Shownotes
This discourse elucidates the profound complexities surrounding the Zulu nation and its historical significance, particularly in relation to colonial warfare. The principal contention posits that the Zulu military innovations during the 19th century, spearheaded by the formidable leader Shaka Zulu, not only transformed indigenous warfare techniques but also posed a formidable challenge to British imperial ambitions. Furthermore, the episode delves into the ramifications of recent geopolitical developments, including comprehensive tariffs that have adversely impacted the miniature wargaming industry. We also engage with the audience through their correspondence, reflecting on the nuances of war gaming and the emotional connections many enthusiasts maintain with their projects. Lastly, a fascinating exploration of historical narratives is interwoven with an engaging audio piece from the vintage radio era, encapsulating the essence of our thematic focus on the intersection of history and gaming.
Takeaways:
- This podcast episode highlights the importance of vocal intensity in campaign strategies, emphasizing the need to shout repeatedly for effectiveness.
- Listeners are encouraged to engage with the Shot and Shield community, fostering connections through social media and email correspondence.
- The episode discusses the current challenges faced by miniature makers due to tariffs, stressing the impact on the wargaming community.
- Insights into the Zulu nation are provided, underlining the historical significance and the evolution of their military strategies during the 19th century.
- A retrospective on past podcast episodes is included, reflecting on the growth and changes experienced throughout the show's journey.
- Listeners are introduced to the concept of utilizing AI to explore historical topics within wargaming, presenting a modern approach to research.
Links referenced in this episode:
Companies mentioned in this episode:
- Shot and Shield
- Pulp Figures
- Duplicata Productions
- Perry's
- Warlord Games
- AW Miniatures
- War Games Foundry
- Empress Miniatures
- Redoubt Enterprises
- North Star Military Figures
- Old Glory Miniatures
- Eureka Miniatures
Mentioned in this episode:
NETWORK TAG
This podcast uses the following third-party services for analysis:
Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp
Podcorn - https://podcorn.com/privacy
Transcripts
Did you ever stop bullying and shouting at the lower orders?
Speaker B:Never.
Speaker B:There's only one way to win a campaign.
Speaker A:Shout, shout and shout again.
Speaker A:This is Shot and Shield listening in Tulsa, Oklahoma, in Brisbane, Australia, in Rihad, Saudi Arabia, and in 77 different countries around the world.
Speaker A:Welcome to Shot and Shield, the super cast dedicated to colonial 19th century war gaming in History, a podcast meant to be listened to while you were gaming, painting or working on your amazing projects.
Speaker A:I am the Scott Marquis of Middle Florida.
Speaker A:I am the Scott.
Speaker A:Did I write that?
Speaker A:That's what you get when you write the, when you write the scripts out and you say, okay, look, I'm going to, I'm going to read this.
Speaker A:This is where I'm going to go.
Speaker A:And then you put in the word the and it makes it sound stupid.
Speaker A:I am Scott the Marquis of Middle Florida.
Speaker A:And you can refute anything you hear on this podcast by joining the Facebook page, the Shot and Shield podcast wargaming group.
Speaker A:Or you can send me an email@shotandshieldpodcastmail.com now, before I get in the show, it's been a little bit.
Speaker A:We've seen, I, you know what, we've seen some craziness in war gaming lately.
Speaker A:These tariffs, I gotta say, have really hit our miniature makers pretty hard.
Speaker A:I know that.
Speaker A:I don't know if you're like me, I, I see some stuff around Facebook or you see some stuff around the news, but Bob Murch of Pulp Figures fame, who's, his sculpts are fantastic.
Speaker A:And he was my first guest on the podcast three years ago in November.
Speaker A:So it was, you know, he has a special place in my heart.
Speaker A:But he had a statement regarding the tariffs effect on him, especially this elimination of the small package rules.
Speaker A:And so he put out a statement.
Speaker A:Perry's.
Speaker A:The Perry brothers had stopped shipping to the United States altogether, you know, for a short time.
Speaker A:I know they're back shipping now.
Speaker A:There's a company that I order from called Duplicata Productions and they, they have scale size propaganda posters and flags and decals and they shut down altogether.
Speaker A:So they're waiting just for everything to kind of figure itself out before reopening again.
Speaker A:They're on hiatus until this gets shaked out.
Speaker A:So it's been rough for our retailer friends out there.
Speaker A:And look, it's already an expensive hobby, but we love it.
Speaker A:You know, I don't know, I look at things on a positive side.
Speaker A:I'm positive everything's going to bounce back and we're all going to be fine.
Speaker B:So.
Speaker A:So it's not.
Speaker A:It's not the end of the world.
Speaker A:It's just tough.
Speaker A:When's it not tough, Right?
Speaker A:Also, not to come across as egocentric.
Speaker A:It's been a tough year for the podcast.
Speaker A:The YouTube page has been getting shellacked with a bunch of copyright infringements that I had already cleared prior.
Speaker A:So I don't understand.
Speaker A:All of a sudden, out of nowhere, bam.
Speaker A:You know, YouTube's giving me all these notices.
Speaker A:I'm like, okay, whatever, you know, whatever.
Speaker A:I'm a radio guy anyway.
Speaker A:I hate the visual.
Speaker A:Like, right now, if you go to the YouTube page, the Shot and Shield YouTube page, you know, I have some behind the scenes of me, you know, working on the podcast.
Speaker A:It's pretty funny.
Speaker A:I find it amusing.
Speaker A:And then you can see kind of like what kind of chaos goes on, you know, in the old studio here.
Speaker A:But.
Speaker A:And then.
Speaker A:And then I hurt myself.
Speaker A:I tore three parts of my MCL right off the bone at the end of July, which it has been challenging.
Speaker A:I didn't work most of August.
Speaker A:September I got back to work.
Speaker A:It still hurts.
Speaker A:I'm still going to pt.
Speaker A:It sucks.
Speaker A:But I couldn't sit for, like, a long time and I couldn't walk for a long time.
Speaker A:I had to do short stints here and there.
Speaker A:And, you know, it's funny, in August, I thought to myself, you know, well, damn, I'll just paint and record.
Speaker A:This will be great.
Speaker A:Again, looking on the positive side, but no, no trying to sit down to paint or record about five minutes, and then the knee is just on fire.
Speaker A:So everything's.
Speaker A:Everything's good.
Speaker A:I mean, I'm.
Speaker A:I'm going to heal up and whatever, but it's just.
Speaker A:It's just weird, you know, that's how, you know you're getting old.
Speaker A:I mean, some of you might already have been there, some of you are not there yet.
Speaker A:But I'm not a big injury guy.
Speaker A:I've never had, like a major injury in my life.
Speaker A:This is like a.
Speaker A:The major injury for me.
Speaker A:And I'm like this.
Speaker A:Oh, man.
Speaker A:Really can't believe it.
Speaker A:I'm old now.
Speaker A:But I did a lot of stuff.
Speaker A:I did.
Speaker A:I did a lot of reading, which I'll get to here in a little bit.
Speaker A:As for the super cast, today, I only got, like, three things.
Speaker A:I'm gonna do a Zulu nation deal.
Speaker A:I'm gonna introduce you to a archaeological audio find, and then we're gonna do some email, and that's gonna be the extent of the show today.
Speaker A:First off, we're gonna game The Zulu Nation.
Speaker A:I've promised this for a while.
Speaker A:I've been trying to find an expert.
Speaker A:The experts I found have been able to do stuff, but not at a certain time.
Speaker A:And so it's always been a struggle to try to figure it out.
Speaker A:Also, the thing about wargaming the Zulu Nation is that, look, if you war game the 19th century, I firmly believe that you would have started gaming like I did.
Speaker A:The US Civil War and the Anglo Zulus.
Speaker A:That's how you started.
Speaker A:Our family picked up HBO back.
Speaker A:It was like late 70s, early 80s.
Speaker A:I can't remember exact dates.
Speaker A:If you got HBO at that time, you saw Zulu and Zulu dawn on repeat.
Speaker A:It was always on.
Speaker A:And if you were like me, you learned everything you could about the Anglo Zulu War.
Speaker A:Then you went down to the hobby shop and you picked up as many boxes of 1 72nd scale ESCI Zulus.
Speaker A:If they had eight of them, you would have picked them all up.
Speaker A:And one box of Esci British went home.
Speaker A:You did the worst paint job ever, which you thought was stupendous, but really it wasn't.
Speaker A:Then you grabbed a copy of Sword in the Flame and you played later, realizing that you should probably have picked up more British.
Speaker A:And if you're really, if you were rich, you picked up the raw Partha because those figures really good for the time.
Speaker A:Really, really good.
Speaker A:Rather than the Esci.
Speaker A:ESI was not bad.
Speaker A:It's just, you know, the plastics versus the metal.
Speaker A:So I think most of us have been at one time or another involved with the Anglo Zulu conflict.
Speaker A:What could I possibly bring to the table?
Speaker A:Or what could an expert possibly bring to the table?
Speaker A:I don't think we really would have a lot.
Speaker A:I mean, there may be.
Speaker A:I could be wrong.
Speaker A:And with that I decided, you know what I need, I need some help from AI right now.
Speaker A:Hold on now, hold on now.
Speaker A:Don't.
Speaker A:Don't shut it off.
Speaker A:Don't shut it off.
Speaker A:I'm not going.
Speaker A:AI, don't shut it off.
Speaker A:Don't hit pause.
Speaker A:Don't hit stop.
Speaker A:Keep listening.
Speaker A:It's all right.
Speaker A:I just thought with all this news about AI and I don't know about you, but if you watch a.
Speaker A:Or if you see some pictures on the Facebook or on YouTube people have taken.
Speaker A:And I've done this myself.
Speaker A:I've taken some of our miniatures and we've put them down on our little, little fields of battle and stuff like that, and we hit the AI generator and we see what happens, right?
Speaker A:I've done that once.
Speaker A:It was stupid, but I thought it would be interesting to test some of AI to see how it compares to the knowledge we already know.
