August 22, 2025 • 44 mins
CBS Radio Mystery Theater was a noteworthy attempt to revive in American radio dramas like Inner Sanctum (1941-1952) and Suspense (1942-1962). Radio dramas were widely considered "dead" 12 years prior to this series. CBS Radio Mystery Theater, or simply Mystery Theater, was created by Inner Sanctum creator Himan Brown and ran on CBS from 1974-1982. The show, much like older radio dramas, was introduced by a host (E.G. Marshall in this program), who steers us through the creaking door to start the episode. Many voices from the golden age of radio were featured, including Richard Widmark, Bret Morrison, Agnes Moorehead and many more.
Hope you enjoy this episode of Mystery Theater! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
Hope you enjoy this episode of Mystery Theater! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
The CBS Radio Mystery Theater presents.
Speaker 2 (00:21):
Come in Welcome. I'm e. G. Marshall.
Speaker 1 (00:28):
Anger is a branch, and hate is a tree, and
prejudice and bigotry are the undergrowth and the brambles, and
they all form the forest, the unwholesome forest of intolerance.
Speaker 3 (00:43):
And so far this is a forest that has always flourished.
Speaker 1 (00:48):
How well has it been protected and preserved over the centuries?
Speaker 2 (00:54):
Yes? And for how much longer?
Speaker 4 (00:58):
Hello, darling, Penelope, it's Penelope.
Speaker 5 (01:03):
Of course it's Penelope.
Speaker 2 (01:06):
But but you're dead?
Speaker 5 (01:09):
Who says, so?
Speaker 2 (01:11):
It's it's been in all the papers.
Speaker 5 (01:14):
Really, aren't you.
Speaker 4 (01:16):
The one who says, believe half of what you see,
a quarter of what.
Speaker 5 (01:21):
You read, and nothing of what you hear.
Speaker 2 (01:24):
But I went to your funeral.
Speaker 4 (01:27):
Well, if it really was my funeral, then obviously I
didn't stay put.
Speaker 1 (01:44):
Our mystery drama The Man who Couldn't Get Arrested was
written especially for the Mystery Theater by Sam.
Speaker 2 (01:50):
Dan and stars Fred Gwynn.
Speaker 1 (01:54):
It is sponsored in part by Buick Motor Division and.
Speaker 2 (01:57):
True Value Hardware Stories.
Speaker 6 (01:59):
I'll be back short with that one.
Speaker 1 (02:11):
Society endures, which is not to say it always will,
but as of Now, the work of the world goes on.
Most people can be depended on to do their jobs.
Most people accept their responsibilities. Most people obey the law.
And why is it morality? Is it citizenship? What keeps
(02:34):
most people on the straight and marrow? Our little drama
may cast.
Speaker 2 (02:40):
A ray of light on the subject.
Speaker 1 (02:42):
On the other hand, you may find yourself deeper in
the dark than ever.
Speaker 2 (02:47):
It is night, late at night.
Speaker 5 (02:57):
Yeah, why you.
Speaker 2 (02:58):
Are, madam? Your sign says ringing the bell at this hour.
Your sign says rooms for ram tonight.
Speaker 4 (03:04):
Thought you know what time it is.
Speaker 2 (03:06):
Oh, I apologize for lateness of the hour.
Speaker 4 (03:09):
I run a respectable place.
Speaker 2 (03:10):
I'm connisctive it, ma'am. I wouldn't have rung your bell,
but I saw the light on.
Speaker 4 (03:14):
And you will come on in, Come on in.
Speaker 5 (03:16):
I have to catch my debt.
Speaker 7 (03:17):
Panning out here, jabbering.
Speaker 2 (03:20):
Thank you?
Speaker 7 (03:21):
Well you want a room?
Speaker 4 (03:24):
This one at the foot of the stairs, bathrooms at
the end of the hall.
Speaker 2 (03:29):
It's it's very nice. Yeah, well, so what do you want?
A palace?
Speaker 4 (03:34):
It ain't about twenty five a week. Take it or
leave it.
Speaker 2 (03:38):
I'll take it in advance. Oh, yes, of course, I'll
write your check.
Speaker 5 (03:43):
A check.
Speaker 2 (03:43):
Huh, I'm accustomed to paying all my bills by check.
I'll bet you are. Listen buster, first thing in the morning,
I'm at the bank.
Speaker 4 (03:52):
This thing bounces, you bounce right out after it.
Speaker 2 (03:55):
And one thing I.
Speaker 4 (03:56):
Don't put up with here women in the room.
Speaker 7 (03:58):
I run a quiet, respectable house.
Speaker 2 (04:01):
Oh yes, I approve. I'm actually a rather quiet person myself.
Missus uh mum, missus Mumford, and my name is Conahan,
Hector Fremont Conahan. Well but it is.
Speaker 4 (04:14):
Where's your bags, bags, luggage, your belonging, your your stuff?
Speaker 2 (04:18):
Oh? Are you on the lamb? I beg your pardon.
Speaker 4 (04:22):
Ain't running a hideout? So if you're wrong with the
law you Oh.
Speaker 2 (04:26):
I see what you mean. Oh, I assure you it
was nothing like that.
Speaker 5 (04:29):
Yeah.
Speaker 1 (04:29):
Well what is it like?
Speaker 2 (04:33):
Well, I'm in Wall Street. Yeah, I'm miss America. No, no, no,
it's true. I'm a stockbroker. Is sure? Sure? You're also millionaire? Yes,
even with the depressed state of some of my holdings,
my net worth is in the Yeah.
Speaker 7 (04:48):
Well sotel Neybuster.
Speaker 2 (04:50):
My name is Hector.
Speaker 4 (04:51):
Yeah, so what are you doing in a flea bag
like this?
Speaker 2 (04:56):
Why? Now, missus Mumford, you underestimate the share of this building.
Oh yeah, this is what's known as a Madison Brownstone.
So what which means it's over one hundred years old?
You're telling me the last of them were built in
the eighteen seventies. No, no, which answers my first question question.
Speaker 5 (05:14):
Where's your belongings?
Speaker 2 (05:16):
Oh? Oh, well, you see, I don't intend to live
here on a permanent basis. Here you go. You see,
there are times when I need solitude, intervals for meditation, contemplation,
self communion, as it were. Yeah, and I do not
wish to be disturbed by my associates.
Speaker 4 (05:33):
Well, then why don't you go on up to the woods,
millionaire like you, You're gonna have one of them hunt lodgers.
Speaker 2 (05:39):
That would not answer the purpose. You see, I must
be available for various business decisions at a moment's notice
at this address. I am not more than five minutes
from my office by taxicab. And who would think to
look for me here?
Speaker 7 (05:51):
Well?
Speaker 5 (05:52):
Age is old, as they say.
Speaker 2 (05:54):
Good night, yes, good night, yes, good night. Missus not
a perfectly horrid woman. But that doesn't matter. I must think,
I must think clearly, clearly, I must try to remember it.
(06:15):
Geez what's please? What's that?
Speaker 4 (06:21):
Hell?
Speaker 2 (06:22):
Who's that? I'm going to be killed? Who are you?
I don't want to be killed? Who is speaking? Don't
let me be cute? Who are you? Where are you?
Speaker 5 (06:37):
I don't want to die?
Speaker 2 (06:40):
Who is that talking? I never did anything from home.
You're in this room.
Speaker 5 (06:46):
He's going to kill me.
Speaker 2 (06:51):
Why can't I see you? Please stop him?
Speaker 5 (06:56):
He's going to kill me.
Speaker 2 (06:59):
Who are you? Where are you?
Speaker 7 (07:03):
What's going on there?
Speaker 2 (07:05):
Tell them up? Who are you? Yes? Yes, yes, yes,
just a minute.
Speaker 4 (07:14):
Okay, Hey, now what's happening?
Speaker 2 (07:17):
I don't know who's in this room with you. I
guess nobody.
Speaker 5 (07:23):
What do you mean you guess nobody?
Speaker 2 (07:24):
Well, well, I don't see anybody.
Speaker 4 (07:26):
Do well if there ain't nobody in the room, who
you're yelling at?
Speaker 2 (07:30):
I heard somebody? Who It was a woman.
Speaker 4 (07:35):
I thought we'd laid down the ground rules here, no.
Speaker 2 (07:37):
Women in the room. She was in the room before
I got here.
Speaker 5 (07:41):
Oh, you're crazy.
Speaker 2 (07:42):
I heard her voice, Are you not or something? We'd
better call the police before she was calling for help?
Speaker 5 (07:49):
Who what's calling for help?
Speaker 2 (07:50):
The woman in the room?
Speaker 5 (07:51):
Well, you said there was no woman.
Speaker 2 (07:53):
I said, I didn't see her, but I heard her.
Heard her distinctly, she's begging for help. Somebody's a murderer.
Speaker 7 (08:01):
When was this?
Speaker 2 (08:03):
It was just now?
Speaker 4 (08:03):
Yeah, So why don't I hear her?
Speaker 2 (08:06):
Well, let's just be quiet and listen. I still don't
hear her, but it was just as plain.
Speaker 1 (08:13):
You sure you haven't been taking too much sauce.
Speaker 2 (08:16):
I tell you I heard her her voice. She's pleading.
She she doesn't want to be killed. She's she's begging
for her.
Speaker 7 (08:23):
All right, let's put a stop for this.
Speaker 4 (08:26):
Now. Is there anybody in this.
Speaker 5 (08:29):
Room anyway a need help?
Speaker 4 (08:33):
Now he's there.
Speaker 5 (08:34):
Speak up, we'll go ahead.
Speaker 2 (08:37):
Speak up.
Speaker 4 (08:37):
Let's hear from you. Well you hear something, mister hectr canahan,
Yes or no?
Speaker 2 (08:48):
Well I did just before, I mean, right now, But
missus mumfort, I distinctly.
Speaker 4 (08:54):
Heard the carnahan.
Speaker 5 (08:55):
I don't rent a drunks.
Speaker 2 (08:56):
Missus Mumfort, I swear to you, I'm absolutely sober.
Speaker 4 (08:59):
Well, then it's worked, and I thought you might bear
in mind. I don't write to not here good night.
Speaker 2 (09:07):
But I heard it. I heard it. I heard a voice,
a woman's voice. Oh, I must think clearly clearly, pleeez,
somebody have me. I don't want to die. No, it
isn't true. It's my imagination. It isn't true. I never
(09:29):
heard of anyone.
