February 21, 2026 • 42 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. Find more classic, old-time radio series at Theater of the Mind - OTR | Spreaker | Apple | YouTube
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Enjoy all six of our commercial-free internet radio stations at theaterofthemind-otr.com - Do you want to discover more of these classic, old-time radio series? Search "Theater of the Mind - OTR" on your favorite platform or visit Theater of the Mind - OTR | Apple | Spreaker | YouTube | Spotify | Amazon | iHeart
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Speaker 1 (00:16):
Come in welcome.
Speaker 2 (00:21):
I'm e. G.
Speaker 1 (00:21):
Marshall.
Speaker 2 (00:23):
You are all fortunate today, and I am indeed glad
for you, for today's story was written by the genius
who gave us tiny Tim Scrooge, David Copperfield Oliver Twist,
literally a world of unforgettable characters. Very rarely did Charles
Dickens spin out for us a mystery. But today we
will untangle the web of just such a story.
Speaker 1 (00:46):
Mister Samson, I came here this evening to tell you
of the peculiar circumstances of the girl's death. She was
very young, too young to die. I don't know how
where to begin. It's difficult because you loved the girl.
I know. No, you don't know. I loved her as
I have never loved anyone. But if the whole truth
were known, I led her to her death. I murdered her.
(01:16):
Our mystery drama Hunted Down, written by Charles Dickens, was
adapted especially for the mystery theater by James Aggott Junior
and stars Gordon Heath. Charles Dickens spent quite a bit
(01:46):
of time in the United States.
Speaker 2 (01:48):
He toured the country reading his stories. He even wrote
some year this story Hunted Down appeared serially in the
New York Ledger in August eighteen fifty, but this account
of deception and murder could have happened today, over one
hundred and twenty five years later. The same idea has
(02:10):
been copied by modern authors, but no one has ever
told it as vividly as Charles Dickens.
Speaker 1 (02:16):
This is the way it begins. My name is Edgar Sampson.
I am the chief manager of London Life, one of
England's oldest life insurance companies. To deal with insurance, one
must know how to judge a man. If you can't
do that, chances are you will be deceived and your
(02:40):
company could lose a fortune to the unscrupulous. Which brings
me to the first time I met up with Julius
Slinton Adams. Who is that man dressed in black who
just left the office just now? That was mister Julius Slington,
one of our arclives. No, no, no, no, he's not
(03:01):
insured with us, not as far as I know. He
has an air about him. I say, like a warning,
a warning, as if he was saying not in so
many words. Take me just as I show myself. Come along,
follow the gravel, path, Keep off the grass, I permit
no trespassing. Ah, I see what you made, mister Sampson.
(03:23):
Mister Slington is all business. Nothing wrong with that, but
this gentleman wants to be sure you know it. Well,
that's it. He would only be yet for the little
he wanted, which was a few application forms for a
friend of his who wants to take out life insurance.
Why did he come to London life? Did he say? Yes?
(03:45):
He did? Said he was recommended by a friend of
yours of mine Adams. Did he know my name? Yes, sir,
he lived over here and said, ah, there's mister Sampson.
Not that I've had the pleasure, so I shall trouble him. Oh,
that'll be all, Adams. You may go back to a desk. No,
(04:07):
I didn't like the looks of this Slington. He had
smiled too much at Adams was too agreeable. A week
later I went to see an old friend for dinner,
and who should be there but Julius Flington Edgar Sampson. Well,
who work seems to agree with you? I must admit, Tom,
I enjoyed. It was nice for you to ask me
(04:27):
from meal? Do you know that fellow over there standing
by the mantelpiece, and of course I know him. I'm
not in the habit of inviting strangers to eat with me. Then,
since we are both under the same roof, introduce me, Julius.
I want you to meet Edgar Sampson. Julius Sington. How
do you do? Do you? And I thought you to
admit Julius was thinking about some live insurance. I told
(04:51):
him to look you up. I did look in at
missus Sampson's office on your recommendation, Tom, But since all
I wanted was a few insurance forms, I didn't want
to trouble him. I would have been glad to help you.
I'm sure of that, and I'm very much obliged. Another time,
perhaps you're thinking of insuring your life. Then I'm reaid
(05:11):
I'm not so prudent as all that I was inquiring
for a friend. That London life has recently suffered a
great loss in money, Nah, no talent bigger. I was
not aware of it. I speak of your mister Malcolm. Oh,
to be sure, he is a great loss. A young man,
(05:34):
so energetic. Yes, it's a shame you knew Milton nearly
my reputation very young, wasn't it about thirty suddenly become
incapable of business at that young age. Any reason for
his sudden what should I call it? I see Tom
(05:56):
is telling us dinner is served? Oh will you excuse me?
What can I tell you? I simply could not bear
the fellow. I thought him crying, insincere, and I'm sure
he must have realized I was having second thoughts about him.
But my reactions didn't stop Slington. He even sat himself
(06:18):
next to me, and after dinner, as we were lighting
up cigars, there he was again at my elbow. I
didn't want to go into visit the table because we
were saying, before this young Chap Meltham, who used to
work for you, whatever happened, you suppose that he should
shaffer chaffer? What mister Slington, I was going to say,
(06:44):
nervous breakdown? Is that what you've heard?
Speaker 3 (06:47):
In a way, I understand he was, actually, when I
put it, broken.
Speaker 1 (06:53):
Hearted, something about a girl, although it.
Speaker 2 (06:56):
Didn't seem probable to me, Meltham being a young man
so distinguished and attractive, attractions and.
Speaker 1 (07:03):
Distinctions are no armor against death. Uh, the lady died.
Pardon me, I did not know that that does make
it very sad, poor mister Melcolm, she died, Ah, dear me, lamentable, lamentable?
(07:26):
Do you think this Flington is genuine? Neither did I?
Why this commiseration from Melson whom he couldn't have known
very well with at all? What was Slington up to?
Mister Sampson. You're surprised to see me so moved about
a man I have never known. But I am not
(07:48):
so disinterested as you suppose. I have suffered then, recently too,
from death myself. I have lost one of two charming
nieces who were my constant companions. She died nearly twenty three,
and her remaining sister is far from strong. Ah, my
(08:12):
dear mister Sampson. The world is a grave. And now,
if you'll excuse me, I'll have a word with the ambassador. Oh,
dear Edgar, you seem to have spent a good part
of the evening talking to Lincoln. There's not a bad
chap really. For some reason, Tom heaven knows why he's
followed me from my first glass of wine to my
(08:34):
last cigar. How long have you known him? Tom? Oh?
A few months I met him at Persons the painter.
He was linkedn in Italy, where he'd been on holiday
with his two nieces. One of them died he returned
to London. He wasn't annoying. It was in not really.
There are some people who travel from house to house,
(08:55):
visiting acquaintance to acquaintance, and in that way acquired ready made.
Don't come now, and yeah, Julius Lincoln is not that
much of an opportunist, by dear Tom. When you're a
very livelihood and the success of your company depends upon
knowing whom you are dealing with, you're saying it here
that some inner voice in you is warning you all
may not be what it seems with dear Julius. Precisely
(09:19):
with regard to that gentleman, I should be extremely surprised
if all were what it seems. Good morning, mister Sampson.
It gentleman is here again. He's been waiting to see you, Slington. Yes, ah,
(09:39):
mister Samson, the day to you. It's not the insurance policy,
Oh yes, the forms you brought to your friend. Yes,
The fact is I'm no little taken by surprise by
what my friend has done by way of life insurance.
As he filled out the application, he told me, sir,
what is his name, mister Stinton Adams. If you have
(10:03):
a life application there from a mister Beckwith, would.
Speaker 2 (10:06):
You bring it in you Hee Beckwith and I live
in the same digs in middle temple, top of the
same staircase.