Speaker A:Okay, so that's going to be coming up today.
Speaker A:I'm going to be doing that, actually.
Speaker A:I'll probably use the copilot.
Speaker A:That's part of the Microsoft stuff here.
Speaker A:Just, I just want to see, I just want to see how that shakes out.
Speaker A:Also, I have a, you know, it's October, which means scary, scary stuff.
Speaker A: Victorian era thriller from a: Speaker A:It's good stuff.
Speaker A:It is good stuff.
Speaker A:I wouldn't, I wouldn't turn, I wouldn't, I wouldn't steer you wrong when it comes to the vintage radio shows.
Speaker A:But first, it's time for your emails.
Speaker A:Germany calling.
Speaker A:London calling.
Speaker A:Moscow calling.
Speaker A:Washington, D.C. calling.
Speaker A:Peking calling.
Speaker A:Sydney calling.
Speaker B:Message for you, son.
Speaker A:It's time to answer some emails from all around the world.
Speaker A:Now you can always email me at shot and shield podcastmail.com or in the Facebook in the Shot and Shield podcast.
Speaker A:Wargaming Group.
Speaker A:So let's get into it from Terry Listening in Salt Lake City, Utah on Spotify.
Speaker A:Terry writes, scott, I am like you, an aficionado of 19th century wargaming and have loved listening to the podcast and its 19th century focus.
Speaker A:I remember you saying how bored you were with the US Civil War and World War II, but yet I see pictures of WW2 tanks, soldiers, armored cars and guns on Facebook that you, Mr. 19th Century himself, have painted.
Speaker A:Now, I love the show.
Speaker A:I like you.
Speaker A:I'll continue to listen.
Speaker A:But I must ask you, have you lost your mind?
Speaker A:I think we deserve an answer.
Speaker A:I tried to put some emphasis in it because I think that's what Terry was going for.
Speaker A:Terry.
Speaker C:Ah.
Speaker A:Anyway, Terry says thank you very much.
Speaker A:P.S.
Speaker A:those universal carriers you painted are awesome.
Speaker A:Thank you very much, Terry.
Speaker A:I appreciate that.
Speaker A:Okay, so look, Terry.
Speaker A:Yes, I am out of my ever loving mind.
Speaker A:Okay, so look, when I got hurt, when I hurt my knee, I was doing a lot of reading and shopping.
Speaker A:That's the two things I could do that where I could have my leg up.
Speaker A:I couldn't have my leg up and then paint.
Speaker A:I couldn't have my leg up and do the podcast.
Speaker A:I was going out of my mind.
Speaker A:I had to do something.
Speaker A:So I've watched a lot of movies and I've read a lot.
Speaker A:I've read a lot and I was, as I was doing some reading, I saw an article about the French army of the Levant.
Speaker A:And I was thinking, wow, this is a 19th century article that I missed.
Speaker A:History.
Speaker A:Some type of history that I missed.
Speaker A:Are you kidding me?
Speaker A:Really?
Speaker C:Oh.
Speaker A:And I opened it up, and as I continued, I quickly realized it was something totally different.
Speaker A:I kept reading because I can never start something without I have to.
Speaker A:Whenever I start something, I have to finish it.
Speaker A:And if I don't finish it, it drives me absolutely batty.
Speaker A:Now, I could put it.
Speaker A:I could put it aside for a little bit, but I have to finish it.
Speaker A:It's gonna happen, right?
Speaker A:So I continue reading.
Speaker A:And then, you know, I've been aware of the British versus the French conflict in Syria and Palestine at the beginning of World War II.
Speaker A:It was interesting.
Speaker A:You know, it was a passing.
Speaker A:It's like it happened.
Speaker A:And I've also been aware that miniatures are out there.
Speaker A:Like Parry's puts out this World War II deal with the.
Speaker A:The army of Levant.
Speaker A:What I didn't know is how interesting it was, and I didn't know how in depth it was.
Speaker A:And this is one of those conflicts that really tickles my taste buds.
Speaker A:I love oddball conflicts.
Speaker A:I love them.
Speaker A:So I like things that are offbeat now.
Speaker A:I don't.
Speaker A:I don't hate the US Civil War or World War II or any.
Speaker A:Anything historical.
Speaker A:I love it all.
Speaker A:I just get bored with some of these same old scenarios.
Speaker A:You know, in the late 70s, when I was gaming North Africa, World War II is.
Speaker A:Because it wasn't a thing.
Speaker A:Nobody was doing that, but now it is.
Speaker A:I played games based in Normandy and Arnhem and the Russian front 5,000 times.
Speaker A:I get it.
Speaker A:And if you love it, good on you.
Speaker A:For me, the British versus the French at the beginning of World War II with a bunch of interwar equipment.
Speaker A:You kidding me?
Speaker A:I'm all on that.
Speaker A:That is.
Speaker A:That's superb.
Speaker A:And I was able to find some really good stuff.
Speaker A:There was a lot of really good 3D printed machinery, armored cars.
Speaker A:I got a couple of tanks.
Speaker A:There are some great French tanks from Reynolds that were just really nice.
Speaker A:Some Lorraine carriers, some Universal carriers.
Speaker A:Figures were a little bit more iffy because with the tariffs I had already, you know, at the beginning of doing the World War II, I sent away for some Parry's army of Levant, right?
Speaker A:And I got them and then boom, everything was shut down.
Speaker A:And I still had orders in progress.
Speaker A:It's all taken care of.
Speaker A:And I've, you know, I'm working through also Askari.
Speaker A:I got a bunch of the British from Askari, which is really nice.
Speaker A:Askari has always been hit or miss for me with their colonial stuff.
Speaker A:But their World War II stuff, I gotta tell you, I was really, really surprised.
Speaker A:Really nice stuff.
Speaker A:It's all in 28 millimeter and it's a white metal.
Speaker A:It's nice, nice stuff.
Speaker A:I'm excited about it.
Speaker A:I got some terrain that I've already had and I'm tweaking a few things.
Speaker A:Got some posters, you know, I just, I'm kind of doing it up.
Speaker A:I bought a little bit more than I expected.
Speaker A:I'm in that old framework of mindset.
Speaker A:That old mindset that I used to have when doing World War II was get as much as you possibly can.
Speaker A:Which for the retailers that I've been purchasing from, they're very happy with me.
Speaker A:I'm their best friend right now.
Speaker A:My wallet is their best friend.
Speaker A:I've always wanted to do.
Speaker A:All I wanted to do is a little 4x4, you know, table action.
Speaker A:And I have enough for like a 8 by 4 table now, so I need to kind of back off a little.
Speaker A:I still have a couple other things coming too, which is weird.
Speaker A:It's like, are you gonna stop, Scott?
Speaker A:That's what I'm telling myself anyway.
Speaker A:So I. I hope that answers your question.
Speaker A:Terry, I appreciate, I appreciate you listening.
Speaker A:I appreciate the pain and agony of listening to somebody who's so been so focused on 19th century, seemingly frustrate you by doing one thing in World War II.
Speaker A:I'm not going to do anything else.
Speaker A:I can't see any other scenario that is like gonna pop out and go, oh, let's do that.
Speaker A:Maybe Madagascar.
Speaker A:You see what I'm saying?
Speaker A:It has to be really, really odd and really offbeat World War II for me to jump in like that.
Speaker A:But, you know, I'm excited about this little side deal.
Speaker A:I put some stuff on hold to do this because I think I could do it pretty quick.
Speaker A:So I'm, I'm enjoying it and I'm putting some pictures up there.
Speaker A:Somebody asked me, I think it was through a messenger.
Speaker A:Somebody asked me what rules I was.
Speaker A:You.
Speaker A:I was going to use.
Speaker A:I use rapid fire.
Speaker A:I used to use command decision, but I just not feeling it.
Speaker A:Rapid fire has a really, really nice, nice rule set.
Speaker A:It's very quick, it's very easy to play, and I don't want to get it all into the.
Speaker A:Okay, well, what's the angle of the armor?
Speaker A:You know, you have to take.
Speaker A:You have to use sine, cosine and tangent just to go ahead and roll the dice.
Speaker A:I'm not going to do that.
Speaker A:But rapid fire is pretty good.
Speaker A:Pretty good war game rule set for World War II.
Speaker A:And that's what I'll use.
Speaker A:So anyway, so Terry, thank you for your email.
Speaker A:Let's move on.
Speaker A:I have an email from Tappan, listening to the podcast in South Africa on the Ghana app.
Speaker A:Duke Scott, where are you with the wars of Italian unification?
Speaker A:I haven't seen anything lately.
Speaker A:Tapping.
Speaker A:I momentarily stepped away from it, but I will be going back to it very, very soon.
Speaker A:I have been mostly getting all the figures brought together because there's a lot.
Speaker A:You got the red shirts, the Piedmontese and Neapolitans, the French, the Papal States.
Speaker A:So in order to get all the figures collected for this, I'm not going to throw them all on the board at one time.
Speaker A:I'm talking 4x4 board.
Speaker A:But I do want a smattering of everything, right.
Speaker A:And in some ways it's tough because it's not a huge conflict people are generally interested in.
Speaker A:So there's a limited number of miniature retailers that deal in it and or at least in America and with the tariffs, it's been challenging to gather those forces.
Speaker A:So I, I do want to shout out, you know, let me shout out this guy.
Speaker A:Shout out a friend of the podcast, Alan Wright.
Speaker A:Alan has posted some of his STL sculpts to wargaming3d.com that are absolutely wonderful.
Speaker A:If you go, it's wargaming3d.com under AJ's wargaming, he had sent me some pictures of his National Guard of Milan infantry that they're awesome, just awesome.
Speaker A:Now I'm not.
Speaker A:I didn't get anything for that plug.
Speaker A:It's just really nice stuff, especially if you have a 3D printer.
Speaker A:I don't, so I look for people who have 3D printers.
Speaker A:But Tappan, thank you for the email.