Speaker 4 (09:32):
I don't want to die.
Speaker 2 (09:36):
I have to think think, how who are you me?
I'm getting out of here? What do you have? What? Oh?
H where am I? Where are you? Well? Again? I
(10:00):
have to ask you don't have any business being in here.
This is Harry's bob. Hell, I'll have a drink anything.
You're sure you can handle it. I'm fine, just fine.
You're an adopted bartender. Yeah, listen, what don't let him
(10:21):
kill me? Who wish? Who's who? That woman? Hot woman?
Speaker 5 (10:27):
I don't want to die.
Speaker 2 (10:30):
Don't you hear that woman? What are you talking about? Buddy?
I'm going to be chilled. That's what I'm talking about.
Don't you hear it? Listen, friend, answer me. Don't you
hear her? Friend? You better not have one? You don't
hear a woman? Why don't you just go home?
Speaker 5 (10:46):
I don't want to die?
Speaker 2 (10:48):
Sleep it off? Don't you understand we have to help her? Yeah? Sure?
Can we let a woman die? Why did you go home? Man?
You don't believe me. You're trying to shoot man? Now, look, mister,
you think I'm a nut well, okay, read this my card. Look,
why don't you just just read my card? Hector, Freemont Canahan. Okay,
(11:14):
read the rest of it. Go ahead, Carnahan, Dale and Wollstein.
You see DNW one of the largest broker's firms on
the street. Yeah, sure, sure, you don't believe me. I
believe you. I believe you. You can't treat Hector Fremont
Conahan as if you were some kind of nut who
wanted in here. Look all I'm saying, parent is you
better not have a drink? What are we going to
(11:35):
do about her? Her? The lady who who is going
to die if we don't help her? Friend? Just take
a walk? Eh, you're gonna let that woman die? Well,
there's a lot of women in the world, one less.
Is it really going? No matter? All right, I'll go,
but I hope you can live with yourself. The recent
(12:01):
fall in the prices precious metals should not tempt the
prudent investor in there thinking he can get in on
the ground floor. Hector, Am I interrupting anything? Oh? Certainly
not there unders doing my market better? Oh where were
you last night last night? Yes, you and Penelope were
supposed to have dinner with us, were we Well, of course,
(12:24):
don't you remember? How would I know Penelope? And was
all the social engagements check with her? Well, eleanor did yes?
And what did Penelope say? I don't know if she
couldn't reach her. She'd been trying to phone Penelope all day.
Do you know where she is? Probably at the garden
club or the woman's club. It's strange. Where were you
(12:44):
last night? Last night? Yes, you were supposed to be
at our house and when you didn't show up, we
kept calling and calling. Well, as far as I can tell,
we went out to dinner. If it was supposed to
be at your house, then signals across. Let's see. Afterwards
we went home. Why what's the matter? The matter? Well,
you have a rather strange look in your face, tow well,
(13:06):
tell you the truth. I uh, hector, there there's a yeah,
what is it? There's a woman in my office. Yeah,
and she told me a rather unbelievable story. Yes about what?
Well you not me? Yes, her name is Mumpert, missus,
(13:32):
Marguerite Mumpert. You know her, Marguerite Mumpfort. Uh. Never heard
a woman in my life.
Speaker 3 (13:40):
Well, let me tell you what she said. Well, we
know what she said.
Speaker 1 (13:51):
So this is as good a time as any to
take our usual intermission. At any rate, we have presented
you with two Hector Fremont Carnahan's one, the impressionable and
frightened man who hears voices, the other, the hard headed,
no nonsense man of business.
Speaker 2 (14:09):
Which one is he? Really? He could be either neither
or both. Act to very shortly.
Speaker 1 (14:27):
There are voices in the night, voices in the starry stillness,
Voices that whisper secrets, voices that cannot be still, voices
that laugh, sing, cry, voices that tell of love and joy,
voices that speak of death. And Hector Fremont Carnahan is
(14:51):
hearing voices?
Speaker 2 (14:53):
Or is he? Then I'll send her on away just
a minute. What's this all about? I don't know. It's
probably a confidence racket of some kind. Now I insist
they'll explain it, but it beats me. Come into my office,
missus Mumpley.
Speaker 4 (15:12):
Oh, well, good morning, mister Cahan.
Speaker 2 (15:16):
Do you know me? Madam?
Speaker 1 (15:17):
Well?
Speaker 2 (15:18):
Well sure from where mister Cahany.
Speaker 4 (15:22):
You don't remember me?
Speaker 2 (15:25):
How would I remember you if we never met? Oh
it's worse than I thought, madam. State your business?
Speaker 5 (15:32):
Well, no, I don't worry to begin you.
Speaker 4 (15:35):
You came around in m rooming house on Hudson Street
late last night.
Speaker 2 (15:39):
Whatever would I be doing on Hudson Street near the waterfront,
especially late at night.
Speaker 4 (15:43):
Well, sir, that'll be your fair. You rented a room,
room whatever for Well, I can only tell you what
you said you you said you needed it for uh
uh I intervals of uh uh meditation?
Speaker 5 (15:59):
Was it contemplation? And I I.
Speaker 2 (16:02):
Guess it was communion?
Speaker 4 (16:03):
I said that, yes, sir, And you paid me one
week's rent in advanced twenty five dollars. You wrote me
a check and I took it to the bank this morning,
and I asked, he said good, and they said, well,
as good as gold.
Speaker 2 (16:16):
Let me see that. Look at this, there is it.
It appears to be our signature. Exactly. It's a very
clever forgery. I better destroy this at once. Well, you
it was not me.
Speaker 4 (16:31):
Uh yes, sir, but I had to go along with
the idea.
Speaker 7 (16:35):
It was you.
Speaker 4 (16:36):
You see you, you you was acting very well, very STRAININGE.
Speaker 2 (16:42):
In what way?
Speaker 5 (16:43):
You were hearing voices?
Speaker 2 (16:45):
Voices?
Speaker 5 (16:46):
Yeah?
Speaker 2 (16:47):
A name woman? Oh what sort of one?
Speaker 5 (16:50):
A woman who was calling for help?
Speaker 2 (16:53):
Why?
Speaker 5 (16:53):
Well, because someone was fixing the killer who well, I
don't know.
Speaker 4 (16:58):
I didn't hear her.
Speaker 2 (16:59):
You you're the one who claimed you hurt, but it
wasn't me.
Speaker 5 (17:02):
Well, what do you want from me? Oh ten o'clock.
Not a guy, he's the image of you.
Speaker 4 (17:08):
He rings my bell, he rents a room, It gives
me a check for a week in advance, and then
he starts screaming, here's some dame who's in trouble. Well,
I figure this guy has gotta be sick. Well I
find out.
Speaker 2 (17:20):
He's a big Wall Street businessman.
Speaker 4 (17:23):
I say, well, why don't I go to this guy's office.
Oh look, I ain't no angel of mercy. I had
an angle, a figure, maybe the guy's partners or somebody
who had slipped me a couple of bills from my trouble.
Speaker 5 (17:36):
Well, well, well it's worth.
Speaker 4 (17:37):
It, ain't.
Speaker 2 (17:37):
Yeah, you did the right thing, missus Mumma, Yes, thank you.
So there's an impostor.
Speaker 4 (17:42):
Oh I tell you that guy who's the spitting image
of you.
Speaker 2 (17:46):
It's like you had a twin brother. Thank you for
your trouble, missus Mumfott and his twenty five dollars that
the man was supposed to have paid you and something
for yourself. Oh well, thank you.
Speaker 4 (17:58):
Oh good bye, sir, goodbye.
Speaker 2 (18:04):
So someone's going around claiming to be you, Hector, what's
the fellow after? Do you suppose I could see where
someone might use my name to steal service at the
luxury hotel, but for a dive on the waterfront? Oh
excuse me, Hector, Yes, I'll put her on. Is that
my wife? No, no, it's mine eleanor uh huh No.
(18:29):
I just spoke to Hector. He doesn't know about the
dinner date last night. He doesn't know what Penelope is either.
But here, I'm sure there's an explanation, all right, all right, goodbye.
She's been trying to reach Penelope. Oh, I'm sure there's
(18:51):
summer explanation. We'll get it all sorted out when I
see Penelope tonight.
Speaker 5 (18:55):
Mm.
Speaker 2 (19:00):
The recent fall in the prices of precious metals should
not no no, no, no, no strike that I've already said,
been saying it all day. I have to think. I
have to think clearly, clearly. It's six thirty. What's happened
(19:21):
at the time everyone's gone. I have to think I'm
slipping slipping.
Speaker 5 (19:27):
Again, Hector.
Speaker 2 (19:28):
Dear Penelope, Wow, what is it.
Speaker 5 (19:34):
Well, you look as if you've seen a ghost.
Speaker 2 (19:36):
Is it you?
Speaker 5 (19:37):
I'd like to know who else it would be.
Speaker 2 (19:39):
Oh, Penelope, I had a dream, Yes, a terrible dream.
Speaker 5 (19:44):
Oh well, if it was a terrible dream, you'd better
forget it.
Speaker 2 (19:47):
No, no, no, no no, I have to tell it to you.
Speaker 4 (19:49):
Whatever for I don't tell you my bad dreams.
Speaker 2 (19:52):
Well, that's because you never have any, Penelope. I look
at you now. I see how beautiful you are.
Speaker 5 (19:58):
Oh, flattery, flattery, I.
Speaker 2 (20:00):
I love it, And how good you are?
Speaker 5 (20:02):
Well about that?
Speaker 2 (20:04):
Listen, listen and forgive me.
Speaker 5 (20:07):
Did you do something wrong?
Speaker 2 (20:08):
I dreamed I did something wrong.
Speaker 4 (20:11):
Well, darling, you can't be held accountable for that.
Speaker 2 (20:14):
Well, I was jealous, jealous of what? Of whom? Of
Ben Wolston, Ben Wolston.
Speaker 5 (20:22):
Whatever for?
Speaker 2 (20:24):
Well I thought I I thought you had fallen in
love with him, with Ben Wolston, and that you were
having an affair with Ben Wilson.
Speaker 4 (20:32):
With Ben Wolston, that's impossible.
