nature of destiny within the narrative.

• Supernatural Undertones: The surreal elements, such as the moving eyes in the canopy and the inescapable bed, suggest a supernatural influence behind the murders.

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Notable Quotes with Timestamps

• Fat Man (03:18): "It appeals to my sense of the artistic."
• Burke Manning (10:35): "That was the first time Jack won in that incredible evening."
• Fat Man (16:03): "There's beauty in death."
• Cecilia (22:34): "I don't know how to open it."
• Inspector Duval (25:30): "From the time worn pages of the past we have heard the story. A terribly strange bed."

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Conclusion

A Terribly Strange Bed masterfully blends elements of horror, mystery, and psychological thriller to deliver a haunting tale of obsession and survival. Through its rich characters and dark narrative, the episode invites listeners to delve into the abyss of human fascination with death and the macabre, leaving them both unsettled and enthralled.

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Final Note: For those who cherish spine-chilling stories with intricate plots and unforgettable characters, "A Terribly Strange Bed" is a must-listen episode that epitomizes the essence of Old Time Radio's golden horror tales.

Transcript

[Fat Man]

Oh, stories, real stories.

[Inspector Duval]

And murders do.

[Fat Man]

Turn out your legs.

[Inspector Duval]

Turn them out. Good evening. Come in, won't you? What's the matter? Surely you're not nervous.

[Jack Westcott]

Perhaps you can't.

[Inspector Duval]

By telling a story, we are meant.

[Fat Man]

To call from out of the past.

[Inspector Duval]

Stories, strange, weird tales of mystery and terror by radio's masters of the macabre. Stories of the supernatural, the supernormal, dramatized by fat faith. The mystery of the unknown.

[Fat Man]

We tell you this, Franklin, so if.

[Inspector Duval]

You wish to avoid the excitement catching a magnet play, we urge you our theory to turn off your radio. Out of the past. Phantoms of a world gone by. Speak again. The immortal tale. A terribly strange bed.

[Burke Manning]

Jack Westcott was the best friend I ever had. He was the gayest of people. That was until we left America. I was writing a book about historic murder cases and had come to Paris to do some research work. Jack was fascinated with my work. Strangely fascinated. Almost horribly so. He enjoyed finding twisted minds and probing them. His hunger for crime was bound to end in tragedy. On the last evening of our visit in Paris, we were walking on the left bank of the Seine river when Jack noticed a crowd gathered about our old friend, the head of the Paris police force, Inspector Duval. I was in a hurry to return to the hotel to finish writing my murder manuscript. The deadline was in the morning, but Jack insisted on.

[Cecilia]

Stop. What's the excitement all about? Divine.

[Inspector Duval]

Well, hello, Mr. Westgart. Still looking for ancient murders, Mr. Manning?

[Burke Manning]

Not tonight, Duval, ancient or otherwise.

[Inspector Duval]

Stick around, Monsieur Manning. I'll show you a murder the likes of which you've never seen before. Okay, boys, drag it out of the river.

[Cecilia]

What is it, Inspector?

[Inspector Duval]

A corpse, Monsieur Westcott. A corpse that's been squashed thin as a piece of paper.

[Cecilia]

Let's see it.

[Burke Manning]

What do you mean, thin as a piece of paper?

[Inspector Duval]

Bring it over here, boys. Right under the gas light.

[Burke Manning]

Horrible looking thing, isn't it?

[Cecilia]

Horrible and fascinating. It looks like it got squeezed in a giant press.

[Inspector Duval]

We've had an epidemic of these corpses lately.

[Burke Manning]

Any idea who's doing it?

[Inspector Duval]

Not even a vague notion, mister. Hey. Hey, you. You the fat man.

[Fat Man]

You mean me, inspector?

[Inspector Duval]

Yes, I mean you, fat man. How come you're always around when we pull a corpse out of the river?

[Fat Man]

Why? I enjoy murder.

[Cecilia]

You enjoy it? You enjoy murder?

[Fat Man]

It appeals to my sense of the artistic.

[Inspector Duval]

Oh, it does?

[Fat Man]

Well, there's something fascinating about these bodies. Something for a connoisseur alone to appreciate the symmetry of the remains. The beautifully flawless flatness of the corpse. The hollow in the stomach lying in this puddle of gaslight, this mass of flesh and bones makes a nice picture. I should enjoy painting this if I could Paint.