Speaker A:I hope that answers your question.
Speaker A:This one is from Yusuf in Burbank, California.
Speaker A:And Yusuf writes, Scott, you said that the Spanish American War was a project you're going to hit on this year.
Speaker A:Have you done this already and I missed it?
Speaker A:Do you have pictures?
Speaker A:I love the show and yes, I paint while I listen.
Speaker A:I caught your interview with the convention guy.
Speaker A:Talk about Dominic, but that was very, very so short.
Speaker A:That was, that was.
Speaker A:But that was so short.
Speaker A:Sean.
Speaker A:Shield needs to be longer.
Speaker A:Thank you, Yusef from Burbank.
Speaker A:Firstly, that was Dominic talking about late September convention here in Orlando called Huracan.
Speaker A:It looked like it went very, very well.
Speaker A:I was able to go knee, but it was a really good convention.
Speaker A:Also, you know what?
Speaker A:Just a side note.
Speaker A:I'm so sorry, Yusuf.
Speaker A:I'll get back to your question in a second.
Speaker A:Hurricane next year is going to be in August before Labor Day, which is good news.
Speaker A:Okay, Yusuf, I'm sorry.
Speaker A:You have not missed anything.
Speaker A:I have not touched the Spanish American war figs as of yet.
Speaker A:And look, I wanted to do the conflict.
Speaker A:I found it kind of interesting.
Speaker A:I got the figures, and I wasn't really excited about the figures.
Speaker A:I wasn't.
Speaker A:They didn't.
Speaker A:They're okay.
Speaker A:They're a little small.
Speaker A:They're okay.
Speaker A:And sometimes when you get.
Speaker A:You get all hyped up and you get a bug up your keister about wanting to really jump in on a theater or a conflict, and then all of a sudden, boom, you get the figures and you're, like, kind of let down.
Speaker A:And maybe that's what I'm feeling.
Speaker A:I'll probably catch the bug again here soon.
Speaker A:But.
Speaker A:But, yeah, I haven't been really enthused with the figure, so it doesn't make me want to jump in and.
Speaker A:And get it done.
Speaker A:Can I tell you, this is.
Speaker A:This is the thing about many miniatures.
Speaker A:I'm going to go off on a tangent here real quick, Yusuf.
Speaker A:You haven't missed anything, and I will get to it.
Speaker A:But, you know, there's something about the miniatures.
Speaker A:When I get.
Speaker A:I'm gonna.
Speaker A:I'm gonna give him another plug.
Speaker A:Bob Merch.
Speaker A:When I order stuff from Bob and I get it in, I grab it and immediately want to start painting it.
Speaker A:Immediately.
Speaker A:Immediately.
Speaker A:I don't wait.
Speaker A:I don't collect it all.
Speaker A:I get that figure and I go, I gotta jump in.
Speaker A:I got to jump in.
Speaker A:I have maybe of my.
Speaker A:I have a collection, maybe 100 of his figures.
Speaker A:I have, like, four that are not painted right now.
Speaker A:Everything else is painted because the sculpts are so nice.
Speaker A:They're so animated.
Speaker A:They have great features to them.
Speaker A:They.
Speaker A:Some are comic, some are serious.
Speaker A:They just have so much character to them that you want to dig in and just paint.
Speaker A:The figures that he has for Gunga Din are just so incredible that I just.
Speaker A:When I got him, I just couldn't help myself.
Speaker A:I put everything else aside and I jumped in and started painting.
Speaker A:And so our passion for war gaming, I think, is also our passion for the painting that we do.
Speaker A:And so when you see a figure or you.
Speaker A:You are so passionate about a conflict, you want to get the figures in your hand so you can just start going so you can get gaming or you get a Figure that you're like, oh, I, I really like that figure.
Speaker A:Let me get it.
Speaker A:And then when you get it, you're like, I gotta jump in and, and do it.
Speaker A:I gotta paint it.
Speaker A:I gotta spend some time on this.
Speaker A:I gotta make it look fantastic.
Speaker A:That's the passion of war game.
Speaker A:It's a passion of painting.
Speaker A:That's a passion of our community.
Speaker A:On the reverse side, you get figures or miniatures for a conflict that you're hot on.
Speaker A:And you look at it, you go, and you.
Speaker A:Kind of a letdown sometimes.
Speaker A:And I won't talk about anybody specifically.
Speaker A:You're like.
Speaker A:And it kind of takes the wind out of your sails.
Speaker A:And that can happen with certain miniatures, you know, on, on the reverse side, like I said with Bob's stuff, it was fantastic.
Speaker A:When I got my Persian stuff from Black Huster over in Berlin, those were fantastic.
Speaker A:When I got those, I was like, oh yeah, just want to jump in.
Speaker A:And I did.
Speaker A:You know, Yusef, to your point about the Spanish American War, I was okay with the project.
Speaker A:I was like, all right, cool.
Speaker A:Let me, let me do this.
Speaker A:I got some great terrain.
Speaker A:I got a whole jungle thing going on, you know, so I can, I have a little tweaks.
Speaker A:I got this great building now.
Speaker A:I can, I can do up and I'm feeling it.
Speaker A:And then I got the figures and I was like, well, that's nice.
Speaker A:Little small.
Speaker A:I mean the details.
Speaker A:Okay.
Speaker A:Animation.
Speaker A:All right.
Speaker A:And now I'm like less enthused about it than I was prior.
Speaker A:Doesn't mean I'm not going to do it.
Speaker A:I'll catch the bug again.
Speaker A:But right now.
Speaker A:Anyway, Yousef, thank you for the email.
Speaker A:Here's the last email.
Speaker A:Just gonna do one last email here.
Speaker A:This is from Jasper the Eliminator, listening to Shot and Shield on Spotify.
Speaker A:And Jasper writes, Scott, you read my email in your last episode.
Speaker A:Thank you.
Speaker A:Once again, I am in the heartland of America, Kansas.
Speaker A:I am.
Speaker A:I'm a collector of all things toy related.
Speaker A:But I am also a gaming nerd like yourself.
Speaker A:I had wrote you about the Labubu being the hottest toy around.
Speaker A:Well, not anymore.
Speaker A:So you can please ignore my last email.
Speaker A:I remember that email because I was thinking to myself, what the hell is a Labubu?
Speaker A:And I had to look it up.
Speaker A:And when I looked it up, I thought to myself, what the hell are you doing, brah?
Speaker A:Anyway, but you had suggested there, Jasper, that a Labubu should be dressed up like a British red coat from Rorke's Drift.
Speaker A:That would be one that you'd want to collect in the surprise box or whatever it is.
Speaker A:And I said, and I still stand by that.
Speaker A:A Labubu looks like a Manchi Chi dressed up in furry pajamas.
Speaker A:And that's it.
Speaker A:It's kind of creepy.
Speaker A:It's really.
Speaker A:It's really creepy.
Speaker A:I had gone to work and a customer had come in with a couple labubus on their backpack.
Speaker A:And I was walking to the back of the.
Speaker A:The store, and I'm behind this, this person, and I'm thinking to myself, man, I don't need those things staring at me.
Speaker A:It was creepy, man.
Speaker A:Just, just creepy.
Speaker A:All right, that's enough.
Speaker A:That's enough.
Speaker A:That's enough.
Speaker A:Let's get on to the Zulus next on Shot and Shield.
Speaker A:This is Shot and Shield.
Speaker B:Honor is satisfied.
Speaker A:God clearly preserves you for greatness.
Speaker A:It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of.
Speaker A:Hello, you just caught me, famous podcaster and influencer Duke Scott reading in my study.
Speaker A:You know what, since you're here, let me tell you about a great way to connect with our Shot and Shield gaming community.
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Speaker A:Now if you'll excuse me, Charles Dickens awaits.
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Speaker A:A podcast dedicated to Colonial and 19th century war gaming looks bad in the.
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Speaker A:The Shot and Shield supercast rolls on and make sure to check out and subscribe to the YouTube page.
Speaker A:Just search out Shot and Shield or click on to the link in the information section for this podcast.
Speaker A:Now, in this episode's deep dive into the Zulu nation, I decided that for laughs.
Speaker A:You know, why not?
Speaker A:What the hell?
Speaker A:I asked Copilot, which is Microsoft's AI program, to compile me a list of miniatures, run a history in a script form to see what it comes up with.
Speaker A:The reason I chose the Zulu Nation to do this with is because it's very easy for us, you and me, to point out any errors that occur, as we are 19th century history buffs.
Speaker A:If you did any sort of colonial gaming whatsoever, the first gaming piece that you.
Speaker A:That you grabbed was the Zulu Nation.
Speaker A:It was a redcoats against the Zulus.
Speaker A:Whether you dug into the figures, whether you started in 20 millimeter, 25 millimeter in lead, when lead was a thing before, that went to, like, this white metal, aluminum kind of hybrid.
Speaker A:But we all started colonial gaming with the Zulus.
Speaker A:Well, that's how you started colonial gaming.
Speaker A:We've all read, we've all seen, we've all done this, where we know pretty much so much about the Zulu nation, it will be easy for us to point out the flaws in this AI stuff.
Speaker A:So here we go.
Speaker A:Let's see what AI has for us as we game the Zulu Nation.
Speaker A:Okay, so one of the things I did is before I did the.
Speaker A:When I did the co pilot, because I was like, okay, what the hell is this all about?
Speaker A:I went ahead and wrote in the question.
Speaker A:All right?
Speaker A:So the question was, give me a draft script to explain the history of the Zulu Nation.
Speaker A:And that's all I did.
Speaker A:Right.
Speaker A:And so here's what it came up with.
Speaker A:This should be good.
Speaker A:I'm reading this straight.
Speaker A:I haven't even, like, I didn't read the whole thing.
Speaker A:I kind of skimmed it, but I.
Speaker A:But this is.
Speaker A:This is fresh.
Speaker A:This is fresh off the co pilot presses here.
Speaker A:Here we go.