Speaker 2 (20:35):
Well, when you're jealous, anything's possible.
Speaker 5 (20:38):
Ben Wolston, I was.
Speaker 2 (20:41):
So angry I decided to kill both of you.
Speaker 4 (20:43):
Oh you're kidding.
Speaker 2 (20:44):
I'm telling it the way it happened.
Speaker 4 (20:46):
But Hector dear, I've only known you to become passionate
over stocks and bonds.
Speaker 2 (20:50):
I don't show it, Penelope, but I love you very deeply.
I know that, Darling, and the fact that you and
Ben were having.
Speaker 5 (20:57):
An affair only in your dreams, it.
Speaker 2 (20:59):
Became too much for me. I you had made an
excuse that you had to visit a friend somewhere out
of town. But I knew that you and Ben were
going up to the lake house together. And did we yes?
Speaker 5 (21:12):
And did you surprise us?
Speaker 4 (21:14):
In flag Grantee delicto ad they say in the tabloid.
Speaker 2 (21:17):
No, not exactly. But you were both up at the house,
and so I sneaked into the study where Ben was reading.
Either he didn't see me or hear me. I got
very close to him and I shot him. You heard
the gun, and as you came into the room, I
shot you.
Speaker 5 (21:34):
Hector, How could you?
Speaker 2 (21:36):
I told you I was insane and I was crazy
with jealous Oh.
Speaker 5 (21:39):
Right, Darling, I forgive you.
Speaker 2 (21:41):
Well. Before I went up to the country, I was
able to get into Ben's apartment. I wrote a note
on his typewriter.
Speaker 5 (21:47):
Oh I'd love to read it.
Speaker 2 (21:48):
And as near as I can remember it, it was
a suicide packed note. He was supposed to have written
that I wouldn't give you a divorce, and so the
two of you preferred death to being a part.
Speaker 5 (21:58):
Oh you are a room, darling.
Speaker 2 (22:01):
Yes, better to be together in death than separated.
Speaker 5 (22:04):
In life, Darling.
Speaker 4 (22:06):
Word of this must not get around Wall Street.
Speaker 2 (22:09):
I left you and Ben in the note in the
summer house, and I came back to the city. Uh. Incidentally,
did you know we had a dinner day with the Dales. Oh?
Speaker 5 (22:17):
I knew I had forgotten something.
Speaker 2 (22:19):
I was in a daze. I went back to the apartment,
but I couldn't stay.
Speaker 5 (22:22):
We had too many memories of me. I suppose it
was dreadful.
Speaker 2 (22:26):
It was a voice sounded like yours, but I I
refused to recognize it, and the voice kept begging for help,
imploring someone the SA save her from death.
Speaker 5 (22:35):
Oh, how dramatic.
Speaker 2 (22:37):
I ran out of the house. I ran and ran
down the deserted streets. The voice kept following me. I
I suddenly found myself in a neighborhood near the docks.
I was frightened. I was exhausted.
Speaker 5 (22:48):
This would have been a good time to wake up.
Speaker 2 (22:51):
I saw a sign on the tunnel down building. It
said rooms for rent, well an import in the storm.
I went in there and some slat of the landlady
runsed me a dreadful little cubicle. But your voice followed
me there too, so I ran out.
Speaker 5 (23:06):
Oh you poor darling, into a bar.
Speaker 2 (23:09):
But your voice wouldn't let me be. Finally I woke up.
I was home in bed, and I remembered you were
spending the night at your mother's. How is she?
Speaker 4 (23:19):
Oh?
Speaker 5 (23:19):
She sends you her love.
Speaker 2 (23:21):
The Dales A will to know why we didn't have
dinner there last night.
Speaker 5 (23:24):
I wish I could come out with it and say.
Speaker 2 (23:25):
They bore me, Please don't.
Speaker 4 (23:28):
Well, I shall make up a most delicious excuse.
Speaker 2 (23:31):
Well, shall we go home to dinner?
Speaker 5 (23:33):
Oh you go, darling.
Speaker 4 (23:34):
I I have something committee meeting tonight and we're having
dinner set in.
Speaker 2 (23:40):
Oh will you be home early?
Speaker 4 (23:41):
Oh?
Speaker 5 (23:41):
Very early?
Speaker 2 (23:42):
Okay, Then I'll stay here while i'll.
Speaker 4 (23:44):
Finish this good and then we'll both get home about
the same time and you won't have a chance to
miss me.
Speaker 2 (24:04):
Hector Dale, come in, Hector. I don't know if you're
going to appreciate what Eleanor and I are doing, but
friendship imposes certain obligations. Well, said Greg, No, I think
all this is better clear, cold, sober. It sounds grim.
(24:27):
Well last night you didn't show up, Yes, Penelope didn't.
What didn't remember? It's possible you you know about Penelope
and Ben Wilston. Now look there. If not, you're the
only one who doesn't. And that's what friends are for.
(24:47):
I'm telling you why, because a man who pretends not
to see what's crystal cleared everyone else has laughed out
as a fool. She went away with him last night,
and if she did, you found out about it. It
almost drove you mad. Is that woman in your office today?
(25:07):
She wasn't lying. There's no impostor. You roam the streets
like a lost soul. I went into all the neighborhood bars,
and most of them remember her. Nut, Yes, that's what
you were to them. Nut who tried to convince everyone
and he heard a woman's voice. Hector, it's my affair. No,
(25:30):
it's Penelope and Ben's affair. Hector, would you take her back? Dale?
There's something you should know. Eleanor is going up there now,
going where to the lake house. She's going to try
to convince Penelope to come back. She's driving up the
country to ask Penelope to come back to me. Well,
it's it's what you want, isn't it. She's going to
(25:53):
have that long drive for nothing. You mean you know
she won't come back. She's here here where I spoke
to her at the office around six thirty. Oh well,
then everything's all right. She's at the committee meeting. She's
due home any minute. Oh well, Eleanor and I have
(26:16):
the egg on her face. There was never anything between
Penelope and Ben. Well, it sure look that way. Oh
you know, Ben, he's just like a stray cat. Penelope
has a heart that's big enough for all the world. Yeah, well, Hector,
we we meant. Well you must believe that. Yes, well,
will you have dinner with us tomorrow night? I have
(26:37):
I want to check with Penelope in the morning. Yes,
of course. Well good night, Hector. Good night there, darling boy.
Oh no, I must deformed asleep.
Speaker 4 (26:58):
I'm sorry the meeting a little later than we expected.
Speaker 2 (27:01):
Oh that's okay. I just want to get into my
night gown.
Speaker 5 (27:05):
And I'm sleepy too.
Speaker 2 (27:08):
Oh I'm glad you woke me. Oh my glad. I
had this dream, another one. It was about Ben.
Speaker 5 (27:17):
I'll come back to sleep.
Speaker 2 (27:18):
Dear, it was so terrible. I have to tell him
about it.
Speaker 5 (27:21):
Well, I'm sure he doesn't care.
Speaker 2 (27:23):
I must, I must. I must not call him now, Darling.
Speaker 5 (27:26):
I'm sure he's asleep.
Speaker 2 (27:27):
All right, Then you call him, say, I have to
tell him his dream. Tell him he must come over
right away to hear a dream. Yes, to hear a dream, please, Vanelope.
Speaker 1 (27:43):
Well it's midnight and we're dealing here with a dynamite dreamer. Now,
before you put any of this down, remember nobody really.
Speaker 2 (27:54):
Knows what a dream is. For all we know the
dream life maybe the real one.
Speaker 1 (28:01):
And vice versa, especially to those people who have learned
how to develop the capacity to dream. What's this about
a capacity to dream?
Speaker 2 (28:13):
Is there proof such a thing exists? Well?
Speaker 1 (28:17):
Is there proof it doesn't. In just a few moments,
I'll prove to you that we have a third act.
Mister Hector Fremont. Carnahan keeps weaving in and out of
(28:40):
a dream world, and in and out of the world
that we hold to be reality, And so far no
one can.
Speaker 2 (28:47):
Really tell which is which.
Speaker 1 (28:50):
That's powerful, the course, because who really knows what's what
about anything these days?
Speaker 2 (28:56):
Now what's this all about?
Speaker 7 (28:58):
Actor?
Speaker 2 (28:58):
Then mus make peace? Why are we at war? Yes,
you and I are at war.
Speaker 7 (29:04):
Oh, it's the craziest thing I ever heard of.
Speaker 5 (29:06):
Please then just listen to Hector.
Speaker 2 (29:10):
I felt so strongly. I was sure some of my
emotions had to be communicated to you. Perhaps it was
I would dream violent dreams about it. Oh, just this evening,
I dreamed I was at your house and I was
waiting there to kill you. What for jealousy?
Speaker 5 (29:27):
Then he had the same dream about me.
Speaker 2 (29:29):
I just want you to know how I felt. Then,
will you have nothing to be jealous about? Hector? I
think hatred cannot be concealed, especially when it's so all consuming.
The one who is hated must be able to sense it.
Did you well, will you forgive me? Well? Certainly, that
is if you think I have anything to forgive. Then
(29:51):
I killed you in my dream. I killed you. But
I want us to be friends, the three of us,
the way we always work. Can we go back to
the hecked her right? I'm not aware that we ever
left it? Oh, Ben Ben, that's a lot off my mind,
and a weight off my heart, and a burden lifted
from my soul.
Speaker 5 (30:09):
Oh, that's beautifully put, Hector. Beautifully.
Speaker 7 (30:12):
I couldn't have said it better myself. You're not supposed
to talk like that, you old stockbroker.
Speaker 2 (30:17):
You suddenly I feel tired.
Speaker 5 (30:20):
Oh it's late, very late.
Speaker 7 (30:22):
Oh I i'd better be running along. Good night, folks,
I d don't bother I'll let myself out. Good night, then, Yesterly,
I'm tired.
Speaker 2 (30:31):
But but for the first time and ever so long,
I'm pleasantly tired. Oh that's good, happily tired, the way
you're supposed to be.
Speaker 4 (30:39):
No, dearest, you just close your eyes, yes, and get
to sleep.
Speaker 2 (30:44):
Yes, I'll do that.
Speaker 5 (30:45):
U up an lepice, darling, get to sleep.
Speaker 2 (30:49):
You You would never believe me, would you?
Speaker 5 (30:51):
Oh you're so so? Why would I?