Speaker 1 (10:13):
His door is opposite mine. Here it is mister Simpson
and mister Telfree Beckworth applies for two thousand pounds life insurance.
Thank you Adams. M Yes, seems to be an author.
Oh he names you as beneficiary, mister Slington. I never
(10:35):
thought he would. I suppose he has no other relatives.
Now it's done all the time, the naming of friends
as beneficiaries. Now you, for your partner must also fill
out one of our forms. That night I was at
home when I had a visit from a young man
I had not seen in several months, John Milton. Yes,
(10:58):
it's been a long time, mister Sampson. Too long, dear John.
My boy looked terrible. What have you been doing with yourself?
And I'm not up the sort. John, I don't think
you should have quit the company. When a sad event
happens through an accident of faith, may I interrupt you,
mister Sampson, this was no mere sad event, but a tragedy,
(11:18):
a great tragedy. Nor believe me, was it a simple
accident of fate. My point is, no matter how tragic,
Wednesdays must go on. To do that, the best medicine
is to fill your hours with work. Come back to
London life, John, Well, welcome you like a shot. I
can't do the work. I've lost faith in my ability
(11:39):
to judge or understand motives. I would be worthless to
you all the cause a girl we insured dies and
now let let's not talk about it at any rate.
I've decided on another line of work, something i'd rather do.
I hope it pays you well, and I hope you
were as good at it as you were in insurance.
(12:00):
Some of us thought you were a marvelous agent, and
your commissions proved it, didn't they, mister Samson. All they
proved is I put money ahead of humanity. And that's why.
That's why I can't say it. It's why Marguerite is dead.
I'm sorry. The pain is too with you. I loved her,
(12:20):
mister Sampson, Oh how I loved her. Death is a
part of life now, yes, I can accept that, but
not the reason for her death. I came this evening
to tell you of the peculiar circumstances surrounding her death.
She was very young, too young to please please, please
say nothing as you wish. I shall sit here and listen.
(12:44):
This is very difficult for me to talk about. I'm
sure it is no. No, you don't I killed Marguerite.
I did. If I love that girl, as I have
never loved anyone before or ever shall again. But if
the whole truth were KNOWNE I and I alone led
(13:05):
her to her death. I murdered her. What have we here?
Quite a turn of events?
Speaker 2 (13:25):
And our man Edgar Sampson, who manages London life, meets,
dislikes and suspects the sincerity of one Julius Slinton. Then
his former employee John Meltham confesses to a murderer. Is
there a link between these three men? If there are answers,
let us hope they are forthcoming. When I returned shortly
with that too. Charles Dickens came to his interest in
(13:58):
mystery murderer and the work of detection late in his
creative life. Not that social injustice, which he constantly assailed,
was foreign to him, but specific chicanery like that in
this story was a new subject for Dickens. Certainly, none
of his characters before John Meltham had ever confessed your murder.
Speaker 1 (14:18):
I killed that sweet girl just as certainly as if
I had put a bullet through her head. John, John,
I want you to calm down. It's been too much
for me to bear alone. Let me, in my own way,
tell you how it happened. I was sitting at my
desk at London Life.
Speaker 2 (14:37):
You were away.
Speaker 1 (14:38):
I believe, mister Milcolm, there is a young lady comes
in quire by insurance. I think you can see her.
That's why, certainly Adams, what's her name?
Speaker 4 (14:48):
Oh, I don't need to be announced. I'm not royalty
Marguerite Nina, and you.
Speaker 1 (14:53):
Sir John Meltham, A pray sit on, mister Melcolm.
Speaker 5 (14:57):
London Life has been recommended to me as trustworth. I
wish to deal with a company that will make good
on its promises to pay.
Speaker 1 (15:04):
I sincerely hope Miss Nina that day is in the
very distant future.
Speaker 4 (15:08):
We all hope that, mister Meltham. But death does not
always consult her wishes.
Speaker 1 (15:13):
Sir, how old are you twenty three?
Speaker 4 (15:17):
You are smiling, mister Meltham, Yes, of.
Speaker 1 (15:19):
Course, we will ensure you. But may I say, for
one so young and beautiful, it.
Speaker 4 (15:25):
Seems to me that you're I appreciate the compliment. May
I have the forms to?
Speaker 1 (15:30):
Uh? Oh?
Speaker 4 (15:32):
Please? Could I have a glass of water? I don't
feel at all well.
Speaker 1 (15:38):
Miss Niner, Miss Niner, Oh, good lord, she's fainted, Adams,
come here quickly. In a matter of moments, she had
come too of her own accord. Adams and I lifted
this beautiful creature and carried her to the couch in
your office, Mister Sampson. I had heard she in some
slight indisposition, but no idea the poor girl had fainted well,
(16:02):
she insisted we immediately begin to process a policy. When
I asked her if she was under doctor's care, she
actually implied they had all given her up. Well right there,
I should have said, my dear young lady, if indeed
you have a history of illness, London life cannot ensure you.
But she was so intense about taking it out, as
(16:22):
she lay there, looking at me deeply, with her lavender
eyes reaching and touching my heart. But how could I
refuse her? I could not. I understand extenuating circumstances. I
loved her. There could be no other reason. I'm thirty
years old, and for the first time in my life
(16:42):
I knew love. John. Perhaps insuring Miss Nina without medical
approval was fool hardy, but I would hardly call that
an act of murder. Why she was abroad in Italy
when it happened. I know now Marguerite did not die
a natural death. You have proof, not yet, but one
must have proof. Let us say I have enough. But
(17:05):
whether at this moment I have adequate proof or not,
I shall follow the person I believe directly responsible until
the ends of the earth. Surely the police, I know
they may have this person later. For now, it is
my satisfaction to avenge the deed. John, I believe the
death of this young lady is something you should completely
(17:27):
erase from your mind. It is unhealthy to dwell upon
it and it could wreck your life. And supposing you
were wrong that hers was a natural death, I cannot
forget the day she passed away. It was only one
month of the day her life policy went into effect.
It was also the day I had purchased a wedding ring.
(17:52):
It was quite late when John melt them left my house.
We kept in touch and in September I went down
to Eastbourne for a breath of sea air. Who should
be walking the beach that very late afternoon but Jurius
Slington with a beautiful girl on his arm, A very delicate,
(18:13):
very taled, melancholy young lady dressed in mourning, Mister Sampson,
as I live and breathe, Mister Slington, this is a coincidence,
our sir, I was thinking of you just the other
day in a kindly fashion. I hope. Ah, Mister Sampson,
this is miss Nina, my niece. Mardree, this is mister Sampson. Delighted.
(18:37):
I'm sure. How do you do?
Speaker 3 (18:40):
Are you strolling, mister Samson? Shall we stroll together with pleasure?
Speaker 1 (18:46):
Mardre and I are about to take this rather steeth
as ime the top beachy head. A look there, the
mark wheels and sad the wheels of a handcage.
Speaker 3 (18:57):
Marjorie, my love your shadow.
Speaker 1 (19:00):
That Miss Sneyder's shadow not a sound shadow, Madre.
Speaker 3 (19:06):
Idea, tell mister Samson.
Speaker 5 (19:09):
There is nothing to tell except that I constantly see
the same invalid old gentleman at all times wherever I go.
Speaker 4 (19:18):
When I'm strolling the beach or as we are now
mounting the.
Speaker 5 (19:23):
Path to the cliffs, therey is within sight, being wheeled
about in the bath chair.
Speaker 1 (19:30):
Strange. Does he live in Eastbourne?
Speaker 4 (19:34):
He is staying here?
Speaker 1 (19:36):
Do you live in Eastbourne?
Speaker 4 (19:38):
No? Also merely staying.