Speaker A:Oh, they gave me a title.
Speaker A:This is good.
Speaker A:Spears and Sovereignty.
Speaker A:The Zulu nation in the 19th century.
Speaker A:And it has an intro, a narrator's voice.
Speaker A:I'll try to do my best.
Speaker A:Richard Attenborough.
Speaker A:In the sweeping savannah of southern Africa hides a story carved in valor, vision, and resistance.
Speaker A:This is the story of the Zulu nation, its rise to dominance, its fierce independence, and the trials it faced during the age of imperial conquest.
Speaker A:That's not too bad, actually.
Speaker A:That's not a too bad opening for, like, if you were doing a.
Speaker A:A video or something, or you were doing something for, like, you know, the BBC.
Speaker A:That's not too bad.
Speaker A:That's pretty good.
Speaker A:I like that right there.
Speaker A:I. I didn't do a very good Richard Attenborough, but, hey, what are you going to do?
Speaker A:Anyway, so it continues.
Speaker A: In the early: Speaker A:But amid this complexity emerged a warrior leader destined to forge unity.
Speaker A:Shaka Zulu through military innovation, including the deadly short stabbing spear, the ikla.
Speaker A:I probably pronounced it incorrectly.
Speaker A:Don't Kill me.
Speaker A:Okay.
Speaker A:And tight formation tactics.
Speaker A:Shaka transformed the Zulu army into a disciplined force.
Speaker A:He consolidated power by absorbing neighboring clans, forming a powerful and centralized Zulu kingdom.
Speaker A:His rule, though authoritarian and violent, at times, marked the dawn of Zulu dominance in Kwaza.
Speaker A:Zulu Natal.
Speaker A:Oh, it's time for a new segment here.
Speaker A:Okay, here we go.
Speaker A:The next.
Speaker A:The next chapter would be called Conflict and Colonial Pressure.
Speaker A:As the Zulu kingdom expanded, it inevitably clashed with colonial powers.
Speaker A:First the Boers and then the British.
Speaker A:The mid19th century brought growing British colonial interest to the region.
Speaker A: In: Speaker A:The result, the famous battle of Iswandalana.
Speaker A:I can never pronounce that, so just roll with me.
Speaker A:A stunning Zulu victory against the British forces.
Speaker A:Armed with spears and raw courage, Zulu warriors overwhelmed the modern imperial army.
Speaker A:Next chapter here is called Decline and Division.
Speaker A:But triumph was fleeting.
Speaker A:The British regrouped and later defeated the Zulu at Rourke's Drift and eventually invaded the heart of Zululand.
Speaker A:Okay, so here we go.
Speaker A:This is the first one that I seen where it's wrong, right?
Speaker A:Because although Rorke's Drift was a win for the British, it happened, what about 30 seconds after is Wanda, Lana, Isla, Wanna, or it happened, I mean, literally, like within just a few.
Speaker A:A few hours, if that.
Speaker A:The narration here on the AI makes it seem like the British fell back, pulled themselves all together and attacked.
Speaker A:And that was Rogue's Drift.
Speaker A:Like it was this monster event.
Speaker A:So that's.
Speaker A:That's interesting right there.
Speaker A:So that's a flaw.
Speaker A:We'll call it a flaw in the AI.
Speaker A:So I'll continue here.
Speaker A: By the late: Speaker A:King Caswell, who led during the Anglo Zulu War, was dethroned and exiled British authorities installed puppet leaders, ending Zulu sovereignty.
Speaker A:And it looks like here's the last chapter of this.
Speaker A:Yet the spirit of the Zulu endures.
Speaker A:Zulu identity remains strong through cultural traditions, language and resistance.
Speaker A:The legacy of Shaka and his successors continues to inspire pride and unity among Zulu descendants in modern South Africa.
Speaker A:The Zulu people play a vital role in.
Speaker A:In the country's rich ethnic tapestry.
Speaker A:And then there's an outro here.
Speaker A:Here we go.
Speaker A:Ready?
Speaker A:From the ashes of empire to the echoes of resistance.
Speaker A:The 19th century Zulu story is one of dignity, defiance, and indelible identity.
Speaker A:So that's.
Speaker A:That's.
Speaker A:That's AI.
Speaker A:That's AI.
Speaker A:I told them to put together a script.
Speaker A:That's what they got.
Speaker A:And we always saw.
Speaker A:And you probably did the same thing.
Speaker A:I did.
Speaker A:Like I said, I read this pretty.
Speaker A:Pretty clean here.
Speaker A:The one thing was the Rourke's drift was a little manipulated to make it seem like a larger battle than it was.
Speaker A:It was a.
Speaker A:It was a great story, but not a huge battle.
Speaker A:Right.
Speaker A:So they kind of made it sound like that.
Speaker A:They and the AI actually added a few things here, which is interesting.
Speaker A:Weapons innovations.
Speaker A:The short stabbing spear.
Speaker A:The ikloa.
Speaker A:I wish I knew how to pronounce that correctly.
Speaker A:One day I'll get an expert on here and they can.
Speaker A:They can focus me.
Speaker A:That replaced a traditional long throwing.
Speaker A:Asagi.
Speaker A:Asagi.
Speaker A:It allowed for close combat and multiple thrusts, making Zulu warriors lethal in hand to hand combat.
Speaker A:Which is great.
Speaker A:I mean, if you're a Zulu.
Speaker A:Large oval shields.
Speaker A:The ishwanga.
Speaker A:Ish wangu.
Speaker A:Ish wangu.
Speaker A:We're.
Speaker A:I'm not editing that.
Speaker A:I'm just.
Speaker A:I added a little bit, as you'll see from the YouTube video.
Speaker A:But no, the ishwangu.
Speaker A:I'm not sure that's pronounced correctly.
Speaker A:I'm sure it's not.
Speaker A:But anyway.
Speaker A:The large oval shield provided better protection.
Speaker A:Were used tactically to hook enemies and then expose them for that attack.
Speaker A:For that thrust of the short stabbing spear.
Speaker A:AI here talks about the battle formations which.
Speaker A:You know what?
Speaker A:I.
Speaker A:In a way, I.
Speaker A:If I had sat down and really kind of worked this out.
Speaker A:Like if I were doing.
Speaker A:The script would eventually have come to.
Speaker A:But that's not something that would come up.
Speaker A:That would not have come up top of mind.
Speaker A:The buffalo horns formation.
Speaker A:Shaka's signature tactic divided his army into the chest of the main force.
Speaker A:Horns.
Speaker A:The flanking units.
Speaker A:And the loins in reserve and the chest engaged the enemy head on.
Speaker A:The horns that circled the enemy from both sides and the loins where the reserve held back to reinforce or pursue the fleeing enemies.
Speaker A:This formation allowed for swift, coordinated attacks and total annihilation of the opponent.
Speaker A:So that's not too bad.
Speaker A:I mean, that's a.
Speaker A:That's a good.
Speaker A:That's a good little piece that the AI came up with.
Speaker A:That's a good little piece right there.
Speaker A:Mobility and discipline.
Speaker A:Barefoot marching.
Speaker A:They could go 80km a day without sandals.
Speaker A:Toughening their feet and increasing their speed.
Speaker A:They had a standing army.
Speaker A:Regiments lived in barracks and were always ready for deployment.
Speaker A:Young boys served as supply carriers ensuring logistic efficiency.
Speaker A:Let's see.
Speaker A:They also have something about psychological warfare.
Speaker A:Let's see.
Speaker A:Shaka used fear as a weapon.
Speaker A:His reputation alone often led enemies to surrender.
Speaker A:He reinforced brutal discipline.
Speaker A:Retreating with a back wound was Punishable by death.
Speaker A:Organizational structure.
Speaker A:You got the impi system.
Speaker A:Regiments were organized by age and residence, fostering unity and loyalty.
Speaker A:And female regiments, the ambutho, I think I said that correctly, played ceremonial roles and reinforced social cohesion.
Speaker A:But it does say here, and this is the last piece of it, of the history piece of the AI it said Shaka didn't just win battles.
Speaker A:He transformed the Zulu into a military powerhouse.
Speaker A:So that's the AI version of the history of the Zulu nation.
Speaker A:There are some interesting pieces in there.
Speaker A:So I can't.
Speaker A:I can't say that it totally messed it up.
Speaker A:It didn't.
Speaker A:Was it 100% perfect?
Speaker A:No, but it was there.
Speaker A:It was there.
Speaker A:And so if you are.
Speaker A:If you're doing a study, if you're doing a surface study, if you're just.
Speaker A:If you're brand new to war gaming and you're going to do colonials, and as we all did when we were kids and we jumped in on colonial, we went right for the Zulus because they were cool.
Speaker A:That's just the way.
Speaker A:That's what it was.
Speaker A:At 12 years old, when Scott got some of his first miniatures and I saw the Zulus, I was like, oh, those guys are cool.
Speaker A:If I had had this little, like, quick AI deal, it would probably entice me to dig in more, more, more and more on the real details of the Zulu nation.
Speaker A:So that's pretty good.
Speaker A:Now, the other thing I did with the AI was I asked the AI to create a comprehensive list of all miniature companies that offer 28 millimeter Zulu miniatures.
Speaker A:And the reason I did this, because I know, you know, all of these companies, I know all of these companies, and so.
Speaker A:But I wanted to go ahead and do a range just to see if they saw the same ones or maybe I missed something, you know, now we have something new.
Speaker A:So here's what they came up with.
Speaker A:Warlord Games offers a full Anglo Zulu war range, including Zulu warriors, British infantry and terrain AW miniatures.
Speaker A:Dedicated to 28 millimeter Zulu war line with Zulus, British forces, mounted units, and native troops War games.
Speaker A:Foundry, sculpted by Michael and Alan Perry, includes Zulu warriors, British troops, and artillery.
Speaker A:Empress, known for highly detailed sculpts, offers Zulu war figures.
Speaker A:Offers Zulu war figures, including British and Zulu forces.