[Cecilia]

I know what you mean, fat man. But wouldn't you prefer probing the mind of a man who conceived this crime?

[Fat Man]

A man's mind is his secret self. Well, enjoy the ghastly spectacle, my friend. Enjoy it. Good evening, gentlemen.

[Inspector Duval]

All right, men, take the body down to the morgue and try and find out who it is.

[Cecilia]

Come on, Burke. I'd like to follow that fat man.

[Burke Manning]

In heaven's name, why? He's nothing but a psychopathic case.

[Cecilia]

I want to satisfy a hunch.

[Burke Manning]

Well, if you're such a good detective, why don't you join Scotland Yard? I might, Burke.

[Cecilia]

I might at that. Where the devil has that gross piece of flesh disappeared to now? He was right in front of us until we turned this corner.

[Burke Manning]

Now we've lost him, Jack, and I don't wonder. We pass through every side street in the whole city. If you ask me, he knows he was being followed.

[Cecilia]

Good. If he knows, he'll show his hand sooner. The only place he could have gone around here is into the back door of this house. I wonder what house this is.

[Burke Manning]

It's a gloomy dump. Let's go back to the hotel, Jack. I've got to finish that manuscript tonight.

[Cecilia]

Looks like a public bar to me. La Belle Tavern. Are you coming with me, Burke, or are you going home?

[Burke Manning]

I'm with you, old boy. I brought you to Paris, and by heaven, I'm going to return you to America.

[Cecilia]

This must be the doorbell. Here goes. And, Burke, no matter what I do tonight, don't worry.

[Fat Man]

Come in, gentlemen, come in.

[Monty Lauriard]

You were perfectly right, fat man. Those two Americans did follow you. You're sitting at the bar. Inside.

[Fat Man]

The Americans value their lives so slightly amazing, isn't it, Cecilia?

[Monty Lauriard]

Their lives. Our lives. They might be cops. I don't want to get my neck in a noose.

[Fat Man]

To be quite candid, I am not interested in your neck. You are so impatient. And impatience is an evil ascribed to the very young. It might be a pity if you are not allowed time to cure yourself of that evil.

[Monty Lauriard]

Don't threaten me of that pig.

[Fat Man]

I'd hope to slap some sense into that lovely but empty head. Obviously, my stupid pigeon, those two Americans are wealthy. They would enjoy our roulette table if you would show them to it. Remember, I'll talk to the croupier and he will take care of the wheel of fate. If you don't do your part well, you face a lifetime in jail.

[Monty Lauriard]

What happens if they get wise?

[Cecilia]

Room 16.

[Fat Man]

But of course.

[Monty Lauriard]

Let me go.

[Fat Man]

I knew you'd understand.

[Monty Lauriard]

Yeah, I understand. There's something so gay about Americans, I always say. I hope you boys don't mind if I stick around, Miss.

[Cecilia]

Not at all, Miss.

[Burke Manning]

Not at all.

[Monty Lauriard]

You can call me Cecilia. How about another drink?

[Cecilia]

That's fine.

[Monty Lauriard]

Three more of the same, bartender.

[Cecilia]

What do you do for a living, Cecilia?

[Monty Lauriard]

Oh, I. I model in a dress shop.

[Cecilia]

I don't believe you, Cecilia.

[Burke Manning]

Jack, stop ribbing the girl. She's a good kid.

[Cecilia]

I'm on the level I'm interested in.

[Inspector Duval]

Here's the drinks.

[Cecilia]

Thanks.

[Monty Lauriard]

Why do I interest you?

[Cecilia]

Well, because you're fairly easy to figure out.

[Monty Lauriard]

Am I? Why?

[Cecilia]

You really want me to tell you?

[Monty Lauriard]

Sure I do. Well, here's mud in your eye.

[Burke Manning]

Potent stuff, Jack. Potent stuff. Tastes like cyanide.

[Cecilia]

Well, Cecilia, I'd say you're a poor girl who lives in the slums, but you're pretty prettier than anybody in your entire neighborhood. Well, let's see, then. You must have met a man.

[Monty Lauriard]

What of it? I'm no saint.

[Cecilia]

You promised you a lot of do dabs and suddenly you found you committed your first crime, let's say murder.

[Burke Manning]

What'd she do, set her mother on fire?