Speaker 5 (19:42):
Dear Uncle Julius is concerned over my health, so he
has me staying.
Speaker 4 (19:46):
With a family. And my shadow, I hear, is like myself,
not very robust. He's always bundled up. You can hardly
see his face. I don't think I should I know
him if I were to meet him.
Speaker 1 (20:01):
I think I see his bath chair down there, coming
towards us.
Speaker 5 (20:05):
I've not seen him for days, but it does happen
wherever I go, this gentleman.
Speaker 4 (20:14):
I'm quite out of breath from the climb. Uncle, can
we rest.
Speaker 1 (20:19):
A bit, certainly? Yeah, they're practically at the top. Isn't
that your shadow now at the foot of our path?
Speaker 4 (20:27):
Yes, there he is.
Speaker 5 (20:30):
I noticed he's always having his bath chair pushed by
the same gray haired gentleman.
Speaker 1 (20:37):
Will you both excuse me for a moment. I think
I know the gentleman. Good evening, mister Sampson. I'm glad
you arrived before he got dark shaw. I must congratulate
you upon your disguise. You make an admirable elderly bundled
up gent. Thank you that your man servant does well
(20:57):
as a pot. I knew he would. I game as
soon as I got to a message, Sir, Margerie Nina
is in danger of her life. I quite understand. We
must get her away from him. I should do my best. No,
not my dear Marguerite, her sister. We must see how
I have every intention keep us inside, John, and I
shall do my best to affect a riscue. He must
(21:17):
not know that we know have no fear. Oh bless you, sir,
good Lord God. I can't see them upfair. I must
start that curdy hourry. I ran up the steep part
of me, your head filled with frightening thoughts of what
the area is known for. As I got to the top,
I saw Moderie Nina at the very edge, struggling with
(21:40):
Clinton ladder. Stop. Oh if you Samson, Thank heaven. I
thought we'd lost Herristnier. What is it I do?
Speaker 4 (21:51):
No right, I don't. I was just looking down there
A shop jacket rocks and I must have a balance
or something. It's not that I was being pushed Narsa.
I heard you. I stop, and then Uncle Julius reached
out and and he caught me.
Speaker 1 (22:11):
He caught me before us. I dear Marjorie, I think
this client was too much for you, but it.
Speaker 4 (22:17):
Was your idea uncle.
Speaker 1 (22:18):
Are you all right, miss Nina?
Speaker 4 (22:20):
Thank you?
Speaker 1 (22:21):
Yes, mister Sampson, well, mister Samson.
Speaker 2 (22:25):
Who was he?
Speaker 1 (22:26):
I beg your problem? Marjorie is dying to now? Who
has shadow his ha? Yes, the old gentleman. He is
an intimate friend of our mutual friend Tom, at whose
house we first met a certain major Banks, the old
East India director. You have heard of him. Banks. Never
(22:47):
very rich, miss, I know, but very old and very crippled.
He has been much interested in you, even at the
long range. He was telling me of the affection he
observed between you and your uncle. Our affection is always
a strong one, for we had a few near ties.
There are two of us. Samson.
Speaker 3 (23:07):
Would you be a good fellow and sit here with
my niece while I run back and fetch her Manson.
Speaker 1 (23:12):
I shall be glad to him.
Speaker 4 (23:14):
Oh, I'm god, I'm putting you to such trouble, hateful
tasting stuff.
Speaker 1 (23:20):
It will be as quick as I can please be careful.
Speaker 4 (23:23):
It's almost dark now. On the path is.
Speaker 1 (23:25):
Seead way, my dear. Half an hour, sir and I
shall be back. He is such a good man, Miss Snyner.
Tell me more about your uncle.
Speaker 4 (23:37):
Oh, you have no idea.
Speaker 5 (23:39):
We cared for my sister, his untiring devotion to her,
strange illness, strange what she just wasted away?
Speaker 4 (23:48):
No one could ever explain it satisfactorially.
Speaker 1 (23:51):
Your sister passed away in Italy? Yes, how did you know?
Speaker 5 (23:57):
We were taking a journey mostly for her health, and
in this little town high in the Dolomites, where there was.
Speaker 4 (24:03):
No doctor, no help whatsoever, she passed away. We had
her buried there.
Speaker 1 (24:10):
Who have no family, no one to wish her remains
back in England.
Speaker 4 (24:13):
Marguerite and I are orphans. We have no money, no
one nothing.
Speaker 1 (24:18):
Oh.
Speaker 5 (24:18):
I signed a little insurance over to Uncle Julius, as
did Marguerite.
Speaker 4 (24:23):
Otherwise we were quite alone in the world until he
came into our lives. He made us call him uncle.
But we're not related, really, Nay, I call you Marjorie. Certainly.
Speaker 1 (24:37):
I ask that because someone very dear to your sister
is very dear to me, and he is much concerned
over your well being.
Speaker 4 (24:46):
He has a right to be so. I have a
feeling that my life is drawn to an end. Even
if did Marguerite, it must be in our blood.
Speaker 1 (24:57):
Marjorie, do we have any idea? And mister Slington brought
you to Eastbourne? Ah?
Speaker 4 (25:02):
Yes, for the restorative powers of the sea air.
Speaker 1 (25:06):
This very place where we now sit, this cliff is
called beachy Head. Do you know what it is famous
for in all of England? What beachy Head is known for?
No suicides? What you heard me right? Suicides? When I
came up the cliff path just now and saw you
(25:27):
in your uncle's arms. Suicide is what flashed to my mind.
If you had dropped over the edge, would it have
looked like suicide? But I thought I tripped and you
thought he caught you. Perhaps what are you saying, mister
Sampson in the medicine you find distasteful? Does it not
(25:49):
make you feel worse rather than better?
Speaker 4 (25:52):
Ah? Uncle Juliu said, one must expect.
Speaker 1 (25:56):
Why I must one moderie time, presses heed my warning,
collect your strength, your resolve. Had you been alone up here,
one misstep and this moment, you would be lying shattered
on those rocks below. Believe me the next time your
life will not be spared.
Speaker 4 (26:16):
I cannot believe him.
Speaker 1 (26:18):
Must as your friend, as your sister's friend. I entreat you, Moderie,
without one moment's loss of time. Come with me, and
I shall bring you to the man you call your shadow.
He can tell you better than I of the danger
to your life. I had barely the time to run
(26:40):
with her to the bath chair where Malcolm was waiting.
As the evening star rose into the heavens over beachy Head,
I saw them disappear, and the tall, familiar form of
Furious Slington make his way up the cliff to my.
Speaker 2 (26:55):
Side, where a tall man with his hair part in
the middle, had an hair about him that said to
Edgar Samson, sheep off the grass now. As he approaches Sampson.
The sign seems to read, look out danger. We have
a devious and cunning man, possibly a murderer, pitted against
(27:18):
a clever.
Speaker 5 (27:19):
And just man.
Speaker 2 (27:21):
What happens will be reviewed when I return in a
few moments. With Act three, night has fallen on the
English seacoast town of Eastbourne. The waves are high and
signal an impending storm, But in the air is not
(27:43):
only a storm at sea, but a storm of anger
which might break at any moment. The young lady, fortunately
has been spirited away to safety. Edgar Sampson sits on a.
Speaker 1 (27:55):
Rock high on the beachhead cliffs and waits a Miss Samson,
my niece is not here. Miss Snyder felt the growing
chill that has gone home. Indeed, I persuaded her a
She's easily persuaded her own. Good, Thank you, Miss Samson.
She has met her within doors. Say for I thought
(28:18):
so too. I have to think. I mention down to
her vent. She is very delicate, heay, since the unfortunate
death of her sister Madre, has not fared well. But
we must hope. Do you stay here in the east?