Speaker A:Redoubt offers a wide range of 28 millimeter Zulu War figures, including Zulus, British and colonial troops.
Speaker A:North Star military figures.
Speaker A:The stock varies ranges including foundry and other Zulu war figures.
Speaker A:Old Glory Miniatures offers a Zulu war figures in their 28 millimeter historical range, which I think it's more like.
Speaker A:And this is where it kind of missed.
Speaker A:I think it's more like 25 millimeter, if you correct me if I'm wrong.
Speaker A:And Eureka Miniatures, Australian company with a Zulu war range in 28 millimeter.
Speaker A:I didn't know Eureka had 28 millimeter.
Speaker A:I could be wrong.
Speaker A:I thought it was 18, but the one other one here they missed was Paris because I know Perry's has one in the Zulu range, but they have it under.
Speaker A:What's it?
Speaker A:Victoria's Enemies.
Speaker A:And it continues.
Speaker A:It says these companies vary in sculpting style, historical accuracy and pricing.
Speaker A:Some focus on skirmish level detail while others support full scale battles.
Speaker A:And it goes on.
Speaker A:And then I asked it, what are the prices of these miniatures?
Speaker A:I figure I'd throw that out there because that's something I wasn't really.
Speaker A:You don't pay attention to that at all if you think about it.
Speaker A:You really don't like when you're finding a company and you see that you find the price range.
Speaker A:I think you and I are in a position where if it's a really, really good sculpt, you know what if it's a little more expensive or a little more pricey, maybe it may take us longer to get it, but we're going to get that one more than something that's kind of a dull sculpt.
Speaker A:And so I put it into the AI here and this is what it came up with.
Speaker A:It said if you're building a 28 millimeter Zulu war army, you're in luck.
Speaker A:You're in luck.
Speaker A:There's a wide range of pricing depending on the manufacturer, unit side sculpting style you might want to check out.
Speaker A:Okay, so here they have a.
Speaker A:For a full starter army with 128 figures, AW Miniatures offers a Zulu set priced at $180, give or take.
Speaker A:If you're after smaller packs, Warlord Games has The unmarried Zulu MP box set, 32 figures for about $33.
Speaker A:War Games Foundry sells individual packs of British infantry and zulus ranging from £14 to £16.
Speaker A:Empress Miniatures offers a highly detailed metal figure with small unit packs.
Speaker A:14 Natal for example, 14 Natal volunteers and two boards priced about $54.
Speaker A:Redoubt Enterprises has Zulu Warrior set for about $23.
Speaker A:North Star has a Zulu Warrior packs for about 10 10.50 pounds.
Speaker A:Old Glory offers a 28 millimeter colonial figures for between 20 and 25 range.
Speaker A:If you're in the membership, I think it's a little bit less, but you get more.
Speaker A:Eureka Miniatures has Individual figures, small starter sets, pricing from £2 60 for single figures to £37 20 for larger packs.
Speaker A:So it's interesting that they would give this range and obviously you'd want to go dig in to make.
Speaker A:See if those ranges are correct.
Speaker A:But I mean, they sound a pretty, pretty right on, I think Foundry.
Speaker A:I know I've paid £14 for some, £16 for others, £23 for another set.
Speaker A:It just depends on what kind of set you're getting.
Speaker A:So that's not too interesting.
Speaker A:So if, if you're looking at this, this AI stuff and you know, they kind of, it kind of came up with a lot of information that some of us probably already knew.
Speaker A:But if you're a starter, if you're starting gaming, but if you're going to start colonial gaming and you're starting with the Anglo Zulu War, these miniatures and this history and it's all compiled and compact, this isn't too bad.
Speaker A:You know, I don't know how I feel about the AI still, but it's.
Speaker A:Oh, I just saw something at the bottom of the page.
Speaker A:It says copilot uses AI.
Speaker A:Duh.
Speaker A:Check for mistakes.
Speaker A:We found one with their information about Roark's Drift.
Speaker A:So, okay, so we found one scratch.
Speaker A:One.
Speaker A:What are you gonna do?
Speaker A:But anyway, so that's the AI version of gaming.
Speaker A:Zulu Nation.
Speaker A:What are you waiting for?
Speaker A:Come on, come on.
Speaker A:Shot and Shield, your colonial war gaming podcast.
Speaker A:The 19th century ended amid the glories of the Victorian era.
Speaker A:Shot and Shield, a podcast dedicated to wargaming the colonial era in those aristocratic Victorian days when, as Disraeli said, the world was for the few and for the very few.
Speaker A:The views expressed during Shot and Shield are the hosts and only meant to be taken seriously if you feel it's necessary.
Speaker C:Good luck against those elephants.
Speaker A:And now, Shot and Shield.
Speaker A:Yes, yes, yes, I know.
Speaker A:Only three segments in this episode.
Speaker A:I'm keeping it.
Speaker A:I'm.
Speaker A:I'm just keeping it paced, keeping it real, keeping it stress free today on the Shot and Shield supercast.
Speaker A:So we're in the home stretch of this episode and you can hit me up on the email Shot and Shield podcast, gmail.com or the Facebook in the Shot and Shield podcast War Gaming Group in this episode's archaeological audio Discovery.
Speaker A:I'm gonna go into suspense.
Speaker A:No, look, it's October.
Speaker A:Halloween's just around the corner.
Speaker A:If you're listening to this on Halloween, good for you.
Speaker A:But I have a special.
Speaker A:I have a special place in my heart for the suspense type thrillers in vintage Radio shows.
Speaker A:Because the vintage radio show in my mind is just like that's all it is.
Speaker A:It's your mind's eye.
Speaker A:You hear it, you're listening.
Speaker A:You can put all the scenery in your head.
Speaker A:You, you don't have to watch it on TV and be dulled by it.
Speaker A:Your mind is working.
Speaker A:When I was a kid, my family was moving from Colorado to Florida.
Speaker A:It was middle of the night.
Speaker A:I think we were driving through like Kansas City or something.
Speaker A:I was in the backseat and my mom had a CBS Mystery Theater on the CBS radio mystery always had some ghost story.
Speaker A:And so the ghost story was on and it was late, it was dark and I was in the backseat just listening, just riveted to the whole thing.
Speaker A:After it came the show I'm going to present to you.
Speaker A: The show is from: Speaker A:It's called suspense.
Speaker A:This features Vincent Price.
Speaker A:By the way, this is the first time I even heard of Vincent Price was in this particular radio show.
Speaker A:It was just riveting.
Speaker A:I was, I wasn't scared.
Speaker A:I was just thinking to myself, how could this be?
Speaker A:How could this be?
Speaker A:You know, and as you're.
Speaker A:When you're a kid, you think it's real, right?
Speaker A:And Vincent Price is so good at doing evil.
Speaker A:And the macabre was amazing.
Speaker A:I wish there was more Vincent price in the 19th century.
Speaker A:This is going to be the closest we come because the presentation is Fugue in C Minor.
Speaker A:But Vincent Price is so wonderful in this that I had to for, for Halloween's sake, I had to play this for you.
Speaker A:It's also based in Victorian era, so it's not like it's too far fetched out of the 19th century either.
Speaker A: u from the show suspense from: Speaker B:Roma Wines presents Suspense.
Speaker B:Roma Wines made in California for enjoyment throughout the world.
Speaker B:Salute your health, senor.
Speaker B:Roma Wines toast the world.
Speaker B:The wine for your table is Roma wine made in California for enjoyment throughout the world.
Speaker B:The Roma Wine Company of Fresno, California welcomes you again to this weekly half hour of suspense.
Speaker B:Tonight from Hollywood, Roma Wines bring you as stars Miss Ida the Pino currently being seen in Warner Brothers in our time.
Speaker B:And Mr. Vincent Price of 20th Century Fox soon to be seen in the Daryl F. Zamit production.
Speaker B:Wilson.
Speaker B:For the appearance of these two distinguished screen persons personalities.
Speaker B:Lucille Fletcher has written a suspense play that deals with brooding anxiety and sharpening suspicion played against the severe and forbidding background of the late Victorian era.
Speaker B:And so with Hugue in C minor and with the performances of Ida Lapino and Vincent Price.
Speaker B:We again hope to keep you in suspense.
Speaker C: ,: Speaker C:Dear Bessie, this is just to let you know that I arrived in Pilot's Bill.
Speaker C:Lizzie met me at the station.
Speaker C:She's heartbroken about Papa's bankruptcy and for some reason feels that it's up to me to remedy the family situation.
Speaker C:I told her I'd been offered a job, but she swept away that idea in horror.
Speaker C:A girl with your looks, Amanda Peabody doesn't have to get a job.
Speaker C:There are too many rich husbands floating around for that.
Speaker C:Furthermore, she says she has a rich husband already picked out for me.
Speaker C:Right here in Pilotsville.
Speaker C:Don't you remember?
Speaker C:I told you about him at Christmas time.
Speaker C:He's a Mr. Evans.
Speaker C:Richest, Croesus.
Speaker C:Charming, cultured.
Speaker C:A lonely widower with two dear little children.
Speaker C:And besides that, he's just your type.
Speaker C:A real intellectual.
Speaker C:You should hear him play the pipe organ.
Speaker C:And you know, Bessie, I've met so few interesting men lately.
Speaker C:And all you'd have to do is lift your little finger.
Speaker C:Mr. Evans.
Speaker B:Oh, good evening, Mrs. Cholmondeley.
Speaker B:How delightful to see you here.
Speaker C:I'd like you to meet my sister, Mr. Evans.
Speaker C:My sister, Amanda Peabody.
Speaker B:Delighted.
Speaker C:I'm sure it's a lovely party, Mr. Evans.
Speaker B:Thank you, Ms. Peabody.
Speaker B:Have you just come to Pilotsville?
Speaker C:Yes, she's down from New York visiting me after the whirl of the hectic social season.
Speaker B:Oh, indeed.
Speaker B:Well, I'm afraid our pilots will survive.