Speaker 2 (30:56):
Well, because I'm I'm so dull. Oh no, I'm I'm
not an exciting person. I'm not a clever person, my dear.
That's not like like Ben Wallston, like the most h
(31:27):
what uh? Alright, alright, alright, but crying out loud, I
hear you ringing, I'm coming. What kind of idiot would
be at the door at this time? Who's that? Me? Dale? Dale? Hector? Yes, me, Hector?
Who did you expect I I have to talk to you.
(31:47):
It's four o'clock in the morning. I kill that. Well, well,
what does this thing you have to tell me at
four o'clock in the morning to catch wait, hector. I
I don't know how to say this, but yes, but
what well? I I never had occasion to tell something
(32:08):
like this to anyone before, something like what, come on,
come on, come on out with it, man. I just
got a call from Eleanor. So she's up in the country.
And well, I told you she'd gone up there to
see if she could affect a reconciliation between you and Penelope.
(32:28):
Didn't I tell the two of you you were dead? Wrong? Well,
she'd already left our house by then, so she had
to drip of nothing. She's up there now, and she
found Penelope. How could she find Penelope up there? And
let me finish this, hector. It's hard enough to say
Penelope's dead. You're crazy. I wish I were. Let me
(32:54):
prove it. Penelope is here And I just spoke to
Eleanor on the phone and she went dreaming. The hector,
please get hold of yourself and listen. Come with me
where into the bedroom you'll see for yourself. What'll I
say for myself? Penelope, she's here, She's been in bed
all night. Hector. You have to stop fighting him, Will
you please come on in? Come on, come on, you
have to accept it. What are you waiting for? Just
(33:16):
come this way? Dale, in here, but don't wake her up.
She hates it when somebody breaks up her sleep. There.
See see what Penelope past asleep in bed? Hector, There's
no one in that bed. Dale. She was here just
(33:39):
a minute ago. Hector, sit down, ring the bell. You
probably woke her up. Should I get you a drink
or something? So she must have gotten out of bed
for a minute, Penelope. Hector, Penelope, I know you're here.
He isn't. But but we were just in bed. Eleanor
went up to the summer place. I don't care what
Eleena says. I know she says. She walked into the house. Deal.
(34:00):
This is the strangest thing. The lights were on, and
the first thing she saw she saw Ben Walston. He
was dead on the floor. Now I know you're crazy.
Ben was here in this room around midnight. How could
you have been up to the summer house. You can
imagine what a shock it was for Elenor. She phoned
the sheriff, and then she passed out. Is this your
(34:21):
idea of a joke? Don't fight it, Hector, please, sooner
or later, you have to accept it. Penelope dead? Then
why was I able to see it so clearly, to
talk to her, to hold her in my arms? This
vanilla bee really dead? Kept dressed? Hector? Where are we going?
(34:45):
You know where we're going. We have to drive up
to the country girl. They're dead. Both, yes, accept accept it.
It's going to be very bad for you for a while,
but this is the first step you have to take.
(35:06):
Until you do this, you'll never recover. All right, let's go.
I'm ready.
Speaker 7 (35:23):
Even mister Carnahan, he love, charl.
Speaker 2 (35:27):
Let me tell you what happened.
Speaker 7 (35:28):
We all knew they were carrying on your missus and
Ben Wolston.
Speaker 2 (35:32):
I'm sorry I.
Speaker 7 (35:33):
Have to say that, mister Carnahan, but it's part of
a police record, you understand.
Speaker 2 (35:38):
I understand.
Speaker 7 (35:40):
Well, I guess they could see no future. People in
a setup like that, they can get off of the pressed.
I've seen it happen. Well, anyhow, the Master made a
suicide backed he shot her, and he then turned the
gun on himself.
Speaker 2 (35:57):
We got the note.
Speaker 7 (35:59):
You you want.
Speaker 2 (36:00):
To read the note? It is necessary. I know what
it says.
Speaker 7 (36:03):
Hooray, how the things are open? And what do you
mean you know what it says? How could you possibly
know what it says? I wrote it, our sheriff. Don't
listen to a me. He hasn't been right and this
thing is obvious. Hey, I I understand, mister Dale. It's
enough to disrupt anybody.
Speaker 2 (36:22):
I know what it says, and I know what happened,
and you must listen to me.
Speaker 7 (36:25):
Sure, sure, mister conahead Chris Forrest, take it easy.
Speaker 2 (36:29):
Don't patronize me, Sheriff. I'm doing your work for you.
Oh yeah, I appreciate it, scher, And don't be sarcastic,
I hector the sheriff's Oh no, you're trying out of
it too, Dale. I'm not a fool. I know what
was happening behind my back, and it wasn't even behind
my back, it was in front of my eye. Eester,
don't punish yourself. What does a man do in these things?
It's all very well as a divorce her, get rid
(36:49):
of her, kill her, But what if you love her?
You understand? Yes, Oh, we like to talk like two fisted,
red blooded fighting men. But that's propaganda. We sell ourselves.
Most of us go through life adjusting, don't we, true,
And so you had to live with it. You settle
(37:10):
for half a loaf, cause it's better than none, understand,
I believe. And I could even see her point of
view because I'm dull and stodgy and boring. She was well,
she liked to get out, she loved the theater, concerts, lectures,
everything that just meant nothing to me. Well, you figure,
(37:34):
if the thing it be kept within decent limits. I
I don't know how I mean that word decent day.
Speaker 7 (37:41):
Well, I believe I follow your true meaning.
Speaker 2 (37:44):
Yes, Well, the more I close my eyes, the more
I pretended not to notice, the more the more flagrant
they became. Finally I couldn't pretend anymore. I couldn't disregard
it anymore. Yes, I I'm a stockbroker. I must maintain
a certain amount of credibility. It was becoming a scandal.
So I said to them, just plain and cut it out.
(38:09):
You know what they did, both of them. They laughed
at me. So I decided to kill them. Now, hector.
I decided I would make it look like a lover's
death pact. I knew they'd be up there. I wrote
that note. I shot him in such a way that
it would look like he killed himself, and then I
(38:29):
shot her. I didn't I didn't wanna be held for it,
so I arranged it that way. But after I did
it and I saw them lying there dead, Uh, terrible
feeling came over me. It was more than guilt, more
than or more is I I I wanted to take
it back. Do you understand if I refused to accept
(38:53):
the fact that I had done this monstrous thing. I
insisted myself that they were still alive, and I heard
her voice. It kept following me, don't kill me, Please,
don't kill me. Help. I don't want to die. The
police wouldn't let me alone. I wanted to bring her
back to life so badly. I've forced myself to be
able to see her again, alive, Penelope and Ben. I
(39:16):
made them come alive for me, Sheriff. Can't you see
how ridiculous that is?
Speaker 7 (39:20):
Of course it's ridiculous. Well, the coroner is satisfied with murder, suzaed.
Speaker 2 (39:26):
What do you mean the coroner is satisfied? Everybody is satisfied.
Speaker 7 (39:29):
But I'm telling the truth. I'm going to get you
to a doctor. You need something. Little rich asleep, mister Connahey,
And I can prove it. I wrote the note. It
was typed on his own typewriter. We established that.
Speaker 2 (39:41):
Because I sneaked into his apartment, I fired those shots.
He didn't. He couldn't. Look at his hands. Give them
a paraffin test. It'll show he has no powder burns.
When you fire a pistol, to have to be powder
burns on your palm or in detective stories. Okay, okay,
So he killed it and then he killed himself, that's
what you say. But I killed him first. Shouldn't the
(40:04):
coroner's report shore how he died before she did?
Speaker 7 (40:08):
How long did you say you waited between killings? At
least a minute or two, But you can't establish time
of death with any accuracy. Within a quarter of an hour,
maybe a half.
Speaker 2 (40:19):
All right, here's the proof. Maybe subconsciously I knew I
wanted to get caught. He was found holding the pistol
in his left hand, wasn't he you're telling the story,
I answered, the gun into his left hand. He's right handed.
That's a known fact. Everyone knows that, don'thy Dale as Dale,
he knows it. We all three played golf together, didn't we?
Speaker 7 (40:41):
All right? All right, even if it's true, the fact
that a man is left handed nor right handed, nor
mean thing at a time like that, killing yourself is
an awkward thing to do, and.
Speaker 2 (40:51):
So people do it awkwardly. You must listen to me.
Speaker 7 (40:55):
I've been listening, and this, gentleman, here's my witness.
Speaker 2 (40:59):
I've been written, and I tell you I did it.
I'm guilty.
Speaker 7 (41:03):
What you got is a guilty conscience. You believe your
grover do it so you feel you're as guilty as
if you'd pull the trigger yourself.
Speaker 2 (41:12):
But I did twice. I'm guilty. Won't you believe I'm guilty? Well?
Do you believe it? No one else did.
Speaker 1 (41:29):
The louder he shouted, the more people smiled tolerantly. Then,
of course, as happens in these affairs, people's patience wears
a bit thin, and finally, the only way to handle
the situation was to place Hector Fremont Carnahan in an
institution where he insists to this day he is guilty.
(41:51):
I shall return in just a few moments. It's one
thing to hear people accused of murder insist on their innocence,
It's quite another to hear people who are not even
(42:12):
suspected insist on their guilt.
Speaker 2 (42:26):
Well, is he or isn't he? Did he or didn't he?
Speaker 1 (42:31):
We left enough clues in the story, but unfortunately they
could support either point of view. The only people who
know for sure are Penelope and Ben, and how can
they possibly tell us? Our cast included Fred Gwynn, Jon Shay,
(42:58):
Bill Griffiths and Cork Benson. The entire production was under
the direction of Hymond Brown and now a preview of
our next tale. Remember a few years ago when I
come home after my chores and you found me flat
on the bed. I told you I was tired and
my stomach was upset. I didn't wanna worry. Emmah, it
(43:24):
wasn't my stomach.
Speaker 4 (43:26):
You you heard the voice, rob yep.
Speaker 2 (43:32):
I didn't say now interfere.
Speaker 7 (43:34):
People say I was an old fool.
Speaker 2 (43:37):
But I heard the voice. Oh mother, please let me in,
Please mother, That's what I heard.
Speaker 4 (43:48):
Heaven have mercy on whoever it is.