Ben long, it's Samson. I know I'm going away tonight.
Speaker 3 (28:41):
Oh so soon as the cier restored you so quickly.
Speaker 1 (28:46):
Events, mister Slington, events have quite restored me. Thank you.
I'm going back to London and i'd better stop down.
That storm is overtaking. I'm a settin.
Speaker 2 (29:01):
May I ask poor Tom Meltham who he spoke of?
He has been stricken, you're telling me?
Speaker 1 (29:11):
Indeed, yes, fatally.
Speaker 2 (29:13):
Ah is he.
Speaker 1 (29:16):
Dead yet? Not when I last heard him? But two broken,
a man to live long and hopelessly lost to us
at Plundon Knife. Were he even to live, which I
doubt he will never be the man he was. Uh
deare deare sad? The world is a grave. A few
(29:44):
days later I arranged to see Madre Nina in London.
I selected the safest place possible, an address where I
was certain we could meet in broad daylight and not
be observed, in front of the statue of Peter in
Kensington Gardens.
Speaker 4 (30:03):
Mister Sampson, my head is still in the world. I
honestly don't.
Speaker 2 (30:07):
Know what to make of all this.
Speaker 1 (30:09):
That is exactly the reason, Marjorie, honesty you mean, I
mean that most of us take its face value of
the actions of others. We begin by trusting them. We
expect them in return to treat us honestly. The man
you call your uncle exploited you and your sister shamefully, criminally,
(30:30):
and it is only a matter of time before he
is caught in his own web.
Speaker 5 (30:34):
Uncle joyous, Ah, it's so hard for me to believe
he seemed so devoted to us. We often remarked at
our extraordinary good fortune to have been befriended two girls
working in a factory. We were by this charming, lovely,
thoughtful person who never.
Speaker 4 (30:55):
Made an untoward move in any way.
Speaker 1 (30:58):
His only interest, Marjorie, is money. It seems a shame
to be talking about such a man in this beautiful place.
Speaker 5 (31:07):
Do you know I haven't been to Kensington Garden since
I was a little girl.
Speaker 1 (31:12):
And did you know another little girl was born right
over there in Kensington Palace, and she always played in
these gardens, Queen.
Speaker 4 (31:21):
Victoria Madrid, and I would roll our hoops right along
this path. I miss her so, mister Stepson. I wish
we had never met, mister Slincoln. I wish it with
all my heart.
Speaker 1 (31:36):
Just try to believe all that has happened is perhaps
a dream. You'll wake up, Marjorie, and the world will
be beautiful again.
Speaker 4 (31:46):
I just thought that nice man, mister, the one who helped.
Speaker 5 (31:52):
Me get away from Peachyhead, my shadow, Peter Pan could
never get his shadow to stick on better.
Speaker 1 (32:00):
You're smiling. Good things can happen tomorrow. Remember that even
little Peter Pan believed that I must be going now.
I shall watch over you even more closely than your
shadow and beachy Head.
Speaker 5 (32:15):
How long must I remain with mister Malcolm's sister.
Speaker 1 (32:19):
Until we are certain mister Slington no longer roams the streets.
Speaker 2 (32:24):
When will that be soon?
Speaker 1 (32:26):
I hope very soon. The final thread of the web
led me to the building where curious Slington lived the
top floor. He on one side of the stairs, and
on the other the gentleman whose life he had insured
with us. Mister Beckwith, Who is that? Is it? Welcome?
(32:49):
Ain't my good man? Excuse me? I noticed the name
on the door, Alfred Beckwith.
Speaker 5 (32:55):
That is me?
Speaker 1 (32:56):
You know me by name only. I'm with London Life. Ah. Yes,
you are looking for my dear friend Shington. No doubt
he is. It's across the hall. I call him. Julius
Julius Caesar.
Speaker 4 (33:09):
You have a visitor.
Speaker 1 (33:11):
What did you say? Your name was Sampson, Julius Caesar.
This son is over the yard, Alfred. What is the
matter with you? Oh? Oh, mister Samson? What brings you here?
Mister Beckwith? Will you excuse us a moment? Where can
we talk? Mister Slington? Right outside on the landing. Indeed,
(33:35):
you are excused, but I shall expect you back. Is
this your friend Beckwith who were insured with us? I'm
afraid it is. I'm exceedingly sorry as I but sorry
you could be of some help. He's your friend who
said his rooms are in such disorder? How can anyone
(33:55):
live like that? By the way, he looks like say,
he's in the last tatters of delirium tremens. I am
as saddened as you. Yes, he's a very great friend.
You must have been very ill even before I knew him.
Now I can do nothing with him, nothing at all.
(34:16):
How is your niece, mister Slington, My niece, Mardine Mina,
the one I met with you at the Beacherhead.
Speaker 2 (34:27):
I'm sorry to say, mister Sampson, that my niece has
proved treacherous and ungrateful. She left me without a word
of notice or explanation, simply disappeared. No doubt she was
misled by some designing rascal.
Speaker 1 (34:45):
You may have heard of it. I did hear she
was misled by some designing rascal. In fact, I have
proof of it. Are you sure of that? Quite? Are
you both standing out there on the landing forever company
to breakfast? Julius boil the brandy, My dear mister Beckworth,
I see no food about, nothing to eat, but these
(35:08):
salted areas. Yes, Julius believes in keeping up my thirst
day and you won't forgive me mister and he says,
says Samson, the way I am dressed, This whole dressing
gown is all I seem to have. It. Might clothes
have all disappear, Sorry, mister Slinton. You could fetch him
some food to eat. The man is ill, mister Samson,
you're a man of the world. I'll be playing with you.
(35:32):
Oh no, you won't.
Speaker 2 (35:34):
I understand your object in visiting here London life, which
is to save its funds and escape from its liabilities.
These are old tricks of the trade with you insurance gentlemen.
Speaker 1 (35:49):
But you will not do it. So is Julius. I
found some brandy. No, you will not be able to
evade payments. Should anything happen to this dear man, you
will not succeed. Mister Samson. You have not an easy
adversary to play against when you play against me. When
the time comes and mister Beckwith is no more leaping
(36:15):
when and how he fell into his present habits, Julius, gentlemen,
I drink to your health.
Speaker 3 (36:23):
Sir, mister Samson, I put this incoherent, poor creature side, and.
Speaker 2 (36:31):
Wish you a good morning.
Speaker 1 (36:33):
With that. Alfred Beckwith took his entire glass of brandy
and threw it right into a Slington's face, and then
the glass after it. As he mopped the blood and
brandy away, Julius Slington saw before him a man no
longer reeling and trembling, but are changed, determined, forceful, Alfred
Beckwith Hayton, look at me, you'll fill it, see me
(36:55):
as I really am. I took these rooms to beat
a trap for you, bught me a poor drunkard, an imbecile.
You ensured my life, did you? I saw, mister Sampson
before you did. Your plot has been known to us
all along, having baited you with the prize of two
thousand pounds, you were going to kill me off with brandy,
and since the brandy didn't seem to be working quickly enough,
(37:17):
you were pouring poison into my glass per first. I
was not too far gone not to observe you. The
man is mad, obviously a drunkard and a fool murderer.
Why do you suppose I was certain you would fall
into the trap because you are no stranger to me,
Julia Slington, I knew you, murderer who for so much money,
had poisoned one innocent girl while she trusted you and
(37:39):
was on the point of killing another.
Speaker 4 (37:41):
Ah.
Speaker 1 (37:42):
I understand, he mister Zebsen, and listen to the ravings
in this lunartach. Perhaps we had better. But while you
may be able to deceive your young ladies, this old
bird was not fooled. Do you think that I drank
all the liquor you applied me with I poured it away,
and then when you were out, I let myself into
your apartment, investigated your papers, took samples from your poison bottles,
(38:06):
your packets of powder, changed the contents to harmless sugar
less you.
