Ep #4 | The 18-Year-Old Who Knows More About Tesla's Robotaxi Fleet Than Tesla Will Admit

I drive my bus in a busy city. That's why road safety is so important to me. I know that I must slow down and be extra careful when I make a wide turn. Buses need more room than cars. Everyone can help keep our road safe. Next time you're driving, remember to give buses plenty of time and space to finish turning before driving ahead. Let's all plan to share the road safely. Learn how at www.sharetheroadsafely.gov The monitor, flatlines, the doctor's work fast, the paddles charge, his family watches from the corner of the room, and Bob Frisbee, husband, father, lifelong pilot, feels something, snap. He wakes in a room he doesn't recognize. No windows, a door with no handle, light with no source, and seated across a carved antique table is a man with a file, an impossibly thick file, who introduces himself only as Mr. O. "You're in the waiting room," he says, "and we have a great deal to get through." Everything Bob has ever done is in that file. Every person he wronged and never faced, every wound he carried that quietly poisoned the people around him. Every dark corner of life that looked from the outside, perfectly ordinary. Above them, a golden wheel appears, and the spokes that are dark are the ones that matter most. But this isn't just a life review. Behind the veil of the world Bob thought he knew, something has been moving. Ancient, deliberate, with a face that doesn't belong on anything, that was ever human. There are forces here that don't want Bob to finish what he has started, and the waiting room has an escape tunnel. But Mr. O won't tell him where that leads. The waiting room, a novel by L.A. Marzouli, a researcher who has spent decades pulling back the veil on the supernatural world most people pretend isn't there, narrated by Darren Marlar. You die. Then, the reckoning begins. The waiting room, by L.A. Marzouli, a new audio book available now on the audio books page at WeirdDarkness.com. Oh, oh, fantasy. I'm gonna thank the missing. right. Oh. Marlar. Ah, man. Ah. Oh, that's seal. Oh. Ah. Present Suspens. I am the whistle. Welcome Weirdos. I'm Darren Marlar, and this is Retro Radio, Old Time Radio in the Dark, brought to you by WeirdDarkness.com. Here, I have the privilege of bringing you some of the best dark, creepy, and macabre, old time radio shows ever created. If you're new here, welcome to the show. While you're listening, be sure to check out WeirdDarkness.com for merchandise, sign up for my free newsletter, connect with me on social media, listen to free audio books I've narrated. Plus, you can visit the Hope in the Darkness page if you're struggling with depression, dark thoughts, or addiction. You can find all of that and more at WeirdDarkness.com. Now, bolt your doors, lock your windows, turn off your lights, and come with me into tonight's Retro Radio, Old Time Radio in the Dark. The CBS Radio Mystery Theater presents. [BIRDS CHIRPING] [BIRDS CHIRPING] Come in. [BIRDS CHIRPING] Welcome. I'm E.G. Marshall. Said the angry old wolf to the tender young lamb. You think I've got the time to count your crimes, you pup. Your guilt consists in this. I want to eat you up. And so it goes. We now question the innocence of the victim. After all, what right do girls have to be beautiful, or men to be rich, especially when there is so much hunger for beauty and wealth? And so few people have. Hey, why don't you watch where you walk? Where you want me to do? Okay, you? You can't kill me. What do you mean? You've already killed me once. What are you talking about? And you can't kill a person twice. Hey, what are you saying? Isn't that what's called double jeopardy or something? [BIRDS CHIRPING] Our mystery drama, The Wintering Place, was written especially for the mystery theater by Sam Dan and stars Robert Dryden. It is sponsored in part by A.R.M., Allergy Relief Medicine and Buick Motor Division. I'll be back shortly with Act One. [BIRDS CHIRPING] Was it a dream? He keeps asking himself. Was it a dream? That morning, that golden August morning in the woods, with the light filtering through the trees, the dappled pattern of sunlight casting a series of shimmering shadows on the turning leaves. Was it a dream? The girl standing there with long yellow hair and deep blue eyes and flashing red lips and excited voice. Was it a dream? Oh, please, please, he prays. Dear Lord, have mercy, grant that it was only a dream. Hello there. [GASPS] He's started, Mr. Barn. I'm sorry, Martha. My name isn't Martha. It isn't? We look just like. I'm a sister, Robin. Oh, or how do you do? I'm here on a visit. Oh, yeah. I hope you enjoy it. Oh, I will. It's the most beautiful country. Are you bright men and women in notebook? Of course. I mean, that's a silly question, naturally, right? And I saw you. I'm a lapidopterist. Yeah, I make a burden. A lapidopterist? Yeah, I heard you, but I still don't know what. Of course, we begin as biologists and we become naturalists. And then we specialize. And my specialty is the order lapidopterist, or the butterfly. And you make a living, Ellen? Oh, yes, I teach at the State University. Not about butterfly. What is it? Is there enough to it? Oh, my goodness, yes. I made a life's work out of it. Well, that don't be all. Surprise, Mr. Barry. Say, I do know my name is Barry. Well, when I arrived the other day, my sister drove through Main Street and she pointed out all the important people in town. I'm not all that important. She said you're the biggest landowner in these parts. Oh, what do I own? A couple thousand acres, why back in Texas, where my folks come from? I understand. This is your land. Ah, yes, I do own this piece. And I'm probably trespassing. Oh, no, no, no. I have an idea that this stretch of woodland might be part of the migratory route of the Monarch Butterfly. Or, Dan, a plexipus. For a pretty girl, you come out with some words at a jaw break. Well, butterflies go south for the winter. Oh, I breathe. Oh, yes. Some of them go all the way to Mexico. Oh, I thought a butterfly only lived a couple of days. Oh, and some of them known to live for nine months. And they go all the way to Mexico? All the way in back. Why did they do that? Well, they respond to mysterious biological urges. What's a good-looking girl like you getting all involved with these insects for? How many times I've been asked that question? You have such a pretty smile. Oh, thank you. You know, if you look very closely, at the top of those trees. It's such a beautiful voice. It's as sweet as music. You think they're leaves, but they're not. Robbin? The Monarch Butterfly. Hundreds of thousands of them. Robbin? Many of them will never see Mexico. They'll die on root. Die on in the full blush of their beauty. Robbin? What is it, Mr. Bairn? It's so pretty. Oh, please, let's call it my arm. It is so pretty. Mr. Bairn, please, please let go. No, I've been so lonely for so long. You're hurting my arm. I don't want to hurt you. Please, please let go of me. I wouldn't hurt you for the world. What do you want to scream for? What if somebody hears you? No, no, no, no. This requires there's nothing to scream about. I only want to look at you. Somebody help me. Please. I told you to shut up. No. Pauline, come in here. Yes. Yes, Mr. Barry. I want to go over these accounts with you. You're spending too much money. Well, Mrs. Barry didn't seem to think so. No, that's another thing. Mrs. Barry is gone. You're telling me? What does that mean? Well, I tell you what it means. Somebody has to tell you. It might as well be me. Something's come over you, Mr. Barry. No, you just look here. No, no, I'll see my piece. And then you can fire me. Oh, you changed since your wife died. I know how you loved her. And I know how you miss her. Nobody can ever know that. Well, you take your misery out on everybody. You used to be a nice, kind guy. Look at you now. You have to get everybody. You just wait for a person to make a mistake so you can jump on them. That isn't true. No. Well, you say you want to go over their accounts with me. You're going to wind up giving me this lecture. But how inefficient I am. How I waste your household money. Well, I have the figures here. With you. And you know who we'll find out if I had exercised more care these last 30 days, I could have saved you the grand sum of $3.98. Well, it's the principal of the thing. $3.98. And you got more money than you could ever spend if you lived to be a thousand. There are other things involved here. Yeah, well, you tell me about them. Well, you're always forgetting. OK. OK. Scorepoint for your side. I got a bad memory. I can't remember things. I always forget things or what. So what? That's how I am. Well, I always was able to make this house a pleasant place to live in. You have to admit that. Yeah, I admit. You've got to make up your mind. Am I worth it? I forget things all the time. And I'm not a, well, I'm not the fiftiest housekeeper. But I'm a worth it. Do I stay? Or do you want to hire somebody else? Uh, look, I just, uh, I'm not myself anymore. Well, I just got finished telling you. I don't know what gets into me. Well, you have to put a stop to it. I'll try. OK. It's just that I miss her. I miss her so much. I know. I didn't think you could ever miss anybody that way. You know what you ought to do. Marry again. How could I ever get married again? She's cold and aggraved. She's been dead a year. I could never marry anybody. Now, who's making that kind of racket? All right, hold your horses. I'm coming. If it isn't a Mary-Mary man himself, William. I'll wipe Bob, pull her, what the racket? Oh, you've got some special male foistball. I miss the bearing. Listen. Well, what is it? It's just terrible. I'm murdered. Me? Well, what do you say? There has been a murder. Who? Where? Somebody, somebody better get on the phone quick. Who? Who's been murdered? Just call the sheriff. Call us, lovey. It's a girl. Who? I don't know that. That girl. Which girl? You know. What's her name? What's her name, Martha? Martha's been met. Martha Penelope. No, no, no, no. Martha's sister, she's-- Nothing. Yeah, the one that's been visiting her. My-- The college teacher with-- with the long blonde hair, right? No. Yeah, she's dead. I see her. Well, you know where the woods begin at the edge of the creek? Bobby, you sure? But what I was taking a shortcut, like I always do. Bobby, how can you be sure she's dead? And now on the path, just to her movies? Well, she'd be called a doctor. Let's run out there. Paul Beans, she is dead. But he's laying out there. Nothing can happen to her now, Paul Beans. This girl is dead. Yes, yes. I covered her with-- covered with my raincoat. Listen, Paul Beans. And you want to pick up that phone and call with you, Jennifer? Yeah, yeah, I-- I-- I do that. And somebody's got to break the news to Martha Penelope. What's that? What's the sheriff's number? I don't want to be the one to tell Martha. Oh, no, sir. I'll just tell operator. I-- I found the body, and that is enough for one person. Hello. Hello, who's this, Jennifer? Oh, Georgina. Connect me with a sheriff's office, will you? It's an emergency. Oh, I will never forget that beautiful yellow hair with a bright red-- Hello, who's-- Hello, sheriff. Yeah, this is Pauline over at Frank Beans' place. Sheriff, you want to get over here right away? There's been a murder. Yeah. He says he's on his way. Oh, that poor girl. To be murdered like that. Hello, give it. Hello, take it to waste, Bobby. Then it wasn't a dream. It wasn't a what? What'd you say, Mr. Beary? Uh, well, what did I say? When? Just now. I didn't say anything. [MUSIC PLAYING] Good morning, coffee, Sheriff. Well, thanks for the bearing. It's been a long day. I asked Mrs. Taylor to set up coffee in the sandwiches for your deputies. That's very kindly. Has anybody found anything? No, not yet. Sorry to say. We've been combing the woods. I hope you get him. Yeah, sort of why. Myth of penrose is such a fine woman. Help. And the thing like this happened to her own sister. And out here, of all places, I never thought we'd have a murder. What did the doctor say? Well, she was beaten up pretty bad. And what killed her? She had her head hard against a tree. Well, was she-- had she been-- Yeah, yeah, Doc said she'd been criminally assaulted. It happened on my property, too, where the hell it could have happened anywhere. Sheriff, do you guys what you just said? You said it could have happened anywhere. I guess that's what the world has come to. And the thing like this could have happened anywhere. I guess you're right. And there are no clues, nothing to go on. No, she was just taking a walk. Now she had a notebook and a pencil. We found those lying by her body. And Martha said she hadn't expensive gold watch. I was missing. I don't know the killer. Must have taken it. Well, I guess so. Well, what am I going to do now, Sheriff? I'll ask for special investigators from the county. I mean, they got the resources and experience. The Hick Sheriff like me? What do I know? [MUSIC PLAYING] I'll get it, Pauline. Now, I'm the way out. Good morning, Mr. Bering. Well, there's not much life to the morning for. You should have been here with the mail an hour ago. Yeah, well, you know, some days we get a heavier load than others. And still, there's no reason for the mail to be this late. No, no, I guess not. I should report this. Look, Mr. Bering, I know it's my fault. It's just that I don't take that shortcut through your woods anymore. After what happened last week, I get butterflies in my stomach, just thinking about it. What did you say? What did you just say? Yes, you did. You did? Mr. Bering. Why did you say that? Why did I say what? Hey, don't worry. Did you say that? Like, what are you trying to do? Don't worry. You're looking at me. Stop it. I have to call it sheriff. Well, what is this sudden violent rage on the part of Mr. Frank Bering? Evidently, when the mailman said what he did, it was like touching a match to a fuse. But what exactly was it that was said? And why should it affect Frank? Well, if you were really paying attention, you'd know exactly what that dynamite word is. And why it can make Frank blow up like that. Meanwhile, we'll keep him sizzling till act two. Suspicion always haunts the guilty mind, said Mr. Shakespeare. And for a mind that is filled to the bursting point with guilt, we give you Mr. Frank Bering. Mr. Bering is haunted by guilt. He's consumed. He's devastated by guilt. And with good reason, he happens to be guilty. Out in murder. But so far, only he knows that so far. [INAUDIBLE] [INAUDIBLE] Yeah. Hey, Mr. Bering. What cutting to you? Nothing. Nothing at all. What did you want to try to knock me down for anyhow? Look, I'm just doing my job. Look, I'm sorry. OK? No. No, it's not OK. Just because you're the big haunt you in this part of the woods doesn't give you the right to knock people around. No, Bobby. Mr. Bering hasn't been feeling too good. Oh, yeah. You keep out of it, Pauline. I said I was sorry. You don't like the way I do my job? OK, that is your privilege. Report me to my supervisor. But don't you figure you can lay a hand on me. Do you understand that? Oh sure. Sure he does. Now, why don't you go butt your rounds, Bobby? Here's your mail. I hope it's all bills. Mr. Bering, why'd you do a thing like that for? I don't know. I'm not sure that's a good enough answer. It was in zamly dye, died. I don't know. If that's a good enough excuse either. I'm just not myself, that's all. You toughed on him, because he said something. I just lost my head. I don't know why. He said something. They said you're off. What was it? I can't remember. But you already did kill him. What did he say? Tell you I don't know. Oh, yes you do. I don't remember. I'll help you remember. Oh look here, what business is that of you? You were mad the minute he walked in. I just happened to lose my temper, that's all. You were mad at him, because the mail was late. Maybe I was. And he said something. No look, Pauline, I'm late enough. Now we'd better have this out. I have to leave. If you leave, before we get to understand this thing, I won't be here when you get back. No, I recall. He said he was late, because he no longer takes the shortcut through your woods. He said, after what happened last week, I get butterflies in my stomach to think about it. And then you jump down him. Why? I don't know why. I can't tell you why. Do you know how many butterflies there are, Mr. Barry? Robin. Robin, listen. I didn't want to kill you. The answer is there are thousands of different species, butterflies and moths. I didn't even want to hurt you. Oh, under the heading of let the doctor run. I've been so lonely I could die. Let the doctor is made up of two Greek woods. Emily had the same golden hair. Let the cow, which means scale, and tell, which means wings. And the blue eyes. The wings of all moths and butterflies have covered the scales if you look closely. When you talk, your whole face seems to light up just like her is this. The monarch is a fascinating creature in all of its life stages. And I just had to touch you. That's all I wanted to do. Just touch you. Eat, puka, lava, crisps. I didn't mean to do anything wrong. Listen to me. If you only listen, you didn't listen to me that morning. And so I had to-- I had to-- Will you listen now? Listen to what? Listen to me. What do you want to tell me? I don't want to tell you anything. I want to ask you something. Yes. Can you forgive me? Forgive you? Why should I forgive you? Because I didn't mean to kill you. Does that excuse you? No. But-- Then why should I forgive you? Because-- Because-- You did kill me. It's true. And yes, but I didn't mean to. When you killed me, I was 32 years old. Oh, I'm sorry. I worked so hard on my life. All my short life. I never had a chance to enjoy life. So it was only something I could do. There is. Tell me. I'll do it. Confess. Confess? Go to the sheriff. Confess that you killed me. It's the only way I'll ever forgive you. No. And I'll never forgive you. Please, Robin. Please. Confess. Confess? And I'll forgive you. I can't. I can't. I can't. I can't. Well, maybe you can't. But I can. Huh? Well, well, you say you can't tell me who I am? Well, you mean I can't tell you why? I can't tell you what. What have we been talking about? Well, the word butterflies made you jump all over poor Bobby. Butter? Butterflies? Yes. That poor girl who was murdered, Martha Sister, who was this, isn't? She was involved with butterflies. Oh. And you feel guilty about her getting murdered, don't you? Me? Or should I feel guilty? Why? I don't know why. Maybe because it happened on your property. So what if it did? You don't have any cause for guilt? Look, what could you have done about it? I better be getting along, honey. God, what to do today? Mr. Bang, take a word of advice from me. A lot of hard things have happened to you. First you lost Emily. And now there's terrible murder on your property. You have to keep your mind very busy. That was the Mozart piece we promised you. Turning now to opera on today's gems from the classics, we have the beautiful Arya, Wunbel D, from Puccini's masterpiece, Madame Butterfly. No. Oh, no. No. [SCREAMING] Hey! What do you think you're doing walking out in the middle of the road? Do you want to get killed? I can't get killed. I'm already dead. Where is-- It's you. Yes. It's me. Robin. Where is it going? I'm going to the place where they go for the winter. Where? Who goes for the winter? Where they go? The butterflies. Who are you? Remember I told you they go to a warm, southern place? All right. Let's be going crazy. Many of my colleagues say it's Mexico. OK. I understand. I've got a guilty conscience. But I think this here in southern California-- Well, it wasn't all my fault. We have the climate and the condition. You were stupid. I didn't mean to hurt you. To provide a wintering place. And I think I know where it is. Now, please, please go away from me. Don't you want to come with me? Come with you. Where? To the wintering place. Wintering place. So few people I've ever seen one. I never did my own. But my professor, my old professor, he described it. There's nothing like it anywhere on Earth. The beautiful butterflies. They cover the trees like another coat of foliage. And they change the entire light and color of the forest. This is just my imagination. In most of the time, they lie dormant. But then, is it in response to some mysterious primie's alert? They flatter their wings. And suddenly, the colors of the forest change. As millions and millions of butterfly wings create unbelievably breathtaking, kaleidoscopic designs. Wind reds and yellows and browns and blues and greens. Gotta get out of here. Come with me. You'll be one of the very few people in the world to have ever seen the wintering place. Come with me. Go with you. Stay with me. You wanted me? No, I. Confess. Ignite it. I only wanted to look at you. That isn't true. I just wanted to hold your hand. You wanted me. The way you wanted Emily. No, no. When Emily was young, I'm a young Emily. The Emily you fell in love with. No. I have her hair. Her eyes. Her smile. Even her voice. What you're saying isn't true. But I am not saying it. You're saying it. Aren't you? Aren't you? Yes. Come with me. It's what you want to do with anything else in the world, isn't it? Yes. We'll go to the wintering place. Such wonder, such beauty. We'll lie down under the trees and we'll stay with the butterflies for as long as they do. We'll come back when they do. And we'll live as they do because they're the wisest and the most beautiful of all the children of nature. Or say you'll come with me. Yes. Yes, I'll come with you. And you'll live with me. Always. Promise. I'll live with you. Always. I'll make you so happy. Look in my eyes. You know I will. I'll make you as happy as Emily did. Do you believe me? I believe you. Now we should leave for the wintering place. But first. First. Yes? First we must stop. Stop. Where? You must visit the Sharon so that you may confess. Confess? Confess what? Confess you killed me. Oh. No, I won't do it. I can't do it. Do you want to come with me? Stay with me. Live with me and be happy forever in the wintering place. Yes. Then you must go to the Sharon. But I. If you won't, I will leave you forever. Oh, no. Please. Then tell me. You will go to the Sharon. [BIRDS CHIRPING] How do you suppose it'll work out? Will he confess? Or will he dismiss the whole business as a figment of his imagination? Well, don't speculate. Relax. You'll get the whole thing neatly laid out for you in Act 3. [BIRDS CHIRPING] The scientists tell us that we can neither create nor destroy a matter. Well, we admit we can't create it. That is, after all, the exclusive prerogative of a higher power than ourselves. But destroy it? Isn't that within our abilities? Actually, long ago, we discovered the act of murder. And far too frequently, do we practice it? But do you destroy a man when you kill him? Isn't there something vital and dynamic that lives on? Mr. Frank Berry is having his problems. You must go to the Sharon and confess. Confess that I kill you? Is the truth, isn't it? Yes. And go. Oh, Franklin. You just called me Franklin. Of course. Only Emily would ever call me Franklin. I know. Well, how do you know? Because I'm part of Emily now. And when I tell you to go to the Sharon and confess, it's also Emily who's telling you. Now, but to go to the Sharon and-- Franklin, would Emily ever tell you to do anything that was wrong? Will you go, Franklin? Yes. I knew you would. We knew you would, Emily and I. Will you come with me? No. You just implemented. Go. We'll wait for you here. Will? And then, we all go to the wintering place together. Sheriff? Oh, hey. I'm glad to see you, Frank. Sit down. Yeah, Sheriff, I came here to-- I see you got my message. Huh? Message? Sure. I called you this morning. Why would you have called me, Sheriff? Pauline answered the phone, said you hadn't come down to breakfast yet, but I see she gave you the message to drop in and see me. She never gave me any message. That woman she can't remember a blame thing. How many times I have to tell her the right things down? Well, that's no good. Even if she does write down a message, she forgets where she puts the blame piece of paper. What are you getting so worked up about, Frank? Because she always forgets to tell me. She must have told you you're here, ain't she? Well, I'm here because I--because-- Sheriff, hmm? Why did you want to see me? Huh? Good news. What do you mean? They, uh, they got the killer. They watched him. They got the fellow that murdered Martha's sister Robin. They, uh, stayed caught, spicked him up in near San Francisco. You know that, uh, watch, she was wearing? [laughs] Foolly. You tried to pawn it. If it's the same watch, we-- It was the same watch. Well, Martha identifies it positively. Is the one she bought for Robin the day she graduated? No, no, it's the same watch. Where is the killer now? Frank, I know how you feel and what you'd like to do. But the law has to handle it. Where is he? Downstairs in the locker? Could I see him? Uh, I, uh, I have to talk to him, man. You can stand outside the cell. [music playing] Well, now what do you get to see for yourself this morning, Eddie? I'll tell you the same story I get to the steak cups. Hm. Well, that wasn't much of a story. Hey, look, way one for me. I was down this pile of work. What for? Yeah, what for? Try to make a fast buck. I don't deny it. Well, I'm cutting through these woods and this year's Lenny on the ground, and she is dead. Well, if you come across a dead body, aren't you supposed to report it to the authorities as good citizen? But I'm not a good citizen. I'm a hord, a punk. I don't deny it. All I got to do is report this and the cops say, "Bust a year to want another walk." Mm-hmm. And how do you get me past the watch, Eddie? I had to watch. Mm-hmm. Oh, yeah. Well, there's a sunlight shining through the branches of the tree she's laying on the sea, and it shines on his gold watch. It almost takes my eye out. If it wasn't for the sunlight, I'd have never spotted the thing. This had to go at least seven eight bills. I was here to stay, Eddie. You should have left it on a wrist. Yeah. So you were walking along the woods, mining your own business, and you came across the body, huh? Now that's your story? Uh-huh. Mm-hmm. Like I said. Ain't much of a story. But it's true. Well, good luck with it. In front of the jury. He's nearer. Chance he might be telling the truth. Like you got a chance of being elected president of the United States, Frank. You convinced his gully. Well, look, he's got a record. Yeah, I understand that for that. And for the other thing, too. What other thing? Uh-huh, rape. And he's had one conviction and beaten a couple of others. Huh, that meek-looking little. It's hard to believe. Yeah. This one's what they call an "incargeable." No, you'll be put away for good. And we'll all be better off for it. Yeah. I guess so. And this thing is over. How's the steak, Mr. Barry? Pauline, this morning the sheriff called me here to have us. Oh, he did? He left an important message as usual. You forgot to give it to me. I'm sorry, Mr. Barry. I'm convinced you did it on purpose. Why would I do it on purpose? I don't know. I don't care. But the next time you forget about something, you're finished. Fired? Do you get that? Yes, Mr. Barry. I did it. You didn't confess. No. I didn't. That boy will pay for you. He's a hard and criminally deserves to be put away. Can you live with that? Yes, if I have to. I don't think so. Emily doesn't think so either. I was going to confess. Yes. I went there to his office for just that reason. But you didn't do it. I couldn't. I tried, but. Yes. I looked at his face. The sheriff's face. He was so as glasses with the steel wire frames. And he scared me. I couldn't open my mouth. Poor Franklin. I should confess. I know that. It's the right thing to do. It's the only thing. Then why don't you do it? I'm afraid of saying it to the sheriff. I understand. You do? Of course. He's such a strict righteous looking man. Write him a note. A note. Just write. Here. A pen and paper. Pick up the pen. Write. I'll tell you what to write. Dear sheriff and woman. I confess to the killing of Robin Meadows. It was unintentional. I've just