[Cecilia]

Oh, well, for that, let's have three more. Drake, bartender, three more. Well, now, let's say it really was murder. The second murder wasn't so hard and the third was easy, wasn't it?

[Monty Lauriard]

I never had nothing to do with the murder.

[Cecilia]

Well, for the sake of argument, let's say you have. But inside of you all the time is this wanting to be liked, Wanting to be on the level. But your so called friends, they don't trust you, Cecilia. Someday they'll double cross you.

[Inspector Duval]

Hear the drinks.

[Cecilia]

Thank you.

[Monty Lauriard]

Nobody'll ever double cross me. Well, here's mutton. You're right. Drink up, boys.

[Cecilia]

Is there anything else to do around here?

[Monty Lauriard]

You seen the gambling rooms?

[Cecilia]

Gambling rooms?

[Fat Man]

Ha.

[Cecilia]

That's me. Who runs those gambling rooms at tv?

[Monty Lauriard]

I don't know.

[Cecilia]

One of your friends? A fat man, perhaps, with a long nose?

[Monty Lauriard]

I don't know the owner. Gosh, you're real nice.

[Cecilia]

Is the fat man in the back room now?

[Monty Lauriard]

Probably. Gamble's here a lot. Do you be a Ripley?

[Cecilia]

Sure.

[Burke Manning]

Well, come on, Jack. We'll see who's right. My books are your instincts.

[Cecilia]

Number 21 wins.

[Burke Manning]

Jack, the fat man's in the corner of the room. Yeah.

[Cecilia]

Songbird.

[Fat Man]

And he saw you all.

[Burke Manning]

Boy, don't think he Didn't.

[Monty Lauriard]

Come on, boys, let's play.

[Cecilia]

Money, money, money. Place your bets, gentlemen.

[Monty Lauriard]

They'll make some room for us over here.

[Fat Man]

Come on.

[Jack Westcott]

Hello, Cecilion.

[Monty Lauriard]

Hello, Monty. Laureate. You playing again? I thought you lost every cent you owned last night.

[Jack Westcott]

A desperate man finds desperate ways to raise money.

[Monty Lauriard]

Even murder, eh?

[Jack Westcott]

He heard about it, perhaps, and perhaps not.

[Monty Lauriard]

Like you to meet some new friends of mine. Monty, this is Jack Wescott and Burke Manning. Monty Lauriard.

[Jack Westcott]

How do you do?

[Cecilia]

Money, money, money. Gentlemen, place your bets.

[Jack Westcott]

I bet 30 francs on odds.

[Cecilia]

How about 100 francs on number 13?

[Monty Lauriard]

Good boy, Jack.

[Fat Man]

The play is dead.

[Inspector Duval]

Round and round the little ball goes. Where she stops, nobody knows.

[Cecilia]

Hey, Derek, I feel a little dizzy.

[Burke Manning]

You had too much to drink, pal. And those drinks were strong.

[Fat Man]

Number 13 wins.

[Jack Westcott]

Good for you, American. Lucky for you I won the first time I ever played here. But never again.

[Fat Man]

Money, money, money, money, money, money, money.

[Burke Manning]

That was the first time Jack won in that incredible evening. But as the ball spun, his winnings increased. The table seemed to have gone crazy. Jack became gambling drunk. The croupier seemed desperate as that wheel spun round and round, each time increasing Jack's winnings. The room was tense with excitement, and even the little thin loser Lawyard seemed surprised.

[Jack Westcott]

Monsieur Westcott, your luck is phenomenal. You've won 30 times.

[Burke Manning]

30 times, Jack, you've won a fortune, man. Stop now, before it's too late.

[Monty Lauriard]

Leave him alone, Burke. Let him play if he wants to.

[Cecilia]

Sure, let me play if I want it. I want to break the bank.

[Jack Westcott]

Careful, monsieur. Let me warn you.

[Cecilia]

Careful, Jack.

[Burke Manning]

It's almost midnight and I've got a lot of work to do tonight. Please, let's go. And remember, the fat man.

[Cecilia]

The fat man be hanged.

[Monty Lauriard]

Here, Jack, have another drink.

[Cecilia]

Thanks.

[Burke Manning]

Jack, be sensible.

[Cecilia]

Ah, stop being an old auntie, Burke. I'll see you later at the hotel. Make the book have a bloody ending. I'm in the mood for a good murder tonight.