Speaker 2 (43:51):
Amen, Who could it be?
Speaker 7 (43:55):
I don't know, Emma, that you couldn't pay me in
a to walk past there after sunset Radio.
Speaker 1 (44:04):
Mystery Theater were sponsored in part by True Value hardware
stores and Buick Motor Division.
Speaker 2 (44:09):
Missus e g.
Speaker 1 (44:10):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, pleasant dream
The CBS Radio Mystery Theater presents.
Speaker 2 (00:21):
Come in Welcome. I'm e. G. Marshall.
Speaker 1 (00:28):
Anger is a branch, and hate is a tree, and
prejudice and bigotry are the undergrowth and the brambles, and
they all form the forest, the unwholesome forest of intolerance.
Speaker 3 (00:43):
And so far this is a forest that has always flourished.
Speaker 1 (00:48):
How well has it been protected and preserved over the centuries?
Speaker 2 (00:54):
Yes? And for how much longer?
Speaker 4 (00:58):
Hello, darling, Penelope, it's Penelope.
Speaker 5 (01:03):
Of course it's Penelope.
Speaker 2 (01:06):
But but you're dead?
Speaker 5 (01:09):
Who says, so?
Speaker 2 (01:11):
It's it's been in all the papers.
Speaker 5 (01:14):
Really, aren't you.
Speaker 4 (01:16):
The one who says, believe half of what you see,
a quarter of what.
Speaker 5 (01:21):
You read, and nothing of what you hear.
Speaker 2 (01:24):
But I went to your funeral.
Speaker 4 (01:27):
Well, if it really was my funeral, then obviously I
didn't stay put.
Speaker 1 (01:44):
Our mystery drama The Man who Couldn't Get Arrested was
written especially for the Mystery Theater by Sam.
Speaker 2 (01:50):
Dan and stars Fred Gwynn.
Speaker 1 (01:54):
It is sponsored in part by Buick Motor Division and.
Speaker 2 (01:57):
True Value Hardware Stories.
Speaker 6 (01:59):
I'll be back short with that one.
Speaker 1 (02:11):
Society endures, which is not to say it always will,
but as of Now, the work of the world goes on.
Most people can be depended on to do their jobs.
Most people accept their responsibilities. Most people obey the law.
And why is it morality? Is it citizenship? What keeps
(02:34):
most people on the straight and marrow? Our little drama
may cast.
Speaker 2 (02:40):
A ray of light on the subject.
Speaker 1 (02:42):
On the other hand, you may find yourself deeper in
the dark than ever.
Speaker 2 (02:47):
It is night, late at night.
Speaker 5 (02:57):
Yeah, why you.
Speaker 2 (02:58):
Are, madam? Your sign says ringing the bell at this hour.
Your sign says rooms for ram tonight.
Speaker 4 (03:04):
Thought you know what time it is.
Speaker 2 (03:06):
Oh, I apologize for lateness of the hour.
Speaker 4 (03:09):
I run a respectable place.
Speaker 2 (03:10):
I'm connisctive it, ma'am. I wouldn't have rung your bell,
but I saw the light on.
Speaker 4 (03:14):
And you will come on in, Come on in.
Speaker 5 (03:16):
I have to catch my debt.
Speaker 7 (03:17):
Panning out here, jabbering.
Speaker 2 (03:20):
Thank you?
Speaker 7 (03:21):
Well you want a room?
Speaker 4 (03:24):
This one at the foot of the stairs, bathrooms at
the end of the hall.
Speaker 2 (03:29):
It's it's very nice. Yeah, well, so what do you want?
A palace?
Speaker 4 (03:34):
It ain't about twenty five a week. Take it or
leave it.
Speaker 2 (03:38):
I'll take it in advance. Oh, yes, of course, I'll
write your check.
Speaker 5 (03:43):
A check.
Speaker 2 (03:43):
Huh, I'm accustomed to paying all my bills by check.
I'll bet you are. Listen buster, first thing in the morning,
I'm at the bank.
Speaker 4 (03:52):
This thing bounces, you bounce right out after it.
Speaker 2 (03:55):
And one thing I.
Speaker 4 (03:56):
Don't put up with here women in the room.
Speaker 7 (03:58):
I run a quiet, respectable house.
Speaker 2 (04:01):
Oh yes, I approve. I'm actually a rather quiet person myself.
Missus uh mum, missus Mumford, and my name is Conahan,
Hector Fremont Conahan. Well but it is.
Speaker 4 (04:14):
Where's your bags, bags, luggage, your belonging, your your stuff?
Speaker 2 (04:18):
Oh? Are you on the lamb? I beg your pardon.
Speaker 4 (04:22):
Ain't running a hideout? So if you're wrong with the
law you Oh.
Speaker 2 (04:26):
I see what you mean. Oh, I assure you it
was nothing like that.
Speaker 5 (04:29):
Yeah.
Speaker 1 (04:29):
Well what is it like?
Speaker 2 (04:33):
Well, I'm in Wall Street. Yeah, I'm miss America. No, no, no,
it's true. I'm a stockbroker. Is sure? Sure? You're also millionaire? Yes,
even with the depressed state of some of my holdings,
my net worth is in the Yeah.
Speaker 7 (04:48):
Well sotel Neybuster.
Speaker 2 (04:50):
My name is Hector.
Speaker 4 (04:51):
Yeah, so what are you doing in a flea bag
like this?
Speaker 2 (04:56):
Why? Now, missus Mumford, you underestimate the share of this building.
Oh yeah, this is what's known as a Madison Brownstone.
So what which means it's over one hundred years old?
You're telling me the last of them were built in
the eighteen seventies. No, no, which answers my first question question.
Speaker 5 (05:14):
Where's your belongings?
Speaker 2 (05:16):
Oh? Oh, well, you see, I don't intend to live
here on a permanent basis. Here you go. You see,
there are times when I need solitude, intervals for meditation, contemplation,
self communion, as it were. Yeah, and I do not
wish to be disturbed by my associates.
Speaker 4 (05:33):
Well, then why don't you go on up to the woods,
millionaire like you, You're gonna have one of them hunt lodgers.
Speaker 2 (05:39):
That would not answer the purpose. You see, I must
be available for various business decisions at a moment's notice
at this address. I am not more than five minutes
from my office by taxicab. And who would think to
look for me here?
Speaker 7 (05:51):
Well?
Speaker 5 (05:52):
Age is old, as they say.
Speaker 2 (05:54):
Good night, yes, good night, yes, good night. Missus not
a perfectly horrid woman. But that doesn't matter. I must think,
I must think clearly, clearly, I must try to remember it.
(06:15):
Geez what's please? What's that?
Speaker 4 (06:21):
Hell?
Speaker 2 (06:22):
Who's that? I'm going to be killed? Who are you?
I don't want to be killed? Who is speaking? Don't
let me be cute? Who are you? Where are you?
Speaker 5 (06:37):
I don't want to die?
Speaker 2 (06:40):
Who is that talking? I never did anything from home.
You're in this room.
Speaker 5 (06:46):
He's going to kill me.
Speaker 2 (06:51):
Why can't I see you? Please stop him?
Speaker 5 (06:56):
He's going to kill me.
Speaker 2 (06:59):
Who are you? Where are you?
Speaker 7 (07:03):
What's going on there?
Speaker 2 (07:05):
Tell them up? Who are you? Yes? Yes, yes, yes,
just a minute.
Speaker 4 (07:14):
Okay, Hey, now what's happening?
Speaker 2 (07:17):
I don't know who's in this room with you. I
guess nobody.
Speaker 5 (07:23):
What do you mean you guess nobody?
Speaker 2 (07:24):
Well, well, I don't see anybody.
Speaker 4 (07:26):
Do well if there ain't nobody in the room, who
you're yelling at?
Speaker 2 (07:30):
I heard somebody? Who It was a woman.
Speaker 4 (07:35):
I thought we'd laid down the ground rules here, no.
Speaker 2 (07:37):
Women in the room. She was in the room before
I got here.
Speaker 5 (07:41):
Oh, you're crazy.
Speaker 2 (07:42):
I heard her voice, Are you not or something? We'd
better call the police before she was calling for help?
Speaker 5 (07:49):
Who what's calling for help?
Speaker 2 (07:50):
The woman in the room?
Speaker 5 (07:51):
Well, you said there was no woman.
Speaker 2 (07:53):
I said, I didn't see her, but I heard her.
Heard her distinctly, she's begging for help. Somebody's a murderer.
Speaker 7 (08:01):
When was this?
Speaker 2 (08:03):
It was just now?
Speaker 4 (08:03):
Yeah, So why don't I hear her?
Speaker 2 (08:06):
Well, let's just be quiet and listen. I still don't
hear her, but it was just as plain.
Speaker 1 (08:13):
You sure you haven't been taking too much sauce.
Speaker 2 (08:16):
I tell you I heard her her voice. She's pleading.
She she doesn't want to be killed. She's she's begging
for her.
Speaker 7 (08:23):
All right, let's put a stop for this.
Speaker 4 (08:26):
Now. Is there anybody in this.
Speaker 5 (08:29):
Room anyway a need help?
Speaker 4 (08:33):
Now he's there.
Speaker 5 (08:34):
Speak up, we'll go ahead.
Speaker 2 (08:37):
Speak up.
Speaker 4 (08:37):
Let's hear from you. Well you hear something, mister hectr canahan,
Yes or no?
Speaker 2 (08:48):
Well I did just before, I mean, right now, But
missus mumfort, I distinctly.
Speaker 4 (08:54):
Heard the carnahan.
Speaker 5 (08:55):
I don't rent a drunks.
Speaker 2 (08:56):
Missus Mumfort, I swear to you, I'm absolutely sober.
Speaker 4 (08:59):
Well, then it's worked, and I thought you might bear
in mind. I don't write to not here good night.
Speaker 2 (09:07):
But I heard it. I heard it. I heard a voice,
a woman's voice. Oh, I must think clearly clearly, pleeez,
somebody have me. I don't want to die. No, it
isn't true. It's my imagination. It isn't true. I never
(09:29):
heard of anyone.
Speaker 4 (09:32):
I don't want to die.
Speaker 2 (09:36):
I have to think think, how who are you me?
I'm getting out of here? What do you have? What? Oh?
H where am I? Where are you? Well? Again? I
(10:00):
have to ask you don't have any business being in here.