Speaker B:Must seem a bit dull to you, Ms. Peabody.
Speaker C:Oh, no, not at all.
Speaker C:It's charming.
Speaker C:I've enjoyed everything so much tonight.
Speaker C:Your beautiful house, the music.
Speaker C:I hear you're going to play for us, Mr. Evans.
Speaker B:Oh, a bit.
Speaker B:Do you care for organ music, Ms. Peabody?
Speaker C:Very much.
Speaker C:I never miss a church recital.
Speaker C:But what a luxury it must be to have your own pipe organ right here in the house.
Speaker B:I'm afraid I couldn't do without it.
Speaker B:It's my hobby, you know.
Speaker B:Bach, Buxtehude, Cesar Franck.
Speaker B:Don't you adore their work?
Speaker C:Oh, Amanda's very musical.
Speaker C:You should hear her render the Burning of Rome.
Speaker B:Yes, and the delightful thing, of course, about having a pipe organ in the house is that it's everywhere.
Speaker B:To sit at a keyboard and hear the walls, the ceilings, the floors vibrate.
Speaker B:You see, Ms. Peabody, I've had the pipes installed all over the house.
Speaker B:Under this floor, for example, are all the choir stops.
Speaker B:Up in the bedroom walls are the stops for the swell manual in the great 32 foot pedal stops.
Speaker B:The giant diapasons are underneath the staircase.
Speaker B:My children sleep next door to the echo chamber.
Speaker B:So you see, we live like angels here in a paradise of music.
Speaker C:How thrilling.
Speaker B:Ladies, come upstairs to the second floor landing, won't you?
Speaker B:And I'll show you the console.
Speaker B:It was made for me in Vienna.
Speaker C: ,: Speaker C:And, Bessie dear?
Speaker C:To tell you the truth, I really find him fascinating.
Speaker C:I wish you could hear him play.
Speaker C:It sweeps you off your feet.
Speaker C:There is such wildness to it and at the same time, such dignity.
Speaker C:And to hear the sound all through that marvelous house.
Speaker C:Rolling through those gorgeous rooms with their beautiful tapestries and potted palms.
Speaker C:I could sit and listen to him all night.
Speaker B:You have the Most amazing eyes, Mr. Ms. Peabody.
Speaker B:What are you thinking about?
Speaker C:The music.
Speaker C:Oh, please don't stop.
Speaker C:It's so beautiful.
Speaker B:Well, you seem to be as mad about music as I am.
Speaker B:Your sister says you play too.
Speaker C:Oh, no, only a little.
Speaker C:My appreciation of it is all inside.
Speaker C:I'm afraid.
Speaker B:That's plenty.
Speaker B:If one can't play, it's better just to enjoy the music of others.
Speaker B:I can't bear this sentimental drumming, can you?
Speaker C:I shouldn't think you would enjoy it.
Speaker B:The idiotic tunes people play nowadays Give me the old stern classics.
Speaker B:They have strength and power.
Speaker B:Give me something with life to it.
Speaker B:Something that will flood the whole house of sound.
Speaker C:Oh, that's marvelous.
Speaker B:You're a very unusual girl, Ms. Peabody.
Speaker B:Quite unlike the run of girls here down here at Pilotsville.
Speaker C:Yes.
Speaker C:In what way?
Speaker B:Oh, it's rather hard to explain.
Speaker B:Some more tea, Amanda?
Speaker C:No, thank you.
Speaker B:A muffin?
Speaker C:No, thank you.
Speaker C:You have an Excellent cook, Mr. Evans.
Speaker B:Please, please, call me Theodore.
Speaker B:You know, you promised.
Speaker C:Theodore.
Speaker B:Amanda.
Speaker C:And your house is beautifully run too.
Speaker C:You must have an excellent housekeeper.
Speaker C:Everything always looks so charming and quiet.
Speaker C:I haven't even heard a peep out of your children.
Speaker B:My children?
Speaker B:Oh, yes.
Speaker B:The children have been away at school.
Speaker C:You have too, haven't you?
Speaker B:Yes.
Speaker B:Daphne and David.
Speaker C:What sweet names.
Speaker B:Nelly.
Speaker B:I don't approve of schools for young children.
Speaker B:But, you see, they were rather overwrought after Mrs. Evans passed on.
Speaker C:I can well understand.
Speaker B:They were almost morbidly devoted to their mother.
Speaker B:And then, of course, the unfortunate circumstances of her death.
Speaker B:But I suppose your sister, Mrs. Cholmondeley, has told you all about that.
Speaker C:No, not very much.
Speaker C:Except your wife was killed in a street accident, wasn't she?
Speaker B:Yes.
Speaker B:In Philadelphia.
Speaker B:A brewery wagon and four horses ran her down.
Speaker C:Oh, how terrible.
Speaker B:It's something I don't like to think about.
Speaker B:Very often.
Speaker B:Poor, beautiful Margaret.
Speaker B:Well, it's like a nightmare.
Speaker B:Amanda and I still can't feel reconciled.
Speaker B:But what I was driving at was the children.
Speaker B:They were in school when she died.
Speaker B:And by some malicious stroke of fate, there was an epidemic of scarlet fever raging up there.
Speaker B:The authorities wouldn't lift the quarantine and let them out for her funeral.
Speaker C:Oh, poor little things.
Speaker B:Yes, it upset them dreadfully.
Speaker B:In fact, I sometimes fear it's left a mark on them which may endure all their lives.
Speaker C:Why?
Speaker C:What do you mean?
Speaker B:They suffer from delusions.
Speaker B:Delusions about her.
Speaker B:They think that in some way she is linked.
Speaker B:Her soul is imprisoned in the organ pipes.
Speaker C:How horrible.
Speaker B:I wish I could do something about it.
Speaker B:It's a frightful notion.
Speaker B:But they won't.
Speaker B:They don't let me play when they're at home.
Speaker B:That echo chamber in particular, next door to their bedroom.
Speaker C:Yes.
Speaker B:You know, it's nothing but an empty, sealed room with a few wires.
Speaker B:Of course, it's all because they never saw her dead.
Speaker B:But they have a notion that she's, well, somehow hidden there.
Speaker C:Oh, ghastly.
Speaker C:They really think that, do they?
Speaker C:Children can think up such very strange things in their little minds, can't they?
Speaker B:Tonight for suspense, Roma wines are bringing you as stars Ms. Ida Lupino and Mr. Vincent Price, whom you have heard in the prologue to Fugue in C Minor.
Speaker B:Tonight's tale of suspense.
Speaker B:Let us look in on another scene for a moment.
Speaker B:A smart dinner party at the internationally famous Hotel de Nacional de Cuba in Havana.
Speaker B:One of the guests, a world traveled American, sets down his wine glass and remarks that a truly fine wine always carries the unmistakable flavor of the particular vineyards from which it comes.
Speaker B:Then laughs his Cuban host, you must be homesick for California right now.
Speaker B:For the wine you are enjoying so much is from America.
Speaker B:From California it is.
Speaker B:Roma wine.
Speaker B:Yes, it's true.
Speaker B:Our own wonderful vineyard country in California produces in Roma wines that discriminating people in other lands esteem as an imported delicacy.
Speaker B:Yet you here at home can enjoy these distinguished Roma wines for mere pennies a glassful.
Speaker B:You pay none of the expensive overseas shipping charges and duties daily with your meals or when entertaining or anytime you can delight yourself with the wonderful flavor that comes from age old winemaking traditions perfected by modern quality controls and tests.
Speaker B:Yes, only pennies a glassful for a treat you are certain to enjoy.
Speaker B:For remember, Roma wines are America's largest selling wines.
Speaker B:Roma.
Speaker B:Made in California for enjoyment throughout the world.
Speaker B:And now it is with pleasure that we bring back to our Soundstage.
Speaker B:Ida de Pino as Amanda Peabody.
Speaker B:And Vincent Price as Theodore Evans in Cube in C Minor.
Speaker B:A tale well calculated.
Speaker B:To keep you in suspense.
Speaker C:April 18.
Speaker C:I met the children today, Bessie, for the first time.
Speaker C:It was a shock.
Speaker C:They are strange little creatures, utterly unlike their father.
Speaker C:The girl is about 11, and the boy, 8.
Speaker C:They were both dressed in deep mourning.
Speaker C:Their large gray eyes seemed strained with terror.
Speaker C:They listened and trembled at every sound.
Speaker B:This is Ms. Peabody, children.
Speaker B:She's a very good friend of mine.
Speaker B:Now, I want you both to shake hands with her.
Speaker B:Come now, Daphne.
Speaker B:You can at least tell Ms. Peabody how old you are.
Speaker C:Oh, no, please don't press her.
Speaker C:I know when I was a little girl, I hated people to talk about my age.
Speaker C:I'd much rather hear about.
Speaker C:Well, about school.
Speaker C:We're not going back there, no matter what anybody says.
Speaker B:David.
Speaker C:That's all right then.
Speaker C:You didn't like school?
Speaker B:No.
Speaker C:Mommy didn't like it either.
Speaker C:She cried when we went away.
Speaker C:Oh, but your mama wanted you to be educated, didn't she?
Speaker C:She wanted you to grow up and be intelligent people, didn't she?
Speaker C:Well, didn't she, Daphne?
Speaker A:Who are you?
Speaker C:You may call me Aunt Amanda.
Speaker C:I'm a friend of your papa's.
Speaker C:Do you know where my mama is?
Speaker C:Your mama?
Speaker C:Well, your mama's in heaven, dear.
Speaker C:No, she's not.
Speaker C:Then where is she?
Speaker B:David, Please, please don't start them off, Amanda.
Speaker B:It's too upsetting.
Speaker B:Come along, children.
Speaker B:Now we're going to have a little music like old times.
Speaker B:You remember when your mother was alive?
Speaker B:We all used to play together, David.
Speaker B:You with your cornet, and Daphne at the violin and Mama at the piano.
Speaker B:Well, Ms. Peabody plays the piano too.