overcome by a terrible urge. That I couldn't control. I will sit here and write. in the bedroom and wait for you to come for me. Sincerely yours, Franklin, Chase, Barry. Yes, that looks alright. Now board it, place it inside the envelope and see. And address it to the sheriff. Town hall, you collect it for California. Good, and in the drawer there's a stand. Good, place it on the envelope. That's right. No, wait. For what? Let me see, let me see. We can't wait, Emily and I. We must go to the wintering place. Now, do you want us to leave without you? No, no. We will. Oh, Franklin, how we love you, Emily and I. How we want to be with you always. Please, Frank. How we love us. Yes, yes, I want to go with you. Well, for Paulie's, Paulie's. Yes, yes, Mr. Barry. What is it? Uh-huh. What time you going downtown in the morning? Oh, just about. Didn't that he? Mill this letter for me. Oh, yes. Yes, Mr. Barry, I will. Yeah, make sure you don't forget. Don't worry. I won't forget. [MUSIC PLAYING] More coffee, Mr. Barry. Mr. Barry. Huh? More coffee. Paulie, what time do you go downtown this morning? No. You should have time, seven o'clock. Last night I asked you to do something. You did? You know I did. I asked you to mail a letter. Oh, oh, yes, yes. That's why. Did you mail that letter? Oh, of course I mail that letter. More coffee. You sure? Oh, sure, I'm sure. Where did you mail it? Where are you? Where are you? I adopted you in a mailbox. Which mailbox? Which mailbox? Oh, the one beside the folk of the road, just as route 46, becomes Main Street. Oh, is everything all right? Tell me. Where is that? Why? The told me, where is that card on the box? You know, did you read the card on the box? The one that tells what time the mail is being picked up? Oh, well, I think it said it at a quarter to 12 in the morning. You sure? Yeah. I guess so. What time is it now? Oh, I have 11.30. Mr. Barry, you're going to finish that first. Now, what could have gotten into him? [SIRENS] Mr. Barry, I can't do that. All I want is my letter. Oh, look, you put a stamp on a letter. You drop it in the box. It's the property of the US mail. Till it's delivered to the address seat. Now, look, last night, I wrote a letter, an important letter. All night, I've been thinking about that letter. And I changed my mind. But it was already dropped in the box. Well, how do I know it's your letter? Now, I give you a letter, you claim you wrote to somebody and get myself fired from my job, lose my pension? I have to have that letter. That's all there is to it. I should go out on the limb for you. What do I owe you anyhow? What did you ever give me, but a hard time? Just let me pass. I'm mean to have that letter. Get your hands off that bag. Get the property of the US mail. Oh, I'm going to take a letter. Now, you get your hands off of that. Are you crazy? I'll kill you if you try to stop me. Hey, no, no, no, wait. You just put that gun on. I won't. Let's go to the bed. I told you. No, I'm going to take that letter. Where is that letter? The letter. Where is it? Where is the letter? I'm just a shocker, Bobby and Coldblood. Well, he was really upset this morning, Chef. But why would he shoot Bobby? It was about a letter that was in the mail box. Bobby had just picked it up and he wanted it back. Oh. Oh. What is it? What are you saying '04? The letter. Wasn't there. Oh, how would you know? Because. Because I forgot to mail it. Here it is. He asked and I was afraid to tell him he defied me. I wonder what could have been in this letter. Well, it's going to be exhibit A in a murder case. So I guess we're going to find out. And they did. And so you see, they not only had Frank Barring for one murder. They also had him for two. And he not only got to go to the wintering place, but also to a summer spring and fall place as well. I'm not going any place. I'll be right back. The wintering place. The secret place of security and safety. So precious to every living creature. Where we renew ourselves for the constant struggle for existence. And wherever it can be found, we must go there. No matter how long, arduous, and perilous the journey. Why even the fragile butterfly can travel 3000 miles to get there and back? A cast included Robert Dryden, Evie Juster and Earl Hammond. The entire production was under the direction of Hyman Brown. And now a preview of our next tale. Kind of scary when you come right down to it. What, the cat? No, the cat is a cat, but the way Dina feels about it. How does she feel about it? Well, you know what a familiar is. The alter ego of a witch. What? You're suggesting that Dina is a. I don't be ridiculous, but she read about it somewhere. You know how much she reads and how suggestible she is. And I swear she's got this notion that the cat is. Well, I sort of said it already. Her, other, herself. Oh, come on, Joan. Well, I don't know if it would give you the idea that. She talks to herself, Dave. Well, who doesn't if you're alone enough? Out loud. Sometimes, like to an imaginary playmate. Well, this isn't exactly the same. The playmate talks back in another voice. You're kidding. I wish I were. Radio mystery theater was sponsored in part by Contact, the 12-hour cold capsule. Mrs. E. G. Marshall inviting you to return to our mystery theater for another adventure in the macabre. Until next time, Pleasant. [Music] [Music] Tonight at 930, a radio drama from San Francisco. The city theater folk call the best theater town in the country. [Music] [Music] Our drama tonight is a murder mystery. The story of the death of an unpleasant individual named Gregory Porter. It is called the Black Market Murder. The scene is the Porter home in San Francisco. It is, of course, understood that any similarity in names of places and characters in our drama, to persons living or dead is purely coincidental. In the living room of the Porter home, we find Inspector Collins of the Homicide Squad and police officer George Haines. [Music] Yeah, that plank of the plank clock gives me the willy's. Yeah. Yeah. The plank of the whole day. Calm down, Haines. Put the lid on your nerves. Thank God, moves. No? No. There's no percentage sitting in the room with a dead man. Yeah, what are they leaving there for? Why didn't the corner take him away? because I told him not to. - Well, if he asked me a pub, Eric, leaving a dead man lying on the floor all day, put a sheet over his face. - Maybe you'd like it better if the sheet wasn't over his face? - Sure I would. - At least I could see what he was thinking. - Uh huh. Georgie, you just haven't been on the floor long enough. - Look, don't go thinking I've got a weak stomach of anything. - No, you just don't like the ticking of the clock. - That's right. - What do you think done that inspecting? - Did it. - That's what I said. Maybe his wife. - Oh, no, look, inspect. - Are you asking me? - No. But his wife's a lady. - Listen, Georgie, if I knew who did it, I wouldn't be sitting here chewing the fat with you. Shut up. - Mrs. Porter says she'll be down in a couple of minutes. - Hey, come on in. - Me? You mean you want me to come in? - Well, surely. Why not? - With him? - With his lie in there? - Haven't you ever seen a dead man before? - Never mind what I've seen. - All right, come in anyway. I'll ask you a couple of questions. Come ahead, come ahead. That's better. I just what he's scared of. - Never mind what I'm scared of. - Maybe she'd like it better with the sheet on his face especially. - No, don't do it. - All right, do it right. Nobody's going to do nothing. - Anything. Look, sister, how long you've been working here? - Six months. - You like it here? - Sure I like it here. - Do you like your mistress? - Sure I like her. - Do you like him? - No, look, you're not going to hang anything on me. - Nobody's hanging anything on anybody. Just answer my question. - I won't talk. - Nice pearls, those are around your neck. They're real? - Sure, they're real. They cost $10. - Did he give them to you? - Did who give them to me? - Him. - I'll say he didn't give them to me. If I'd take them off him. And what's more, I'm not talking. - She's not talking, Jordan. - Maybe she'd talk if I took the sheet off his face. - Don't do it! Don't do it! - How's about an inspector? - Shut up, Haynes. Here comes Mrs. Porter. - Inspector Collins? - Yes, Mrs. Porter. I'm Inspector Collins. (classical music) - Come away from that piano, George. How's your company feeling? - Well, why didn't you expect it? - Well, respect for the dead. - But him? - I tell you, get off that piano. Here comes the doctor down the stairs. Come on in, doctor Grayson. - Let him inspect her. This is all very shocking. - Uh-huh. How's Mrs. Porter? She's all right. It's quite natural that she should faint. I believe it was the first time since the murder that she entered the room. She's lying down and gave us something for her nerves. Had rather you didn't question her any more than necessary at present? - You've been the family doctor quite a while, haven't you? I was Mrs. Porter's physician before she married. That's 20 years. She was considerably younger than her husband. - Uh-huh. - You just said this was the first time she'd entered the room since the murder. That's what Mrs. Porter told me after I had revived her. - How do you know it was murder? - Well, please. The evidence on the floor, couldn't it have been suicide? - You think it was suicide, Inspector? - If you don't mind, I'll ask the questions. Do you think it was suicide? - No. - Why not? - Porter was a selfish, ruthless man. - Not the kind for suicide. Well, it wasn't suicide, it was murder. Now, is it all right if I ask, how do you know? The bullet entered his head from the rear. - Oh. Were they happily married? - Hmm? - Were they, was they married you a happy one? I'd rather not answer that. Do you think anybody married to Porter could have been happy? No. Thanks. I had that figured already. - The Inspector's shop. - Haynes, get away from that piano. - Look here, doctor. You're the Porter family doctor. Apparently a good friend of Mrs. Porter's. You're going to protect her interests and not answer any questions unless you have to. You criticize that? Eh, not at all. But I'm going to tell you a few things about Porter. Did you know that during the depression, Porter made a fortune in Chicago as the head of a ring of bootleggers that he came west after he'd made his pile? - I did. - Oh, you did? Mrs. Porter wanted to leave him in those days, but she didn't because they had a child, a little boy. I didn't know that. Where's the boy now, with the air force in the Pacific? - Do you know, I believe? - Hmm. Did you know that at one time, the Federal authorities were on Porter's trail for traffic and narcotics, but couldn't prove anything on him? - No, I did. - Oh, you did? I told you I had been the family doctor for more than 20 years. Or did you know the FBI has had an eye on him right now? - No. That I didn't know. - Look here, Inspector. For Mrs. Porter's sake, I'm naturally going to be as much help to you as possible. And I'm perfectly willing to answer any questions I can. As long as they don't incriminate her. Why should they incriminate her? - Why do you say it that way, Inspector? - Because I think Mrs. Porter murdered her husband. - I'd certainly absurd. - Somebody murdered him? - Yes. - There was nobody in the house, but Porter, Mrs. Porter, and the maid Ruby, when he was shot to death last night. - Somebody could have come in. - The front and rear doors of the house were locked. - There are windows. - We've examined the ground under the windows. It rained yesterday. The ground is heavy. There are no footprints. - That still doesn't work. - I'm not making any charges, Dr. Grace, and I'm just expressing an opinion. The only people in the house were Mrs. Porter, and the maid Ruby, and Porter. Wait a minute. - Ah, what are you doing here? - Ruby. - I can do it. I did say it. You can't hang it on me. I don't know. I don't know. (dramatic music) - All right, now sister, just calm down. We're gonna talk. - I had nothing to do with it. - Listen to me, Ruby. You've known me quite a while, haven't you? - Yes, Dr. Grace. - You know you can trust me. - Yes. - Well, I'd answer the inspectors' questions if I were you. - But I didn't kill him, Dr. Grace. - All right. Now, let's get down to brass tax. Why were you listening at the door? - Wouldn't you, if you thought people were talking about you? - No, I would not. - Ah, shut up, Haynes. All right, now, where were you last night at 11 o'clock? - In bed. - In bed? - Yes, in bed. - A sleep? - Of course. - Go ahead, tell us what happened. - What do you mean? - What woke you up? - I heard a noise. - Like a gunshot? - I don't know. I was dreaming. I heard a noise. I woke up and then I ducked under the covers. - Why? - I don't know. I thought something happened. - Why? - I don't know. How should I know? I heard the noise and I was scared and I ducked under the covers. - Quit yanking at those pearl beads, you'll bust them. Ruby, you heard the noise. You hid your head under the covers. But then you got up. - I heard a noise in the hall and it was Mrs. Portard. She said, Ruby, get up. Something has happened. Mr. Portard, it's awful. She said, it's terrible. She was crying and she said, we've got the sand for the police. - And then? - And then she phone for the police. - There, she's done it. She bust your beads. - Ladies and gentlemen, Ruby, I think you're aligned to us. - I'm not. I'm not, I'm not, I'd say. I'm not going to talk anymore. - I think you will. Haynes, come here. - Yeah? - Uncover him. - You mean, take a sheet off him? - Yes. - No, no, no. - Go ahead, George. - Hey. - And don't you go fainting. Pick him up, Haynes. - What is this inspector? Pick him up and prop him in that chair. - Inspector Collins, I object. The body should not be moved. - I'm in charge here. Put him in that chair. - He's heavy inspector. - Do as I say. - Inspector Collins, as a friend of the Portard family, may I ask what you plan to do? I'm going to show you how he was murdered. How can you do that when you don't know who killed him? - I know who killed him. - Your positive? I'll say I'm positive. Who? This woman right here. - I didn't, I didn't I tell you I didn't. I was a fan. I had all of the covers. I didn't do it. I did not do it. - Keep still. From now on I'll do the talking. - I didn't do it. - I didn't do it. - One more word out of you and I'll have you gagged. - I didn't do it. - I think she's going to call God inspector. Inspector Collins, you're changing your mind quickly. - Short time ago you said you thought Mrs. Potter murdered her husband. - I don't always say what I really think. She didn't. There's no doubt in my mind. She couldn't have done it. Now you've got every right to take any steps you see fit. And I suppose I have no right to question you. But will you tell me what proof you have that this girl did it? - Sure. First I've got the motive. That's important. I'll say it is and what may I ask was the motive this What is it inspector a package? I found in this girl's room while you and she were attending Mrs. Porter after she fainted What is it one hundred thousand gasoline ration coupon? What I told you the FBI was ready to move in on him. He was a black market gas rat What the girl she distributed them to his agents look here Ruby is this true? What it is I Didn't kill him it doesn't necessarily prove that she killed him no that doesn't but it ties her in with him and Other things prove that she did hands. Yeah straight them up in that chair It seems to me that this is very unnecessary and unethical. I'll be the judge of that straighten him up There now you come here Are you up? I didn't do it. So down here in this chair. I don't want to sit down you'd better do what he says Ruby That's better now watch I don't know what argument you had with Porter we'll find that out later But somewhere other he double crossed you he always double crossed everybody you're telling me Now just don't do anymore talking and watch You came downstairs at a few minutes before 11 to argue with him you came in the door right here He was sitting just like he's sitting now with his back to the door You crossed the room and began to argue with him you couldn't talk loud because you were afraid Mrs. Porter had here you You're making it all you argued with him and he argued with you and then he got tough Or did you back to your room and probably threatened your life if you crossed him up? So you started back to your room is not true That is true. He sat there in the chair You went past him going to the door and when you got in back of him you fired point blank at the back of his head and he fell out of the chair flat on his face this way Straighten him out George the way he was before Okay, inspection. This is fantastic. You haven't even got a gun to prove. Oh, yes, I have right here Where did you get that gun? Why do you ask that way? Because that's Mrs. Porter's Pearl Handle Revolver. I've seen it often. Oh, that's interesting, but not particularly important right now Where did you get it the same place I got the pack of gas stabs under the covers in this girl's room? It's a lie. I didn't shoot him. I never did I could have killed him lots of time Lots of times I I wish he was dead. I was afraid of him He had the goods on me and you had it on him sister. He was stronger than me Stronger than anybody in the world I was I was scared of him all the time all the time I wanted a quit and I couldn't because he wouldn't let me I hated him I'm glad he's dead, but I didn't How was her hand? Yeah, what the bracelet's on her. Yeah Inspector this is Porter ma'am Inspector Collins Let the girl go She didn't do it. I Killed my husband I Shot him to death I Sit down, Hayne stop fidgeting Okay, the clock gets in my hair always taken that's what they're supposed to do I think Mrs. Porter is all right now inspector. I'm quite all right, Dr. Grayson. How we've got nothing but time when you're ready you start talking Starting I'm ready. I don't want anybody else to do any talking. What are you doing Haynes? Another girl. Here's another one. Leave those pearls alone you two doc you've been picking up pearls for the last 10 minutes You can buy a string for a quarter at the five and die. You cannot I said leave the pearls alone Drop it and sit down Now start in Mrs. Porter Inspector Collins I shot my husband to death you seem to be mighty calm about it Dr. Grayson I think I'd let her tell it in her own way Mrs. Porter has gone through a great deal Science shows that after a maximum amount of suffering the human machine no long very interesting We're not here to listen to a speech. Please may I go ahead go ahead Inspector Collins I married Mr. Porter 20 years ago I was very young He was almost 20 years older than I My parents objected terribly I I've been alienated from them ever since He was a fascinating man and I and you were very young My parents were right and I was wrong After a year of marriage I knew they were right. What made you change your mind? I found out what kind of a man he was I've been fascinated by what I thought was his adventurous romantic ways It wasn't adventure it wasn't romance He was evil why didn't you leave him she was going to have a child inspector I don't see why Mrs. Porter has to be tortured going through all this I'd rather tell all of it doctor Now let's understand each other all of you Mrs. Porter is confessed to murder Up to now she hasn't established any reason for particular consideration When it comes time for her to make a sworn statement to the district attorney She can decide how much she wants to say and how much not Right now if she's got any ground to stand on she'd better tell the whole story. Thank you Inspector Collins For 19 years I've lived a lie I mean I've I've tried to hide from the world a real truth Because my My boy was born Don't torture yourself Mrs. Porter. I'm all right, Dr. Grayson My boy was born Take your time. We've got all day The 19 years I've tried to hide from the world and most of all for my son That Gregory Porter was an enemy of the law An unscrupulous dishonest ruthless cruel man Dr. Grayson you've known some of it not all You've known about his ring of His activities during prohibition of his narcotic activities of all his Wicked in human please Mrs. Porter. Grayson Inspector Collins the only redeeming quality my husband had was a A deep devotion to our boy Even that was a selfish devotion It was there That's one of the things that's hard to understand That a man so cruel so wicked Look Mrs. Porter I said we had all day but let's not go into a discussion of opinions Just stick to the facts of your story Yeah, what are you doing? Taking up the pearl I told you to leave those pearls alone Go ahead ma'am Inspector Collins My boy was lost The Pacific five weeks ago What? It's true Dr. Grayson But you we we've talked about him frequently You you always said everything was just fine I've had to say that to make myself believe it And I did believe it up to last night Did your husband or the boy is dead? He's not dead I still don't believe he's dead My husband knew Inspector Collins for the last five weeks I've been As if my mind was frozen I felt nothing Last night I went down to the living room to speak to my husband I went into the room And he was sitting there In that chair He'd been drinking He always drank a great deal He he never was sober at night I came into the room He was sitting with his back to the door There what did I tell you I spoke to him I said Gregory Well What is it? Gregory I I want to talk to you What's the matter? Getting bored Tired of your own company Don't often honor me by coming down here at night I have to ask you something I'm listening You want a drink? Please Gregory Certainly not Well excuse me while I fix myself one Go ahead Gregory I found this On the floor in your dressing room Is it yours? What is it? Won't you please turn around and pay attention to me? Well what is it? An envelope with 100 105 gal and gasoline ration stamps You mind telling me why you should open an envelope in my dressing room Wasn't sealed it had no writing on it. I opened it to see if it was something important Well, it's very important 100 gas stamps are they yours Gregory naturally their mine I'm glad I didn't lose them. Thanks. I'll take them Gregory How do you happen to have 500 gallons of gasoline stamps? Important thing is that I have them and I might use for these days Gregory nobody is rationed that much gas now Look here you sticking your nose into my affairs and you had no right to have them It's another of your would you mind tending to your own business? Gregory answer me you had no right to have them. I told you to mind your own business. It is my business Gregory, where did you get them keep your nose out of my fair? Gregory Well, nobody is issued 500 gallons of gasoline That's right and you bought them you bought them in a black market and if I did you did You bought them in a black market when when what You bought them and Oh, do you have to be a fool all your life? No, I didn't buy them. Oh, thank goodness. I didn't buy 500 gallons of gas stamps no No, wait a minute. Let me show you something There what do you think of that Gregory? 500,000 gallons of gas more of these came from and They'll be sold not at the market price. No not at market but 50 cents a gallon Dollar a gallon maybe more No, no, no, don't go looking that way. It doesn't impress me You will do that You'd sell your soul in your heart and your your world for money You'd sell your own flesh and blood for money So you deal in human life gas stamps Millions of gallons of gas stamps and my boy was lost because he didn't have enough gas to bring him home back to his base And you would sell stolen ration stamps to make money You killed him the only thing I had to live for you killed him and I could kill you I could kill you Gregory Porter I could kill you He sat there staring at me inspecter Collins I Walked out of the room. I went upstairs. I don't know how I got upstairs I sat there in my room and I couldn't see anything it was as though I was blind I sat there I tried to think I couldn't think Then I took the small pistol I've always had in my desk. I walked down the stairs I went into the living room. You came up behind your husband seated in his chair. You held a gun to his head fired No, you're wrong. He was not sitting in his chair. He was lying there on the floor drunk lying on the floor face down drunk and I stood over him and shot him. I'm glad I did it. I'm glad Well, I'll be done shut up, Haynes Well, Doc. This sort of makes a different picture not at all I knew he was on the floor when he was shot. How could you know that? I found the bullet hole in the floor when I was looking for the probe beads. Oh, that's what you were doing That's what I was doing inspector looking for the bullet hole and now what? Well now obviously Mrs. Porter will have to consider herself under arrest from here on It's a case for the district attorney not that I think it's likely to go hard with you madam There are a lot of vangles to this case But you'll have to come along with me now. I'm ready Inspector Collins and just a minute inspector now look doctor There's no need you're interfering now. The law must take its course Mrs. Porter is confessed to murdering her husband. She did not murder her husband What are you talking about? She's just confessed to the killing Whether you call it murder or not. She's confessed to the killing Mrs. Porter did not kill her husband Dr. Grayson I did kill him Mrs. Porter did not kill her husband in Inspector Collins You're crazy. No she did not kill him He was dead when she entered the living room He'd fallen from his chair and died of a heart attack You observe that there's no blood around the wound inspector Mrs. Porter shot her husband after he was dead You You have just heard the radio drama the black market murder written and directed by Samuel Dixon in the KPO drama repertoire tonight at 930 The cast included Everett Glass as Gregory Porter Ivan Pate as Mrs. Porter Liu Tobin as Inspector Collins Ray Lewis as Officer Watson Earl Lee as Dr. Grayson And Marsha Keat as Ruby Oh Oh You Be listening next Friday night at 930 for another in the series of radio dramas tonight at 930 Which come to you from San Francisco's radio city Mystery in the air starring Peter Laurie presented by Camel cigarettes But Countess are you sure you want to put all your winnings on a single card? So literally sure my dear Duke well, I don't know how it is in Russia, but here in Paris It is very seldom that anyone wins on three cards and succession the game of fargo is the same in Russia as anywhere else But I wish to put the whole amount for 100,000 frank On my next card as you wish madam. I will deal I have one look I have one Sit you you were wrong. Yes. I was wrong Each week at this time Camel cigarettes bring you Peter Laurie in the excitement of the great stories of the strange and unusual Of dark and compelling masterpieces called from the four corners of world literature Tonight the Queen of Spades by Alexander Pushkin Mystery in the air starring Peter Laurie brought to you by Camel cigarette You Experience is the best teacher try a camel. Let your own experience tell you why more people are smoking camels than ever before. Yes, just leave it to your tea zone to judge. Your tea zone, that's tea for taste and tea for throat, is your true proving ground for any cigarette. See if camel's rich, full flavor doesn't get highest rating with your taste, and if camel's cool my illness isn't more than welcome to your throat. See if you don't find, like millions of other smokers, that camel suit your tea zone to a tea. The story I'm about to tell you, you may not believe, but I assure you it actually happened. Now the whole thing started one night when a group of young officers were having a game of cards at the rooms of Naumof, of the horse-guard. There were five of us there, including a lieutenant in the engineer's named Hermann. He was the son of a German who had become a naturalized Russian, and he was an ambitious young man of strong passions and imagination, which he held in check by an even stronger will. Thus though a born gambler at heart, Hermann never touched a card, for he considered his financial position, he'd not allow it. Oh, I remember