Speaker 2 (38:09):
We are trying to kill more.
Speaker 1 (38:11):
Innocence, Yeah me, Miss Samson. Don't you find all this
a little repetitious and boring? Not half as repetitious as
your private journal spelling out in detail, page after page,
how long it took you to do away with your victim,
the size of the doses, the signs of gradual decay
upon the mind and body, the fancies produced, the pain inflicted.
(38:34):
It's repetitious, but not boring, Miss Samson. I cannot remain
in this port imanted creature's presence any longer, I'm going
back to my apartment. You won't find that journal in
the secret drawer of your writing desk any longer. And
you are a thief. And I am also your niece
(38:56):
Marjorie's shadow. I followed you to Eastpod made sain and
mister Samson was on hand. When you try to use
beachy head is the scene of a suicide. And all
the while plying miss Nino with medicine, you said medicine. Indeed, ah,
who are you? Why have you pursued me like this?
(39:19):
Are you the police? No, mister Sinton. We are life insurers.
We bank on the life, not the death of those
we insure. I am not the police. Beg we who
are you? When you sent the sweet Margaret Nina, whom
you murdered, to the office of John Meltham, it fell
(39:41):
to his lot to see her, speak with her, give
her the insurance forms, naming you as beneficiary. But it
did not fall to his lot to save her. Having
lost her, he had but one object left in life,
and that was to avenge her and destroy you. I
am John, Help them. Jurius Linton was apprehended, brought to
(40:09):
trial and condemned to pay for his crimes with his life.
John Milton, I am happy to say, is beginning to
recover from the sadness of having lost his first love.
At least he no longer blames himself for her death,
and it may very well be if he and Marjorie
(40:29):
Nina continue to see one another, they will both find
a happiness long delayed. As for myself, Edgar Sampson, I
look very carefully at the line marked beneficiary in your policy.
I try to find out as much as I can
before we ensure your life.
Speaker 2 (40:56):
Insurance files are filled with stories like the one you
just heard.
Speaker 1 (41:00):
Recently.
Speaker 2 (41:01):
A man was insured for fifty thousand dollars. He was
thrown into an icy.
Speaker 1 (41:06):
River, left to catch pneumonia.
Speaker 2 (41:08):
Poisoned with alcohol, set a fire, run over by a car,
and still the man would not die.
Speaker 1 (41:15):
Others have not their so well.
Speaker 2 (41:18):
Is there a precaution an answer? I'll try to give
you one when I return shortly.
Speaker 1 (41:33):
Yes.
Speaker 2 (41:34):
It was over one hundred and twenty five years ago
that Charles Dickens wrote this brilliant expose, especially for American readers,
serialized in a newspaper. Have times and crimes changed that much?
In well over a century to seek for game murder
for profit.
Speaker 1 (41:51):
I'm afraid not.
Speaker 2 (41:53):
The answer, then, is to be on one's guard. Ask
who stands to win. If you lose your life, find out,
be careful and you may live longer. Our cast included
Gordon East, Patricia Elliott, Robert Dryden and Earl Hammond. The
entire production was under the direction of Hymon Brown
Come in welcome.
Speaker 2 (00:21):
I'm e. G.
Speaker 1 (00:21):
Marshall.
Speaker 2 (00:23):
You are all fortunate today, and I am indeed glad
for you, for today's story was written by the genius
who gave us tiny Tim Scrooge, David Copperfield Oliver Twist,
literally a world of unforgettable characters. Very rarely did Charles
Dickens spin out for us a mystery. But today we
will untangle the web of just such a story.
Speaker 1 (00:46):
Mister Samson, I came here this evening to tell you
of the peculiar circumstances of the girl's death. She was
very young, too young to die. I don't know how
where to begin. It's difficult because you loved the girl.
I know. No, you don't know. I loved her as
I have never loved anyone. But if the whole truth
were known, I led her to her death. I murdered her.
(01:16):
Our mystery drama Hunted Down, written by Charles Dickens, was
adapted especially for the mystery theater by James Aggott Junior
and stars Gordon Heath. Charles Dickens spent quite a bit
(01:46):
of time in the United States.
Speaker 2 (01:48):
He toured the country reading his stories. He even wrote
some year this story Hunted Down appeared serially in the
New York Ledger in August eighteen fifty, but this account
of deception and murder could have happened today, over one
hundred and twenty five years later. The same idea has
(02:10):
been copied by modern authors, but no one has ever
told it as vividly as Charles Dickens.
Speaker 1 (02:16):
This is the way it begins. My name is Edgar Sampson.
I am the chief manager of London Life, one of
England's oldest life insurance companies. To deal with insurance, one
must know how to judge a man. If you can't
do that, chances are you will be deceived and your
(02:40):
company could lose a fortune to the unscrupulous. Which brings
me to the first time I met up with Julius
Slinton Adams. Who is that man dressed in black who
just left the office just now? That was mister Julius Slington,
one of our arclives. No, no, no, no, he's not
(03:01):
insured with us, not as far as I know. He
has an air about him. I say, like a warning,
a warning, as if he was saying not in so
many words. Take me just as I show myself. Come along,
follow the gravel, path, Keep off the grass, I permit
no trespassing. Ah, I see what you made, mister Sampson.
(03:23):
Mister Slington is all business. Nothing wrong with that, but
this gentleman wants to be sure you know it. Well,
that's it. He would only be yet for the little
he wanted, which was a few application forms for a
friend of his who wants to take out life insurance.
Why did he come to London life? Did he say? Yes?
(03:45):
He did? Said he was recommended by a friend of
yours of mine Adams. Did he know my name? Yes, sir,
he lived over here and said, ah, there's mister Sampson.
Not that I've had the pleasure, so I shall trouble him. Oh,
that'll be all, Adams. You may go back to a desk. No,
(04:07):
I didn't like the looks of this Slington. He had
smiled too much at Adams was too agreeable. A week
later I went to see an old friend for dinner,
and who should be there but Julius Flington Edgar Sampson. Well,
who work seems to agree with you? I must admit, Tom,
I enjoyed. It was nice for you to ask me
(04:27):
from meal? Do you know that fellow over there standing
by the mantelpiece, and of course I know him. I'm
not in the habit of inviting strangers to eat with me. Then,
since we are both under the same roof, introduce me, Julius.
I want you to meet Edgar Sampson. Julius Sington. How
do you do? Do you? And I thought you to
admit Julius was thinking about some live insurance. I told
(04:51):
him to look you up. I did look in at
missus Sampson's office on your recommendation, Tom, But since all
I wanted was a few insurance forms, I didn't want
to trouble him. I would have been glad to help you.
I'm sure of that, and I'm very much obliged. Another time,
perhaps you're thinking of insuring your life. Then I'm reaid
(05:11):
I'm not so prudent as all that I was inquiring
for a friend. That London life has recently suffered a
great loss in money, Nah, no talent bigger. I was
not aware of it. I speak of your mister Malcolm. Oh,
to be sure, he is a great loss. A young man,
(05:34):
so energetic. Yes, it's a shame you knew Milton nearly
my reputation very young, wasn't it about thirty suddenly become
incapable of business at that young age. Any reason for
his sudden what should I call it? I see Tom
(05:56):
is telling us dinner is served? Oh will you excuse me?
What can I tell you? I simply could not bear
the fellow. I thought him crying, insincere, and I'm sure
he must have realized I was having second thoughts about him.