Speaker B:And she's promised to play Narcissus, Mama's favorite piece.
Speaker C:Well, perhaps some other time, Theodore, when they don't feel so strange.
Speaker B:I tell you, I've humored them to death.
Speaker B:Now, come, David.
Speaker B:There's your cornet on the mantelpiece and.
Speaker B:Daphne.
Speaker B:No, I insist.
Speaker B:Look.
Speaker B:Now, I'll start the melody on the organ.
Speaker B:David, you come in with your cornet obligato in the third measure.
Speaker B:Daphne, you can follow me.
Speaker C:What's that?
Speaker B:Come along, children.
Speaker C:What's that note?
Speaker C:That note making that funny noise.
Speaker B:What note?
Speaker B:Oh, you mean that.
Speaker B:Oh, that's just a cipher.
Speaker B:A wire must have stuck somewhere.
Speaker B:One of the pipe valves.
Speaker C:It's Mama.
Speaker C:That's where Mama is she's calling for.
Speaker B:Don't be silly.
Speaker B:I'll just hit the key a few times and it'll stop You've heard these ciphers before, haven't you, Miss Beabody?
Speaker C:Well, I don't know much about pipe organ.
Speaker B:It's a common technical occurrence.
Speaker B:But very annoying, of course.
Speaker C:What is she doing in there?
Speaker C:Why doesn't it stop?
Speaker C:That's where she is.
Speaker C:She's in the pipe and she can't get out.
Speaker B:Daphne, stop that nonsense.
Speaker C:Oh, hush, dear.
Speaker C:Your papa will fix it.
Speaker C:No, he won't.
Speaker C:He can't.
Speaker C:She won't let him because he killed her.
Speaker B:Daphne.
Speaker B:Daphne.
Speaker B:What did you say?
Speaker C:She didn't mean it, I'm sure.
Speaker C:The poor little thing's hysterical.
Speaker C:We should never have tried to persuade them.
Speaker B:Oh, Amanda.
Speaker B:Just because they never looked upon her face.
Speaker B:Because they never saw her lying there in the coffin.
Speaker C:Hush, hush.
Speaker B:My own children believe that I am a murderer.
Speaker C:Theodore, you're making them both sick.
Speaker B:Oh, I. I, who loved their mother so much, who was so devoted for 12 years.
Speaker B:Do I look like a murderer, Amanda?
Speaker B:Do I?
Speaker C:No.
Speaker C:There it is again.
Speaker C:It's Mama.
Speaker C:It's Mama, dear.
Speaker C:I'll take them upstairs for you, Theodore, while you try and fix it.
Speaker C:April 24th.
Speaker C:Oh, Bessie.
Speaker C:Those poor little children.
Speaker C:We took them out to the cemetery today to show them her grave.
Speaker C:A marble angel guarded it.
Speaker C:It was planted with pure white tulips.
Speaker C:How final it was.
Speaker C:And peaceful.
Speaker C:And yet they began to tremble again the moment we set foot inside the house.
Speaker C:Poor Theodore.
Speaker C:The man is nearly out of his mind.
Speaker C:What can he do?
Speaker C:I keep asking myself that question.
Speaker C:She died in Philadelphia, you say?
Speaker B:Yes, on May 15, just a little less than a year ago.
Speaker C:You weren't with her?
Speaker B:No.
Speaker B:She went there to take a piano lesson.
Speaker B:There was a new teacher she'd heard about.
Speaker B:She was always so self conscious about her technique.
Speaker B:But she never reached his studio.
Speaker B:They notified me at midnight from the city morgue.
Speaker C:And no one in Philadelphia saw her?
Speaker B:No one.
Speaker B:Except the attendants at the morgue, of course.
Speaker B:And the people who picked her up after the collision.
Speaker B:It was such a brutal accident.
Speaker C:There'd been no one from among them who could speak to the children, explain to them.
Speaker B:Oh, no.
Speaker B:Oh, it's so horrible, so sordid.
Speaker C:I know, my dear.
Speaker C:I hate to make you suffer, but if we could find some way.
Speaker C:If they could just believe.
Speaker C:When you brought her back here to Pilotsville, there was a funeral?
Speaker B:Yes.
Speaker C:And was there anybody then who saw her?
Speaker B:Oh, no.
Speaker B:I couldn't bear it.
Speaker B:And I. I didn't think at the time.
Speaker B:She'd been so beautiful.
Speaker B:Her lovely, sweet, gentle face.
Speaker B:And her eyes.
Speaker B:The horses had completely trembled.
Speaker B:Oh, even if the children had been able to come home, I wouldn't have let them look.
Speaker B:The coffin was sealed.
Speaker B:When I left Philadelphia, I didn't want to see her again myself.
Speaker C:But there was a funeral.
Speaker B:People came.
Speaker C:There were flowers and undertaker.
Speaker C:Yes, well, if they could believe that.
Speaker C:If there was one witness.
Speaker C:Perhaps my own sister Lizzie.
Speaker C:Funeral?
Speaker A:Amanda?
Speaker C:Of course there was a funeral.
Speaker C:The finest funeral in town.
Speaker C:A snow white, White hearse and 25 coaches.
Speaker C:Everybody sent flowers.
Speaker C:The casket wasn't open.
Speaker C:But I've been to lots of funerals where they don't open the casket.
Speaker C:And from what I understand, she was pretty badly mangled.
Speaker C:But it was a beautiful funeral.
Speaker C:Mr. Evans played the organ himself.
Speaker C:The finest selections.
Speaker C:All the sweet old pieces his wife liked.
Speaker C:There was Narcissus and Mighty Lack of Rose and goodbye forever.
Speaker C:That's the way it was.
Speaker C:So you see, David, my sister, Mrs. Cholmondeley, was there.
Speaker C:Yes.
Speaker C:But how did she know it was Mama?
Speaker C:Oh, David, she didn't see Mama, did she?
Speaker C:Well, nobody saw your poor Mama, dear.
Speaker C:She wouldn't have wanted anyone to see her.
Speaker C:Mommy wasn't there.
Speaker C:She talks to us every night.
Speaker C:She tells us to look for her.
Speaker C:Where, dear?
Speaker C:In the pipes.
Speaker C:But, David, your mama's dead.
Speaker C:She's been dead for nearly a year.
Speaker C:You saw her grave out in the cemetery.
Speaker C:She's happy and at rest.
Speaker C:Why doesn't Papa give us a key?
Speaker C:If he'd only let us have it, we could look for her.
Speaker C:What key, dear?
Speaker C:The keys to the pipes.
Speaker C:There's a little door just underneath the stairs.
Speaker C:That's where the big pipes are.
Speaker C:And inside it's all dark.
Speaker A:But where are the.
Speaker C:But there.
Speaker C:There are tunnels.
Speaker C:There's a little room.
Speaker C:That's where she's hiding.
Speaker C:That's where Mommy is.
Speaker A:That's where Mommy is.
Speaker C:Oh, David, darling.
Speaker C:Now, look.
Speaker C:Come here.
Speaker C:No.
Speaker C:I hate you.
Speaker C:But why do you hate me?
Speaker C:Why don't you let me help you?
Speaker C:Because.
Speaker C:Because what?
Speaker C:Because you.
Speaker C:You like him.
Speaker C:Him?
Speaker C:Papa.
Speaker C:You're going to marry him, aren't you?
Speaker C:Yes, you are.
Speaker C:The Fenus says you are.
Speaker C:You're going to marry him, then he'll send us back to school.
Speaker C:There'll be no one left to help Mama.
Speaker C:Poor Mama will never be left out.
Speaker C:Oh, I hate you.
Speaker C:I hate you.
Speaker B:David.
Speaker B:What are you doing here?
Speaker B:David.
Speaker B:Did you strike Ms. Peabody?
Speaker C:He's sick, Theodore.
Speaker C:I'm sure he's very sick.
Speaker B:Now go to your room at once.
Speaker B:Oh, those dreadful children.
Speaker B:I tell you, Amanda, they'll ruin whatever Happiness we might have.
Speaker C:Theodore, I love you very much, But I couldn't marry you.
Speaker C:Not with that child's cry ringing in my head.
Speaker C:We've got to help them.
Speaker C:Give them that key.
Speaker C:Let them go and look in the room where the pipes are.
Speaker C:Then they'll see for themselves that there's no ghost key.
Speaker B:Who told you about a key to that room?
Speaker C:The children.
Speaker B:The children.
Speaker B:Amanda, I'm going to tell you something.
Speaker B:Something I've never told to a living soul.
Speaker B:It may frighten you.
Speaker C:Yes.
Speaker B:Margaret was going mad when she died.
Speaker C:Oh.
Speaker B:No one knew it but me.
Speaker B:It ran in her family.
Speaker B:I discovered it long after we were married, after the children were born.
Speaker B:Otherwise I'd never.
Speaker C:And now you think the children.
Speaker B:I'm afraid so.
Speaker B:It was peopling of sound.
Speaker B:She had, just like them, a fear of the dead's returning.
Speaker B:She used to play.
Speaker B:What's that?
Speaker C:Sounds like the organ.
Speaker B:But the motor isn't on.
Speaker B:The console was locked when I left.
Speaker C:Someone's trying to play.
Speaker B:No one but me can touch that instrument.
Speaker B:It's forbidden in this house.
Speaker B:And the servants are out.
Speaker B:Unless those children come upstairs.
Speaker B:A man.
Speaker C:Theodore.
Speaker C:Why, there's no one here.
Speaker C:No one at the keyboard.
Speaker C:The organ's playing itself.
Speaker B:That's impossible.
Speaker B:The motor's not going.
Speaker C:The motor?
Speaker B:Yes.
Speaker B:It sets the bellows going.
Speaker B:There's no air in the pipes unless it's on.
Speaker B:No air to make the pipes speak.
Speaker B:It's impossible, I tell you.
Speaker C:Perhaps the children found the key and got in.
Speaker C:Key?