that night, at about four in the morning, we all sat down to supper. How did you make our surin? I lost. You always lose, you must be very strong minded to be so consistent. You think he is strong minded, how about yourself, Hermann? Me? Why me? You would never held a card in your hand, or made a bet. And yet you sit here until four o'clock in the morning watching us play. Well, Tom's kissy gambling interests me, it interests me very much. In fact, I'm a gambler at heart, but I'm not in a financial position to sacrifice the necessary hope for winning the superfluous. In other words, I cannot afford it. Oh, I don't explain anything. We none of us can afford it. Oh, Hermann's easy enough to understand. He's of German descent. Therefore he's thrifty. Right. It's my grandmother. The contest Peter Thorne, who baffles me. You know, she won't gamble either. Oh, lots of grandmother's don't gamble. St. Peter's book is full of them. I know. But they don't know the secret. My grandmother knows. Secret, what kind of secret does she know? Something we'd all of us give a luck to possess. A combination of three cards that can't fail to win at the farrow table. Oh, there's no such thing. You're trying to tell us. Oh, let's go home, it's great. Wait, wait, Tom's here. I'd like to know more about the secret. What do you care, Hermann? You don't gamble. Still, I'd like to hear about it. All right. Many years ago when my grandmother was a lot younger, she went to Paris. Oh, she must have been quite a sensation. The muscovite Venus, they call her. Anyway, she gambled at Farrow with the Duke of Oliens. I lost a great deal of money. Much more than she could pay. Yeah, who does? Come on, keep quiet, William. Well, there was a dead time. I can't sound German. I'm Paris. And this theory has figured that no one knew much about. Oh, maybe that is it may. He revealed to my grandmother the secret of the three winning cards. And did she win? That night she played again with the Duke of Oliens. She played the three cards, one after the other, doubling her bet each time. And all three won and she recovered everything she had lost ten times over. Oh, a little hard on the Duke, don't you think? Yes, it's a matter of fact. You dropped dead, I believe. It was a long time ago. Come on, come on, Tom's. Keep going with the story. That's all there is. My grandmother never touched a card again. You mean she knows how to fake three winning cards in succession. And you haven't succeeded in getting the secret out of her? That's the devil of it. She had four sons. One of whom was my father and yet she would never reveal the secret to any of them. Though it wouldn't have been a bad thing for them. You're for you either. I've had enough. I'm going home. Well, I'll go along with you. All right. Come along. Tom's key. Tell me, this grandmother of yours, uh, Countess Fiddertovna. Does she live in some Petersburg? Yes. With a ward of hers named Liza Vietta. For a girl she is supposed to be my grandmother's companion, but slave would be a better word for it. Your grandmother's a widow? No. No. Now don't get your hopes up here, man. She's a bit too old for you. She's 86 if she's a day. Still, I. I should like to meet her. No, there's not much chance of it, I'm afraid. She doesn't go about much anymore. I still should like to meet her, yes, I. I should like to meet her very much. (music) Well, Liza Vietta. Hello, aunt. Hello. Don't tell me my grandmother is here? No, but she's going to the Embassy Baltimore. Tonight I. I came alone. Oh, well, the cats at home, the musk will play. Huh? What's this I've been hearing about you? About me? Hmm, or very romantic, I understand. I don't know what you're talking about. Oh, come, come, come, Liza Vietta. You can't tell me that you don't know about the mysterious officer who's been standing outside the house for the last two weeks. About the notes he hands you when you get into the carriage with my grandmother? About the letters he sends by the milleners, girl? Who told you? Great friend of your officer. A lieutenant in the engineer's name, Hermann. Hermann? Oh, yes, I. I think I heard of him. You think I? Oh, I like him very much. But he's a very determined young man, and means to get what he wants. Personally, I wouldn't trust him. He has the profile of Napoleon and the soul of Mephistophile. Oh, grieving, come, scapegoat, grimy. Speak of the devil. Hello there, Hermann. Liza Vietta, may I present Lieutenant Hermann? What, Masha? The man we were just talking about. Hermann, this is Liza Vietta, Ivan of notes. My grandmother's ward. How do you do, Masha? Liza Vietta. How do you do, Lieutenant? Would you like to dance? Yes, I would like to. Good. See you later, Tamsky. Oh, this is paradise, Liza Vietta. Holding in my arms, feeling your heart beat against mine. No, you mustn't say things now. People will hear you, they'll talk. I don't care. They're talking already. Why did you make up that story about your imaginary friend to take Tamsky? Because I didn't want him to know it was I, and I had to talk about you to somebody. I hope the contest doesn't hear about it. Devil with her. It's not the count to Zaman love with. It's you. Oh, Liza Vietta, this is so wonderful. He makes up for all those nights I stood outside your house. And look, there in the door, this contest is coachman come to fetch me. Come and go home. What am I going to see you again? I don't know. Oh, but this is horrible. My heart is burning with things I want to tell you, but I can never, never see you along. There must be some way. There is a way. Yes, huh? Take this. What's-- Oh. This is the key to the contest's house. Oh, Liza Vietta. Tomorrow night, we're going to the Embassy ball. We'll be home at two. If you let yourself into the house at about 11.30, all the servants will be asleep. It's a well. Oh, directly to the library. It's at the right end of the corridor at the top of the stairs. Wait for me there. Right end of the corridor, Liza Vietta. I adore you. Where's the contest's room? At the other end of the corridor. Why do you ask me that? I don't want to get into the wrong room by mistake. Oh. But now I must go. Tomorrow night, at two o'clock, over Boa, she'll be in. But my zel-- good night. Good night, my zel. OK. Are you sure there's nothing you want me to do for you? No, nothing. Thank you, Liza Vietta. I think I will just put my jewels away and sit quietly while by myself. Good night. Good night. I am so tired. So very tired. I am too old. [GASPS] My dad. Don't be alarmed, madam. Oh, are you? Don't be alarmed, Comtas. I have no intention of harming you with police. Oh, that you get in my bedroom. I have been waiting behind that curtain waiting just for the chance to ask your favor. A favor? Yes, will. Yes, a favor of you, madam. You can ensure the happiness of my life. It'll cost you nothing. I don't know who you are. But you're mad. No, I'm not. I happen to know that you can name three winning cards in order. Oh, that was a joke. You know, it was not a joke. Who I can see it by your expression. But I want you to tell me those three winning cards I do. No, you're. But whom are you keeping that secret for? Your grandsons, they are rich enough without it. Besides, they don't know the value of money. But I do. Your cards will not be thrown away. No, no. It is a pest. Things that I'll chance that of what use is it to you? Or is it connected with some terrible scene or some bug? I'm ready to take your sense of my soul. Please reveal the secret to me. Please. What I did. You. You won't catch. I'll make you answer my word. No. You have my happiness in the hands. I'll take you to the. You won't speak. I'll make you. She won't tell me. She won't tell me. Are you all right? I heard voices. Come there. Debe. You. Yes, it is I. But I don't understand. Where's the contest? There she is. Come there, what's. It's no use. She's dead. Yes, dead. She's taking with her the one thing I wanted in the world. Without which I don't want to face life. You killed her. Yes, but you're not going to see anything to her. No one knows I was in the house except you. You can't tell because you give me the keys. Yes, yes, I killed her. I killed her. She deserved to die. But now. Now I'll never know her secret. Never know one. No one will ever know her secret. Unless she comes back to tell it to somebody. [Music] In a few moments Mr. Peter Laurie will bring us the climax of tonight's mystery in the air. When camels present act two of the Queen of Spade. [Music] Experience is the best teacher. Remember the wartime cigarette, Shorty? Who doesn't? One thing about it though, smokers who went through it really learned a lot about cigarettes. They had first-hand experience with many different brands. Oh, true. Goodness, we certainly smoked for ever brands we could get in those days. I smoked many different brands. I'm practically a walking encyclopedia about cigarettes. Well, I'm a camel, Smoker now. And believe me, I know camels are cigarettes for me because I've compared so many brands. Yes, smoking whatever brands they could get during the wartime cigarette shortage. Made people everywhere, experts on judging the differences in cigarette quality. That experience convinced a host of smokers that they preferred the rich, full flavor and cool my aleness of camel result. More people are smoking camels than ever before. Something about bruises on a throat. No, nothing to it. No, the doctor said she could have inflicted those herself when she had trouble breathing. Hello, Tom Skie, my condolences. Oh, thank you for coming here, man. That's very nice of you. You'll never let my grandmother do you? No, I didn't, but that's no reason I shouldn't show my respect at all. You know, my friend. I'd beg your pardon, but would you gentlemen care to view the remains before the service is commenced? I suppose I should, anyway. Oh, yes, by all means. I'll come too if you don't mind. Not at all. Thank you. Come along. Doesn't she look peaceful for her? I was fond of her. Wait. Wait, did you see that? What? See what? Look, one of her eyelids moved. What? I tell you. Her mind required. But I saw it her. Her eyelids moved. As if she winked at me. As if she. she went. Oh, my. Spinner. I have a fine example of an army officer, fainting at a funeral. No, maybe he's sick. Come on. Help me carry him out of here. Oh, I know. I know. I shall never get to sleep. My conscience won't let me. Oh, why did I do it? Why? Why did I go to that cursed funeral just because my conscience said you are the murder of that old woman? I wanted to implore her pardon, but she winked at me. I could swear it she did. Who's there? Who? Who? You do not recognize me. You have a short memory. Come, Tisif. I have come back from the beyond against my wishes. I have been ordered to grant your request. - Cron's about her question. - Yes. Three, seven and eight will win for you. If played in succession. Three, seven and an eight? Only on these conditions. Anything, anything at all. They do not play more than one card in twenty-four hours. And that you never play cards again during the rest of your life. I promise. I promise. Oh, I must remember it. Three, seven, eight. Three, seven, eight. Come in. Oh, there you are, Herman. Are you all right? Yes, I am all right. That's good. We were worried about you. We had not seen you since you collapsed. My grandmother is funeral. My dad was terrible at hearing. And an officer should not think. I hope you will forgive me for what happened yesterday. That is all right. It could have happened to anyone. But it was not yesterday. It was the day before. No, I do not remember that. You must have been pretty sick to lose a whole day like that. What got into you? Well, you do me a favor. If I can, what is it? I have heard a lot about a certain Chikolinsky and a gambling that goes on at his house every day. Oh, yes. Chikolinsky has practically spent his whole life at the card table. He has been masked millions at it. But what I should like to go there. Oh, you want to watch them play far, or Chikolinsky? No, I want to play. You want to play? Yes. What has happened to you, Hermann? I thought you could not afford the gamble. Yes, but now I can. You see, I have a little legacy left from my father. I feel I am in luck. When can you take me? Any time. Tonight? Be a guest. If you feel up doing it. Good. That is very good. We will go to Chikolinsky tonight. Tom Skjajnski, I have never seen such a magnificent establishment. Never. Never in my life ever seen such a place. It is all paid for by fellows like you who felt they were in luck. Look, there is Chikolinsky at the Faro Tech. Wait. Come on over. I will introduce you. But don't say I did not warn you. What do you think? What do you think? Chikolinsky. I want you to meet a friend of mine. Lieutenant Hermann. Hermann? This is the famous Chikolinsky. Good evening. How's your day? Hermann seems to feel particularly fortunate tonight. Do you suppose he could sit in and take a card? For individuals. But of course. Good luck, Hermann. Thanks. Will you be kind enough to select your card, please? Thank you. This is my card. And how much would you like to bet Lieutenant? I would like to bet 47,000 rubles. Forgive me, Lieutenant. But we only play for cash. It's quite all right, I have it. One is right here. Are you crazy, Hermann? You're playing pretty high, Lieutenant. Nobody here has ever staked anything like that on one card before. Wow. Do you accept it or don't you? I accept it. Then if you'll be kind enough to deal. As you wish. Nine. Three. Come on, there's one. One. Look, his card is a three. Well, congratulations, Lieutenant. Do you want me to settle with you now? If you please. Here you are. 47,000 rubles. No. Would you like to try again? No. Not tonight, but tomorrow night I'll be back to try another card. Will Lieutenant, what do you want to wait here tonight? Same stake as last night plus my winnings. 94,000 rubles. Just as you say. You have picked your card. I will deal. Nave. Seven. Look, Hermann's won again. Look how you got there. There you are. 94,000 rubles. I'll see you again tomorrow night. I don't believe you'll show up if you're fooled. Here it comes now with Thompson. I can't wait three times for the royal doesn't fuck. Gentlemen. Gentlemen, quiet please. Will Lieutenant, Hermann, how much do you wish to bet tonight? Same steak plus my winnings. Here it is. 180,000 rubles. What? On one card? Yes. Come on, don't you think that. Please, be quiet. Tom's can't know what I'm doing. Gentlemen, please. Will you choose your card, Lieutenant? I have it. Will you please deal? Queen. Ace. I win again. Ace wins. Here it is. If you'd been holding an ace, you would have won. But you haven't an ace. You have a queen, and it loses. What do you mean, what? You weren't holding an ace, my dear fellow. I was alone. You have the queen of spades. Queen. Look. The queen of spades. It isn't possible. I have. Yes, it is. Yes, it is. The queen of spades. No, I said, but. Look it. It isn't the queen of spades. It's the Countess. Look, she's the resemblance. Yes. Yes, all of them. She's pregnant. She's the liver. She's pregnant. Oh, you're talking about your grandmother. Your grandmother's the Countess. She told me three, seven, and eight. She told you? Yes, she did. But you haven't met her. I did meet her. I waited for her one night in her bedroom, and I freed her with her. But she refused to tell me. She refused to tell me a secret. And then I took her by the throat. And you killed her. You took her by the throat and sent her. Yes, I killed her. Yes, but she didn't tell me that. But then one night she came back. She came back from the grave, and she told me three cards. She was seven. And then I brought you by the light. She lied to me. Oh, the dirty woman. She's got new revenge. I lost all the money I had in the world, but I don't care anymore, but I'll show you. I'll show you. I'll show you. I'll show you. I'll show you. I'll show you. You're mad at the Countess. Let them head me. Let them sing me out. He's going mad. He's going mad. I'll be glad when he has me. But they didn't hang him. He is spending the rest of his life in room 17 of the oboecker hospital. He never answers any question. But constantly matters the same things. Three, seven, eight. [Music] [Applause] We make a big camel cigarette centric camel to serve as trans-hospital from post-apost. This week the camels go to Veterans Hospital, American Lake Washington. US Army and AV General Hospital Hot Springs Arkansas. US Naval Hospital Brooklyn, New York. US Marine Hospital Detroit, Michigan. And Veterans Hospital Perry Point, Maryland. There are many doctors among America's millions of camel smokers. In fact, according to a nationwide survey, more doctors smoke camels than any other cigarette. This survey was made by three leading independent research organizations who questioned 113,597 doctors living in every state of the Union. What cigarette do you smoke, doctor? The brand name most was camel. [Music] Next week, mystery in the air, starring Mr. Peter Laurie, brings you one of the greatest American classics of all time, the Black Cat by Edgar Allan Poe. B.C. [Music] Listen again next week at this same time when the makers of camels cigarettes present Mr. Peter Laurie in mystery in the air. The artist supporting Mr. Laurie tonight were Henry Morgan, Lorraine Puthle, Peggy Weber, Ben Wright, Louis Van Routon, Stanley Waxman, Jack Edwards Jr., and Ralph C. Dan. This is Michael Roy and Hollywood, wishing you all a pleasant good night for camels. [Applause] This is MBC, the National Broadcasting Company. And now the Molle Mystery Theater, presented by M-O-L-L-E. Molle, the heavier brush was shaving cream for tender skin. [Music] Good evening. This is Jeffrey Barnes, welcoming you to the program that presents the best in mystery and detective fiction. Tonight's story is a hard-boiled gangster tale written by Martin Ryerson and entitled "Alibi for Murder." It's about a very ordinary young man named Dave Whitman, who was destined from birth to be involved in two gangland killings. Yes, destined from birth. Puzzling? Perhaps it'll all be quite clear when you meet gangster Steve Yeager. Before you begin your story, Mr. Barnes, here's some good advice for men. If you have a wiry hard-to-cut beard or a tender skin, and that morning's shape of yours is just short of murder, then shave with Molle, the heavier brushless shaving cream. Yes, sir, man. It's smooth. So smooth. It's slick. So slick. It's a smooth, smooth, slick, slick shave. You get with M-O-L-L-E. Molle, the heavier brushless cream for tender skins. That's right. Molle is a heavier cream. The kind of cream you need if you have wiry whiskers or a tender skin. Because Molle is heavier, it not only softens your whiskers, it stands them up straighter and makes them easy to cut. So you shave faster, closer, easier, and you shave painlessly with Molle. The heavier brushless cream for tender skins. Molle. And now here is Jeffrey Barnes with tonight's Molle mystery, Alohae Pomer. Three men stand in the windowless ill-lighted little room in the huge warehouse. They are staring in awe at the unconscious men, sprawled out in the rickety-cut before them. Finally, one of the men speaks. It's unbelievable, Steve. I read about things like this, but I never expected to see it actually happen. Now, badsie hurt, though. One bullet grazed the back of his head. It's the slug-brain in his shoulder, my close-cover. He should go to a hospital. Hospital nothing. You do this job yourself at my place. But Steve, it's dangerous. He could die. But he ain't gonna die. You're gonna make sure he don't. Okay, Steve, you're the big boss. You know, I never argue with you. Bob. Yes, Mr. Yeager. You sure nobody knows about him except you. Well, it happened just like I told you, Mr. Yeager. I heard the shots while I was making my nice rounds of the warehouse. I ran outside, and Mary was laying in the heap on the sidewalk. And the car that the shots came from, beaten it away in the darkness. At first, I thought this was you, Mr. Yeager. Well, you did, huh? He didn't catch the plates and the car, did you know? It was too dark, Mr. Yeager. Okay, Bob, thanks a lot for calling me. I won't forget it. Just keep it under your scalp. Don't worry, Mr. Yeager. I won't say a word. I'm sure you won't. I'm gonna get back in your rounds and I'll pop. I don't want to hold you up and make you late. Okay, Mr. Yeager. You're very considerate. Good night. Steve, you shut up in the back. Once that gag about dead men keeping their mouths shut, Doc. Okay, bust things up, make it look like a robbery. Then let's get this Joe over to my apartment. He's coming out of it, Steve. I want to see what he does, and he lamps me for the first time. He's lifting his head off the pillar, looking around. He sees you. I wanted it and I looked as surprised when I first saw him. He can't figure it out, Steve. You see, he thinks he's looking a mirror. It's okay, pal. You ain't seeing things. It's us, two of us. Two of us? That's right. This is me and that's you. You and me, they made one of us first and forgot to throw away the mold. That's unbelievable. You're almost identical twins. Same heights, same weight, same face, same coloring. What's your name, pal? Whitman, Dave Whitman. You're fine, Jim, from the warehouse, done by the river. You had a nasty hunk of lead, and you showed it. Doc, you had a rough time fishing it out. You a doctor? Yeah, this is Doc Consulla. I'm Steve Yeager. You're gonna see a lot of us. I don't understand what you mean, Mr. Yeager. I'm a mind. You got many friends in town with them? No, I just arrived here tonight on a freight. I'm riding the rails, huh? A hobo. No, just out of a job. That's what I had hoped to find here. I figured I'd find me a flop down by the river and a big building. My warehouse. Oh, it is? Well, anyway, all of a sudden, the car comes racing around the corner and lets me have it. Only that little led party wasn't meant for you. That was a surprise cooked up for years, truly. You, Mr. Yeager? Yeah, friends of mine. They took you for me. And they bust in and murder the watchman. But I don't get it. Forget it. See, looking for work? Yeah. Any kind of work. Well, what would you say to the job with me? In your warehouse? No, not exactly. This lady allowed me to get a piece of change and workin' down there. I don't know what that slug did in my brain, but this is how it feels to be crazy. Brother, I want to stay that way. Yeah, I think you and me are going to get along okay with it, man. I see if you can grab some sleep. Come on, Doc. Lock the door. Why, he can't. Lock the door. Why, Steve? I don't want anybody to know I got me a spitten image. Sit down, Doc. Ah. Steve, what exactly do you want with Whitman? I want him so I can be in two places at once. There's a few things I've been wanting to attend to for a long time, Doc. Only I need it an alibi. I don't follow you, Steve. It should be simple for a guy with a brain big enough to enter an MD. If I had a big brain, Steve, I'd never allowed myself to be handed my walkin' papers by the medical associate. All right, Skippet. Now look, I don't like the kind of competition that's crawling into this town. You're in Goldie, mate. For one, Slapsie Higgins number two. Who's gunner do you think it was the other night? Slapsie, he goes in for that strong arm stuff. Goldie's too wise for that stuff. I know, Steve. I heard Goldie's line up with a lot of tin horned politicians in town. Guys, we can do you lots of harm. Which means that Goldie and Slapsie got to be discouraged, but quick. And Whitman, even though he don't know it, is gunner help me do it. Well, kid, you're lookin' fine. No one had guessed it 10 days ago. Yeah, there's sluggin' here. Yeah, I die. All right, Whitman, let me look at you. Keep that bowtie straight. And it keeps twistin'. Don't let it twist. And don't drop the bottom button on your tux. Yeah, pull that handkerchief out of your pocket a little further like that. Okay. All right, let's go over to the mirror and see. Well, the aqua is said. Except by instinct, Steve, I'd say it was imperable. Even your own mother's could tell you apart. I hardly know which of us is me. Neither one of us is you. We're both me. And don't forget it even for a second. Yeah, okay, Steve. Now you're goin' to my nightclub with Doc. Your nightclub? That's right. The Silver Swan, I own it. Doc will point out everybody in the place to you. Tell you anything and everything you need to know about him. You get in the spot and you don't know what the answer is. Just stick as a guy in your face and let Doc do the talking. You got it? Yeah, I got it. And there's only one rub. What's that, Steve? Lorraine. Lorraine, she's your girl, isn't she? How do you know about her? I read all about her on her's clippings and your press book. Things at your nightclub. Is she really as pretty as that photo on a piano? Never mind how pretty she is, Lorraine. Steve, you usually kiss her when she comes over to the table. He doesn't kiss her. She might get suspicious and ask questions. Okay, Whitman, you'll have to kiss it. Oh, I will. But make it quick. When you do kiss it, grab her like I do. Come here, show you how. Maybe you too would like to be alone. Shut up! Don't you dance with her or anything, Steve? No, kiss a quick Whitman and get rid of her. Tell her that you and Doc got important business. Say you'll see her after the last show. By that time I'll be there and you'll be back here in the penthouse again. You understand? I understand, Steve. Doc, this is just about the greatest experience in my whole life. Yes, the clip starts to ride pretty high at midnight Saturdays. This place must have caught Steve a small fortune. Did. You better close your mouth and stop gaping like you never saw before. And forget you're supposed to be the person who owns it. Here comes the waiter. Order a ride highball. But I like scotch and salt. Steve likes ride highball. Even though Mr. Hager? How you doing? Hello, Mike. What'll be Mr. Hager? Here you go. Yeah, Mike. Ride highball. I'm gonna ride up fast. See that white-haired man with the party at the ring side table over there? Yeah? It's John Martin, city magistrate. Wave to him. Okay. Here friend of Steve? Yeah, sort of. Steve must know important people. Yeah. Remember me, Mr.? Huh? Why all the surprise? You're looking like you never saw me before. Hello, Lorraine. Hi. Well, who would you think I was? Why you staring? Oh, I was just thinking. I don't know whether I ever told you before, but you know that photo of you doesn't have to you justice? No, Steve. You never told me. Oh, yeah. You mind about kitchens? You don't usually ask, do you? I guess not. Oh! Well. Anything wrong? Hardly. Oh, you look stunned. Maybe because you never kissed me like that before. It's gonna be something different. Steve, don't forget we've got a lot of important business at the park over there. Oh, yeah, yeah, business. I'll see you after the last show, Lorraine. Doc and I've got some important angles to wear, guys. Yeah, sure, Steve, I understand. See you later. Gosh. I look kid. Don't let's get any silly ideas. She's all wrapped up. The big expensive tag on the reads' hands off property of Steve Yeager. Yeah, yeah, I know, Doc. Oh, there's the signal from Steve, women. Now, you slip into his office, not the back door. Steve will take your place and none the wiser. [Music] You sure nobody caught wise? He wasn't me sitting at the stable all the while, Doc? No, one, Steve. Not even Lorraine. Uh-oh. Hang on here, Bridgework, Doc. Here it comes. Where? Through the front door. McAfee and Phoenix. Yeah. The headquarters twins. Well, well, but ain't my two-old sidekicks. Sergeant McAfee and Joe Phoenix. I haven't said our boys. What are you drinking? Sorry, Steve, but uh, this isn't that kind of a visit. Goldie Mice has just been bumped. Goldie Mice? Less than an hour ago, Steve. No kidding, man. Oh, that's tough. Goldie was an okay guy. What, uh, what's that got to do with me? Uh, Captain Gott and I, Dan, has had the. Why don't you brought the headquarters for a question? The Mac, I've been here in the club with Doc ever since midnight. You sure, Steve? All the time? Sitting right here at this tableware. Of course, though, except for about three minutes when I went into the office to write out a check. And we have everybody here in the