[Burke Manning]

Remember, Jack, I warned you. Goodbye.

[Cecilia]

Money, money, money.

[Fat Man]

Gentlemen, place your bets.

[Monty Lauriard]

I. I told the croupier you wanted to see him. Back here, fat man. But it wasn't the croupier's fault. The American broke the bank.

[Fat Man]

That is for me to decide. Where is the American now?

[Monty Lauriard]

Outside, buying drinks for the house.

[Fat Man]

Good, good. That ought to keep him busy.

[Inspector Duval]

You.

[Fat Man]

You called for me, monsieur? Yes. Yes, I did. I'll need you, too. Cecilia. Shut the door. I don't like to frighten our patrons. I'm. I'm sorry about the wheel, monsieur, but it was broken. And I. I couldn't control it. That is unfortunate for you. What are you going to do, monsieur? Come here. Don't put your fat hands on me, fat man.

[Inspector Duval]

Let me.

[Fat Man]

Don't fight the fat man. You can't move, can you, croupier? Because if you move, my arm will break your neck. Call my men, Cecilia. I might need a little aid with the stupid fool.

[Monty Lauriard]

What are you going to do?

[Fat Man]

Fat man have his brains pressed out of his body in room 16. His mind is no good where it is now, please, mon. Room 16.

[Cecilia]

It. What's that? What was that?

[Jack Westcott]

Monsieur Lauria, we'll probably be lucky if we don't ask questions.

[Cecilia]

I want another drink.

[Jack Westcott]

Jack, listen to me. Put on your hat and coat and leave this place. You're being watched all the time.

[Cecilia]

Who's watching me?

[Monty Lauriard]

Hello, Jack.

[Cecilia]

Oh, have a drink.

[Monty Lauriard]

No, Jack, you've had enough to drink. Leave this place right away.

[Jack Westcott]

She's right, Jack. You must leave. I'll see you home personally. Come on, then.

[Monty Lauriard]

Oh, I know you don't. Money laureate. I know your tricks. The last man you saw home was found with a dagger in his breast.

[Cecilia]

How come you're so interested in me to see?

[Monty Lauriard]

Because you're the first person who ever treated me decent. I'll. Please go home.

[Cecilia]

All right. Sooner or later, every woman develops a mother complex over me. Now, I don't want to be mothered.

[Fat Man]

Who is trying to mother you, my friend?

[Cecilia]

Oh, hello, fat man. Cecilia's.

[Fat Man]

Ah. She's developed a rather latent maternal instinct. I think a maternal instinct is out of place tonight. After all, tonight's a night for celebration.

[Cecilia]

Yeah, the fat man's right. Celebration. Bartender, open a bottle of champagne.

[Fat Man]

Bartender. Champagne. Champagne for Monsieur Westcott. Won't you join us, Cecilia?

[Monty Lauriard]

Yeah, of course I will.

[Inspector Duval]

Here is the champagne, monsieur.

[Fat Man]

Won't you drink with us, Monsieur Leriac?

[Jack Westcott]

No, thank you, fat man. I don't think so. I never enjoyed toasting to death.

[Fat Man]

Death. Open the bottle, Bartender.

[Jack Westcott]

Good night, Jack, and good luck.

[Cecilia]

Good night. Good night. Good night.

[Fat Man]

Good night.

[Cecilia]

Good night.

[Fat Man]

Good night.

[Monty Lauriard]

Here's the handkerchief, Batman.

[Fat Man]

Oh, Jack, your money is all tied safely in your handkerchief.

[Cecilia]

Thank you, friend. Thank you. Thank you. Thank you. Well, up with the handkerchief.

[Fat Man]

It would be wisest to tie it to your belt.

[Cecilia]

I. I feel dizzy, fat man.

[Fat Man]

Oh, you need a cup of good hot coffee. That will straighten you right out. Cecilia, go in the kitchen and fix our friend a cup of coffee.

[Monty Lauriard]

But I. I really don't.

[Fat Man]

Tell me, my little pigeon, that your hearing is failing.

[Monty Lauriard]

You I'll get it right away.

[Cecilia]

I'm glad we're alone, fat man. I want a chance to talk to you.

[Fat Man]

Talk away, Jack.

[Cecilia]

Tell me confidentially, why do you enjoy seeing a mutilated body dragged out of the river?