But my reactions didn't stop Slington. He even sat himself
(06:18):
next to me, and after dinner, as we were lighting
up cigars, there he was again at my elbow. I
didn't want to go into visit the table because we
were saying, before this young Chap Meltham, who used to
work for you, whatever happened, you suppose that he should
shaffer chaffer? What mister Slington, I was going to say,
(06:44):
nervous breakdown? Is that what you've heard?
Speaker 3 (06:47):
In a way, I understand he was, actually, when I
put it, broken.
Speaker 1 (06:53):
Hearted, something about a girl, although it.
Speaker 2 (06:56):
Didn't seem probable to me, Meltham being a young man
so distinguished and attractive, attractions and.
Speaker 1 (07:03):
Distinctions are no armor against death. Uh, the lady died.
Pardon me, I did not know that that does make
it very sad, poor mister Melcolm, she died, Ah, dear me, lamentable, lamentable?
(07:26):
Do you think this Flington is genuine? Neither did I?
Why this commiseration from Melson whom he couldn't have known
very well with at all? What was Slington up to?
Mister Sampson. You're surprised to see me so moved about
a man I have never known. But I am not
(07:48):
so disinterested as you suppose. I have suffered then, recently too,
from death myself. I have lost one of two charming
nieces who were my constant companions. She died nearly twenty three,
and her remaining sister is far from strong. Ah, my
(08:12):
dear mister Sampson. The world is a grave. And now,
if you'll excuse me, I'll have a word with the ambassador. Oh,
dear Edgar, you seem to have spent a good part
of the evening talking to Lincoln. There's not a bad
chap really. For some reason, Tom heaven knows why he's
followed me from my first glass of wine to my
(08:34):
last cigar. How long have you known him? Tom? Oh?
A few months I met him at Persons the painter.
He was linkedn in Italy, where he'd been on holiday
with his two nieces. One of them died he returned
to London. He wasn't annoying. It was in not really.
There are some people who travel from house to house,
(08:55):
visiting acquaintance to acquaintance, and in that way acquired ready made.
Don't come now, and yeah, Julius Lincoln is not that
much of an opportunist, by dear Tom. When you're a
very livelihood and the success of your company depends upon
knowing whom you are dealing with, you're saying it here
that some inner voice in you is warning you all
may not be what it seems with dear Julius. Precisely
(09:19):
with regard to that gentleman, I should be extremely surprised
if all were what it seems. Good morning, mister Sampson.
It gentleman is here again. He's been waiting to see you, Slington. Yes, ah,
(09:39):
mister Samson, the day to you. It's not the insurance policy,
Oh yes, the forms you brought to your friend. Yes,
The fact is I'm no little taken by surprise by
what my friend has done by way of life insurance.
As he filled out the application, he told me, sir,
what is his name, mister Stinton Adams. If you have
(10:03):
a life application there from a mister Beckwith, would.
Speaker 2 (10:06):
You bring it in you Hee Beckwith and I live
in the same digs in middle temple, top of the
same staircase.
Speaker 1 (10:13):
His door is opposite mine. Here it is mister Simpson
and mister Telfree Beckworth applies for two thousand pounds life insurance.
Thank you Adams. M Yes, seems to be an author.
Oh he names you as beneficiary, mister Slington. I never
(10:35):
thought he would. I suppose he has no other relatives.
Now it's done all the time, the naming of friends
as beneficiaries. Now you, for your partner must also fill
out one of our forms. That night I was at
home when I had a visit from a young man
I had not seen in several months, John Milton. Yes,
(10:58):
it's been a long time, mister Sampson. Too long, dear John.
My boy looked terrible. What have you been doing with yourself?
And I'm not up the sort. John, I don't think
you should have quit the company. When a sad event
happens through an accident of faith, may I interrupt you,
mister Sampson, this was no mere sad event, but a tragedy,
(11:18):
a great tragedy. Nor believe me, was it a simple
accident of fate. My point is, no matter how tragic,
Wednesdays must go on. To do that, the best medicine
is to fill your hours with work. Come back to
London life, John, Well, welcome you like a shot. I
can't do the work. I've lost faith in my ability
(11:39):
to judge or understand motives. I would be worthless to
you all the cause a girl we insured dies and
now let let's not talk about it at any rate.
I've decided on another line of work, something i'd rather do.
I hope it pays you well, and I hope you
were as good at it as you were in insurance.
(12:00):
Some of us thought you were a marvelous agent, and
your commissions proved it, didn't they, mister Samson. All they
proved is I put money ahead of humanity. And that's why.
That's why I can't say it. It's why Marguerite is dead.
I'm sorry. The pain is too with you. I loved her,
(12:20):
mister Sampson, Oh how I loved her. Death is a
part of life now, yes, I can accept that, but
not the reason for her death. I came this evening
to tell you of the peculiar circumstances surrounding her death.
She was very young, too young to please please, please
say nothing as you wish. I shall sit here and listen.
(12:44):
This is very difficult for me to talk about. I'm
sure it is no. No, you don't I killed Marguerite.
I did. If I love that girl, as I have
never loved anyone before or ever shall again. But if
the whole truth were KNOWNE I and I alone led
(13:05):
her to her death. I murdered her. What have we here?
Quite a turn of events?
Speaker 2 (13:25):
And our man Edgar Sampson, who manages London life, meets,
dislikes and suspects the sincerity of one Julius Slinton. Then
his former employee John Meltham confesses to a murderer. Is
there a link between these three men? If there are answers,
let us hope they are forthcoming. When I returned shortly
with that too. Charles Dickens came to his interest in
(13:58):
mystery murderer and the work of detection late in his
creative life. Not that social injustice, which he constantly assailed,
was foreign to him, but specific chicanery like that in
this story was a new subject for Dickens. Certainly, none
of his characters before John Meltham had ever confessed your murder.
Speaker 1 (14:18):
I killed that sweet girl just as certainly as if
I had put a bullet through her head. John, John,
I want you to calm down. It's been too much
for me to bear alone. Let me, in my own way,
tell you how it happened. I was sitting at my
desk at London Life.
Speaker 2 (14:37):
You were away.
Speaker 1 (14:38):
I believe, mister Milcolm, there is a young lady comes
in quire by insurance. I think you can see her.
That's why, certainly Adams, what's her name?
Speaker 4 (14:48):
Oh, I don't need to be announced. I'm not royalty
Marguerite Nina, and you.
Speaker 1 (14:53):
Sir John Meltham, A pray sit on, mister Melcolm.
Speaker 5 (14:57):
London Life has been recommended to me as trustworth. I
wish to deal with a company that will make good
on its promises to pay.
Speaker 1 (15:04):
I sincerely hope Miss Nina that day is in the
very distant future.
Speaker 4 (15:08):
We all hope that, mister Meltham. But death does not
always consult her wishes.
Speaker 1 (15:13):
Sir, how old are you twenty three?
Speaker 4 (15:17):
You are smiling, mister Meltham, Yes, of.
Speaker 1 (15:19):
Course, we will ensure you. But may I say, for
one so young and beautiful, it.
Speaker 4 (15:25):
Seems to me that you're I appreciate the compliment. May
I have the forms to?
Speaker 1 (15:30):
Uh? Oh?
Speaker 4 (15:32):
Please? Could I have a glass of water? I don't
feel at all well.
Speaker 1 (15:38):
Miss Niner, Miss Niner, Oh, good lord, she's fainted, Adams,
come here quickly. In a matter of moments, she had
come too of her own accord. Adams and I lifted
this beautiful creature and carried her to the couch in
your office, Mister Sampson. I had heard she in some
slight indisposition, but no idea the poor girl had fainted well,
(16:02):
she insisted we immediately begin to process a policy. When
I asked her if she was under doctor's care, she
actually implied they had all given her up. Well right there,
I should have said, my dear young lady, if indeed
you have a history of illness, London life cannot ensure you.