club to prove we were here. There's John Martin, Health Commissioner Wood. They help vouch for you. Are you sure you want me to call them over? Yes, sir. Keep it out. Talk to them later. Sorry, Steve. Yes, we made a mistake. Yeah. I guess you did. (Music) As the curtain falls on act one of our story, it looks as though Steve Yeager has an iron-clad alibi as far as the death of Goldie Meyers is concerned. In just a moment, we'll see what the next movie is. Before you continue, Mr. Barnes, I'd like to say something to our men listeners. Men, I've been asking you for quite a while now to use Molle brushless shaving cream. Well, if you haven't used it yet, why not give your beard and skin a real break and try a Molle shave? When you do, I'm sure you'll find that Molle lives up to everything I've said about it. I've pointed out that Molle is a heavier cream, and it is. The kind of cream you need if you've got a wiry, hard-to-cut beard or a tender skin. It not only softens your whiskers, it holds them up better and lets your razor breeze right through them. In other words, when you shave with Molle, you shave faster, closer, easier, and you shave painlessly. Now, maybe that sounds pretty strong, but if you will just try a Molle shave, I think you'll agree with me when I say it's smooth. So smooth. It's slick. So slick. Molle, the heavier brushless shaving cream for tender skins. Molle. And now back to Jeffrey Barnes and Act 2 of the Alibi for Murder. By a strange coincidence, the down-and-out Dave Whitman is a perfect double for the notorious gangsters Steve Yeager. While Dave poses as Yeager in the latter's nightclub, the gangster commits a murder. Now Yeager and his sidekick dock are entering Yeager's apartment. (laughing) You think that Mac of his purse when I told him I was sitting in a club all the time? (laughing) And how quickly you back down, we started rattling off the names of the witnesses who saw you in the club. Yeah. (laughing) Whitman, what do you call this? Why? You got your old clothes on. Close your head, I only picked you up. You couldn't have been taking yourself a quick run out part of Whitman. That's exactly what I'm taking, Mr. Yeager. I didn't expect you back quite so soon. There's a note in your room telling you I'm resigning a fine job you gave me. Resigning? Yeah. When I took this job, I didn't know it included murder. Murdered? I heard all about it on the radio a few minutes ago. Charlie McCarty's on the radio. You don't believe everything he says, do you? It won't work, Steve. You wanted me to take you a place at the club tonight, so I'd be your alibi while you kill a man named Golly Mies. Well, let's me out. I'm through, is it right now? Wait a minute, wait a minute, Pat, you got this thing all wrong. Ah, Steve, you're the one who's got it wrong. I'm washed up, I'm gone. Stay away from that door, Whitman. Don't lie, I'm Steve. Sure I'll let Golly go right on your chiss-hiss. OK, you ain't got two complainers at night. I wouldn't try it, Whitman. You might find a little tough opposition in this gun I'm holding. Yeah, take this Hank, it's your friend wipe the blood off your mouth. I don't like the sight of blood. It's better. You're smart, Whitman. You'll also get any idea you might have about squawking other police right out of your brain. It's right. Unless you want to sit in my lap in the electric chair. What do you mean? No one would believe you and Steve weren't in on this thing together. Nobody'd ever believe you didn't know what you were doing. Doc's right, get smart. Yeah, smart. There's plenty in this for you. What about it? I don't seem to have any choice. Now we'll work the same game Monday night. OK. And look Whitman, just in case you try anything, Doc's going to have a gun on you from the time you walk out this door until you get back again. Right, Doc? Check. [MUSIC PLAYING] [MUSIC PLAYING] Doesn't this club ever have a slow night, Doc? It's jam packed again tonight. Yeah. Well, what do you keep looking around over your shoulder for? Expecting somebody? Obviously, Doc. Hey, where you going? To meet the somebody I was looking for, she just came through that little door we were talking about. Wait, come back here. Hi. Hello. Hello, Steve. Are you sound surprised? It's the first time I ever saw you come to meet me. Anything wrong? Wrong? Yeah, you stepped back away from me as I went to kiss you. I'm sorry, Steve. You look bewildered. I am. Why? Why are you kissing me just now? You kissed me like a Saturday night when I came to your table. Something about it seems so different. And, Steve, we got business talk over, remember? Oh, yeah, Doc. I tell you what, you sit down and get all of the details worked out. And I'll come back and I'll get the whole thing out with you. But, uh, there's that argument in my pocket. Might not wait. Are you trying to tell me it used an argument like that on Steve Yeager in front of all these nice people? But-- Nice said sit down, Doc. Now, I mean sit down. OK. OK. I'll be waiting. Doc seems to be kind of unhappy about something. Doc's getting old, Lorraine. No more romance. I never heard you mention the word romance before. Well, there's a lot of words you probably haven't heard me say that you've gone ahead. Shall we dance? Love too. Lorraine? Yeah? I've been wondering lately. Are you really in love with a guy named Steve Yeager? That's a funny question. But now that you've asked him, I always liked your look and type, Steve. But except for twice, I'm afraid I've never been really in love with a man in son. You said except for twice? That's right. Saturday and-- Tonight? Uh-huh. I just can't explain it, Steve. I suppose it sounds kind of silly. But you almost don't seem like the same person. Ladies and gentlemen, make your best. The wind is blowing the surface, the rain is blowing the red. [INAUDIBLE] Now, how do we get back here in the gambling room? Maybe because I said I felt lucky. I felt lucky. Nice, just about the luckiest person alive. You got a quarter, lady? Could be why. Let me have it. We'll pull our interest. I've got it done. A very lucky dime. I thought you never did-- This is a special occasion. Let's have the quarter. All right. Here you are. Yeah, you dropped this lucky dime into your press. Yeah. But I-- Come on, let's try our quarter on these slot machines. All right. Ah, this looks like a lucky machine. Yeah. You're dropping the quarter. OK. Now, I yank the lever. Those little fields are spinning just like my brain. It's also mixed up. [MUSIC PLAYING] Four bars. Jackpot. All those-- What is? Oh, they must be easily $10. Tell you what. You take these quarters to the cashier and get one blue chip. [MUSIC PLAYING] Steve, I'm so sorry to be long. Shut up. Where's Whitman? Been cool in my heels in this office for the past half hour. You know I can't leave you until he comes. He was at the big table, Steve. Let Lorraine work way with five j's. Five grand. The dealer naturally thought he was you. Every time he smiled, the dealer touched the little button under the table. Well, stop the number Lorraine had her chips down. Stupid fool, it's his all your fault. But Steve, shut up. Get him over to the pen house and keep him there. I'll be over later. OK, Steve. [MUSIC PLAYING] Oh, that Whitman outbreak is neck when I get him at the punk. [MUSIC PLAYING] Hey, boss. Yeah, Daly. The headquarters twins just came in. Says they want to buzz you about the murder of Slapsy Higgins. OK. Tell Lorraine I wonder in here. Lorraine ducked out a few minutes ago, boss. What'd you go? I don't know, but she looked enough. A hundred curry. I wonder. You wonder what, boss? Nothing. The car out back? Yeah, and the alley. OK, Lly, I want you to drive me home. Fast. [MUSIC PLAYING] This is Jeffrey Barnes again. In just a few moments, we'll bring you act three of "Ella by" for murder. When you have "Dandruff," you might just as well try to combat it with plain water as with most ordinary hair preparations. For such products, simply remove loose dandruff, and you can do that with plain water. To do more, to fight dandruff effectively, use double dandering. For double dandering is a scientific product that does what most ordinary hair preparations can't do. It goes to work on your scalp and actually kills on contact the germs that many outstanding authorities contend or a cause of a common type of dandruff. Now, the reason for double dandering's amazing effectiveness is that it contains a special ingredient called alzane, an active antiseptic, so remarkably efficient, many hospitals use it. Among hair preparations, double dandering and double dandering alone contains alzane. So stop trying to combat dandruff with preparations that can't compare with double dandering. If you're not satisfied, return the empty bottle and get your money back by double dandering at your drugsts. [MUSIC PLAYING] Lorraine, you shouldn't have come here to the penthouse. Lorraine. It's all Steve Yeager. Oh, darling, I'm glad I'm so glad. Lorraine, darling. I tried so many times to tell you the truth tonight, but for once, Doc's right, you shouldn't have come here. Why? My name's Whitman, Dave Whitman. No, see anymore, Whitman, I want you. Steve used me as his alibi for murder. I wouldn't have made a break for it, but I couldn't go without you. With that money we won tonight, Lorraine, I hope we could go away somewhere and start old. You've got to go Lorraine. Steve, find you. He'll kill both of you. And reading my mind, Doc. Steve. Steve, I didn't hear you come in. Louis just drove me over from the club. Well, it's like something out of the movies. The big hero with a protectant arm around the girl's waist. It's kind of corny, Whitman. So this is why you took the quick run out from the club, Lorraine. I was right. There are two of you. But not for long. Whitman were those rags you first came in. Why? Don't ask questions. Where are they? In the bottom of the closet in the bedroom. All right, Doc. Keep that gun a year as I ended his shirt, Stuttin. I got me a quick change to make-- [MUSIC PLAYING] Hope I didn't keep you waiting too long. Now, Doc, what are you gaping at? Gosh, Steve, you look just like Whitman did that first night. The clothes, everything. Even he must up here. Yeah. Not a dump, these things. Hey, that's your wallet. And credentials you put in on a table. I don't need them anymore. Now, Doc, I'll take you right. Sure, sure, Steve. Here, but I don't understand. It's simple, Doc. This is the end of the line. This is where you three get off. Three. And Steve Yega goes on alone. But Steve. You've outlived your usefulness, Doc. Besides, you and these two are the only people in the world who know I have a double foot. Steve, I wouldn't talk. You know that. I know you haven't talked so far. But Steve, I'm not proper. Slaps your goldie. I'm your friend. They can no chance, Doc. You're the two-time endame in the phony Steve Yeager get the lights blown out here and now. Steve, no, please. I had it figured out for a long time, Doc. You and a dame get it with my gun. Then while you're dying, you give it a wittman here with your gun. Anyway, that's how it's going to look to the cups. You're going to make them think, Dave, is you? He killed Doc. That's right. It's going to look swell on a tabloid. Doc can sell a fooling around with Steve Yeager's girl and who walks in, but Steve. I'll never get away with it, Yeager. Why won't I? The cups haven't even got a fingerprint in me. I'll just fade into the old zone and become a character named Dave Wittman. But why, Steve? Goldie's gone. Slaps, he's gone. You have no more competition in town. So Steve. You bad, Doc wasn't a bad guy. You ain't chitin' bad. What? Doc, what's up, bastard? Louis. I just frontin' dropped the gun. I'll be crazy, Louis. Check that rod out of my back. Stop what I said. I know what you're doing, Louis. Shut up and tell me where I was supposed to look at you. All right, you're satisfied, it's me. Steve. And another Steve over there. Am I seeing double a certain person? I'm seeing double-I'm Steve Yeager. This guy's just a hobo. I don't know. I'd say you look more like the hobo and them clothes. Louis, don't be stupid. I'm Steve. I tell you, look at me. Yeah, yeah, Louis. Look at us. Good. I'm all mixed up. All right, simple, Louis. It's just a shakedown. He found out he looked like me, killed a couple of people, and then tried to blackmail me. He's lying, Louis. I'm Steve Yeager. If he were Steve Yeager, would he shoot Doc Cancella, his best friend? No. I guess he would. Louis, he's trying to confuse you. Look, they're microdentials in the table. No, Louis, they're microdentials. I just told you he was trying to shake me down. I want to be sure. I wouldn't want to pull his trigger on the wrong guy. Hey, tell me. Wait a second, Louis. You know whose girl Arraine is, don't you? Sure. Everybody knows that. She's Steve Yeager's girl. And Asco, which one of us she loves? A trick to dirty rotten trickle! Oh! All right, that wasn't very smart. Him trying to rush my gun. Guys, I didn't want to kill a guy. But you saw for yourself, Stevie, was grabbing for my gun. Was he the him or me? We've got to get out of here quick before the police comes. Yeah. We've got to get out of here. You go ahead, Louis. If you think I've got to clean up here. Yeah, OK, boy. Quick lock the door. Bye. Good. Now that. What are you doing, Dave? The only thing we can do. I'm calling the police. Where are we going, Dave? Any place where people won't take me for Steve Yeager's ghost. Brother, what a job it was straightening out that mess with the police. Yes, especially after they picked up Louis and he insisted you were Steve. What are you thinking about, darling? Well, honey. Two weeks ago, I rode into town in a freight car with a thin dime in my pocket. Now I'm riding out of town with a world and a palm of my hand. And now this is Jeffrey Barnes again inviting you to be with us next week. When we present a great study and suspense entitled The Creeper by Joseph Ruskell. The original music for the Mole Amestre Theter is composed and conducted by Alexander Semmer. Alibi for Murder was written and adapted for radio by Martin Ryerson. Elspatharic, Mandel, Cramer and John Sylvester were featured in tonight's program. This is Dan Seymour saying good night until next Friday at this same time when the mystery theater presents The Creeper. Tonight's mystery theater presentation came to you from Radio City in New York. [Music] Mr. Keene Tracer of Austin persons is on the air. [Music] Ladies and gentlemen, the makers of Colonyl's toothpaste present Mr. Keene Tracer of Lost Persons. One of the most famous characters of American fiction and one of Radio's most thrilling dramas. Tonight and every Thursday night from 7.30 to 8. He's been more time the famous old investigator will take from his files and bring to us one of his most celebrated missing persons cases. [Music] But first, would you like to have an attractive dazzling smile teased at sparkle with all their natural brilliance? Then tried a new Colonyl, a high polishing toothpaste. Colonyl sacks like a jewelous polish in removing carnage from silver, erasing the common surface stains and dingy film that so often robs you of an attractive smile. See the difference it makes in the appearance of your teeth. Try Colonyl's toothpaste. KOLY NOS tonight. [Music] And now Mr. Our story this time opens far from Mr. Keene's comfortable office in New York on a stormy night in the deep south, a night lashed by wind and rain. A ramshackle old cab makes its way up a back road. Over his shoulder the old Negro driver talks to the two passengers. Mr. Keene and the lab is a sifted, my clienty. So y'all, worst leaders, drop you off at the mead place. Yes, driver. That's what I said. Will we soon be there? In hardly a minute, boss. Wouldn't get me to go visiting in there at night. And why not? Most unnatural folks in there. Greasy folks. Thanks, performance. All touched in the head and the heart. Why do you say that? You will meet him, boss. Here you are, gentlemen. This gate right over here. Quite a big place. No walled in. I'll get out and ring the bell for you. Thank you. And I'll wait here till someone comes for the fetcher. But I ain't going inside. Driver, you wouldn't be superstitious, eh? Oh no, no, no, sir. Just intelligent. I'm very intelligent about places where not to go. Mr. Keene, I just remembered something terribly important. What's that, Mike? Well, I got an appointment tonight to go bowling in New York. Steady, Mike. There come somebody now. It's a great game. It's a horse. And a woman with him. She's unlocking the gate. Come on, Mike. Let's get out. On your responsibility, sir. Driver, I need this cover, sir. Thank you, sir. And good luck to you. Good evening. I suppose you're Mr. Keene. Yes. This is my assistant, Mike Clancy. I'm Dorothy, a mead. How do you go? How do you do? Please come in. Sorry, you had to make the trip in such a weather, Mr. Keene. Not at all. I'm much more troubled by what you had to say in your letter, Miss Mead. Yes, it's so disturbing about Uncle Adam. Let's walk along the drive. We shall we? We'll get some shelter from the tree. Well, these are water loaks, I believe. 12 altogether in a double row. They're magnificent. Yes, but they've been going to pieces lately. There's the house on our head. Oh, yes. That's one of the most beautiful and majestic southern mansions I've ever seen. But they came. Like everything else around here. Oh, be careful with that first step, Mr. Keene. It's loose. I have it. Yes, that's a narrow leash to the post here. Please come inside. No, just to hang your coat and hat for those hooks there. Thank you. That's good to be an hour to the rain. Well, if you'll come across the hall now, we'll make ourselves comfortable in a library. Stop where you are. Change the preserves. Turn around. You're not of this house. It's not mine. The top of the stairs. You're not wanted here. You know. Oh, now stop it, cousin Roscoe. You're being very rude. I don't like strangers. I hate them. Go on that, you're roomed here. And work on your plan. Otherwise, you'll never capture Washington. Oh, yes. Well, she doesn't. I move up the importance of the arm of the Potomac. Don't be a thief. See that I'm under service. Glory be. still fighting the war of the states, Mr. King. So it would seem. Here, let's go into the library. Cross. No, I'll just make yourselves comfortable. Well, now, Mr. Rathier, to get a few facts straight, this place belongs to your uncle Adam. Yes, Mr. King. How old is he? About 80. And he disappeared just 10 days ago? That's right. That's why I want you to investigate. Well, now, who are all the members of the household? Well, I myself aren't just visiting here. Then there are two nephews and another niece. You've just met one of the nephews, my cousin Roscoe. I'd say. Then there's also Roscoe's sister, Harry. Both about sister. Yes. Finally, there's my cousin, Herbert Need, about 40, very charming. He lived for years, and indeed. Oh, did he? King, that's why I see her with wonderful gifts for all of us. I believe he's enormously wealthy. At any rate, that was the entire household except for the servant. Your uncle and two nieces and two nephews. Yes. Now, tell me about the exact circumstances that his disappearance has started here. Well, after dinner that night, Uncle Adam decided to go for a walk. It was very dark, numerous, but quite mild. He went by himself? No, Neuro tried it off with him, Mr. King. Who was the last person to see him? Oh, I was. I went out after him to offer him a flashlight. He said. Nonsense, my dear. I don't need it. Oh, but it's so awfully dark, Uncle Adam. I know every table around here by its first name. Come along, Neuro. Let's go get some air. And that was the last time you saw him, eh? What about Neuro? We found Neuro here the next morning tied to a post. We presumed that Uncle Adam had decided not to take him after all. Or disappeared after return. Did you start a search for him? The very next morning, Mr. King. The police went all over the grounds and no trace of him. Then I decided to write to you. I'm so terribly worried. What could have happened to him, Mr. King? It's much too early to start guessing my dear. Mr. King, Mr. Arthir, quite frankly, how did your uncle get along with the other members of the household? Well, I. He brought something over to you. I received it. Oh, hello, cousin Herbert. Hello, daughter. I understand Mr. King is alive. Yes, and this is his assistant, Mr. Granthic. How do you do, Indian? There's a dreadful business. If there's any way I can help Mr. King. I may want to talk to you later, Mr. Mead. I'll be in my. delighted to have met Mr. King. Seems like a very pleasant sort. Oh, he's a dear. And about the only one that Uncle Adam never picked on. Oh, Uncle Adam's been supporting Roscoe and Harret for years as permanent guest. But he could never let off a mind in Harret about her age. He says. There is my dear niece. Sometimes I begin to think you'll never find her, but he's still Uncle Adam. I must admit, though, that I met a fellow the other day who's quite smitten with you, Harret. Oh, oh, where is it? Did you? At Miss Harret, he said that. Isn't the flashy kind, but for solid good looks, she can't be beat. Tell me. Who said that? Oh, a fellow in the old man's home. The ninety-eighths won't call Adam. I beg you. That wasn't very kind. But in money matters, he was a very soul of generosity. Here, look, inside the drawer this table, Missy-tea. Hmm. It's a place tough to fill. It was there for Roscoe and Harret to use as they wish. Interesting. Boss. There's something very odd about the size of those bills. Yes, this is the old-fashioned currency, Mike. About 50% larger than what's issued nowadays. So, one of my uncle's eccentricity, he's got the bail of cash in the bank vault for years. And he's still drawing on it. One armistar is here. Besides the servants. What are anybody else around the grounds about the time he disappeared? Well, yes, Uncle Adam had hired three or four men to work on the old. That double row we saw as we came in, then. And I can get you the names of all the men who worked here. That can wait until morning. Oh, yes, of course. Let me show you to your rooms now. You are, Mr. King. Your room is the clampies, the one down the hall, eh? Thank you, Mr. Arthea. I'll be one to talk a minute with the boss. I'll find it later. Everything's all laid out for you, good night. Good night. Boss, what do you make of it? Nothing. Yet, for all this place gives me the creeps. Relax, Mike. Oh, I get the feeling that eyes are on me all the time. Then that darn rainstorm, why, I wish he hadn't put us off in this lonely old wing by ourselves. Eddie, Mike, go to sleep. Where am I? Try too many, how? Good night, boss. Good night. Oh, boss, eleven o'clock. He's a strange house. The strange family. Wonder if that storm appeared by morning. Must have a look around the grounds as soon as possible. See? Oh, great scuttle. Oh, Mike, fancy. Somebody's turned off the whole light. One moment, Mike. Well, I find the whole light. There you are. Line in the floor. Oh, well, wait, Mike, wait. Well, it's fascinating, your neck. Oh, there we are. Oh, a sense of results. What was it? A silk stocking. Drawing around your neck like a noose. Glory be. Tell me what happened. I don't know, boss. I stepped out into the hall. I started from the own room. Suddenly the light went out. I was being short. It was a silk stocking. And then all the other used for silk stockings. Time like these. One second. You notice anything about the color of this? Well, it's dark sort of gunmetal. The same color that Darith here, a mead, was wearing. Oh, boss, I. I told you I should have went bowling tonight. In little old New York. Good morning, Mr. Key. Good morning. You're enjoying a view from the port? Yes, it's beautiful. Thank heavens the storm has cleared. Yes, it gave me the chance to look around the ground. Oh, did you find anything interesting? Mm-hmm. But on Mr. Clancy's neck. Look at this. Ah, a stocking. It looks like one of my own. It was you last night in an attempt to choke Mr. Clancy. Oh, oh dear God. I wonder if you can explain. Well, I have. I must say that I can. I have several pairs like that. When I went back to my room last night, Rossco was coming out. Was he? He said he'd been looking for some book. Oh, I know he has fit contempt, but I hated the mainly actually wood. There he comes now. The gravel path. Ah, that you, Keene. Just the man I want to see. Good. I want to talk to you. Tell me, Keene. If you were in a situation where your major forces were disposed along the Potomac, and Grant was moving along your flank. Oh, Mr. Mead. Oh, you think I'm a bit of a fool, don't you? Well, look at these. The whole of these? A dozen of them. The old-fashioned size. I have been investigating for a week all on my own. You know where they all turned up? In the bar back in town. The bar turned to tour me. I have bought them all up. No why? Well, why? Because they'd all been spent there by Ben Matley. Oh, who's he? He's one of the main workers in the ground. When my hand got disappeared. Simple as it could be. Matley murdered Uncle Adam. Well, that's very much worth looking into. But what about this talking, Mr. Mead? Have I seen it before? Have you? Of course. I'm Dorothy's leg. One moment, Mr. Mead. I'm afraid I'll have to go after. Mr. Mead. Stop where you are. Mr. Mead, this is cousin Harriot. I don't want this man here. He must go alone. Because I'm Harriot. He will ever define Uncle Adam. Why did my goat not care if he's due? This seems to be a house of hate, with motives on every side. But Mr. Keen continues his search. Meanwhile, thousands of girls who suffer the heartache of being unpopular, clever, pretty, smart, and dressed girls, have just one thing to blame. Peace that robbed him of charm when they smile. Thousands of men whose livelihood depends on selling themselves to others have the same weakness of appearance to blame. They don't know it or notice it, but the people they contact do. You may or may not be one of those people. But if you have the slightest of thought, the station that you are, try the new Colonyl toothpaste, a high-pollination toothpaste. Its action is like a dualist polish removing carnage from a piece of silver. Your fine Colonyl helps remove those dingy, unattractive surface stains from your teeth. Brings out all the natural rust orn brilliant that adds so much to your smile. Start using the new Colonyl tonight. Remember it's a high-pollination toothpaste. You can get Colonyl's KOLY NOS Colonyl toothpaste at any drug store. Now back to Mr. Keane who is knocking on the door of a cottage near the meter safe. Good morning. Are you Ben Matley? You're an earf. Heen is my name. Yeah. I heard there was calling you from New York to find Ole Miss Adam Nees. Well, Matley, I'm going to ask you a very blunt question. Yeah. How do you come to have so many of those large-sized bills that Mr. Adel Nees always use? Heck, I work for weeks on their trees. You would seem to be spending more than your normal share. Sure. I'm good at poker and the other boy's ain't. Well, tune me, Matley, about to work. You didn't know his water up. Now, I gather that he consists of hollowing out the rocket parts and filling them with cement. Yeah. You're not. And then where they finish? Yep. Couple of weeks ago today. The fall, Mr. Mead, disappeared. The day before. Sure had big holes on them. Funnily way that rod gets in water, oh, holds big as a house, Mr. Keane. But it never affects black walnut trees that way, does it? Hardly ever. What do you ask me for? Why? For an excellent reason. You're ready for lunch, Mr. Keane? Good, Mr. Adel. I worked up quite an appetite for all my walking this morning. Like this way. The other's all waiting. How do you do? The clans is sitting here by my side. Will you sit next to cousin Herbert, Mr. Keane? You like it. And are you from our grocery store, Mr. Keane? Cogress? Why, I believe. Excuse me. Hold you drop something on the floor? I've got a pimple in my shoe. Have it out in a moment. There we are. You will say, Mr. Keane. Negative, progress. I mean that we can safely eliminate one theory. And what is that? If your uncle has been murdered, Mr. Harriet, I don't believe it was for a legacy. Why do you say that, Mr. Keane? Because Mr. Adel is here. He has been