Speaker B:No, no, no.
Speaker B:The key's here in my pocket.
Speaker C:There's no other way.
Speaker B:No.
Speaker C:Theodore, open that door.
Speaker C:Go in there and see what's happening.
Speaker C:Please.
Speaker B:No, Theodore.
Speaker B:I won't give in.
Speaker B:I. I won't be a prey to it.
Speaker B:Do you hear?
Speaker B:I. I won't.
Speaker B:I. I won't.
Speaker B:I won't.
Speaker B:Here.
Speaker B:It stopped now.
Speaker B:Yes, it was probably nothing but the wind.
Speaker C:Theodore, give me the key.
Speaker C:I'm not afraid.
Speaker B:Are you saying that I am?
Speaker C:I don't know.
Speaker C:But I'll be fair with you, Theodore.
Speaker C:I couldn't marry you and live here with that any more than your children can.
Speaker B:What do you mean?
Speaker C:Rip out those pipes.
Speaker C:Rip out the whole pipe organ.
Speaker C:Give it to a church, but don't keep it here.
Speaker B:Get rid of the pipe organ.
Speaker B:Yes, but I couldn't.
Speaker B:The whole house was built around it.
Speaker B:It's been the very soul and spirit of this home.
Speaker C:It's been the curse, you mean.
Speaker C:Theodore.
Speaker C:I know.
Speaker C:I'd go mad too, if I had to listen to it night and day.
Speaker C:It's so hollow to think of those pipes.
Speaker C:So huge.
Speaker C:Down there in the darkness.
Speaker C:I'd begin to hear things too.
Speaker B:Oh, Quiet.
Speaker B:Be quiet.
Speaker B:Come outside.
Speaker B:We'll take a walk.
Speaker C:No.
Speaker C:No.
Speaker C:Give me the key.
Speaker C:Give me the key.
Speaker B:You're hysterical, Amanda.
Speaker B:I'm sorry.
Speaker B:I've overburdened you.
Speaker C:Why don't you want to go in there?
Speaker C:Is it because you know something?
Speaker C:You did something?
Speaker B:What do you mean?
Speaker C:Did you kill her?
Speaker B:Amanda.
Speaker B:Very well, Amanda.
Speaker B:Here's the key.
Speaker B:If that's the way you trust me.
Speaker B:We'll go down and look around together.
Speaker B:Come now, Amanda.
Speaker C:I'm sorry, Theodore.
Speaker C:It slipped out.
Speaker C:It was a dreadful thing to say.
Speaker B:It's all right.
Speaker B:I understand.
Speaker B:Yet it hurts a little.
Speaker B:I've trusted you so completely, Amanda.
Speaker C:Theodore.
Speaker C:Yes, Amanda, let's not go in there.
Speaker C:I do trust you, darling.
Speaker C:I. I believe everything you've told me.
Speaker B:No.
Speaker B:This little key.
Speaker B:To think it should mean so much.
Speaker C:Black.
Speaker C:It is.
Speaker B:Yes.
Speaker B:Pitch black and cold.
Speaker C:Where are the pipes?
Speaker C:I can't see them.
Speaker B:Come in further, Amanda.
Speaker B:You'll see them as soon as your eyes grow accustomed to the darkness.
Speaker B:The biggest pipes pack this well under the great staircase like giants.
Speaker C:Oh, yes.
Speaker C:I. I'm beginning to see them now.
Speaker C:Shouldn't we go and get a candle?
Speaker B:Oh, no, no.
Speaker B:Go in a little further.
Speaker B:Be careful.
Speaker B:The floor is a maze of wires.
Speaker B:Now stand there for a second.
Speaker C:Theodore, don't leave me.
Speaker B:I won't be long.
Speaker B:I thought you said you weren't afraid.
Speaker C:I'm not.
Speaker C:Only.
Speaker C:Where are you going?
Speaker B:Just upstairs to play for you.
Speaker B:Theodore, I'd like you to hear how the music sounds in the darkness.
Speaker B:It's quite an experience being so close to the pipes, you know.
Speaker B:Narrow, suffocating.
Speaker B:Especially when I pay the great Pasacholia and fugue of Bach.
Speaker C:Oh, Theodore P. Please.
Speaker C:I don't want to stay here.
Speaker B:Perhaps one of the Reinberger symphonies.
Speaker B:Or the great chorales of Cesar Frank.
Speaker B:Margaret, of course, preferred Narcissus.
Speaker C:Margaret.
Speaker B:You're very gullible, Amanda.
Speaker C:Then you did kill her.
Speaker C:You killed her in this room, and you're going to kill me.
Speaker B:Yes.
Speaker B:Simple, isn't it?
Speaker C:But why?
Speaker B:I don't know.
Speaker B:One gets tired every now and then of mere music.
Speaker B:Sometimes the classics demand competition.
Speaker B:A scream, for example.
Speaker B:There's something so exciting about pulling out all the stops and drowning out all human sound.
Speaker B:Have you ever tried to match your voice, Ms. Peabody, against the thunderous voice of Bach?
Speaker B:It's most effective.
Speaker B:And then when the struggle gets weaker when the air is almost gone.
Speaker B:And you choke and gasp for breath to bring the music down.
Speaker B:Softer.
Speaker B:Softer.
Speaker C:Theodore.
Speaker C:You're mad.
Speaker C:You're mad.
Speaker B:Would you deny me that pleasure?
Speaker C:No.
Speaker B:Help.
Speaker B:I promise you the concert won't be too long.
Speaker B:It takes about eight hours before the air gives out.
Speaker B:But you know, I could play for days.
Speaker B:And don't worry about the children.
Speaker B:I think you've convinced them about the ghost.
Speaker B:What's that?
Speaker C:Theodore?
Speaker B:Someone shut the door.
Speaker B:It's locked in.
Speaker B:The keys.
Speaker A:Outside.
Speaker B:Who's there?
Speaker A:Let me out.
Speaker A:Let me out.
Speaker C:Theodore.
Speaker B:Get away from me.
Speaker B:Let me out to you.
Speaker B:Here.
Speaker B:Let me out.
Speaker C:Let me out.
Speaker C:I can't.
Speaker C:I can't breathe.
Speaker C:I'm suffocating.
Speaker B:It's so dark.
Speaker A:I can't breathe.
Speaker A:Let me out.
Speaker A:Please.
Speaker A:Please.
Speaker A:I can't breathe.
Speaker A:I can't.
Speaker C:No.
Speaker B:No, don't.
Speaker C:I can't.
Speaker A:I can't.
Speaker A:Let.
Speaker A:Let me out.
Speaker B:I can't breathe.
Speaker C:Theodore.
Speaker C:Theodore.
Speaker C:Let me out.
Speaker C:Let me out.
Speaker C:He's dead.
Speaker C:He's dead.
Speaker C:Dandy.
Speaker A:David, where are you?
Speaker C:Open the door.
Speaker A:Help me.
Speaker C:Help me.
Speaker C:Oh, no.
Speaker C:No.
Speaker C:Help.
Speaker A:No.
Speaker C:Help.
Speaker C: ,: Speaker C:I shall be coming home in a few days, Bessie.
Speaker C:I still can't sleep at night.
Speaker C:I still hear that laughter.
Speaker C:Still hear that cornet playing its unearthly music.
Speaker C:And Theodore Evans once more lies dead at my feet.
Speaker C:It was his heart, Bessie.
Speaker C:He died of fright.
Speaker C:In those few moments, he anticipated the hideous fate he had meted out to so many.
Speaker C:And I might have died there if he had not gone so quickly.
Speaker C:But the children hated me.
Speaker C:They wanted to kill us both.
Speaker C:Those terrible, pathetic children.
Speaker C:What horrors they must have sensed in that charnel house.
Speaker C:There were other women beside his wife.
Speaker C:Please.
Speaker C:Found them all buried and stuffed away into unused parts of the pipeline.
Speaker C:Bessie, I was in that pipe room alone with him for four hours before that door creaked open.
Speaker C:There they stood.
Speaker C:And I shall never forget their faces or the things they said.
Speaker C:All right, Ms. Peabody.
Speaker C:You can come out now if you're really sorry.
Speaker C:I'm sorry.
Speaker C:Are you sure he's quite dead?
Speaker C:Yes, he's dead.
Speaker C:We were right all the time, weren't we, Ms. Peabody?
Speaker C:Yes, you were right.
Speaker C:Now, will you come and help us find Mama?
Speaker B:And so closes Fugue in C Minor starring Ms. Ida Lupino and Vincent Price.
Speaker B:Tonight's tale of suspense.
Speaker B:Suspense is produced and directed by William Spear.
Speaker A:This is so scary.
Speaker A:This is so scary.
Speaker A:Oh, man.
Speaker A:Oh.
Speaker A:Gives you chills anyway.
Speaker A: From suspense,: Speaker A:Thus, sadly, this concludes another episode of Shot and Shield.
Speaker A: Being that this is October: Speaker A:And now if you're listening for the first time, please take a moment and join the Facebook group called Shot and Shield Podcast War Gaming Group.
Speaker A:Please, please please anyone post your excellent work, post your miniatures, post your paintings, post the builds that you do.
Speaker A:This is this page is not just for myself or a couple other guys to put just our stuff on.
Speaker A:We want to see your stuff as well.
Speaker A:So please, please please post it.
Speaker A:Share it with us.
Speaker A:Trust me, we don't judge.
Speaker A:And if you have any questions, we got some great, great experts on the Shot and Shield Podcast War Gaming Group that can answer anything that I I can.
Speaker A:Now all that's left to be said is you've been listening in Berlin, Germany, in Nashville, Tennessee, in Manila, Philippines, and in 77 different countries through the Shot and Shield Supercast, a show dedicated to colonial 19th century war gaming in history.
Speaker A:A podcast meant to be heard while you are painting or working on your amazing projects.
Speaker A:I'm the marquee of Middle Florida, Lord Scott, and I'm out sa.