This is Harry's bob. Hell, I'll have a drink anything.
You're sure you can handle it. I'm fine, just fine.
You're an adopted bartender. Yeah, listen, what don't let him
(10:21):
kill me? Who wish? Who's who? That woman? Hot woman?
Speaker 5 (10:27):
I don't want to die.
Speaker 2 (10:30):
Don't you hear that woman? What are you talking about? Buddy?
I'm going to be chilled. That's what I'm talking about.
Don't you hear it? Listen, friend, answer me. Don't you
hear her? Friend? You better not have one? You don't
hear a woman? Why don't you just go home?
Speaker 5 (10:46):
I don't want to die?
Speaker 2 (10:48):
Sleep it off? Don't you understand we have to help her? Yeah? Sure?
Can we let a woman die? Why did you go home? Man?
You don't believe me. You're trying to shoot man? Now, look, mister,
you think I'm a nut well, okay, read this my card. Look,
why don't you just just read my card? Hector, Freemont Canahan. Okay,
(11:14):
read the rest of it. Go ahead, Carnahan, Dale and Wollstein.
You see DNW one of the largest broker's firms on
the street. Yeah, sure, sure, you don't believe me. I
believe you. I believe you. You can't treat Hector Fremont
Conahan as if you were some kind of nut who
wanted in here. Look all I'm saying, parent is you
better not have a drink? What are we going to
(11:35):
do about her? Her? The lady who who is going
to die if we don't help her? Friend? Just take
a walk? Eh, you're gonna let that woman die? Well,
there's a lot of women in the world, one less.
Is it really going? No matter? All right, I'll go,
but I hope you can live with yourself. The recent
(12:01):
fall in the prices precious metals should not tempt the
prudent investor in there thinking he can get in on
the ground floor. Hector, Am I interrupting anything? Oh? Certainly
not there unders doing my market better? Oh where were
you last night last night? Yes, you and Penelope were
supposed to have dinner with us, were we Well, of course,
(12:24):
don't you remember? How would I know Penelope? And was
all the social engagements check with her? Well, eleanor did yes?
And what did Penelope say? I don't know if she
couldn't reach her. She'd been trying to phone Penelope all day.
Do you know where she is? Probably at the garden
club or the woman's club. It's strange. Where were you
(12:44):
last night? Last night? Yes, you were supposed to be
at our house and when you didn't show up, we
kept calling and calling. Well, as far as I can tell,
we went out to dinner. If it was supposed to
be at your house, then signals across. Let's see. Afterwards
we went home. Why what's the matter? The matter? Well,
you have a rather strange look in your face, tow well,
(13:06):
tell you the truth. I uh, hector, there there's a yeah,
what is it? There's a woman in my office. Yeah,
and she told me a rather unbelievable story. Yes about what?
Well you not me? Yes, her name is Mumpert, missus,
(13:32):
Marguerite Mumpert. You know her, Marguerite Mumpfort. Uh. Never heard
a woman in my life.
Speaker 3 (13:40):
Well, let me tell you what she said. Well, we
know what she said.
Speaker 1 (13:51):
So this is as good a time as any to
take our usual intermission. At any rate, we have presented
you with two Hector Fremont Carnahan's one, the impressionable and
frightened man who hears voices, the other, the hard headed,
no nonsense man of business.
Speaker 2 (14:09):
Which one is he? Really? He could be either neither
or both. Act to very shortly.
Speaker 1 (14:27):
There are voices in the night, voices in the starry stillness,
Voices that whisper secrets, voices that cannot be still, voices
that laugh, sing, cry, voices that tell of love and joy,
voices that speak of death. And Hector Fremont Carnahan is
(14:51):
hearing voices?
Speaker 2 (14:53):
Or is he? Then I'll send her on away just
a minute. What's this all about? I don't know. It's
probably a confidence racket of some kind. Now I insist
they'll explain it, but it beats me. Come into my office,
missus Mumpley.
Speaker 4 (15:12):
Oh, well, good morning, mister Cahan.
Speaker 2 (15:16):
Do you know me? Madam?
Speaker 1 (15:17):
Well?
Speaker 2 (15:18):
Well sure from where mister Cahany.
Speaker 4 (15:22):
You don't remember me?
Speaker 2 (15:25):
How would I remember you if we never met? Oh
it's worse than I thought, madam. State your business?
Speaker 5 (15:32):
Well, no, I don't worry to begin you.
Speaker 4 (15:35):
You came around in m rooming house on Hudson Street
late last night.
Speaker 2 (15:39):
Whatever would I be doing on Hudson Street near the waterfront,
especially late at night.
Speaker 4 (15:43):
Well, sir, that'll be your fair. You rented a room,
room whatever for Well, I can only tell you what
you said you you said you needed it for uh
uh I intervals of uh uh meditation?
Speaker 5 (15:59):
Was it contemplation? And I I.
Speaker 2 (16:02):
Guess it was communion?
Speaker 4 (16:03):
I said that, yes, sir, And you paid me one
week's rent in advanced twenty five dollars. You wrote me
a check and I took it to the bank this morning,
and I asked, he said good, and they said, well,
as good as gold.
Speaker 2 (16:16):
Let me see that. Look at this, there is it.
It appears to be our signature. Exactly. It's a very
clever forgery. I better destroy this at once. Well, you
it was not me.
Speaker 4 (16:31):
Uh yes, sir, but I had to go along with
the idea.
Speaker 7 (16:35):
It was you.
Speaker 4 (16:36):
You see you, you you was acting very well, very STRAININGE.
Speaker 2 (16:42):
In what way?
Speaker 5 (16:43):
You were hearing voices?
Speaker 2 (16:45):
Voices?
Speaker 5 (16:46):
Yeah?
Speaker 2 (16:47):
A name woman? Oh what sort of one?
Speaker 5 (16:50):
A woman who was calling for help?
Speaker 2 (16:53):
Why?
Speaker 5 (16:53):
Well, because someone was fixing the killer who well, I
don't know.
Speaker 4 (16:58):
I didn't hear her.
Speaker 2 (16:59):
You you're the one who claimed you hurt, but it
wasn't me.
Speaker 5 (17:02):
Well, what do you want from me? Oh ten o'clock.
Not a guy, he's the image of you.
Speaker 4 (17:08):
He rings my bell, he rents a room, It gives
me a check for a week in advance, and then
he starts screaming, here's some dame who's in trouble. Well,
I figure this guy has gotta be sick. Well I
find out.
Speaker 2 (17:20):
He's a big Wall Street businessman.
Speaker 4 (17:23):
I say, well, why don't I go to this guy's office.
Oh look, I ain't no angel of mercy. I had
an angle, a figure, maybe the guy's partners or somebody
who had slipped me a couple of bills from my trouble.
Speaker 5 (17:36):
Well, well, well it's worth.
Speaker 4 (17:37):
It, ain't.
Speaker 2 (17:37):
Yeah, you did the right thing, missus Mumma, Yes, thank you.
So there's an impostor.
Speaker 4 (17:42):
Oh I tell you that guy who's the spitting image
of you.
Speaker 2 (17:46):
It's like you had a twin brother. Thank you for
your trouble, missus Mumfott and his twenty five dollars that
the man was supposed to have paid you and something
for yourself. Oh well, thank you.
Speaker 4 (17:58):
Oh good bye, sir, goodbye.
Speaker 2 (18:04):
So someone's going around claiming to be you, Hector, what's
the fellow after? Do you suppose I could see where
someone might use my name to steal service at the
luxury hotel, but for a dive on the waterfront? Oh
excuse me, Hector, Yes, I'll put her on. Is that
my wife? No, no, it's mine eleanor uh huh No.
(18:29):
I just spoke to Hector. He doesn't know about the
dinner date last night. He doesn't know what Penelope is either.
But here, I'm sure there's an explanation, all right, all right, goodbye.
She's been trying to reach Penelope. Oh, I'm sure there's
(18:51):
summer explanation. We'll get it all sorted out when I
see Penelope tonight.
Speaker 5 (18:55):
Mm.
Speaker 2 (19:00):
The recent fall in the prices of precious metals should
not no no, no, no, no strike that I've already said,
been saying it all day. I have to think. I
have to think clearly, clearly. It's six thirty. What's happened
(19:21):
at the time everyone's gone. I have to think I'm
slipping slipping.
Speaker 5 (19:27):
Again, Hector.
Speaker 2 (19:28):
Dear Penelope, Wow, what is it.
Speaker 5 (19:34):
Well, you look as if you've seen a ghost.
Speaker 2 (19:36):
Is it you?
Speaker 5 (19:37):
I'd like to know who else it would be.
Speaker 2 (19:39):
Oh, Penelope, I had a dream, Yes, a terrible dream.
Speaker 5 (19:44):
Oh well, if it was a terrible dream, you'd better
forget it.
Speaker 2 (19:47):
No, no, no, no no, I have to tell it to you.
Speaker 4 (19:49):
Whatever for I don't tell you my bad dreams.
Speaker 2 (19:52):
Well, that's because you never have any, Penelope. I look
at you now. I see how beautiful you are.
Speaker 5 (19:58):
Oh, flattery, flattery, I.
Speaker 2 (20:00):
I love it, And how good you are?
Speaker 5 (20:02):
Well about that?
Speaker 2 (20:04):
Listen, listen and forgive me.
Speaker 5 (20:07):
Did you do something wrong?
Speaker 2 (20:08):
I dreamed I did something wrong.
Speaker 4 (20:11):
Well, darling, you can't be held accountable for that.
Speaker 2 (20:14):
Well, I was jealous, jealous of what? Of whom? Of
Ben Wolston, Ben Wolston.
Speaker 5 (20:22):
Whatever for?
Speaker 2 (20:24):
Well I thought I I thought you had fallen in
love with him, with Ben Wolston, and that you were
having an affair with Ben Wilson.
Speaker 4 (20:32):
With Ben Wolston, that's impossible.
Speaker 2 (20:35):
Well, when you're jealous, anything's possible.
Speaker 5 (20:38):
Ben Wolston, I was.
Speaker 2 (20:41):
So angry I decided to kill both of you.
Speaker 4 (20:43):
Oh you're kidding.
Speaker 2 (20:44):
I'm telling it the way it happened.
Speaker 4 (20:46):
But Hector dear, I've only known you to become passionate
over stocks and bonds.