made to disappear so completely. But he doesn't follow not at all, Mr. Keane. Assuming that he is dead, his will cannot be probated, nor can his estate be distributed for at least five years. You see, there must be proof of death through the finding of the body. Or else under the laws of the state, five years has passed until he can be presumed to be legally dead. I didn't know that. He's at his nickname, cousin Herbert. Uncle Adam will turn up all right. What makes you so sure, Mr. Harriet? Not bad, penny oil will turn up. Hello? Somebody knocking? The driver's team's Herbert me. Oh, come in. One moment, switch here on the bed lamp. I'm sorry to wake you. It was my first chance to break away from the other. What's the trouble? I don't know what the door is here, it's been completely frightened, Mr. Keane. And what's with that? But Uncle Adam walked off that night. He wasn't alone. Really? I was looking out of the library window. Down the path, Uncle Adam was joined by it. Well, family loyalty is a good thing, but I'm proud, Mr. Need. The best way is to have it all come out now. Surely we could enter the plea of insanity for him. For a rascal, you've seen one of his wages, I believe. Yes. Uncle Adam always was ridiculing for a rascal's military campaign. But the buddy, Mr. Keane, I know the grounds have already been searched once. But I noticed this morning that the way of Nero was moaning around it back in the house. It's only a stab on the dark, but I. Go on. Tomorrow, by daylight, we'll go there together. All right. First, clean them on. [Music] Good morning, Mr. Keane. Good morning, Mike. Huh. Something on your mind, boss. Well, Mike. Yesterday at lunch, I set a trap. And? Would tell me about it? There was no pebble in my shoe yesterday. I was examining a trouser cup. No, I don't follow you. Come along, Mike. We have an appointment this morning with Herbert Need. [Music] Maybe he's gone downstairs by now, Mr. Keane, too. Maybe. Let's try the door. Okay. Boss. Oh, God. Looked him there in the pit. Well, I don't understand. Great. Let's get to it. Let's hear me. Herbert. Herbert. Oh, my nasty gashon is for it. Herbert. Can you hear me? Boss. You must be dead. No. You think you're just barely breathing? Mike, run downstairs. Have somebody phone for a doctor. Four-cave horse. What are you doing there, sir? Having a look in the closet, Mike? What for? The children? No. Just his trousers. [Music] We certainly had a fight, Mr. Keane. What is the doctor saying, Mr. Artheon? Nasty cut for cousin Herbert, but no fracture for it in the list. Herbert, have any idea who attacked him? It's going back to discuss that with him now. You coming with me, Mr. Keane? There's a matter of fact. I'll join you later if you don't mind. I want to have a look in your uncle's tool, shared if I may. Of course, anything. Only we must find out once and for all. Who's responsible for all these horrors in this house? [Music] Oh, poor Herbert. Doctor, you should say something here. I don't worry. I'll be alright. You have no idea who it was. I was deeper sleeper. Next thing, something came down on my head. I remember the pain and nothing. Why, you could have been killed. I wasn't hit with much force that doctor said. No, I feel like it makes me start wondering, perhaps. No, no. But clearly, such a strange one, always smoking, always taking rascals apart. Oh, Herbert. May I come in? Of course, Mr. Keane. Hi. You're taking up this to me. I'm afraid so, my dear. Afraid? What I mean is, you know that old black walnut tree out there and back. You can just about see the top of it from that window. Yes. Or what about it? Well, just before your uncle's disappearance, some wolf has been down on the 12 old child in front. What, and they had rocket first were two. And that's understandable. But I find also that another tree was treated the same way. Bored out, refilled with cement. That is very strange. Oh, I miss it, Keane. Black walnut doesn't usually decay like that. Doesn't ordinarily require that sort of surgery. A few minutes ago, I had that cement ceiling broken open. Oh, you're causing me? Your uncle Adam needs to be lying inside that tree for two weeks. They're far entombed in the black walnut by the person who killed him. Who was that person? The possibility is an human. Somebody who was mentally unbalanced possibly? A piece possibly. Or else, there are other greedy and ruthless men who need nothing about the laws of inheritance. Who? Who? You, other than me. What did you say? That was going to third do to take him to a house. But he did to realize that I was nearly killed here myself? Nearly killed, yes. You stayed set to attack yourself. And hit yourself just hard enough to bring blood. No, what? That's ridiculous. Or when you found me I was completely unconscious. The answer is in this night table. See? A box of sleeping powder. Ask on. First you gash yourself, then you took a big dose of the sleeping powder and then you waited for results. For a lot of your mind. You see why you lay there unconscious? I didn't waste too much time in pity. I looked in your closet, then in the cups of every pair of trousers you wear. I don't understand. In two of them I found granules of wood. A black walnut scraping. In a third bits of cement. Or just come off. Tonight after night. While the men working on the oak left their equipment around. You went out and worked on the black walnut, making a tool. Then when it was ready, you went out in the dark, asked your uncle and strangled your mom. The same way you attacked your mother. my assistant later. You see, you did not understand the laws of legacy service me. When I mentioned it at the table yesterday, you realized you've made a mistake. You realized the body had to be found. And you gave me hints to die here. You said Miro had been leaning around in back. Then my dear fellow, you really gave yourself away. Turn back, King, both of you. Careful, King, the closet you told. You won't get far, me. I've already been in touch with the police. Stop that bitch for me. I'll get you covered. Thank you, sir. That was well done. I heard every word of it. I risked you her but me with a murder of your uncle, Ed and me. Well, we trained on time, like you're still getting into Pennsylvania station and sure what life tell me, your lady, just how close she came to lose no precious Michael's fancy. Boy, oh boy. But boss, I wonder what I'll ask you to ever do. If you didn't happen to know about things like last world, not three, and the laws of inheritance, what would I do, Mike? I wouldn't be a detective. And so ends the case of the mournless night. Listen, next week at the same time, Mr. Keane brings us the bizarre and baffling case of the missing witness. You help bring out the gleaming natural brightness of your teeth. Remove common surface stains by brushing them with a new colonel, a higher polish in toothpaste. Colonels act like a tool of polish in removing carnage from silver. It quickly removes surface stains and helps make your teeth and smile look at dazzling, romantic best. Try the new colonel still taste tonight. You have just been listening to Mr. Keane's razor of lost person. Now on the air at a new time, every Thursday night, 730 to 8 Eastern wartime, over the mid-network, job Mr. Keane next Thursday night, when the kindly old razor turns to the case of the missing witness. And now one closing thought. Many of you listening in have signed the home front class, a pledge made by a 15 million Americans in the past year to pay no more than top legal prices, and accept no ration goods without ration points. If all of us will do these two simple things, we will soon wipe out the black market, cut down across the living, and ensure a fair share of food for the wives and families of our fighting men and millions of others living on 16 counts. This is Larry Elliott saying good night for the makers of common old toothpaste and Mr. Keane razor of lost person. Ladies, there is now a wonderfully inexpensive easy way to wax wood floors and linovium to a high sparkling finish in only six to nine minutes. Use arrow wax, a self-polishing wax that goes on in a jiffy, dries without rubbing to a marvelous high luster. As beauty to your rooms saves countless gruddings, yet costs only 25 cents a pipe. Get arrow wax, A-E-R-O-W-A-X tomorrow. This is a Columbia Broadcasting System. Murder! Admitter! Don't be too sure about that went with what you mean. Don't forget that skeleton there. He was once a man too. Until he was trapped in here or murdered. What other? Oh, nothing. Nothing? Midnight. The witching hour, one that night is darkest. Our fear is the strongest and our strength and its lowest death. Midnight, when the grades keep open and death strikes. How? You'll learn the answer in just a minute then. The line is dead. And now, murdered at midnight, tales of mystery and terror by radio's masters of the macabre. Our story by Faith Blow is, the line is dead. The gash in the green lawn of Brookside Memorial Park awaits the body of Albert Lockridge, scientist and explorer. There are few who have followed him to his last resting place. For Albert Lockridge was not one who was prodigal with his affection. So beside the yawning grave stands his wife, the norr. Albert! Finishing the short service the minister says. And so on to dust you are now crumidated. You may know where the costumes. Strong hands grasp the straps attached to the coffin. The pulleys sing their disgrudent duge. The strange melody heard over the soft weeping of the norr Lockridge. Suddenly. Listen up, people. Locking it in the coffin. Albert, Albert, we hear you. We know your life. Raise the Cusket. Raise the Cusket. The Cusket. He is alright, isn't he, Dr. George? He seems to be, but. But what? Well, you can't blame me if I'm a little hesitant in giving my opinion. You mean you're not sure that he will. Yes. Oh, after all, Mrs. Lockridge, my position is a little awkward. I sign the death certificate feeling second that your husband was dead. And now I'm naturally reluctant to predict just what course his conducts in should take. I think I understand. The only thing that really matters is that my husband's lying in his bed at home and not in the cold, blacker with a bookside. Isn't that true? You're a very sensible woman. Albert will get better. Probably. But we'd have to watch his heart. His heart? These strange spells when his heart seems to stop, but when I thought it had stopped. Each attack is an added stream. But the strain of regaining consciousness in the coffin he would stir that would even. One even healthy person might not have. He's a hot person to kill. No, thank goodness for that. Well, this time it was a pretty close call. If he'd come to, even ten minutes later, Mrs. Lockridge, no one would have ever known. Albert? No, no. No, no. Is that you? Albert, the doctor says you'll be fine if you'll only rest. I can't rest. I've got to ask you a question. Dear, you've been through so much, too much for any one person. So save any questions from me. No, this question can't wait. That sealed envelope, you know what? The one in my desk. The one I'm supposed to read after your. Your. Yes, yes, after I'm dead. You know, you haven't read it. Have you? No. No, Albert. I'd planned to read it after the few more justice you told me to. Sure. You haven't read it? Of course. Get for me. I ought to see for myself. Albert, no. You're so little strength. But I must know. You will. I must know now. Because if you read it, I'd not have lived. Albert, I swear. I swear I haven't. Please believe me. You should. No. Look at me. You can see. I'm telling the truth. Look at me. Yes. Yes, I think you are telling the truth. Well, Mr. Lockridge, you know the few days and we'll have you out to that wheelchair. Sometimes I wonder why you go to all this trouble with me, Doctor. It's my job. Yes. But there are so many people who really enjoy life and yet die. Twice now I've been pronounced dead on to return to life almost reluctantly. Reluctantly? Yes. You tried awfully hard to get out of the coffin. The sheer horror of being buried alive. I've always been terrified of it. Since childhood? Yes. My nurse locked me in a closet whenever I miss babe. I always thought I'd be left to die there. Oh, it's not the fact of being death that bothers me. It's the fear of being buried alive. It's the choking. If you'd kill anything of crying out there, it would be a horrible way to die. Excuse me, Doctor. There's a Mr. Burton here to see you, Mr. Lockridge. Good. Show him in there. And nurse, take our patient out on the sun porch. I'll send his visit to there. Mr. Lockridge? - Mr. Burton. - Thank you. - The nurse, if you don't mind. - Not at all. If you need me, just call. Mr. Burton, as I understand your business. I'm a telephone engineer, specializing in special types of telephone systems. Yes. The perhaps you've read about me in the paper? Yes. And sure I have. You're the guy who came back from the grave. Yes. I'm the guy who came back from the grave. And it strikes me, Mr. Burton, that occasion might again arise when I might want to do the same thing. That's why I called you. Come again? Sometime, a doctor again may pronounce me dead. Perhaps I will be. Perhaps I won't. And if I'm not, I'd like to feel that I could call for help. I don't get it. Mr. Burton, in case it should happen again, I'd like you to install a private telephone from this house to my grave. And you'll know you must promise to keep the phone installed and in working condition for a year after I'm buried. A year? Darling, that doesn't make any sense. Will this stop and go hard if mine doesn't make any sense either? I've been in the house for over a year. The first time I had stopped for six hours. The next time nearly two days, who can tell? Well, a week, a month. I think I'm asking very little. Well, then think of me, darling. Think of waiting day in and day out for the ring of that telephone. Think of the jumping at every stray bell at every noise. Tarting your condemning, neat, was slow, death-like, like being in a grave of both grounds. And the least that a wife who loved her husband would do for him. Albert, don't start that again. After all, I shall be in my grave. Perhaps. Perhaps I shall be waiting too, waiting for help that will never come. Will you please stop this morbid talk? Nothing else seems to be on your mind lately. Besides, it's terribly late, almost midnight. When death comes to a man slowly, he gets time to think about it. Too much time. Stop it, please. It seems to me that you are only two anxious to get rid of me. Albert, how can you even think such a thing after? I've been a good wife, haven't I? Yes, but you might have made Oliver a went-worth and even better one. Albert, please, please don't bring that up again. What would have happened if Oliver had come back from that expedition, would he? I don't know. You would have married him, wouldn't you? Perhaps, I don't know. No. How can you say that? You would engage too, wouldn't you? And engagement doesn't always mean marriage. You didn't end up marrying, didn't you? Of course I did. What of it? You know I intended to. And you only changed your mind because he was killed. That's why you turned towards me. Well, I was nothing in your life. You were very sweet to me, Albert, then. I could see that you loved me in your peculiar way. I appreciated everything you did for me. I appreciate it. Oh, Albert, why big, big, big looking for a source, but it's not fair to me or to you. I was nothing in your life, was I? As long as Oliver was alive. What are you trying to prove? All the time we've spent together, I've played second fiddle to Oliver Wentworth. Look, Albert Lockridge, when we married, I said I'd put all thoughts of Oliver out of my mind. Well, I've done it. At least. At least? At least what? You mean you've tried, but you couldn't. I knew it. I knew it. You've never loved me. He's always been in your heart. You just said it. If I had died, you would never have given me another thought. But all the time here, in my own house, he's been living his own memory, haunting you, haunting me. I can't go on like this. You just can't go on. I've struggled with him long enough. He's got to go. No matter what I have to do to crush his memory, I've got to kill it. And that. Albert. I. I don't know. What is it? I don't know. I don't know. I don't know. Do you hear my heart? I've got you. No, slowly. Slowly. I can make it. Of course you can. Of course you can. You've got to. I'm like, yeah. I'm like, yeah. Albert! Doctor, are you sure? Absolutely, Mrs. Lockridge. And this time the two heart specialists agree with me. But, Doctor, in view of what happened before. We've tried to take that into consideration. But even so. Can't you pause pause signing the certificate? I'm sorry, Mrs. Lockridge. My colleagues and I all agree that your husband is dead. That can be no delay. Very well, Doctor. Thank you for everything. Goodbye, Mrs. Lockridge. Goodbye, Doctor. Hello? Mr. Burton? Mrs. Lockridge speaking. My husband died yesterday. He should be buried tomorrow at Brookside. Will you please be there as he desired to install a telephone in his grave? A man who was afraid, not of death, but of being buried alive, a telephone to a sealed grave, and the grave began. Will we hear from Albert Lockridge again, before the clock strikes 12 for. Murder! Admit that! And now, back to murder at midnight, and the line is dead. One. one minute. Oh, Doctor Jill. Good evening, Mrs. Lockridge. Shroffing, nice to be the call. I was worried about you. Oh, come on, all right. I'm fine. I couldn't come to the funeral. I tried to call you, but. The phone's disconnected. So they said, and so I came over. I rang the bell several times. No answer either. Finally I knocked. I've had the doorbell disconnected too. You mustn't cut yourself off from the world like this, Mrs. Lockridge. Believe me, Doctor. That's not my intention. As long as I stand guard at this telephone, I want to be sure that the only bell that ever ends in this house is the one that tells me that Albert's not dead, that he's still alive. There in his coffin that he needs help. No, really going through with this. He asked me to. It doesn't seem too much. No, you're only deluding yourself, Mrs. Lockridge. Believe me. Waiting this way is only a perversing, completely futile sort of morning. I know you can't understand. I can't. But I do know that this morbid watch will only deepen your grief. Prevent you from making any kind of adjustment to his death. What difference does it make? Are you a young woman, Mrs. Lockridge? You have a whole life ahead of you. All the more reason for spending some of it as he wanted me to. Dr. My husband was not the sort of person who inspired affection. I know. But in his odd, sometimes unaccountable way, he did love me. Now that he's gone, no one on Earth holds any fond memories of him, but me. Every responsibility, Mrs. Lockridge, still you must take care of yourself. I will, doctor. Assume that he is dead. Well, an image you will, but don't live in a state of suspended animation. For instance, if he's left to will, don't put off reading it. There are some papers which I was supposed to read after his death. They're in a sealed envelope in his death. So read them, read them immediately. No, not dead. You should. Perhaps there contains some message of comfort. They get the envelope now. Not now, doctor George. But very soon. Just a moment. Yes? Oh. The no. No. No, I can't. It is. I know I shouldn't have come just like this without warning. I've always thought that I was dead. Yes, I know. That's what Albert told me. You never came back. No. Why? It's a long story, Linoa. A story you were to hear. You know that Albert died yesterday? I know. That's why I came. Why didn't you come sooner when he was alive? Were you afraid to meet him? I was afraid to meet you. Me? Why, Albert? Other time I returned you and Albert were already married. What are you thinking so? We both would have worked. I wonder. You see, I knew you thought I was dead. No good would have come up such a meeting. But now, now everything is different. Richard? Yes, of course. I loved you then. I love you now. Oliver. I've come back for you. Oliver, you don't understand. How can I even think of such things today? Linoa, I had to come. I waited so long. I couldn't wait a day longer. Can't you see it's useless even to think about that? Now, he may still be alive. I know. No, it's not right just because you do not today. I was afraid to think so. Linoa, I wanted to avoid this, but now I see I must tell you. Then, or neither of us knew Albert Lockwinch. After all, Oliver, I've lived with you. I still don't think you ever really knew him. I never did, even though I worked with him for many years. That is until the day we stood in the Great Hall of the Old Aztec Temple. The temple we'd found in that last expedition, the one from which I was not supposed to come back from. We were trying to find a door to an inner chamber. There must be an opening here somewhere we went with. Never he has to take camp-lepper pond. It was always a room near the altar. You keep ceremony, Alabjit. I know. Wait a minute. It sounds like a little hollow here. What about that slebb in the floor? What about it? It might certainly sound different. I would not take priest. I stepped on it like this. What? Went with a door. We found the door. Solid stone. And still working after all these centuries. Let's take a look inside. You got the flashlight? Yes, take the hammer. Right. Oh, it's not very pretty. It is a human skeleton, isn't it? Yeah. Probably trapped in here and left to die. I'd be dead. Look, Lockwitch. Those dishes. The swing flashlight on. That's cold. Solid cold. There are more over here. Look, the steps of them. That's it. We found the choice of it. You know, wait a minute, Lockwitch. Let's get this straight. In the first place, I don't think we'll be let out of the country with these gold plates. We can melt them down and smuggle them out. Melt them down? These things are priceless. Besides, the university sent us here. The gold belongs to anyone who's there. No one ever has to know. Oh, yes, they do, because I'll tell them. Huh? It's all very well for you to play the heroic fool. You've had everything you want. What the devil do you mean? You know perfectly well. You've got all the money you need. Besides. You have a denoy. What she got to do with it? You do have a denoy, haven't you? I can see if I took her from you. You were afraid of me? Oh, Lockwitch, don't be near to you. No, no more look at you. Oh, wouldn't she? She'd marry me if you went in the way I know it. But you fool. She's just being friendly to you because I asked her. We'll see if you wander around. But I am around. As far as the gold plates are concerned. I said we'll see. After all that skeleton that he was once a man too. Until he was strapped in jail. What about it? Oh, nothing. Nothing. Nothing. Nothing. Nothing. I came through. I was there in the dark. Flashlight, the gold plates gone. Left there to die. Trapped behind a stone door. Oh, no. No. One Albert Lockwitch closed that door in his heart in his twisted brain that was only one intention. Murder. How did you get out? By luck more than anything else. I had the hammer and I knew where the stone latch was. I started chipping away at it. This day I don't know how long it took me. But when I finally got out, I was a sick man. Exhausted. And by the time I was well enough to travel, come home here. You were already married. And he told me that you'd been killed by me. Of course that was a lie. But all over I still can't believe that your story is completely true either. But why? A man who's been the victim of an attempted murder would see that the murderer was punished. You didn't. Didn't even try to. No, no. How could I? He was your husband. Why should that happen? Could I brand you as the wife of a murderer? Loving you as I did, as I do? I had to wait. But now let's forget this horrible past. I can't, no matter how I feel I can't. After all, there's no proof. No, don't you believe me? It's not just that. Don't you see? At any moment the telephone may ring, telling me that he's alive. If I knew your story, or true, perhaps I'd feel differently, but. Well, my place is here. I must stay here. No, no, please. If you're feeling a love for me at all. Will you go, Oliver? Please. If that's what you wish, yes or no? I'll go. But remember, I love you. I don't know why it should matter now, but I still hope you told the truth, Oliver, for me. The papers. In the sealed envelope. I promised Dr. George I'd read it. The North, there are many things on my mind as I sit writing this last word to you. Many things which no human mind should have to bear without telling another. As I look over my life, I know now it is being an emblematic. I'd never had a straightforward human emotion enacted on it. A work has been a sort of shadow play which gave my hollow existence an outward ginger reality. No friend has really touched me, but I cannot be reached. I married you more out of perverse vanity in love, yet perhaps because of your loyalty, some spark of love has been kindled in me. There this in mind when you go out to the garden, with air underneath the sundial, will find the treasure of gold which should take care of you when I cannot. I hadn't tended to use this gold myself, but I could not because it might incriminate me in the murder of Oliver Wentworth. People might ask questions, but you. The murder of Oliver Wentworth. Then history. history was true. Oliver! Okay, Oliver! Gone. Well, he can't have gone far enough. Oliver! Oliver! Oliver! Oliver, I'm coming! I'm trapped! Oliver! The telephone ringing, ringing in an empty house. A man who is not dear lying in his coffin, fighting for breath and waiting. Waiting for an answer that will not come. A fitting payment for. Murder! Admit not! A man who is not dear lying in his coffin. Remember to be with us again when death stands waiting at a newly-dug grade. From the cloths, strike twelve or. Murder! Admit not! The parts of Mr. and Mrs. Albert Lockbridge were played by Mr. and Mrs. Raymond Edward Johnson. With music by Charles Paul, murder at midnight was directed by Anton Em leader. [Music] This is Orson Wells speaking from London. [Music] A black museum, a repository of crimes of death by violence. Here in the bleak stone structure which is rough and yard there's a warehouse of souvenirs. Where all of the objects are prior to a pipe or dingy quite glove, a lump of twisted ceiling wax, or have a history of murder. [Music] This length of sash cord is quite commonplace. Might see something like this in any window frame. Armless looking vis-a-vote, with string so, frame the one end, cut all cleanly the other. Just the right length to hook around the man's neck and twist. [Music] Today that bit of sash cord can be seen in the black museum. [Music] Here we are, the black museum, Scott L. George Museum of murder. Outside these walls of black and brick and slate is London. Where since daybreak for Riverwood, born an endless burden of traffic, on fog-shotted bridges and in narrow streets. Tens of thousands of pedestrians have jostled one another. All very much alive. [Music] But here within this room, what kind of sers of crime they see recorded for posterity and cabinets in wooden trays and jars, carefully labeled and preserved, the evidence of vindictive death. This sash cord, short piece of rope, crime, and phrase at one end, remarkable in itself yet it came from the stage of a famous theater in the city of Brighton. Where an Octavia Kenmore actress manager was concluding her annual engagements. The alley of that theater was like any other, a corridor of darkness between the streets and the stage door. Once September evening a man came running out of the shadows, starting the doorkeep in the center of the chair. Mr. Clark at what's the trouble you several find out so much? [Music] Operator, syndrome card here, murder theater, syndrome and endless footage, there's been an accident. One of our stage hands, he's lying unconscious in the alley, how it please? Yes, wonderful cast, Mr. Carter, who is he? Tell me, it's Buckland, that camping around there. Try it. Buckland Ole Miss Kenmore will be terribly distressed, stagecarpenter, without 20 years. I guess as you will. Can't we better go and get TV in here? The best thing is something good be done. No, no, it's better not to move into the doctor's comes, it may be serious. We wouldn't want to injure him enough. A man found dead or dying, a phone call. Then the waking. Over the crumple figures to the old Tom Snellan, so I keep it. And some John Carter, eating man. Waiting. Waiting until a man becomes too up at an end, so it came to me over side Jeff Buckland. Which one of you call this? I did. You said the man was unconscious. I looked at him, I had no physician. This man's dead. So, through the heart, you do not have much benefit of call the police. The police arrived and that is coming into the evening performance for questions. The star of the play and the theater, as with the customer's left under served. The constable of the door admitted a young train called him. In space initial? Yes, Gordon. One of them found this, sir. Innolism rubbish in the alley. 