[Fat Man]

There's beauty in death.

[Cecilia]

In the act of death or in the recovery of a body after life.

[Fat Man]

Is lifted in both.

[Cecilia]

Then do you enjoy committing a crime?

[Fat Man]

Perhaps. Perhaps it would be pleasant to watch a man die slowly, very slowly, in order to see life leave the body. Say that you and I watched a murder by Prussia. What would happen?

[Cecilia]

I'm interested that man. What would happen?

[Fat Man]

The face is the first part affected. It would turn red, and the victim would probably feel hot blood pounding in his brain, Pounding like steel hammers. Then his eyes would feel sore, as if the fluid creating sight were ebbing slowly away.

[Cecilia]

That would be painful.

[Fat Man]

Painful but glorious. His face would discolor. The pressure on his chest would be so great, he. He tried to scream, cry out, but he couldn't. He wouldn't be able to move. Not a limb, not a muscle. He'd be paralyzed. I'd see to that. And in that moment, all the horror that is in man's mind would be indelibly imprinted on the brain until a sudden crushing noise would blot out thought.

[Cecilia]

And what would that crushing noise be?

[Fat Man]

The pulverizing of the human bone.

[Monty Lauriard]

Here's the coffee, fat man.

[Fat Man]

Ah. Let me see it.

[Cecilia]

Hmm.

[Fat Man]

Tastes all right. Here you are, Jack. This will fix you.

[Cecilia]

I. No, I don't think I want any. If you'll pardon me. I'm so dizzy. So frightfully dizzy.

[Fat Man]

Oh, of course you are. Here, Jack. Drink it. Drink it. My friend. My good, good friend.

[Monty Lauriard]

If you don't want to drink it, Jack, don't.

[Cecilia]

Don't.

[Fat Man]

Open your mouth, my friend. It will sober you very quickly.

[Cecilia]

No, I.

[Fat Man]

Open your mouth. There. Now, how do you feel?

[Cecilia]

I. I'm sick. I'm sick. It's doped, isn't it? Dope. Let me. Oh.

[Fat Man]

Our friend Jack is asleep. Cecilia, call the bartender. I think our friend will spend the night with us in room 16.

[Inspector Duval]

So many.

[Jack Westcott]

I've been looking all over Paris for you, monsieur.

[Burke Manning]

You've been looking for me?

[Jack Westcott]

Yes. I've called every hotel in the city trying to find you. I know you don't remember me, but I met you earlier this evening at the Lebel Tavern. My name's Lauriat, of the Paris police force.

[Cecilia]

Yes.

[Burke Manning]

Yes, of course.

[Cecilia]

I.

[Burke Manning]

Won't you come in? Where's Mr. Westcott?

[Jack Westcott]

I had to leave Him? At the tavern. He wouldn't listen to me. You see, monsieur, I've been assigned to watch that tavern. It's been under suspicion for several weeks.

[Burke Manning]

Great Scott, man. Where's Jack now?

[Jack Westcott]

At the tavern. He's carrying an enormous amount of money on his person. I know the Fat man will never allow him to leave with that money.

[Burke Manning]

Why don't you raid the dam?

[Jack Westcott]

Unfortunately, we can't. We have no proof. As a matter of fact, they might not harm him at all. But just in case, I thought it might be a wise idea for you to go down there. You can go to the door and ask for.

[Inspector Duval]

Yes? What do you want?

[Burke Manning]

You're the bartender, aren't you?

[Inspector Duval]

I am not Napoleon's grandma. What do you want?

[Burke Manning]

My friend Jack Westcott hasn't come back to the hotel as yet. We've been waiting for him and I thought that he probably decides to spend the night here at your place and I.

[Inspector Duval]

Your friend is not here. Go home, American, before you get yourself in more trouble than you can handle.

[Monty Lauriard]

Who was it?

[Inspector Duval]

The other American, asking about his friend. Where are you going?

[Monty Lauriard]

Upstairs. Take Monsieur Westcott a candle like the Fat man told me.

[Inspector Duval]

Be sure the Fat man told you. Or else I'm sure.

[Monty Lauriard]

Very sure. Jack. Jack, I. I brought you a candle. Are you asleep? Wake up, Jack, please wake up.

[Cecilia]

Please.

[Monty Lauriard]

Maybe if I shake him.