Speaker 2 (20:50):
I don't show it, Penelope, but I love you very deeply.
I know that, Darling, and the fact that you and
Ben were having.
Speaker 5 (20:57):
An affair only in your dreams, it.
Speaker 2 (20:59):
Became too much for me. I you had made an
excuse that you had to visit a friend somewhere out
of town. But I knew that you and Ben were
going up to the lake house together. And did we yes?
Speaker 5 (21:12):
And did you surprise us?
Speaker 4 (21:14):
In flag Grantee delicto ad they say in the tabloid.
Speaker 2 (21:17):
No, not exactly. But you were both up at the house,
and so I sneaked into the study where Ben was reading.
Either he didn't see me or hear me. I got
very close to him and I shot him. You heard
the gun, and as you came into the room, I
shot you.
Speaker 5 (21:34):
Hector, How could you?
Speaker 2 (21:36):
I told you I was insane and I was crazy
with jealous Oh.
Speaker 5 (21:39):
Right, Darling, I forgive you.
Speaker 2 (21:41):
Well. Before I went up to the country, I was
able to get into Ben's apartment. I wrote a note
on his typewriter.
Speaker 5 (21:47):
Oh I'd love to read it.
Speaker 2 (21:48):
And as near as I can remember it, it was
a suicide packed note. He was supposed to have written
that I wouldn't give you a divorce, and so the
two of you preferred death to being a part.
Speaker 5 (21:58):
Oh you are a room, darling.
Speaker 2 (22:01):
Yes, better to be together in death than separated.
Speaker 5 (22:04):
In life, Darling.
Speaker 4 (22:06):
Word of this must not get around Wall Street.
Speaker 2 (22:09):
I left you and Ben in the note in the
summer house, and I came back to the city. Uh. Incidentally,
did you know we had a dinner day with the Dales. Oh?
Speaker 5 (22:17):
I knew I had forgotten something.
Speaker 2 (22:19):
I was in a daze. I went back to the apartment,
but I couldn't stay.
Speaker 5 (22:22):
We had too many memories of me. I suppose it
was dreadful.
Speaker 2 (22:26):
It was a voice sounded like yours, but I I
refused to recognize it, and the voice kept begging for help,
imploring someone the SA save her from death.
Speaker 5 (22:35):
Oh, how dramatic.
Speaker 2 (22:37):
I ran out of the house. I ran and ran
down the deserted streets. The voice kept following me. I
I suddenly found myself in a neighborhood near the docks.
I was frightened. I was exhausted.
Speaker 5 (22:48):
This would have been a good time to wake up.
Speaker 2 (22:51):
I saw a sign on the tunnel down building. It
said rooms for rent, well an import in the storm.
I went in there and some slat of the landlady
runsed me a dreadful little cubicle. But your voice followed
me there too, so I ran out.
Speaker 5 (23:06):
Oh you poor darling, into a bar.
Speaker 2 (23:09):
But your voice wouldn't let me be. Finally I woke up.
I was home in bed, and I remembered you were
spending the night at your mother's. How is she?
Speaker 4 (23:19):
Oh?
Speaker 5 (23:19):
She sends you her love.
Speaker 2 (23:21):
The Dales A will to know why we didn't have
dinner there last night.
Speaker 5 (23:24):
I wish I could come out with it and say.
Speaker 2 (23:25):
They bore me, Please don't.
Speaker 4 (23:28):
Well, I shall make up a most delicious excuse.
Speaker 2 (23:31):
Well, shall we go home to dinner?
Speaker 5 (23:33):
Oh you go, darling.
Speaker 4 (23:34):
I I have something committee meeting tonight and we're having
dinner set in.
Speaker 2 (23:40):
Oh will you be home early?
Speaker 4 (23:41):
Oh?
Speaker 5 (23:41):
Very early?
Speaker 2 (23:42):
Okay, Then I'll stay here while i'll.
Speaker 4 (23:44):
Finish this good and then we'll both get home about
the same time and you won't have a chance to
miss me.
Speaker 2 (24:04):
Hector Dale, come in, Hector. I don't know if you're
going to appreciate what Eleanor and I are doing, but
friendship imposes certain obligations. Well, said Greg, No, I think
all this is better clear, cold, sober. It sounds grim.
(24:27):
Well last night you didn't show up, Yes, Penelope didn't.
What didn't remember? It's possible you you know about Penelope
and Ben Wilston. Now look there. If not, you're the
only one who doesn't. And that's what friends are for.
(24:47):
I'm telling you why, because a man who pretends not
to see what's crystal cleared everyone else has laughed out
as a fool. She went away with him last night,
and if she did, you found out about it. It
almost drove you mad. Is that woman in your office today?
(25:07):
She wasn't lying. There's no impostor. You roam the streets
like a lost soul. I went into all the neighborhood bars,
and most of them remember her. Nut, Yes, that's what
you were to them. Nut who tried to convince everyone
and he heard a woman's voice. Hector, it's my affair. No,
(25:30):
it's Penelope and Ben's affair. Hector, would you take her back? Dale?
There's something you should know. Eleanor is going up there now,
going where to the lake house. She's going to try
to convince Penelope to come back. She's driving up the
country to ask Penelope to come back to me. Well,
it's it's what you want, isn't it. She's going to
(25:53):
have that long drive for nothing. You mean you know
she won't come back. She's here here where I spoke
to her at the office around six thirty. Oh well,
then everything's all right. She's at the committee meeting. She's
due home any minute. Oh well, Eleanor and I have
(26:16):
the egg on her face. There was never anything between
Penelope and Ben. Well, it sure look that way. Oh
you know, Ben, he's just like a stray cat. Penelope
has a heart that's big enough for all the world. Yeah, well, Hector,
we we meant. Well you must believe that. Yes, well,
will you have dinner with us tomorrow night? I have
(26:37):
I want to check with Penelope in the morning. Yes,
of course. Well good night, Hector. Good night there, darling boy.
Oh no, I must deformed asleep.
Speaker 4 (26:58):
I'm sorry the meeting a little later than we expected.
Speaker 2 (27:01):
Oh that's okay. I just want to get into my
night gown.
Speaker 5 (27:05):
And I'm sleepy too.
Speaker 2 (27:08):
Oh I'm glad you woke me. Oh my glad. I
had this dream, another one. It was about Ben.
Speaker 5 (27:17):
I'll come back to sleep.
Speaker 2 (27:18):
Dear, it was so terrible. I have to tell him
about it.
Speaker 5 (27:21):
Well, I'm sure he doesn't care.
Speaker 2 (27:23):
I must, I must. I must not call him now, Darling.
Speaker 5 (27:26):
I'm sure he's asleep.
Speaker 2 (27:27):
All right, Then you call him, say, I have to
tell him his dream. Tell him he must come over
right away to hear a dream. Yes, to hear a dream, please, Vanelope.
Speaker 1 (27:43):
Well it's midnight and we're dealing here with a dynamite dreamer. Now,
before you put any of this down, remember nobody really.
Speaker 2 (27:54):
Knows what a dream is. For all we know the
dream life maybe the real one.
Speaker 1 (28:01):
And vice versa, especially to those people who have learned
how to develop the capacity to dream. What's this about
a capacity to dream?
Speaker 2 (28:13):
Is there proof such a thing exists? Well?
Speaker 1 (28:17):
Is there proof it doesn't. In just a few moments,
I'll prove to you that we have a third act.
Mister Hector Fremont. Carnahan keeps weaving in and out of
(28:40):
a dream world, and in and out of the world
that we hold to be reality, And so far no
one can.
Speaker 2 (28:47):
Really tell which is which.
Speaker 1 (28:50):
That's powerful, the course, because who really knows what's what
about anything these days?
Speaker 2 (28:56):
Now what's this all about?
Speaker 7 (28:58):
Actor?
Speaker 2 (28:58):
Then mus make peace? Why are we at war? Yes,
you and I are at war.
Speaker 7 (29:04):
Oh, it's the craziest thing I ever heard of.
Speaker 5 (29:06):
Please then just listen to Hector.
Speaker 2 (29:10):
I felt so strongly. I was sure some of my
emotions had to be communicated to you. Perhaps it was
I would dream violent dreams about it. Oh, just this evening,
I dreamed I was at your house and I was
waiting there to kill you. What for jealousy?
Speaker 5 (29:27):
Then he had the same dream about me.
Speaker 2 (29:29):
I just want you to know how I felt. Then,
will you have nothing to be jealous about? Hector? I
think hatred cannot be concealed, especially when it's so all consuming.
The one who is hated must be able to sense it.
Did you well, will you forgive me? Well? Certainly, that
is if you think I have anything to forgive. Then
(29:51):
I killed you in my dream. I killed you. But
I want us to be friends, the three of us,
the way we always work. Can we go back to
the hecked her right? I'm not aware that we ever
left it? Oh, Ben Ben, that's a lot off my mind,
and a weight off my heart, and a burden lifted
from my soul.
Speaker 5 (30:09):
Oh, that's beautifully put, Hector. Beautifully.
Speaker 7 (30:12):
I couldn't have said it better myself. You're not supposed
to talk like that, you old stockbroker.
Speaker 2 (30:17):
You suddenly I feel tired.
Speaker 5 (30:20):
Oh it's late, very late.
Speaker 7 (30:22):
Oh I i'd better be running along. Good night, folks,
I d don't bother I'll let myself out. Good night, then, Yesterly,
I'm tired.
Speaker 2 (30:31):
But but for the first time and ever so long,
I'm pleasantly tired. Oh that's good, happily tired, the way
you're supposed to be.
Speaker 4 (30:39):
No, dearest, you just close your eyes, yes, and get
to sleep.
Speaker 2 (30:44):
Yes, I'll do that.
Speaker 5 (30:45):
U up an lepice, darling, get to sleep.
Speaker 2 (30:49):
You You would never believe me, would you?
Speaker 5 (30:51):
Oh you're so so? Why would I?
Speaker 2 (30:56):
Well, because I'm I'm so dull. Oh no, I'm I'm
not an exciting person. I'm not a clever person, my dear.
That's not like like Ben Wallston, like the most h
(31:27):
what uh? Alright, alright, alright, but crying out loud, I
hear you ringing, I'm coming. What kind of idiot would
be at the door at this time? Who's that? Me? Dale? Dale? Hector? Yes, me, Hector?