32 caliber. Thank you. Oh, Mr. Ellis. Attention now, focussed on David Ellis. Stage manager in the Ken was proved. Ever seen this pistol, Mr. Ellis? Yes, it's the one we use in the play. I keep it in my deck. I'll use the license for it. What sort of ammunition do you have? For blank cartridges, of course. 32 blanks. It's not loaded with blanks now. Bullets. One chamber has been fired. I must warn you, Ellis. Anything you say henceforth will be written down and may be used as evidence. What? Every year, you're investing in these? If you can't, you never have any money. Who are you, young lady? This Ken was hypocrisy. My wife and straight-ass, please, please, please. I said, you're expecting you to understand. You're supposed to have been keeping. Well, like a father to Bozillian. And why do you stand here wasting time? The real matter is getting far beyond your way. I take it as a rinse and trouble. To his state job business and then leave. I don't have my spirit to disrupt his 50 minutes before curtain time. Oh, it's Ken. Now I'll do stay controlled, I'll sell. Will someone be good enough to tell me what has happened? Certainly, Mr. Kenwar. I had hoped he wouldn't be necessary to discern Mr. Present. But one of your stage hands, Mr. Buckland, was found in evening out. Arcadia, Kenwar. Distinguished actress manager. Diling of the provinces. Equal adepts of comedy or tragedy. Of course I'm greatly shocked. Poor Mr. Buckland. A good and faithful servant inspector. But he just proposed to us as a statement to Ellis. I've stayed managed as ever kill people. In any case, I can't say. We ring up in 10 minutes exactly. I'm extremely sorry, Mr. Kenwar, but Ellis is a material witness. He must come to the station house for further questioning. It was his testimony. It was my personal. I owe all the props used in my day. The light, including his name. Legally, he is the owner. The night of Maul, which you released in my past, were it possible? I'd like to do that, Maul. But unfortunately, your entire company is under surveillance. And it's only permitted to perform tonight. Ellis, where's come with me? Very well. Go with him, baby. Lutin, I will be down to see you. And the inspector, as soon as we possibly can. Thank you, Mr. Kenwar. The police left the theater except for certain constables on duty of the door. And in addressing her on my day, they again were made ready. Lutin, my child. Oh, me. How weak you're singing the heart of woman is. Don't be downcast. How can I help with that, Kenwar? The day of his imprisoned nonsense. You only detained for questioning. You didn't charge with any crime? I'm thinking of Jeff's lesson. An excellent good man. On the best stage cover, so there wasn't even. What he made? The sound is a man's stuff. I have to tell his phone and the music, I also have to perform. But. You really need. Certainly I am. And who will do this job tonight? Me? On this show? Why not? You think David will do it often enough? And work with what you need. For no time to think. Now quickly now. Check the stage for the first scene of all I will tell my makeup. The play went smoothly because the roles and fall as the actors took their phones. I see Ella's listening to the applause. I've felt she was calm and self-presessed. But her composure was nothing to that of our savior, Kenwar. She defended our police station many minutes later. Ah, Ms. Kenwar? Everything's Alice. Come in, won't you? I am in sector. Now. I've expected full explanation of what you have accomplished by imprisoning my employee this past two hours. And please, the dawn ladies. Ms. Pinty's time. Is that? I expect to leave brightens of our lives. Taking my stage manager with please you writing teacher. He's not in chains or even a dungeon, Mrs. Eddys. In fact, he's quite comfortable. Oh, thank you, Mr. Eddys. If you will both be seated, madam. Sinterintest. Thank you, inspector. Well, have you nothing to tell us about this case? I'm waiting at the moment for our pathologist support. Of course. Don't talk to him, is that? Yes, routine please procedure. Oh, man's in shock. That was quite obvious. The bullet is important, particularly in court, to establish the actual weapon. It seems to me the hand beside the weapon is a more important consideration. The density of this can more, and inevitably I trust. We'd like to know more about Buckland's background is habits. Did he drink, for example? Despite the general opinion, there are many in the theatrical profession who are not addicted to alcohol inspector. Mr. Buckland was a decent man. I've gave you a can watch over proof about the murdered man and I'm drinking, except for an occasional fight of dinner after the show. It's a voted family man and an occupation where family relationships are often difficult to maintain. There was nothing to indicate of motive for murder. In all the years of me, I have never known him to miss a single performance. He was a craftsman who could rig and handle any production heavy all night. For him on the job, my stage managers had an easy time with it. Everyone liked him. Every fault perhaps was that he was too loyal. We're not being much help to you. How insistent. Oh yes, you've helped us sit in the picture and learned a lot. Uh-huh. What did you learn? Through important things, Miss Kenmore. First, the buckton was not a man who made enemies. All might have brought spare disowned. And also, that he was extremely devoted to you. You think that's significant? Extremely. You keep a close reign in your company. You should know of any genesis or quarrels that occurred. I know about them, yes. I'm sure of that. You are not the person to tolerate friction or even bad habits in numbers of your troop. Hello? The authority reporting sector. I knew you wanted it right away. Thank you. Yes. Well, this is interesting. Why wasn't I told of this before? You know what I like in the lab in the sector. They wanted to be sure. Absolutely sure. I see. Miss Kenmore, can you think of a reason why anyone would want to shoot a dead man? Hardly. But you said that the agent. Seems so. If it happened, a talented buckton would dead a strangulation before he was shot. Today, the instrument was that murder, a piece of sash-gourd can be found in the Black Museum. There's a good question. Inspector Mitchell repeated it. Can you think of a reason why anyone would want to shoot a dead man? An interesting problem, if it not. The medical report is very deafness. The buckton was strangled with a thin piece of rope because he wore a scarf about his neck. The marks weren't noticed until they got into the lab. He was dead before the bullet ever was fired. Inspector Mitchell went back to the scene of the crime. The alley decided to see it with a body of Jeffrey Buckton had been found. And with him, at her own insistence, went to Octavia Kenmore. What are you looking at? The thin piece of rope of gold. It's never find it. It's a murder having arms and brains with a fake hood in it. Pretty strange. How is Bruce's idea? That's too much light, and I would be full. It was strange men searching every cranny that flashlights pointing and probing to he had glow-work balconies. Iron ladders and fire escapes, thick with rust. And then, themselves still wet against the light. Oh, the Kenmore? Yes? We found this. Court of an edict, that is straight. I think it's the weapon. Our lab, until the statement, of course. I see. The piece of lash line. What does lash line be, your friends? Yes, it's the sort of rope you use backstay to lash the thing with your gun. Not the same as ordinary kiln's line. Or sash cord, yes. Would you be able to identify this belonging to your stage equipment? Oh, that's hard to say. You can work. Inspector Mitchell, one of the stage hands reported to me tonight. They had talked about the one at the check. The night was too short to make it far. Could you locate that piece of scenery, Mrs. Dennis? I told him to leave it on top of the check so that we could be seated in the moon. Oh, that's so un-stays it, shall we? Do you know this Kenmore, as a use, I was strongly attracted to a further? Why are you indeed Inspector Mitchell? They moved through the stage door onto the platform. This is the flat. The one with the short lash line. You see, I'd work, Inspector. The rope is split round the eye and keep, and tied off of the bottle. So the audience, he's only number one. I understand, Inspector. The cord of this rope matches the piece firmly added. Rust, stains and all. Or does that suggest you, Inspector? The little doubt in my mind, Ms. Kenmore, that the person we want is a member of your own company. Yes, I'd like to slide back to my thoughts on that. A member of your company, I think, cut off this cord. It's a strangled button. And someone else, familiar with these premises, took the pistol from L.S.D.S. desk. Jim, you don't think my husband's here? I haven't said that. But I'm a check once more, who actually was here. Backstage, between the hours of 6 and 7. I'll tear myself, and I'll tear myself. The smell of the doorkeeper was on duty. She's shoddy. He took his tape from the course. He's here. He's seen the British days, he's now, I think, of it. I won't shed a word against him. Smell it perfectly on his. I take it over. Is he? The remark of his house, sweeper, all the time. What do you mean? He's a slave. He claims to have been dosing in his chair. He didn't wait even when a pistol was fired, not 30 feet away. I think perhaps I'd better go and visit him. Then I'll come. No, Miss Ken, more not this trip. In this case, into this time, it's sometimes dangerous. The old man left close by the theater. Four flights of well-worn steps led to an epic door. What do you want? What is it? You're a Mr. Snellon. I am where the police. My name is Mitchell, CID. So I show you my credentials. No, why? I recognize you, sir. The coming size. Jarl Snellon had no need to be afraid. But it was his nature's of euthimics. A man old man wanted to avoid trouble. Sometimes when arguments occur, it was his habit to pretend to be asleep and it covered all behind the stage children. You expect me? You believe that when a pistol was fired close by you, you didn't even hear it. I can't write these saviors. They said it's epic in the street. That time of night, you know, if I did hear it, I must have took it for a passing car. Yes, I admit that's a likely explanation. Perhaps I ought to. Biggest, what is this? If there's something you haven't told us, I advise you to come out with it. What have you seen to the trifle? The possibly trifle of importance. Almost enough to send a man to the gallows. I know I should have spoken to it before, but we'll have to say little before seven o'clock when Mr. Buckland was inside near his toolbox, talking to this pressy press son fella, and Mr. Shingen Carter, he was there too, just standing by so to speak. Could you hear what I was saying? No book meeting in this house. Now with what Buckland said, Mr. Kingmore won't stand for it if he's strits about such things. Yes, sir. Mr. Kingmore won't have gambling in her company, and actually get himself discharged if she caught him betting the horses or some such thing. What else did Buckland say? Well, he warned that the only ghost who came to Mr. Kingmore said, "Oh, this man had been following the company all along the tour, and Carter and some of the others had been betting with him. The debt was all, and three of them went out together, still talking. And that, the last you saw of him alive, he said it was, and Mr. Carter said, "Fuck me at the time, he came back a little later. When that was just in my guessy, then went right out again. But he seemed so cheerful and I spitted. I thought the trick was much to settle their differences over. Carter didn't come back again to the farm Buckland's body and called the Andalum. It's far too long. It begins to make sense. Inspector Gimster will hear us. But why the stage manager's gun? And why shoot a dead man? Why? Why indeed? Why steal a gun to shoot a dead man? Hoping to find the answer to this question, the inspector went to Brighton-Shale, to call on Stated Ellis. Look here, Inspector, why are you holding me without a spread of evidence? Don't have the evidence to travel with the company when the lead tonight? I don't depend. Or what? You're applied to a few questions. Ask them by what means. How much gambling goes on in the company? Not for great deal. Some of the actors bet a few shallies down then. Actually, the salaries are so small, they call the port to be reckless. Does Miss Kenmore know about it? Not at chance. If she did, we'd have replacement in a matter of minutes. It would follow them that an actor who wanted to keep his job will be careful that such information never reached Miss Kenmore. Oh, that's a bit of a say, sir. Is there anyone in the company who needed that job badly? But you mean badly enough to commit murder? Yes. High doubt is. Well, of course you never know. In truth like this one, most of the supporting cast are either on the way up or down. This missile might mean the end of a career. Endless. Has anyone a reason for wanting you out of the way? No. Why? Whatever the fact? That gun was stolen from your desk, loaded with live ammunition, and after the murder it was left where we'd be sure to find this and hold you responsible. I can't believe it anyone doing like that. Unless I'm left. Now Inspector then really isn't anyone. Indeed. Well, that is though, no matter how closely he may have gone about it, I can't help feeling that our murder has tried to pin his crime on you. For the moment, I'm going to lick and think he's succeeded. How did you do that? By he be you, Lockfator, up here in jail. Short-term later, Inspector Mitchell was admitted to Miss Kenmore's sweets at the short front hotel. And it has less important, Inspector. Not much, I'm afraid. Have you been feeding him? I have. I left him in the best of health. Why are you holding him? Jim, did you consume anyone? You know that is where I die. I'm afraid I don't know it. I admit many murderers in my time, Mr. Ellis. Most of them look quite as innocent as your husband. Besides, I have a hunch he could be somewhat more cooperative. In your way? Tell me, is there anything you know that your husband might be concealing? Or somewhere who's taken idea of guarantee? Something perhaps concerning you? Why? No, I hardly think so. I seem to remember a melodramatic scene I accidentally walked along. Hope that was nothing. That's because he usually comes and makes him a monster to me. And they've admitted it. Oh. That may be more important than you think. In fact, it may be the piece of information I can expect a Mitchell thought that he knew the killer at last But it takes evidence to bring a man the courts and this can want me to help for suggestions You said you were a devotee of a certain state initials. I am indeed man Did you by any chance see me as a baby diesel? I did a most marvelous performance Then you recall of course the third act I have something about a crucial moment as a famous play When standing behind the screen the lady over her villain's treachery exposed such a dramatic devices might be used effectively off stage as well at arm Previous of the further mad today the acting out began Nice you of course you might hear I'm given up hope for day, right? Not at all that's the pop-up state. Still I understand we're leaving right and please I'd rather not discuss it Perhaps in his absence you won't mind so much my pain you little attention Like they all there and you miss Kenmore's waiting she wants to see you at once really the great miss Kenmore I found all of it. It is she's breathing fire and brimps Oh, it so happens I come from a long line of fire eaters lead the way my girl I'll tell you a can more with seated to make up table behind other tiny dressing room was crowded with trunks and props and costumes in an alcohol finally noticed Let's do this green Here he is the Kenmore so I can see a low watch the long face of us nothing to do with me and sure You've been taking bets on the racism's the car. Oh That's why I'm compelled to dispense with your services Here's your check and return to London. They're under study were replaced you with the metanet see here You can't do this under the contract. Let's check covers the terms of your contact this Kenmore I've told you this was life a man in danger of his life. I'll live if Ellis made the situation no David Your friend your fleshly dress friend who had missed the bookmaking and they shortly admit to murder Oh so Morgan as a real daddy if that's the word yet I gather this ready to indicate you here try that kind of a dog He did the killing you can't that mean I was pretty well really implicated quite serious in the Carter and by your own word Action well, I expect the literal it what thought of game is this the glorious day of bad thing Congratulations with Kenmore a very successful little player. I haven't got anything you can prove No use bluffing you took the pistol written Joe from Ellis's desk and shot button but I didn't kill him You did before you are under arrest Mr. Carter and charge with willful murder It wasn't me. I tell you Morgan still can't have a broken and but you're certainly going to the police Morgan had no license in a previous record to be able to be jailed for him You thought quickly you tried to take advantage of the situation the prime minister So the field will be clear with his wife. No, no I tell you may not have killed anyone But you are an accessory after the fact and you did put a bullet to a man's heart A delicate question for the jury to decide but I predict you'll pay the penalty come along now and come quite later Today a piece of trash court properly marked and ticketed lies in a glass case in the black museum People of the theater can be and most often are fiercely loyal to one another But Octavia can all such a person an actress manager accepted responsibility not only for her company's professional welfare But for that personal happiness as well And John Carter was an exception to the rule But then his career had an exceptional ending Taking his final bow as he did on a platform 13th F.I. days o'clock one winter evening And now until we meet here again another story from the black museum I remain as always, obedient for yours The mutual broadcasting system presents the mysterious camera Written, produced and directed by Robert A. Arthur and David Colton And starring two of radio's foremost personalities Leon Janney and Anne Schaffer In Christmas stars This is the mysterious traveler inviting you to join me on another journey into the realm of the strange and the terrifying I hope you will enjoy the trip that it will thrill you a little and chill you a little So settle back, get a good grip on your nerves and be comfortable if you can as we hear the tale of an enterprising young man It's the drama I call Christmas story The name is Steve Farrell and I've just gotten through playing Santa Claus Yeah, you're looking at a guy who really played it to the hill It all started last month in Seattle I was out of a job and down to my last few bucks I was looking through the morning paper when I noticed this small ad in the personal column Driving to New York November 15th, man wanted to assist in driving Free transportation, Paul Harris Hotel Royal Well, I'd always wanted to see New York and this was as good as any way of getting there So I went up to this hotel Royal to see this guy, Harris - Derek? - Yeah? My name's Farrell. Steve Farrell. I read your ad in the morning paper Oh, yes, once you come in. Thank you If you haven't already found someone to help you drive to New York, I'd like to offer my services Well, as a matter of fact, I haven't. Can you leave for New York a day after tomorrow? Sure. Anytime. Well, good. Then when I'd come around at 9 in the morning and we'll get off to an early stack Okay, Mr. Harris, 9 it is I mean, I want your driving, Mr. Harris, and I'll take over Thanks, you're welcome Why not call me Paul? Okay, Steve is my first name Lewisden, 30 miles Lewisden, that's Idaho, isn't it? Yeah, we're just crossing the state line and Idaho Oh, it's just all new to me. I was born and raised in Alaska This is my first trip to the state Well, you're going to see a lot of scenery between here and New York Yes, I'm looking forward to it Life must have been pretty rugged in Alaska Oh, it was My parents were home-steady I never saw a city until a week ago when I arrived in Seattle How come you're going to New York? Well, my parents died last year and my grandfather, whom I've never seen, wrote asking me to come visit them You never seen him, huh? No No, it was some sort of squabble between my parents and my grandfather before I was born and they went to Alaska And in all the years since then, my grandfather never wrote to them Sounds like a stubborn guy Sure, I died What are you going to New York for? Oh, mainly to look for a job And I've always wanted to see you the big city I sure of I Do you mind taking over now Steve, my eye's again, Steve? I'm glad to, just pull over to the side of the road The long way from Seattle to New York And it wasn't the radio in the car, so we just talked And mostly we talked about Paul And he was a guy from Alaska, his parents, his grandfather By the time we hit the Columbus, Ohio, there wasn't a thing I didn't know about the guy And from what he told me, his grandfather was loaded And even more, he was the old man's only relative It was obvious the kid was walking into a fortune Yeah, some guys had all the luck So these are the Alligua? Yeah They're going to say, "It's easy, Paul," the road's a little slippery Where's the New York? 250 miles It's getting dark You better stop for the night at the next tourist court I probably should be able to make New York by tomorrow afternoon Yeah, easy What are you going to do when we get there Steve? Start hunting for a job Look, Steve, why don't you come to my grandfather's house with me? I'm sure he won't mind putting you up for a few nights Thanks, kid, but don't worry about me I'll be all right I thought you were a track of, yeah, I thought we were friends So we are As soon as I get located, I'll let you know where I am You know, I thought this being your first visit to New York and mine We might see the town together You know, the statue of liberty The statue of liberty Yeah, sure Well, we're the same age I'm afraid I haven't been around very much I guess it's like you said, I'm strictly from the woods So just one year in New York and you'll be head to everything Your eyes bothering? Yeah, a little You better let me take over when you get to the bottom of this mountain Okay You know, you want to see an eye doctor? Your eyes seem to get tired off of quick Well, the truth of the matter Hey, look out for your head, we're starting to get - The reverse wheel. - I am. Steve, we're getting off the road toward the mountain. Give me that wheel and do it, I say. - I'm out of control with all the over. (screaming) (screaming) - When I regained consciousness, I was lying a few feet from the car. We drove 300 feet down the side of the mountain and the car was completely right. I crawled to my feet and felt for broken bones. Other than a bad gash on my head and the mass of bruises, I was okay. I limped the few feet to the overturned car and looked in. Paul was still behind the wheel. Even before I reached for his pulse, I had a feeling he was dead. Paul's luck had run out. He'd never see all that dough that was waiting for him in New York. Yeah, it was then that it came to me. I hadn't wished the guy dead, but now that he was, and nobody in the state's new Paul or what he looked like, and on the other hand, I knew everything about him. Well, it was a gamble, all right, but there was a fortune in the kitty. I went to work switching our clothes and all identification. Just as I finished the state police patrol car came along the mountain road and spotted the wreck. They took me to headquarters where I made a complete statement. A couple of hours later, I grabbed the train for New York. (triumphant music) Paul, I'm George Marlow, your grandfather's attorney. Howdy doing, Mr. Marlow. The Pennsylvania State Police informed with the dreadful accident you had. I understand a man who was really well-skilled. Yes, sir, fellow by the name of Steve Farrell. I met him in Seattle. He assisted me with the driving. Too bad, but I haven't, wasn't you? Would have been your grandfather's death blow. How is he? Week, very weak, but eagerly waiting to see you. All right, come along. Yes, sir. How's that cash on your head? Oh, not too bad. It was treated by a doctor at the state police headquarters. You can only spend a few minutes with your grandfather and the excitement must be avoided by all means. I understand. And here we are. How is he, John? He's much better this afternoon. Good. John, now this is Paul Harris. Paul, John Dietrich, your grandfather's nurse. How do you do? Hello. Paul. Is that you, Paul? Yes, sir. Come over here. Where I can see you. Yes, grandfather. So, you're Paul. My grandson. Yes, sir. Shift down by my bed. Let me look at you. All right, grandfather. Are you? If you don't look like your mother, must take out to your father's side of the family. Yes, I do. That, that bandage. What? What happened, Paul? Well, I was in an accident, but it's nothing to scratch. You sure? Yes, yes, of course. I suppose you're wondering why I sent for you after all these years, cutting off your mother's father. Does it matter now? The main thing is I'm here. You know, lying here for months, I've had the great deal of time to think things over. I was wrong, Paul. Your mother, she had a perfect right to marry anyone she wished. It was only my stubbornness that prevented the reckons in here. We all make mistakes. Yes, yes. But 30 years have not seen my own flesh and blood. It's been lonely, Paul. It's so lonely. It's not all my fault. But you're not alone anymore. I'm here. Yes. Yes, Paul. Yes, Paul. Yes. But little time I have left, we must spend together. I think that's enough for now, Mr. Marshall, Paul can come and see you later. After you're in the upper. Just a few more minutes, beyond. After you're napped. Oh. She's a wonderful girl, Paul. But that tyrant comes to see me as soon as I move away. Now, let me fix your pillow for you. Just your being here seems to have helped him, Paul. What do the doctors say, Mr. Marlowe? Week, months, several months at the outside. That bad, huh? Yes. And you must be tired after your trip. I had your suitcase taken to your room. Do you have any other luggage on the way? There's a small trunk coming, but he won't be here for weeks. You need any money. Just let me know. Your grandfather's place to considerable summit your disposal. Thanks. But I still have 2,000 left to the 5,000 we sent me. Very well, Paul. Remember, if there's anything at all you want, just let me know. Yeah, I was in. There was no question that I'd passed this Paul Harris. And why not? I had all the answers, and I was playing it careful. I walked through room after room of that Diffevino mansion, knowing that within a matter of months, it would be mine. In the weeks that followed, not a day passed, and I didn't spend a few hours with the old man. He liked me. I could see that. And the funny thing is, I liked him too. During our little chats, there were times I felt I was his grandson. And sitting in at these little sessions, not