[Cecilia]

Wake up.

[Monty Lauriard]

I hate to slap you, but your life depends on it.

[Cecilia]

What is it?

[Monty Lauriard]

Wake up.

[Cecilia]

Wake up, Cecilia.

[Fat Man]

Jack. Jack. Luckily he's still asleep. Come, Cecilia, let our friend sleep.

[Cecilia]

I'm so sick. So dizzy and sick. Why didn't she let me sleep? I feel paralyzed. I can't move at all. Just as if I'm drugged. Maybe if I concentrate on the room, I'll go to sleep.

[Fat Man]

Funny.

[Cecilia]

Funny that a French gambling house should have a bedroom. What is an old English four poster bed doing in a French room anyway? What a heavy canopy over my head. So solid looking almost as if it were made of steel. The mattress is so hard. I must concentrate on something. The picture above my head is just even with the canopy. An evil looking Spaniard with five feathers in his head.

[Fat Man]

The eyes moved.

[Cecilia]

I'm certain of it. The eyes moved. I wonder if I dare look up again. I was sure there were five feathers. Now there are only four. Four feathers. Four feathers now. Three feathers. I wonder who's outside my door.

[Burke Manning]

Try to sleep.

[Cecilia]

No, no. Look at the picture. What? The feathers have disappeared. I can barely even see the face.

[Burke Manning]

God.

[Cecilia]

The canopy is being lowered on me. That's what it is the canopy. I can't move the paper thin corpse. Oh, I gotta move it. It's coming closer. Closer. Squash me. Oh, I must move. I. I can't go. It's almost done. Halfway down, go. Just crawl out of bed. When I get a cry, I crawl out of here. Oh, I'm safe. Safer than that horrible contraption. Now to get out of here. The window. Open the window. Slowly. Crawl to the window. I can push the window open slowly, very slowly.

[Fat Man]

The bat must have clamped down on him by now. Listen to me, men.

[Cecilia]

Push the window open.

[Fat Man]

Don't get it stuck. Be sure and deliver the money back to me.

[Cecilia]

I don't know how to open it.

[Burke Manning]

Wide enough to crawl, the fool.

[Fat Man]

You can raise the canopy now. Take the wind, gentlemen. If the bed didn't work the first time, I've ways and means of making it work the second that. Perhaps it would be more pleasant to watch life ebb out in front of him. Place him carefully on the bed. This ought to Prove Most enjoyable, Mr. Westcott. It's a pity you haven't my detached viewpoint. Put him in, then lower the canopy. No, no.

[Monty Lauriard]

No, Ms. Weber, up this way.

[Fat Man]

Hurry, Mr. Lori.

[Cecilia]

Out.

[Monty Lauriard]

I can handle that movement.

[Cecilia]

Cecilia, you fool.

[Burke Manning]

Look, get Jack out of that magic. Jack boy. Here, hold on to me.

[Cecilia]

I'll drag you out.

[Inspector Duval]

Don't you put your hand on me, lawyer.

[Jack Westcott]

Watch him to that. Take care of the bottom.

[Cecilia]

I'm all right.

[Fat Man]

Quick.

[Cecilia]

Don't worry about me.

[Fat Man]

I'm just chilling.

[Burke Manning]

I'll help her. Help me.

[Cecilia]

Don't sit there. Don't push me.

[Fat Man]

Don't be sorry. I'm. Help. Help. No, you don't, Batman.

[Cecilia]

You little.

[Fat Man]

No, you don't. You're on the bike of Via Frankenstein, man.

[Monty Lauriard]

Try to get out of your own bed.

[Cecilia]

Well, Inspector Duvall, that's the story. Lauriard and Burke were waiting outside all the time. They saw me at the window and Cecilia let them in.

[Inspector Duval]

Glow shave, eh?

[Burke Manning]

A lucky escape. Lauriard and I pulled him out of the bed just in time. And Cecilia pushed the fat man under the canopy as it closed down.

[Inspector Duval]

Must have been a horrible sight, Burke.

[Cecilia]

Well, what about Cecilia, Inspector? What would they do to her?

[Inspector Duval]

Unfortunately, the police can't find her. And I've instructed them not to look too hard. From the time worn pages of the past we have heard the story. A terribly strange bed. Dell keeper. Toll the bell.

[Cecilia]

It.