Who did you expect I I have to talk to you.
(31:47):
It's four o'clock in the morning. I kill that. Well, well,
what does this thing you have to tell me at
four o'clock in the morning to catch wait, hector. I
I don't know how to say this, but yes, but
what well? I I never had occasion to tell something
(32:08):
like this to anyone before, something like what, come on,
come on, come on out with it, man. I just
got a call from Eleanor. So she's up in the country.
And well, I told you she'd gone up there to
see if she could affect a reconciliation between you and Penelope.
(32:28):
Didn't I tell the two of you you were dead? Wrong? Well,
she'd already left our house by then, so she had
to drip of nothing. She's up there now, and she
found Penelope. How could she find Penelope up there? And
let me finish this, hector. It's hard enough to say
Penelope's dead. You're crazy. I wish I were. Let me
(32:54):
prove it. Penelope is here And I just spoke to
Eleanor on the phone and she went dreaming. The hector,
please get hold of yourself and listen. Come with me
where into the bedroom you'll see for yourself. What'll I
say for myself? Penelope, she's here, She's been in bed
all night. Hector. You have to stop fighting him, Will
you please come on in? Come on, come on, you
have to accept it. What are you waiting for? Just
(33:16):
come this way? Dale, in here, but don't wake her up.
She hates it when somebody breaks up her sleep. There.
See see what Penelope past asleep in bed? Hector, There's
no one in that bed. Dale. She was here just
(33:39):
a minute ago. Hector, sit down, ring the bell. You
probably woke her up. Should I get you a drink
or something? So she must have gotten out of bed
for a minute, Penelope. Hector, Penelope, I know you're here.
He isn't. But but we were just in bed. Eleanor
went up to the summer place. I don't care what
Eleena says. I know she says. She walked into the house. Deal.
(34:00):
This is the strangest thing. The lights were on, and
the first thing she saw she saw Ben Walston. He
was dead on the floor. Now I know you're crazy.
Ben was here in this room around midnight. How could
you have been up to the summer house. You can
imagine what a shock it was for Elenor. She phoned
the sheriff, and then she passed out. Is this your
(34:21):
idea of a joke? Don't fight it, Hector, please, sooner
or later, you have to accept it. Penelope dead? Then
why was I able to see it so clearly, to
talk to her, to hold her in my arms? This
vanilla bee really dead? Kept dressed? Hector? Where are we going?
(34:45):
You know where we're going. We have to drive up
to the country girl. They're dead. Both, yes, accept accept it.
It's going to be very bad for you for a while,
but this is the first step you have to take.
(35:06):
Until you do this, you'll never recover. All right, let's go.
I'm ready.
Speaker 7 (35:23):
Even mister Carnahan, he love, charl.
Speaker 2 (35:27):
Let me tell you what happened.
Speaker 7 (35:28):
We all knew they were carrying on your missus and
Ben Wolston.
Speaker 2 (35:32):
I'm sorry I.
Speaker 7 (35:33):
Have to say that, mister Carnahan, but it's part of
a police record, you understand.
Speaker 2 (35:38):
I understand.
Speaker 7 (35:40):
Well, I guess they could see no future. People in
a setup like that, they can get off of the pressed.
I've seen it happen. Well, anyhow, the Master made a
suicide backed he shot her, and he then turned the
gun on himself.
Speaker 2 (35:57):
We got the note.
Speaker 7 (35:59):
You you want.
Speaker 2 (36:00):
To read the note? It is necessary. I know what
it says.
Speaker 7 (36:03):
Hooray, how the things are open? And what do you
mean you know what it says? How could you possibly
know what it says? I wrote it, our sheriff. Don't
listen to a me. He hasn't been right and this
thing is obvious. Hey, I I understand, mister Dale. It's
enough to disrupt anybody.
Speaker 2 (36:22):
I know what it says, and I know what happened,
and you must listen to me.
Speaker 7 (36:25):
Sure, sure, mister conahead Chris Forrest, take it easy.
Speaker 2 (36:29):
Don't patronize me, Sheriff. I'm doing your work for you.
Oh yeah, I appreciate it, scher, And don't be sarcastic,
I hector the sheriff's Oh no, you're trying out of
it too, Dale. I'm not a fool. I know what
was happening behind my back, and it wasn't even behind
my back, it was in front of my eye. Eester,
don't punish yourself. What does a man do in these things?
It's all very well as a divorce her, get rid
(36:49):
of her, kill her, But what if you love her?
You understand? Yes, Oh, we like to talk like two fisted,
red blooded fighting men. But that's propaganda. We sell ourselves.
Most of us go through life adjusting, don't we, true,
And so you had to live with it. You settle
(37:10):
for half a loaf, cause it's better than none, understand,
I believe. And I could even see her point of
view because I'm dull and stodgy and boring. She was well,
she liked to get out, she loved the theater, concerts, lectures,
everything that just meant nothing to me. Well, you figure,
(37:34):
if the thing it be kept within decent limits. I
I don't know how I mean that word decent day.
Speaker 7 (37:41):
Well, I believe I follow your true meaning.
Speaker 2 (37:44):
Yes, Well, the more I close my eyes, the more
I pretended not to notice, the more the more flagrant
they became. Finally I couldn't pretend anymore. I couldn't disregard
it anymore. Yes, I I'm a stockbroker. I must maintain
a certain amount of credibility. It was becoming a scandal.
So I said to them, just plain and cut it out.
(38:09):
You know what they did, both of them. They laughed
at me. So I decided to kill them. Now, hector.
I decided I would make it look like a lover's
death pact. I knew they'd be up there. I wrote
that note. I shot him in such a way that
it would look like he killed himself, and then I
(38:29):
shot her. I didn't I didn't wanna be held for it,
so I arranged it that way. But after I did
it and I saw them lying there dead, Uh, terrible
feeling came over me. It was more than guilt, more
than or more is I I I wanted to take
it back. Do you understand if I refused to accept
(38:53):
the fact that I had done this monstrous thing. I
insisted myself that they were still alive, and I heard
her voice. It kept following me, don't kill me, Please,
don't kill me. Help. I don't want to die. The
police wouldn't let me alone. I wanted to bring her
back to life so badly. I've forced myself to be
able to see her again, alive, Penelope and Ben. I
(39:16):
made them come alive for me, Sheriff. Can't you see
how ridiculous that is?
Speaker 7 (39:20):
Of course it's ridiculous. Well, the coroner is satisfied with murder, suzaed.
Speaker 2 (39:26):
What do you mean the coroner is satisfied? Everybody is satisfied.
Speaker 7 (39:29):
But I'm telling the truth. I'm going to get you
to a doctor. You need something. Little rich asleep, mister Connahey,
And I can prove it. I wrote the note. It
was typed on his own typewriter. We established that.
Speaker 2 (39:41):
Because I sneaked into his apartment, I fired those shots.
He didn't. He couldn't. Look at his hands. Give them
a paraffin test. It'll show he has no powder burns.
When you fire a pistol, to have to be powder
burns on your palm or in detective stories. Okay, okay,
So he killed it and then he killed himself, that's
what you say. But I killed him first. Shouldn't the
(40:04):
coroner's report shore how he died before she did?
Speaker 7 (40:08):
How long did you say you waited between killings? At
least a minute or two, But you can't establish time
of death with any accuracy. Within a quarter of an hour,
maybe a half.
Speaker 2 (40:19):
All right, here's the proof. Maybe subconsciously I knew I
wanted to get caught. He was found holding the pistol
in his left hand, wasn't he you're telling the story,
I answered, the gun into his left hand. He's right handed.
That's a known fact. Everyone knows that, don'thy Dale as Dale,
he knows it. We all three played golf together, didn't we?
Speaker 7 (40:41):
All right? All right, even if it's true, the fact
that a man is left handed nor right handed, nor
mean thing at a time like that, killing yourself is
an awkward thing to do, and.
Speaker 2 (40:51):
So people do it awkwardly. You must listen to me.
Speaker 7 (40:55):
I've been listening, and this, gentleman, here's my witness.
Speaker 2 (40:59):
I've been written, and I tell you I did it.
I'm guilty.
Speaker 7 (41:03):
What you got is a guilty conscience. You believe your
grover do it so you feel you're as guilty as
if you'd pull the trigger yourself.
Speaker 2 (41:12):
But I did twice. I'm guilty. Won't you believe I'm guilty? Well?
Do you believe it? No one else did.
Speaker 1 (41:29):
The louder he shouted, the more people smiled tolerantly. Then,
of course, as happens in these affairs, people's patience wears
a bit thin, and finally, the only way to handle
the situation was to place Hector Fremont Carnahan in an
institution where he insists to this day he is guilty.
(41:51):
I shall return in just a few moments. It's one
thing to hear people accused of murder insist on their innocence,
It's quite another to hear people who are not even
(42:12):
suspected insist on their guilt.
Speaker 2 (42:26):
Well, is he or isn't he? Did he or didn't he?
Speaker 1 (42:31):
We left enough clues in the story, but unfortunately they
could support either point of view. The only people who
know for sure are Penelope and Ben, and how can
they possibly tell us? Our cast included Fred Gwynn, Jon Shay,
(42:58):
Bill Griffiths and Cork Benson. The entire production was under
the direction of Hymond Brown and now a preview of
our next tale. Remember a few years ago when I
come home after my chores and you found me flat
on the bed. I told you I was tired and
my stomach was upset. I didn't wanna worry. Emmah, it
(43:24):
wasn't my stomach.
Speaker 4 (43:26):
You you heard the voice, rob yep.
Speaker 2 (43:32):
I didn't say now interfere.
Speaker 7 (43:34):
People say I was an old fool.
Speaker 2 (43:37):
But I heard the voice. Oh mother, please let me in,
Please mother, That's what I heard.
Speaker 4 (43:48):
Heaven have mercy on whoever it is.
Speaker 2 (43:51):
Amen, Who could it be?
Speaker 7 (43:55):
I don't know, Emma, that you couldn't pay me in
a to walk past there after sunset Radio.
Speaker 1 (44:04):
Mystery Theater were sponsored in part by True Value hardware
stores and Buick Motor Division.
Speaker 2 (44:09):
Missus e g.
Speaker 1 (44:10):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, pleasant dream
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