saying much, just watching with those gray eyes of hers with Joan Dietrich. She was one lovely dish. And I could feel things building between us. Whenever she got an evening off, we went out together. [MUSIC PLAYING] Having a good time? Wonderful. I love dancing. What, Mr. Harris? What are we doing out here on the terrace? The music's in there. Too many people in there. You know, if you don't make a pass at me soon, I'm going to get a scar. I was a little short of quite three weeks. What's the time that you do it? The day I walked into my grandfather's room, first saw you. You knew this moment would come. Hmm. I'm a dust. I feel the same way, baby. So I'm a fly. Love me? You know I do. In my deities. Oh, I do love you. And I want to believe in you. I'm so confused. So confused. But why? Go on. I want to get in. Are you really Paul Harris? What makes you ask that? In your talks with Mr. Marshall, several things you said seem strange. Such a-- Oh, your grandfather spoke of a restaurant in San Francisco and you said you knew it. Yet if you are, Paul Harris, how could you not? Paul Harris has never been to San Francisco. I might have taken in San Francisco on the way to New York, you know. What else bothers you? You mentioned the television show you'd seen six months ago. There is no television in Alaska. If your Paul Harris, how could you have seen this? People up in Alaska see kinescobs of television shows, baby. They show them like movies. Darling, just tell me I'm wrong. Oh, I want to see her. I wish I could tell you I'm Paul Harris. But I'm not. You're not? No. The name is Farrell. Steve Farrell. Steve Farrell? Wasn't that the seller that was killed in that-- it was Paul Harris who was killed? You changed, I didn't see. Yeah. Well, I could show. I could show. I was tired of being broke. I've going from one lousy job to another. I saw a chance to grab a fortune and took it. What are you going to do? I should go to the police. I can't. Mr. Marshall thinks you're a grandson. He's extremely fond of you. If the truth were to come out, it'd kill him. Is that the only reason you can't go to the police? Oh, Steve, what are we going to do? Nothing. Nothing. That's right. I'm going on being Paul Harris until the old man dies. Then I'm taking the estate. You can't, Steve. You can't. Why not? While the old man's alive, I'm making him happy. If I get his estate when he dies, who loses by it? It isn't as though he has other relatives. Why shouldn't I get it? No, it's wrong. Steve, it's wrong. It's wrong only if you're caught, baby. Only if you're caught. Hello, baby. What if you don't have your money? Here on the roof. Just getting a little fresh air while Mr. Marshall sleeps. How is he? He can't last more than a few days. Who you're clinging for? The old man? On me. Well, I thought you. Well, Steve, ever since the other night when you told me I haven't been able to think of anything else, it's wrong, Steve. It's so wrong. Who am I hurting if I get to your state? I deserve it if anyone does. At least I'm making the old man happy in his last hour. What if your court? Do you realize I send you to prison? That's the chance as you take, baby. Besides, who's going to get wise to me? There's Mr. Marshall, and he's nobody's fool. Just one little slip, Steve, and he'll be on to you. Marshall is a sharp citizen, all right. But I don't intend to make that one slip. Someone's coming up under the roof. Hello, you two. Thought I'd find you up here. Hello. How are you, Mr. Marshall? Right, well, thank you. I've stand there, Mr. Marshall's asleep. Yes, I left Mrs. Walker to look after him. You should be waking up soon. Maybe we better go down. My grandfather at-- oh. What's the matter? Something in your eye, Paul? Yes, he's a cinder. Or left eye, huh? Yes. We stopped rubbing it. Put your handkerchief over it. That's it. Just things like the bell. Go on over and sit on the chair. And I'll try to take it out for you. You want me to assist you to the chair? No, no, I can still walk. [MUSIC PLAYING] There's a down and touch your head back. That's it. Take the handkerchief away. Oh, I see it. Hold still. There, I got it. Thanks, John. I think we better go down now. Yeah, OK. You coming, Mr. Mala? Well, oh, yes, yes. I'm coming. [MUSIC PLAYING] [MUSIC PLAYING] Mrs. Walker, say that Mr. Marshall was asleep and cheered up dinner on him a few minutes ago. Seems he's still sleeping. Perhaps we better leave him waiting till he wakes up. No, no, no, I'm going to wake him this time for his medicine. Mr. Marshall? Mr. Marshall, time for your medicine. Mr. Marshall? What, what is it, John? There's no point. Are you sure? Yes. You said. At least the end came peacefully. He died in his sleep. [MUSIC PLAYING] John took the old man's death hard, and I felt pretty upset myself, even with all that dough waiting. As for Marlo, he was his usual efficient cell, looking after all the details of the funeral. Maybe it was attention I was under, but Marlo seemed changed to me. He wasn't quite so friendly. And sometimes I turned to find him watching me, giving me the cold eye. I couldn't be sure whether it was my imagination or not. After we got back from the funeral, I was in my room when there was a knock on the door. Come in. Oh, hello, John. Come in. Mr. Mala is downstairs in library. I want to see you. Close the door. Anything wrong? Plenty. Whose trunk is that you're going through? Paul's. It arrived this morning while we were at the funeral. Steve, what's wrong? I just been going through some of Paul's personal papers. I knew, of course, that he was four F in the draft, but I never knew why. What are you trying to tell me? Paul was four F in the draft because he was blind in the right eye. Blind in the right eye? Yes. That's why I've been getting the cold shoulder for Mala these past three days, ever since the afternoon we were on the roof. I don't understand. Somehow Mala knew that Paul was blind in the right eye. And when I got that cinder in my left eye, I covered it with my handkerchief. You told me to walk across the roof to the chair? Sit down. Oh, yes, I remember. At that point, Mala offered to lead me to the chair. Knowing you were blind in the right eye and had your left eye covered with a handkerchief? Yes. When I walked over to the chair without hesitation, that must have started in thinking. Oh, Steve. Don't get panicky, baby. Mala can't be sure he's right. At the moment, he's just a specialist. But if he really investigates, he's-- I've got to kill the suspicion in his mind. Stop him from doing any check. But how? I don't know yet. Look, come on, he's waiting for us in the library. Sorry to have kept you waiting, Mr. Mala. It's quite all right. If you'll excuse me, I'll-- John, don't go. No reason why you shouldn't hear what I have to say. Tomorrow, Christmas Day, I'll officially read Mr. Marshall's will. However, I don't think I'm violating a trust in telling you the contents of the will. Two weeks ago, Mr. Marshall had me draw up a new will, leaving his entire state to you, Paul. I see. He was quite taken by you, felt that you were a credit to his name. Why are you crying, John? Nothing. As administrator, Mr. Marshall's will, it is my duty to see to it that the airs or air receive their just inheritances. This duty, I shall fulfill, I understand. I am responsible under law for the awarding of the huge estate left by Mr. Marshall. I shall have to-- it's your eye troubling you. You've been doing nothing but rubbing it since you came into this room. Sorry, Mr. Marshall. As you know, I'm blind in my right eye. Now, and then my left eye feels quite strained, particularly the time like this. My grandfather's death, the funeral, to understand it. Right? Yes. Yes, of course. You were saying? Right? Oh, well, it's not important at the moment. I'll be here tomorrow at three for the reading of the will. I'll see to it that all the servants are here. Very well. Good night, John. Paul? Good night, Mr. Molo. Good night. The-- he's confused. That business of the eye, he doesn't know what to think now. Yeah, and it's stocked in for the moment. But only for a moment. Hard to tell. But I've got to do something once and for all to convince him. I'm Paul Harris. [SCREAMING] Now, I didn't get to sleep that night. I just tossed and turned, trying to come up with an angle that would kill Marlow's suspicions. Maybe that business of rubbing my eyes had satisfied in. But I had to make sure it was a difference between being handed a fortune and a prison sentence. This afternoon, at three o'clock, the servants, Joan, Marlow, and myself gathered in the library. Told things was over in an hour. The servants all congratulated me and left the library, leaving only the three others there. I should like to offer a toast to Mr. Marshall's memory. You feel permit me? Of course. This was his favorite cherry. Joan. Thank you. Paul, thanks. He is to Peter Marshall, a man who lived honorably, died honorably. May his air be worthy of him. As the three of us raised our glasses to our lips and drink, I could see Marlow watching me over the brim of his glass with those cold blue eyes of his. We sat down our glasses and I turned to give Joan a cigarette. Out of the corner of my eye, I saw Marlow pick up one of the three wine glasses. Suddenly, I realized it was my glass he picked up. He held it casually, almost as if he didn't know. He was holding it. In that moment, I was going nuts trying to guess whether he was satisfied that I was Paul Harris, or he was still suspicious. And going after me. My fingerprints were on that glass. And the army had a copy of those prints in Washington. This was it. Either I play my cards and go for the fortune or throw in my hand. Suddenly, I felt Joan's hand in mind. And, say, Mr. Marlow, yes. You say this will leading me, my grandfather, to state is a new one? Yes. I do it up only two weeks ago. What was the old will like? Well, under the old will. Your grandfather's estate went to charity. I thought as much. Mr. Marlow, Joan and I have been talking things over. I don't want the estate. I want it all to go to charity, as originally intended. To me, I seem to drop my glass. You realize, of course, what you would be giving up. I never really had it, Mr. Marlow. So I hardly think I'll miss it. Joan and I'll get along, what will you, baby? Oh, yes. Well, Paul, is that your considered decision? It is. It suggests you worthy of Peter Marshall's grandson. Yes, and that little gesture did it. Any guy who gives up a $2 million estate can hardly be called an imposter, can he? No, sir. It's Christmas, and I've just played Santa Claus to the tune of two million bucks. The thing I keep wondering about is, what would have happened if I hadn't given up the estate? Would Marlow have gone after me? Or was he satisfied that I was, Paul Harris? Yes, sir. That little puzzle is going to give me plenty of thought for a long time to come. [Music] This is the mysterious chamber again. Did you enjoy our trip? What happened to Torre Harris? Or rather I should say, Steve Farrant, a young John will marry, and the poor fellow is not working at an honest living. Yes, sometimes he thinks of the $2 million Stady gave up, but then with taxes what they are, what could he have kept in any case? Only a fortune. Which reminds me of a story in which another end-of-pricing young man allows himself to be killed for the sake of acquiring wood. Oh, you have to get off here, I'm sorry. But allow me to wish you a merry Christmas before you go. And remember, I take this same train every week at the same time. [Music] You have just heard the mysterious traveler. Now you can enjoy other tents and exciting tales of the mysterious traveler in the current issue of the mysterious traveler magazine now available. In our cast will lay on Janne, Anne Sheppard, and Lawson Survey, with Maurice Taepern, start on the title role. Music under the direction of Emerson Buckley composed by Richard Eupage. The mysterious traveler is written, produced and directed by Robert A. Arthur, and David Cogan. On this Christmas night, 1951, we send special greetings to Mutuals of Philly and San Antonio, Texas, radio station KMAC. Today KMAC celebrates its 25th anniversary. Best wishes KMAC and congratulations. Phil Tarkin speaking, this program came to you from New York. [Music] Here, the 27th consecutive renewal of the East West game and the annual Blue Grey game. It's another mutual listening must. Not just one, but two of the seasons biggest intersectional gridiron clashes will be aired for the sports-minded American listening public on the afternoon of Saturday, December 29th. The greatest names of the 1951 collegiate grid season are on the rosters of the competing squads. Remember the actions start Saturday over most of these same stations. This is the mutual broadcasting system. [Music] [Music] Mutuals of Philly and San Antonio. [Music] [Music] Mystery House. That strange publishing firm owned by Dan and Barbara Glenn, Baruch Hunehawvel is acted out by the Mystery House staff before the successful publication. Mystery House. [Music] Come here, now I come here. Thank you. We're already starting night's time at the Mystery House novel. Well fine. Hey, who's the youngster? Thomas, he's the poop-boy at Mystery House. We needed a youngster tonight's dad, so here he is. A youngster and a mystery star? Well of course. And he's mighty important to the plot, Michelle. He certainly is, but matter of fact there's just one thing I can think of, well, Panda's more important. Yeah, what's that? You certainly asked for this one, huh? Listen. [Music] Okay, Tom? That's a nice story. Nothing but the poop. This is the story of Johnny Lillis. Johnny Lillis, who said, "I've decided to commit a murder." And I know that I will be bothered about any pain, sprimmores, and try to kill Jist Allen, because he has to die. Dorothy isn't sure enough to recognize true values. She's fascinated by the romantic voice, the romantic coolers in the theater, the background that Jist Allen affects. She's completely married and she'd be quickly unhappy, married to a actor. And behind him, I love her. I must tell you, but I must take my plans carefully. The logical is calmly. And just have an alibi that can't be broken forward. [Music] All right, Rachel, let's go. I don't want to ask. Come on in, I'll visit. Oh, Johnny has fried my buzzing around, but I have to get into this in spinal guards and costume for the third day. I don't like it. I just stop backstage to congratulate you on a magnificent performance. Well, thanks. But you've seen the show at the dance floor, Johnny. Why are you over it? I wasn't referring to your partner play, yes. I was talking about the script job of acting you've done with Dorothy. Oh. Hey, she's an impressionable youngster. You've been able to act in romantic hero power. She's not marrying you, you know. She's not in love with you. Hey, look, this is no time to get me all riled up to Johnny right before the big guy to the show. And I know acting is the one important thing in the world he wasn't a Jess. And I'd say that the party created for Dorothy's benefit is your most successful role. Oh, I knew that you felt that about Dorothy. I mean, Johnny, but I didn't think of you such a bum-sport about it. What's so wonderful about sportsmanship? I don't play for sport, yes. I play the wind. I like your nerve coming in here while I show. I'm trying to stir up a row. The show, the show. That's the important thing, isn't it? I know a lot of people are out here. Where you're here? I'm with you. And this is the last time you see me alive, Jess. What? I don't talk like that. It's your fault, Jess. I'm going to come to true stuff. You wouldn't tell yourself you couldn't know just what you see. I'm not going to completely dead. Oh, well, I better try to get organized for the third egg. Mm-hmm. He's crazy. Really crazy. Maybe I ought to tell somebody. [HORN HONKING] [HORN HONKING] [HORN HONKING] [HORN HONKING] I thought it was your imagination, Jess, but I'm worried about Johnny Miller. You mean he's been scaring you with that suicide talk of his? Yes. Yes. You're afraid he'd accidentally go inside, Dan? I don't know, though. I think you'd require that smoothie. I'm never quite understood. Don't make me feel terrible if acting this way. Somehow it spoils all the happiness of our wedding's life. Don't let it, Johnny. Well, I suppose I ought to be heading to the theater, Matt and me today. I have a mission to go with you. I'd love to have you down. But there's not much for you to do while it shows on. I could watch the show. I think you already know the life better than I do. Maybe. But every time I see it, if the children of the every other woman in the audience is crazy about children in their minds. Now, I have a great experience in pure, moral, and math. It's fun doing what? I hope you'll never change, darling. All my life I felt that way about things. Maybe that's why I knew the first time we talked to you that this was it. You know, I really owe Johnny Miller something for bringing us together. Oh, there's a phone. Hello? John? Oh, yes, Johnny. Oh, I'm speaking of the devil. You got? Johnny, please. Listen to me. Don't do anything foolish. Please. What? Is he threatening suicide again? Listen to me. Let me take that phone. I'm going to tell him all. Yes, please. No. Johnny, you've been very silly about all this. And you're making me very unhappy. Why don't you come over and talk to me? No, you mustn't do anything. I'd like to explain to you, Johnny. Maybe that would make everything better all the way around. You'll come. Fine. I'll be waiting for you. Goodbye. Star, I think you should have been excited. And over here, you might be dangerous. This dress has moved. Johnny and I are going to have an understanding. In trying to be kind to him, I've heard him more than I would have, but making a clean great. Well, take a lot of quick calls this afternoon now. I'm coming back here just as soon as the matinee is over. I'll be worried about you until I see you again. And you tell him for me that if there's any more of this foolishness, it's so helping. I'm going to call the police. I counted all my suicide threats. I've threatened rattling just found me to. I knew he'd come for his friends about it. But I had to be sure. The suicide idea was firmly planted. So I had to talk to Dothi, another actor. And it was most important for me to mouthward about taking my own life. But necessary. It was easy enough to see that she was frightened. Johnny, you're talking like a madman. How to be sensible about this, please. Yes, or since when a sense of love gone together. But I've explained to you that I don't love you. I never have loved you. Love has to be a mutual thing to be successful. But you don't know whether you'll love me or not, Dothi. You're insaturated by an actor, playing your grandma's role. That's not true. You married your Stalin and all your life you regretted. What's more, all your life you know that you killed me. No, no, you mustn't talk like that. I can't stand the thought of you marrying anyone else, Dothi. I'd have to kill myself. Can you see me? There's nothing else for me to do. You talk about yesterday, and after. You're the actor. You're trying to scare me with your suicide sense. You've got the slightest intention of going to the movies. You were doing the acting. It's most time, darling. And so long. Goodbye. No, you'll come back here. Johnny, come back! Johnny! I knew the guest-found's met name would be over at 440 O'Cott. The obituous local apartment near the theater, at 10 minutes before 5. For 4 months, I had to tell my best and wrote a lot of modeling suicide note, one that would make people feel sorry for me, that I went down to the basement and asked the janitor for change for a dollar deal. It's spring that I wanted to put a quarter in my cash meter. I went back up to my apartment and telephoned Dorothy and Kyle. Hello, Dorothy? Dorothy, I put things all over. Darling, you were saying that I was talking about suicide and just the effort that I needed. You were the wrong there. I'd be much better off dead. What? What? My apartment, of course. Wait. A four. I'm afraid nothing you could say would make any difference now, there. Well, well, I'll wait. I've quite made up my mind. [BEEPING] It was just 40 when I finished the phone call. Just time for Jess Fallon's night meeting and slowly time for me to get to his room before I met her. I don't know how the guest gets in the kitchen so much, but I'd like both your work to my apartment for spring walk, so I'd have a backstreet, my head cold low over my eyes, and a butter up around my chin. I went to Jess Fallon's room and waited. [BEEPING] What's on it? How'd you get in here? What do you want, anyway? One question at a time, Jess. I've got a good mind to report you to the police. You've got a zolts together too much trouble. You and your-- I don't cause much more trouble, Jess. Your troubles are just a bad over. But don't you know why I'm here? You're insane. I'm here to get you, Jess. You fool. Look, I've come down. You can't get away with it, but-- You haven't any idea how well I can get away with it, Jess. But now, that's done. Why, you fool? You're the fool, Jess. You're a fool. You think you're going to get away from me? I'll never let you or anybody else take her away from me. No, get away from me! Stop! [GROANING] Now, home. Down the back stairs. So that nobody sees me. [SCREAMING] [MUSIC PLAYING] I looked around carefully and breathed it with the face. Chris Bear. [GROANING] No, no. I wasn't shaking at all. No, we were. No excitement. Yes, everything was working out according to plan. A pill. Oh, oh, oh, oh, oh. I thought from the little pretty old things that kept me for some reason. I was stupid little, I just didn't deserve one of the things. [GROANING] Oh, Mr. Roberts! Oh, Mr. Roberts! Yes, the minute, Mr. Roberts! Hey, wait for me! Yes, I have boy, forget. Don't you need to start the whole neighborhood? I guess you don't remember, Mr. Roberts. I'm running Morgan. We'll be next target in the car, Miles. Don't you remember, Mr. Roberts? You took me to an automobile ride once on the afternoon last fall. I was thirsty. You're sure you don't have me confused with someone else, son? Why do you even, Mr. Roberts? What's the matter? You act like you saw it, because I stopped you. I just wanted to say hello. I was starting to get home by five o'clock, and it's really that now. I'm sorry. I don't have my car here. You were sure about the time, are you? Of course. Yes, of course. If you'll excuse me, Ronnie, I'm in a dreadful hurry. I'll see you some other time. [GROANING] No! No. I was standing together. That stupid scum of all help is doing me upside-by. I'm carefully planned out of my hideaway class. I'd work fast, joyously, difficulty fast. My dip in some people, honey, Morgan, who walked on. I ran that tummy alley. Back up the steps. And then you just have to run. I remember this theatrical trance of costumes. I overblown. And I fought through the costumes. Each thing you got to run. No, no. Prince of the royal court? No. Wait a minute, back up. I devil suit. Bring me the ramp. Come to the pale horns. And he'll be soon painted devil's mask. They saw what he wanted. I put it on a race down the alley. A long relic of money motherhood to take him. Running for my life. I had a decanter now. I kept him away, I kept him in shadows. I got a broomstick, a little boy walking on the sidewalk. I got my way through yard. I stood behind him and. [LAUGHTER] [MUSIC PLAYING] [MUSIC PLAYING] The second act of nothing but the proof opens in the federal Johnny River support room. Dorothy Carlisle has just been joined by the fact that Dennis Delahefe was trying to force the door. [MUSIC PLAYING] I'm afraid it's going to happen. I ran down to the garage of the problem and called you as soon as I got here. You know, the problem's the way. I called it that he didn't answer. I heard it, man. I got you the bed that I couldn't. No, yes. What you made I know. I guess he better make the door in, all right? And play against even after Monday. Then away from the door, please, Miss Collar. [MUSIC PLAYING] Oh, that was. Yes. Now you better stay out here in the hall, mister. I'll get him. How long has he been in there? Oh, wait, wait a minute. It's five, but he called me. I got here about five minutes, two five. What time is it now? Quarter after five. Oh, if he did, I'll never get by myself. Need any help? I haven't found him yet. Kitchen door closed. He's probably in there. [LAUGHS] You better. Yeah. Don't take it said yet. He collapsed on the floor. I have man saved him. [MUSIC PLAYING] You didn't get much gas in your lungs, mister. Thanks to falling to the floor as soon as the gas is in your lungs. Gas, right? I suppose I should be grateful to you for saving me, Lieutenant. But I'm not. I just have to do it all over again. No. No, you're not. Johnny, you've got to get cold if you're still. Well, I'm psyched, but I'm not interested. You really shouldn't have bothered bringing me to a hospital. I suppose I shouldn't have called you. I won't make that mistake next time. Oh, that's for me, I suppose. I told the folks I'd be here. Hello? What? Lieutenant, got a hand in? Wait. Yes, you're here. Right. Hello? What? I guess I get back to get over to that address, but I'm murdering. Any courage? Gun is all I. Don't think of friends I suppose. What's the murder man's name? Like you say? Yes? Oh, no. My name's Fowler, huh? No, no, no, no. I'm sorry, please. You know what I'm saying? I know it. I love it. I'm never going to be married. Well, maybe I'm all mistaken, don't you? Like this little thing to hear. Yeah. Maybe it is a mistake, if that. Johnny, no, it's Kim. I know it. I'm sure of it. Being sure of a murder doesn't help much, Miss Carlisle. What you think and what you feel may be right, but the law won't listen to you. It takes nothing but proof. Now it's hard to say. Johnny, no, Mrs. Insane. He would tell us if that's the case. See if my life was. You're giving Mr. Luma a pretty good alibi, Miss Carlisle. Hi, I'm putting you in. You said he called you a 20-minute supply. Yes. And you got the Luma's supply to five minutes supply. You're sure of that, are you? Yes. Yes. I'm positive. Luma said already started his suicide attempt when you got here. A gas was turned on and the doors were locked. Well, whatever. You can't get. No, you just proved that he didn't. Just found out, left the theater at 440. The same time, Luma was calling you. Walking real fast, you can make it from the theater to his rooms in ten minutes. That puts him at home, nowhere near than 450. And you say, "Johnny Luma's killed him." In the good ten minutes from Fowler's room, the Johnny Luma said, "A partner." Well, that would mean Luma couldn't possibly have killed Salon and gotten back to his place before five o'clock. I can't see it won't work. You can't make it work. Oh, excuse me, I'll just say so much in the middle. Wait. Hello, Ronnie. I'm sorry, but I'm ready to video right now, dear. You have an along with playing. You wanted to say that, might be pretty important, Mr. Orton. He said I'd come right over and talk to you. Right away. It's important. Yes. It's about Mr. Luma. And the murder. About Mr. Luma. Yes, and I've been playing in the school yard with the best of the kids. I was late getting home. Five minutes to five when I saw Mr. Luma. So five minutes to five, did you say he'd get there? That's where did you see Mr. Luma, Sonny? Well, over on the industry, the brothel's a murder-wise. I asked him for a ride in his car. He didn't want to talk to me. And that should offer funny. Oh, best. He was pretty cute. But he couldn't have done that in the town. And they kept him on the floor. He wasn't. He must have turned on the gas right after he called you. And he locked the doors and far over the towers and killed him. Meanwhile, you got the water. and tried to find Doran's smelly escape and get. - Oh, of course. - And you called me. Yanny Loomis got back to his place about five minutes after five. When I put back stairs and into the kitchen, he took a few whips of gas and laid on the floor, knowing that he'd get enough air there to keep him alive, even if he passed out. I got there 10 minutes later and broke down the door. That's the way he did it. The only way could. And with Ronnie seeing him