But she was so intense about taking it out, as
(16:22):
she lay there, looking at me deeply, with her lavender
eyes reaching and touching my heart. But how could I
refuse her? I could not. I understand extenuating circumstances. I
loved her. There could be no other reason. I'm thirty
years old, and for the first time in my life
(16:42):
I knew love. John. Perhaps insuring Miss Nina without medical
approval was fool hardy, but I would hardly call that
an act of murder. Why she was abroad in Italy
when it happened. I know now Marguerite did not die
a natural death. You have proof, not yet, but one
must have proof. Let us say I have enough. But
(17:05):
whether at this moment I have adequate proof or not,
I shall follow the person I believe directly responsible until
the ends of the earth. Surely the police, I know
they may have this person later. For now, it is
my satisfaction to avenge the deed. John, I believe the
death of this young lady is something you should completely
(17:27):
erase from your mind. It is unhealthy to dwell upon
it and it could wreck your life. And supposing you
were wrong that hers was a natural death, I cannot
forget the day she passed away. It was only one
month of the day her life policy went into effect.
It was also the day I had purchased a wedding ring.
(17:52):
It was quite late when John melt them left my house.
We kept in touch and in September I went down
to Eastbourne for a breath of sea air. Who should
be walking the beach that very late afternoon but Jurius
Slington with a beautiful girl on his arm, A very delicate,
(18:13):
very taled, melancholy young lady dressed in mourning, Mister Sampson,
as I live and breathe, Mister Slington, this is a coincidence,
our sir, I was thinking of you just the other
day in a kindly fashion. I hope. Ah, Mister Sampson,
this is miss Nina, my niece. Mardree, this is mister Sampson. Delighted.
(18:37):
I'm sure. How do you do?
Speaker 3 (18:40):
Are you strolling, mister Samson? Shall we stroll together with pleasure?
Speaker 1 (18:46):
Mardre and I are about to take this rather steeth
as ime the top beachy head. A look there, the
mark wheels and sad the wheels of a handcage.
Speaker 3 (18:57):
Marjorie, my love your shadow.
Speaker 1 (19:00):
That Miss Sneyder's shadow not a sound shadow, Madre.
Speaker 3 (19:06):
Idea, tell mister Samson.
Speaker 5 (19:09):
There is nothing to tell except that I constantly see
the same invalid old gentleman at all times wherever I go.
Speaker 4 (19:18):
When I'm strolling the beach or as we are now
mounting the.
Speaker 5 (19:23):
Path to the cliffs, therey is within sight, being wheeled
about in the bath chair.
Speaker 1 (19:30):
Strange. Does he live in Eastbourne?
Speaker 4 (19:34):
He is staying here?
Speaker 1 (19:36):
Do you live in Eastbourne?
Speaker 4 (19:38):
No? Also merely staying.
Speaker 5 (19:42):
Dear Uncle Julius is concerned over my health, so he
has me staying.
Speaker 4 (19:46):
With a family. And my shadow, I hear, is like myself,
not very robust. He's always bundled up. You can hardly
see his face. I don't think I should I know
him if I were to meet him.
Speaker 1 (20:01):
I think I see his bath chair down there, coming
towards us.
Speaker 5 (20:05):
I've not seen him for days, but it does happen
wherever I go, this gentleman.
Speaker 4 (20:14):
I'm quite out of breath from the climb. Uncle, can
we rest.
Speaker 1 (20:19):
A bit, certainly? Yeah, they're practically at the top. Isn't
that your shadow now at the foot of our path?
Speaker 4 (20:27):
Yes, there he is.
Speaker 5 (20:30):
I noticed he's always having his bath chair pushed by
the same gray haired gentleman.
Speaker 1 (20:37):
Will you both excuse me for a moment. I think
I know the gentleman. Good evening, mister Sampson. I'm glad
you arrived before he got dark shaw. I must congratulate
you upon your disguise. You make an admirable elderly bundled
up gent. Thank you that your man servant does well
(20:57):
as a pot. I knew he would. I game as
soon as I got to a message, Sir, Margerie Nina
is in danger of her life. I quite understand. We
must get her away from him. I should do my best. No,
not my dear Marguerite, her sister. We must see how
I have every intention keep us inside, John, and I
shall do my best to affect a riscue. He must
(21:17):
not know that we know have no fear. Oh bless you, sir,
good Lord God. I can't see them upfair. I must
start that curdy hourry. I ran up the steep part
of me, your head filled with frightening thoughts of what
the area is known for. As I got to the top,
I saw Moderie Nina at the very edge, struggling with
(21:40):
Clinton ladder. Stop. Oh if you Samson, Thank heaven. I
thought we'd lost Herristnier. What is it I do?
Speaker 4 (21:51):
No right, I don't. I was just looking down there
A shop jacket rocks and I must have a balance
or something. It's not that I was being pushed Narsa.
I heard you. I stop, and then Uncle Julius reached
out and and he caught me.
Speaker 1 (22:11):
He caught me before us. I dear Marjorie, I think
this client was too much for you, but it.
Speaker 4 (22:17):
Was your idea uncle.
Speaker 1 (22:18):
Are you all right, miss Nina?
Speaker 4 (22:20):
Thank you?
Speaker 1 (22:21):
Yes, mister Sampson, well, mister Samson.
Speaker 2 (22:25):
Who was he?
Speaker 1 (22:26):
I beg your problem? Marjorie is dying to now? Who
has shadow his ha? Yes, the old gentleman. He is
an intimate friend of our mutual friend Tom, at whose
house we first met a certain major Banks, the old
East India director. You have heard of him. Banks. Never
(22:47):
very rich, miss, I know, but very old and very crippled.
He has been much interested in you, even at the
long range. He was telling me of the affection he
observed between you and your uncle. Our affection is always
a strong one, for we had a few near ties.
There are two of us. Samson.
Speaker 3 (23:07):
Would you be a good fellow and sit here with
my niece while I run back and fetch her Manson.
Speaker 1 (23:12):
I shall be glad to him.
Speaker 4 (23:14):
Oh, I'm god, I'm putting you to such trouble, hateful
tasting stuff.
Speaker 1 (23:20):
It will be as quick as I can please be careful.
Speaker 4 (23:23):
It's almost dark now. On the path is.
Speaker 1 (23:25):
Seead way, my dear. Half an hour, sir and I
shall be back. He is such a good man, Miss Snyner.
Tell me more about your uncle.
Speaker 4 (23:37):
Oh, you have no idea.
Speaker 5 (23:39):
We cared for my sister, his untiring devotion to her,
strange illness, strange what she just wasted away?
Speaker 4 (23:48):
No one could ever explain it satisfactorially.
Speaker 1 (23:51):
Your sister passed away in Italy? Yes, how did you know?
Speaker 5 (23:57):
We were taking a journey mostly for her health, and
in this little town high in the Dolomites, where there was.
Speaker 4 (24:03):
No doctor, no help whatsoever, she passed away. We had
her buried there.
Speaker 1 (24:10):
Who have no family, no one to wish her remains
back in England.
Speaker 4 (24:13):
Marguerite and I are orphans. We have no money, no
one nothing.
Speaker 1 (24:18):
Oh.
Speaker 5 (24:18):
I signed a little insurance over to Uncle Julius, as
did Marguerite.
Speaker 4 (24:23):
Otherwise we were quite alone in the world until he
came into our lives. He made us call him uncle.
But we're not related, really, Nay, I call you Marjorie. Certainly.
Speaker 1 (24:37):
I ask that because someone very dear to your sister
is very dear to me, and he is much concerned
over your well being.
Speaker 4 (24:46):
He has a right to be so. I have a
feeling that my life is drawn to an end. Even
if did Marguerite, it must be in our blood.