near Jeff's house. That's the proof I needed, Miss Carlisle. Now we've got Yanny Loomis right where we want it. [MUSIC PLAYING] Ronnie, I just can't understand why you make up such a fantastic story. I didn't make it up. If it's a trove, then you know it. Just know you was trying to lie out of the journey. You're caught. No, I think I'm surprised. You believe in impressionable youngsters who probably didn't meet in all kind of lower tales. Why, you struck me, Mr. Loomis. You even said there was something about my knowing what time it was. You don't know what you're saying. Now, I know you wouldn't want to hurt me. So why don't you admit to these people that you made all of this up just to have some excitement, mm? I did it. Ronnie, you're sure you haven't thought about this until you actually believe it was so? I guess I know. You don't, too. You had to also funny about seeing me. You remember how he was dressed, Sonny? Sure. Yeah, on a fuzzy gray hat full of all of his face. You're going for Dora and a chicken scarf. Right and right, full of all of his face. Full of talent. I gave him a scarf exactly like that. Yeah. Which runway you had the opportunity to see by the time I called here, I'm on with the hat. It's rather ridiculous. I guess I know what I saw, all right. His description stands up, Loomis. You are a chicken, a story of this. Now, I look like you're a trap, Loomis. Sonny, you're quite sure you saw me. Yes. And I didn't give you a ride when you asked me? No. You said you didn't have your car. So what did you do? Well, I started walking on towards the woman. You walked the other way. Of course. And then that anything else happened, Lonnie? Yes. Yes. There was something else exciting? Yes. I didn't tell anybody about it because I scared. I didn't think you'd believe me anyway. Oh, and you didn't think you'd believe you anyway. Well, what was this other exciting thing that happened, Lonnie? Well, I walked on little ways in the mixed rock, and I was wondering why that was so funny. And I heard footsteps behind me. What's this? Yes. And I looked around and it was a devil. A boss? A devil? Oh, red with a meanest looking face. He was throwing his life. And who was throwing out of a set? And I went and killed with a sharp look on the ass. And he grabbed me instead of making funny noise. Yes. I'm quite sure he made funny noises rock. He grabbed, do you see? Yes. He was dancing up the down and I just went from him. I started running and I got away from him. And when I looked around, he was like a chasing me anymore. And he was so red, did what you say. A bright red? You bet. Offer bright. With huge arms. OK, OK. You don't need to ask him any more of them. You win. But no one won't get. And don't read any more of those ghost stories. They might get you in the trouble someday. But it's so annoying. Sure, sure. We believe you. But run along now. And stay away from any more red devil. [MUSIC PLAYING] Dorothy, you've no idea how deeply you've wounded me believing that I killed a man you thought you loved. You did, Kelly. You mustn't be so bitter and succumbed here. Those are the economists here. Get out of here. Never want to see you again. Wrong, Dorothy. You love me. You've always loved me. This was you get over this shop. I'll never get over it. And I wish you'd get out of my sight. I hate you. I wonder who that is. Hi. You think it's gonna tell a heart? Yes, ma'am. I'm glad the solomans are here. Hello, Kelly. I've got a warrant for your arrest on this. My arrest? Why? I thought we'd gone over all that. Yeah. A little boy story wouldn't stand up. But I got the thinking. So I got the chief to give me a half dozen cops and we scoured the neighborhood of just talent's apartment. What were we found? A package. What is it? Something that was pretty well hidden. My lion ran past. [INAUDIBLE] Oh, quick. You've got a big devil costume. Yeah. And we checked with the theater. Just fell in had a costume like that. Some of the actors had seen it. And it was missing from his trunk. It's from the same costume as the rest of his costume. Well, then-- Little Ronnie Morgan's story stands up all the way. Even the part about the red devil. You're under arrest for a miss. I don't believe so, Daddy. Don't-- don't-- don't-- don't-- don't-- I'll have to kill both of you, I guess. And it might not be a bad idea to kill a little brat next door if I can find you before I skip out. I wouldn't try shooting on us. No. Well, I would. Here, on us, Kathy. [COUGHING] That devil suit. In my face. You'd never have shot me a man, dude. That would have been-- [COUGHING] Too bad we can't bury him in that costume. It's Dora Sitz's character. [COUGHING] Nightbeam. [COUGHING] Hi, this is Randy Stone. I cover the nightbeam for the Chicago Star. My story's starting many different ways. This one began with a man who was blind and ended when he saw his blindness went deeper than his eyes. [COUGHING] Nightbeam starring Frank Lovejoy as Randy Stone. [COUGHING] It was after 11 when I turned into that section of North Clark that begins to wake up then. [COUGHING] Tonight it was jumping no more than usual and it just seemed that way. I threaded my way through the visiting clay boys from Kyokuk and St. Louis and the whining panhammers and the sad-eyed gals. Then I stopped for a minute to watch old pop. [COUGHING] Very stood as I'd seen him stand night after night before the little burless theaters sawing away at the same old tune and the same old battered fit. I walked up to him, listening for a moment, and then. Thank you. Thank you. Business good tonight, pop. Randy. [COUGHING] You never missed it. Not my regulars. I'll have you be-- oh, good, good. You? I've-- all right. Business good? Lousy. Well, still early. Midnight shows ought to bring in some tariff. Uh-huh. What's it look like tonight, Randy? I don't have to tell you, pop. I think you can-- I think you can see more than I can. Yeah, that's the trouble with being blind. It's not what you miss without eyes, but what you do see. I can feel him, Randy, the cheap sports. The ones who drop a penny in my cup, drop it in from way up because it sounds heavier when it hits big shots. The ones who drop half dollars when they were the girl and pass me up when they were low. But life at in pop, you never change. Always a quarter. Night you're dropping something else. I know something's wrong. Now, show's breaking. Here come the girls. Dancers, they call themselves dancers. Cheap, hot, careful, pop. Well, if it ain't hardest greasing-- Greely, his progress, Greely. How'd I get burned? Vita killing me. From what standing in one spot-- Why should move around? Here. Thank you. For nothing. They've seen you in a month of Sunday's, Randy. Hey, after what you turn? See the show? No, should I? No, no one's moving in tomorrow. Bigger and better. And bearer. When I'm paid to wear more, I'll know I'm washed up. How's it going? I'm all grind. Huh? Get it? Every night the same lousy joke. Don't worry, every night you play the same lousy tunes. Oh, that's for hyping. Long time ago, I played better. Yeah, I played fiddle for the die, so come as a revolution. Honest pop, you know anything else? Who'd recognize it around here if I did? So where's your high hat? How shut up. Now listen. Cheap, well, less dancers. Hey, wait a minute. Who are you calling up? You, you all of-- Hey, pop. Now, pop, take it easy. What's the matter with you? Call that me alone. Just let me alone, that's all. Hey, wait a minute. Well, what's he doing on him? He blew up like a boiler. Yeah. He had never done that before. And calling me a cheap dancer. Who does he think he is? Place for nickels and sobs himself and cheap wine when he's got the pricey. Hey, Randy. What? No wonder he was sober. Yeah, I saw that too. I saw my ever seen him come out from under that cloud. He's sick. Well, maybe there's something else for him. Now, I'll take his nickels and dimes by a bottle and soak in it. Believe me, there's nothing wrong with pop that a wet corp won't cure. I don't know. I don't know. There was something else. Oh, no, she could be the Willie. OK, Pearl. I'll throw in a cup of coffee. Come on. [MUSIC PLAYING] So we had coffee and we talked about pop. Now, I know where he'd come from. He just showed up one night with a battered fiddle under his arm and started playing. [MUSIC PLAYING] It was a half hour or so after I left Perl. I moseyed through the street, found myself back at the same place I started, but Pop wasn't there. I told myself he was well in the middle of the pickling process, nothing to get excited about. He'd show up tomorrow night. But that ever loving curiosity rang up the tilt inside me. I went hunting. I didn't find Pop. And when I passed an all night Huckshop, something in the window sent me inside. Yes sir, you see something you like? Yeah, that violin in the window. For the violin? Oh sure, sure you want to see it? Yes I'd like to. Sure, they know of me getting a piece like this. No sir, they know of me getting a chance to offer something like this. How do it's himself couldn't want one any better? Yeah, I'll tell him when he gives up a piano. Yeah. Oh. How did you get this? From a collection, it's a final violin, maybe a hundred years. A few scratches. How much did you give him for it? Give who? The blind man who brought it in. Yeah, I'll come you know where I got it. I'll come. I'd know this violin in a hundred. Come on, how much do you want for it? Twenty bucks, fifteen. I paid that. Okay, twenty. I give me the receipt. I just take it. Give me the money and take it. The receipt, buster, I need it for my expensive count. You a copper? Why ask that? If you need, why ask in all the questions? Why, what's bothering you? If you got this violin legitimately, you'll sell it all this ping pong. I got it legitimately. Okay then, the receipt. Not a receipt getting any younger. Well, yeah, I got a receipt. Oh, why not? Look, the guy comes and he wants to have this fiddle. I can't give him no dough on it, not like he wants anyway. So? We make a deal of swap. For what? I'm only telling you this because I don't want no trouble. But he wants a rod, I heed it. You let him have a gun? Yeah, but was it loaded? Maybe a couple of shells, but got anything on paper? Is it dressed, maybe? Oh, but you let him have a gun? He was blind. I ain't going to give anybody a rod if he looked like they're going off for a heist. I got a legitimate business. What could a blind guy do with a gun? Figure it out. I'm trying to tell you that. I'm queen. I tell you I'm queen. I had no idea what a look for pop, but I thought maybe one person might know. Pearl. I found her backstage just about ready for her last turn. You like it, boy? I'm a boy. I'm a boy. I'm a boy. Hey, Randy, grab yourself a fan and cut it any play. Pearl, listen, gotta be quick. You know where pop lives? Huh? Yeah. Hey, what's wrong? The traitor is a violin for a gun. What for? I'd like to know. Now, come on, you got any idea where he lives? No. But I walked a couple of blocks with him one night. He was too stiff to do it alone. Yeah. Then he turned off in some street. I didn't know further. Feet were killing. Which street? I never looked street signs. There was a candy store on the corner. So you know the street? I guess so. All right, then let's go. For my end. Forget it for now, pop's label would do something when I'd gun. All right. Okay, I'll fix it. Don't make no difference anyhow. I'm gonna show up in the mouth. Hey, Gracie. Gracie. Yeah. Come here. Sure. Oh, please, to me, sir. You ain't. You ain't gonna. Now listen, you gotta go out in my place. Me. Me! I don't know. I'll put you in. I should cheer, honey. I don't know nothing. It ain't education they want out there. Here, take my balloon. Blow it up a little bigger. You need it. I'll go left. All you gotta do is be careful of the guy in the first box. You've got to rub a band of some bent pins. Let's go, Randy. [MUSIC PLAYING] We tore out of the theater before she had much more than just time to throw on a coat. I'll say this for Pearl. She didn't catch cold easily, but if there was a wind blowing, she'd have been a sensation. Anyway, she found the street in a few questions and answers sent us to what is politely known as a theatrical boarding house. And then outside Pop's door. Busted in, Randy. Pop! Hey, Pop, it's Randy. Pop it up. Busted in. Okay, look out. Wait. Pop. Are you all right? Yes, sir. I'm all right. What do you want? Are we coming in, Pop? No. Are we coming in? Yo, Spong, what's the idea? It's going to scare him. All right, let's have the gun, Pop. There it is, Randy. Give it to me. Ah, ah, ah. You look better in a fiddle. I-- I-- [CHUCKLES] Crying Jack, that's what it is. Crying Jack. No, no, no, it's sober. And for this, I'll let Gracie do my act. I'm ruined. Get out of here, both of you. Leave me alone. I just a minute. Randy, don't point that. You couldn't fire this in a million years. The firing pins filed off. You cheated me. No wonder he let you have it now. Okay, Pop, what's the idea? I thought I could kill myself. Okay, if what you could kill yourself, why? I wanted to stop living this way. I wanted to stop lying to myself. So all of a sudden, you don't like the way you've been living? Shut up. Okay. I'm sorry. I think you want to talk about it? Well, you already did. You already-- No, no, no, no. That's not the whole story. You know, don't you, Randy. I know there's something else. What is it? Yes, there is. There's nine years of lies and cheating. Nine years of running away from something I want to face, but can't. Tonight I-- I want to stop it. Stop one. Stop the whole thing from coming down. Coming down and killing me and her. NBC is bringing you Nightbeat, starring Frank Lovejoy as Randy Stone. Little known episodes from the exciting annals of American history are presented in colorful, dramatic, factual manner on the cavalcade of America, which returns over most of these NBC stations on Tuesday, August 29th. The story is presented on cavalcade of America, feature Hollywood and Broadway stars, who portray the many men and women responsible for the building of our country. That's cavalcade of America, returning Tuesday, August 29th. Now, back to Nightbeat and Randy Stone. For a moment after Pop said that he stared into space, his sightless eye seemed to be seeing something neither perler I could sense. And then, over on the dresser, Randy, picture face down. Get it? Okay. Me and this one, of a girl? Yes, bring it here. G. Knife. Hey, Arabop. I haven't seen her for five years since my eyes. She's a beautiful girl, pop. That's Vicki, my daughter. This classy looking day? Yes. You know, I've seen her someplace. She's famous. What about a pop? I'm a great old man for a kid like that. Busted, broken down, blind, playing for nickels and diamonds. Look, if she's the right kind, what difference does it make? What you did? I lied to her. For nine years, I've lied. Well, what about when did it start? When she was a kid. I was playing an affordable house. She was going to school. And learning to dance. And her mother left, ran out. But I didn't care. I had Vicki. And days when I didn't have to be at the theater. We had big dreams. Great big dreams. I'd play for she dead. You're not allowed to get tired. Come on. Once more. Just right Vicki. That's enough, Dad. Okay, Lazy. Go ahead. What's the matter, honey? Nothing. Now, come on. Let's have it. I get dancers good as the rest of the kid. Who said so? Me. What your teacher say? Nothing. What he wanted to do, hang flowers on you. Now listen. Listen. What do we always say? We don't go all over the world together. That's right. And you will be the greatest ballerina in the world. I'll leave the orchestra for Vicki. France, Italy, England. Great big oysters. Full of pearls. You wouldn't let me down, would you, honey? I don't want to. Besides, we've always got each other. Vicki, no matter what happens, we've always got each other. I don't ever want to leave you. You will, honey. Never. Now, come on. Let's try it again. [MUSIC PLAYING] Better. Better. [MUSIC PLAYING] Yeah, she got what I said she would, Randy. Famous. But you, what happened between the two of you? Things got bad. I had to take a job with a cheap band, traveled. I kept her in school, and then gone far. Then I hit a grease to bargain. Bottoms up, huh? Yeah. And my eyes. But I kept writing to her. Telling her I was doing all right, I sent her money. All I could, I lied to her. Tell her I was playing with a big oyster. Thousand times I tried to pull myself together. I didn't. Where is she now? Coming here. Puscia Cucco. How do you know this? Randy, I'm the table there, a copy of the Billboard. Get it turned to the personal soul. I get it every week. No matter where we were, we'd keep in touch that way. I pretended to keep moving around. I mailed in fake addresses so she wouldn't know. What's in this one, Tom? I always had somebody read the column to me. And this morning, you'll see it, Randy. Dad from Vicki, that it, Tom? Yes. Dad from Vicki. Obey in Chicago, the eighth. Please meet me Washington Boulevard in state under the clock at 10 in the morning. Please, please be there. But I can't. How did you know you were here? It was my last address. She just put it in, hoping. Well, look what's so tough, just meters. Like I said, if she's any good at all, she won't care what you-- No, I won't. Pop, you've been running away for nine years. You can't keep on doing it. That her, see me? No, don't you see, Randy? She's famous. She's Mavania. Wow, she is famous. And it's still 10 to 1. She's got legs like a piano. Oh, come on, hold it. The ballet's here in Chicago, huh? Yes, I heard their first American tour in 10 years. Randy, I want to meet. Talk with it. Touch your face again, but I-- I can not-- not now. Pop, you're going to meet her tomorrow. No. She'll be here for only three days. During that time, you'll be what she thinks she was. She doesn't have to find out anything else. I never told her I was blind. What was that, a crime? Oh, Randy. Pop, you're going to be under the clock tomorrow morning at 10. It was easy to say, just like that. But I wondered what would happen. Playing with other people's lives is like splitting an atom and encoding yourself in the chain reaction. But I wanted to pop to meet Vicki. I stayed with him that night, got him into a clean press suit, made him shave and stay out of striking distance of anything that looked like a bottle. And then it was 10 and the more. That's 10, Randy. That's 10 o'clock. Yeah, yeah. Give her time. Let's go, Randy, before it's too late, let's go. Take me away from here. Are you look alright? There's nothing to be ashamed of. She's bound to find out, not from me or you. She'll want to know what I've been doing, where I've been. Randy, I've told so many lies. I'll have a few more on me. Do you see her? Not yet. I hope she doesn't come. I hope. I hope she does. She will. What do I say? Randy, tell me what to say. You'll know, Pop, nobody will have to tell you. Now, stand still, take it easy. Help me. Help me tell one more lie. It didn't have to tell one more. Dickie didn't show up. Not a 10, not a 10, 30, or not a 12, when we finally left the corner. I didn't want to leave Pop alone, so I took him to my apartment. I left him there in the lobby with a clerk keeping an eye on him while I went calling. Calling on a lady name of Vanya. My press card works magic, especially backstage. I get in the same of Vanya, all right? It is so charming, but she has told me. Yes, yes, of course, charming. I expected to meet you earlier. Oh, so? I'm glad you did not. I'm afraid I do not look my best before noon or later. Maybe that's why you didn't show up. But don't, I show up. Hello, Dickie. You called me what? Just Vicky for the present. I may think of something else later. I do not understand. Look, baby, I got to hunt you there this morning. You saw him and decided not to stop. Is that it? Well, if this is the joke, must you? Is your stone? I do not appreciate it. Oh, please. Let's stop the polite tennis. But you're insane, how it is, tennis? He was blind. You saw that. He wasn't what you expected after all these years, or maybe, and I'm giving you the benefit of the doubt. Maybe you didn't recognize him. You will, please, to excuse me one moment. Igor? Igor, please, come here. You would like maybe a drink? No, no, thank you. Look, Vicky, you can drop the iron curtain to the skies. You see, I know. Oh, Igor, please, come in. That's why you show up. Igor, this man is crazy. Is this his film, A Muse Pepper? Oh, that is very nice. Who are you? I am the balladmaster, what else? We'll leave that on-answered for the time. To get back to you, Vicky. He calls me Vicky. Right. Well, that's her name. Now, look, don't give me any more of this now. Yes. But. You're a. You're a brunette. A little grave, perhaps, but I'm displeased. Wait a minute. I'm going to get a closer look. Igor, keep him away. I will go for help. No, no, never mind. You're not Vicky, aren't you? Please, Monsieur, I am Mivania. Lutmilia Mivania Crachen. One of those is enough. I. Okay, I'm sorry, it's all a mistake. I thought you were someone else. But that is impossible. She. I know, I know, I apologize again. I made a very bad mistake, please forgive me. It is nothing. Please, to come again. Sure, sure. Invite some horns over. We'll spend another afternoon. She wasn't Vicky, but she was Mivania. I felt a little like the guy who opened the wrong door in a Turkish bath. I hurried back to Pop, took him up to my apartment, sat him down and told him what had happened. I'm not lying, Randy. I'm not. I saw Vicky's picture. I saw him of Vanyat. First, the guy could make a mistake, but not with a good second look. Randy, I swear to God. Oh, come on, Pop, give it to me straight. What's the deal? Why should I make up such a story? That's what I'd like to know. Brother, I bid, hook, line, and sink, or I took the bait. Why'd you throw it? For the last time, Randy, I didn't lie to you. I've gone with no firing pin to find long story about a daughter. Great build. I'm going, Randy. Okay, Pop, go ahead. You still think I excuse me, won't you? Yeah. Oh, Pearl. Oh, sure. We were there. We had it. What's that? Oh, no, look, honey, if you. Give me that again. Now, hold on a minute. Pop, Pop. Sit down, wait a minute. I'm going. You're going to sit down and you're going to wait. Now, come on. What's the matter, Randy? Is that. No, no, no. Okay, Pearl, give me the rest. Yeah. What's the address? I got it. And now, look. I'm going to bring Pop to you. Hold on to him like a mint coat. Don't let him out of your sight. And then I'm going to go to that address. Yes? How do you do? My name is Stone, Randy Stone. Chicago Star is my press card, social security card. What do you want? May I come in? Thank you. Hey, you've got a nerve. Yeah, today I've got to have. May I sit down? And if I say no? Well, I'll have to stand. I can say what I want standing up. All right. All right. What do you want? I want to know why you weren't under the clock at 10 this morning. Dad from Vicki and Chicago the eighth, please meet me. Where? Where'd you find that out? No board magazine, personal column. I don't want to talk about it. Well, I do. And so does your dad. I. Where is he? How is he? Well, first tell me why you didn't show up this morning. Is he all right? I guess so. You guess? Don't you know? Answer me. Vicki, you are Vicki, aren't you? Yes, what about that? You want to see him, don't you? I. More than anything else in the world. I thought so. Now, how about tonight? Tonight? But. I'll fix it. You know who I am? As far as I'm concerned, you're Vicki. That's all I care about. That's all he cares about. I want to believe that. Well, you can. What do I say? Vicki, you'll know what to say when you see him. I want it to be there this morning. Look, don't give me the excuses or reasons. Just meet me tonight. Where? I'll pick you up. But date? Why are you doing this? Human interest, off, let it go with that, huh? But tonight. And Vicki. What? Maybe you'll be a little shocked. I will? Yes, maybe you will. Well, I'll see you tonight. And this time, show up. I stayed with Papa all the rest of the day. I had a story now right up to the final paragraph. What the tag would be, I didn't know. I wouldn't know until that night. All dependent on how things turned out. And I wasn't at all sure. When you play me to fix it with people's lives and emotions, you're cooking up a surprise party. Anyway, I had to try it. And so that night. Randy, what are you doing? I take it easy. Pop everything you'll be all right. I hope. Why did you bring me back here? Well, this is where you always stand, isn't it? Right in front of the burlust there? Yes, but I can't. Papa, you've got it, trust me. Do you? I guess I have to, Randy. Okay. Here, take this. What is it? You'll know what it is. But my violin? Yeah, it was lonesome in that hawk shop. It needs a chin to cuddle up to. Try yours on the size. No, I don't want it. Randy, take me away from here. Now look, Papa. Today I stood under a clock for two hours. I mean, a nitty-ditty myself in front of two people I never saw before in my life and all for you. Now you're going to do something for me. Are you getting ready to play that? Violent. Yeah, I have come here. Excuse us, pop. Randy. I will be a second. Well, yeah, it's all said good. How long? That's a few seconds. Randy, what you got your fingers crossed all 12 of them Run feel lives boys the damage bird. See they come the gals of the forest eight luscious beauties kind of boys eight I stand over there. Randy Randy. Yeah, I bright here pop. I'm right next to you now listen Remember that piece. She used to play for Vicki when she was a kid learning the dance. So this one had said play it pop Huh now? Why pop play up now go on but play it play it for me. Up pop Hello there Recognize it to Yeah, yeah Randy who who's that ask her know it Vicki Yes, pop Vicki here No, yeah here pop. She's a big star. All right, but not quite in the same line you figured, but it's still dancing Dead, forgive me. I've been wanting to write to tell you, but I've been lying all these years. I pretend You might you pretend I was tired of lying running away. I knew you'd find out I wasn't with the ballet when it came over here But I'm not ashamed. I'm not dead You're not why should she be pop? How about you? I Vicki Vicki Pearl, hmm come on. But we waited for this. We didn't wait nine years, bro. Come on. Yeah, okay See you later pop He didn't hear you Come on Work didn't it could have gone haywire. Oh, I don't know the odds were with us. Yeah, I Got apologize to her. Hmm what for no muscles and nose legs Oh So there's the finish it's funny two people lying to each other dodging pretending when all it took was a couple of words to end here is a Fear him doubt. Well, just goes to show him blood thicker than water and pride is a lot thinner than love Coffee boy Nightbeat starring Frank Lovejoy is produced and directed by Warren Lewis and edited by Larry Marcus Tonight's story was written by Russell Hughes with music by Frank word The part of pop was played by Charles seal others in tonight's cast were Lou Krugman Charlotte Lawrence Betty Moran Veronica Pataki and Ann Whitfield Frank Lovejoy will next be seen in Milton's furlings production three secrets released by Warner Brothers Listen next week at this time and every week as Randy Stone searches through the city for the strange story Is waiting for him in the darkness Nightbeat came to you from Hollywood Thanks for listening if you like what you heard be sure to subscribe so you don't miss future episodes If you like the show please share it with someone you know who loves old-time radio or the paranormal or strange stories True crime monsters are unsolved mysteries like you do you can email me and follow me on social media through the Weird Darkness website Weird Darkness dot com is also where you can listen to free audio books I've narrated get the email newsletter visit the store for creepy and cool Weird Darkness merchandise Plus it's where you can find the hope in the darkness page if you or someone you know is struggling with depression Addiction or thoughts of harming yourself or others you can find all of that and more at Weird Darkness dot com I'm Darren Marlar. Thanks for joining me for tonight's retro radio old-time radio in the dark