Speaker 1 (24:57):
Marjorie, do we have any idea? And mister Slington brought
you to Eastbourne? Ah?
Speaker 4 (25:02):
Yes, for the restorative powers of the sea air.
Speaker 1 (25:06):
This very place where we now sit, this cliff is
called beachy Head. Do you know what it is famous
for in all of England? What beachy Head is known for?
No suicides? What you heard me right? Suicides? When I
came up the cliff path just now and saw you
(25:27):
in your uncle's arms. Suicide is what flashed to my mind.
If you had dropped over the edge, would it have
looked like suicide? But I thought I tripped and you
thought he caught you. Perhaps what are you saying, mister
Sampson in the medicine you find distasteful? Does it not
(25:49):
make you feel worse rather than better?
Speaker 4 (25:52):
Ah? Uncle Juliu said, one must expect.
Speaker 1 (25:56):
Why I must one moderie time, presses heed my warning,
collect your strength, your resolve. Had you been alone up here,
one misstep and this moment, you would be lying shattered
on those rocks below. Believe me the next time your
life will not be spared.
Speaker 4 (26:16):
I cannot believe him.
Speaker 1 (26:18):
Must as your friend, as your sister's friend. I entreat you, Moderie,
without one moment's loss of time. Come with me, and
I shall bring you to the man you call your shadow.
He can tell you better than I of the danger
to your life. I had barely the time to run
(26:40):
with her to the bath chair where Malcolm was waiting.
As the evening star rose into the heavens over beachy Head,
I saw them disappear, and the tall, familiar form of
Furious Slington make his way up the cliff to my.
Speaker 2 (26:55):
Side, where a tall man with his hair part in
the middle, had an hair about him that said to
Edgar Samson, sheep off the grass now. As he approaches Sampson.
The sign seems to read, look out danger. We have
a devious and cunning man, possibly a murderer, pitted against
(27:18):
a clever.
Speaker 5 (27:19):
And just man.
Speaker 2 (27:21):
What happens will be reviewed when I return in a
few moments. With Act three, night has fallen on the
English seacoast town of Eastbourne. The waves are high and
signal an impending storm, But in the air is not
(27:43):
only a storm at sea, but a storm of anger
which might break at any moment. The young lady, fortunately
has been spirited away to safety. Edgar Sampson sits on a.
Speaker 1 (27:55):
Rock high on the beachhead cliffs and waits a Miss Samson,
my niece is not here. Miss Snyder felt the growing
chill that has gone home. Indeed, I persuaded her a
She's easily persuaded her own. Good, Thank you, Miss Samson.
She has met her within doors. Say for I thought
(28:18):
so too. I have to think. I mention down to
her vent. She is very delicate, heay, since the unfortunate
death of her sister Madre, has not fared well. But
we must hope. Do you stay here in the east?
Ben long, it's Samson. I know I'm going away tonight.
Speaker 3 (28:41):
Oh so soon as the cier restored you so quickly.
Speaker 1 (28:46):
Events, mister Slington, events have quite restored me. Thank you.
I'm going back to London and i'd better stop down.
That storm is overtaking. I'm a settin.
Speaker 2 (29:01):
May I ask poor Tom Meltham who he spoke of?
He has been stricken, you're telling me?
Speaker 1 (29:11):
Indeed, yes, fatally.
Speaker 2 (29:13):
Ah is he.
Speaker 1 (29:16):
Dead yet? Not when I last heard him? But two broken,
a man to live long and hopelessly lost to us
at Plundon Knife. Were he even to live, which I
doubt he will never be the man he was. Uh
deare deare sad? The world is a grave. A few
(29:44):
days later I arranged to see Madre Nina in London.
I selected the safest place possible, an address where I
was certain we could meet in broad daylight and not
be observed, in front of the statue of Peter in
Kensington Gardens.
Speaker 4 (30:03):
Mister Sampson, my head is still in the world. I
honestly don't.
Speaker 2 (30:07):
Know what to make of all this.
Speaker 1 (30:09):
That is exactly the reason, Marjorie, honesty you mean, I
mean that most of us take its face value of
the actions of others. We begin by trusting them. We
expect them in return to treat us honestly. The man
you call your uncle exploited you and your sister shamefully, criminally,
(30:30):
and it is only a matter of time before he
is caught in his own web.
Speaker 5 (30:34):
Uncle joyous, Ah, it's so hard for me to believe
he seemed so devoted to us. We often remarked at
our extraordinary good fortune to have been befriended two girls
working in a factory. We were by this charming, lovely,
thoughtful person who never.
Speaker 4 (30:55):
Made an untoward move in any way.
Speaker 1 (30:58):
His only interest, Marjorie, is money. It seems a shame
to be talking about such a man in this beautiful place.
Speaker 5 (31:07):
Do you know I haven't been to Kensington Garden since
I was a little girl.
Speaker 1 (31:12):
And did you know another little girl was born right
over there in Kensington Palace, and she always played in
these gardens, Queen.
Speaker 4 (31:21):
Victoria Madrid, and I would roll our hoops right along
this path. I miss her so, mister Stepson. I wish
we had never met, mister Slincoln. I wish it with
all my heart.
Speaker 1 (31:36):
Just try to believe all that has happened is perhaps
a dream. You'll wake up, Marjorie, and the world will
be beautiful again.
Speaker 4 (31:46):
I just thought that nice man, mister, the one who helped.
Speaker 5 (31:52):
Me get away from Peachyhead, my shadow, Peter Pan could
never get his shadow to stick on better.
Speaker 1 (32:00):
You're smiling. Good things can happen tomorrow. Remember that even
little Peter Pan believed that I must be going now.
I shall watch over you even more closely than your
shadow and beachy Head.
Speaker 5 (32:15):
How long must I remain with mister Malcolm's sister.
Speaker 1 (32:19):
Until we are certain mister Slington no longer roams the streets.
Speaker 2 (32:24):
When will that be soon?
Speaker 1 (32:26):
I hope very soon. The final thread of the web
led me to the building where curious Slington lived the
top floor. He on one side of the stairs, and
on the other the gentleman whose life he had insured
with us. Mister Beckwith, Who is that? Is it? Welcome?
(32:49):
Ain't my good man? Excuse me? I noticed the name
on the door, Alfred Beckwith.
Speaker 5 (32:55):
That is me?
Speaker 1 (32:56):
You know me by name only. I'm with London Life. Ah. Yes,
you are looking for my dear friend Shington. No doubt
he is. It's across the hall. I call him. Julius
Julius Caesar.
Speaker 4 (33:09):
You have a visitor.
Speaker 1 (33:11):
What did you say? Your name was Sampson, Julius Caesar.
This son is over the yard, Alfred. What is the
matter with you? Oh? Oh, mister Samson? What brings you here?
Mister Beckwith? Will you excuse us a moment? Where can
we talk? Mister Slington? Right outside on the landing. Indeed,
(33:35):
you are excused, but I shall expect you back. Is
this your friend Beckwith who were insured with us? I'm
afraid it is. I'm exceedingly sorry as I but sorry
you could be of some help. He's your friend who
said his rooms are in such disorder? How can anyone
(33:55):
live like that? By the way, he looks like say,
he's in the last tatters of delirium tremens. I am
as saddened as you. Yes, he's a very great friend.
You must have been very ill even before I knew him.
Now I can do nothing with him, nothing at all.
(34:16):
How is your niece, mister Slington, My niece, Mardine Mina,
the one I met with you at the Beacherhead.
Speaker 2 (34:27):
I'm sorry to say, mister Sampson, that my niece has
proved treacherous and ungrateful. She left me without a word
of notice or explanation, simply disappeared. No doubt she was
misled by some designing rascal.
Speaker 1 (34:45):
You may have heard of it. I did hear she
was misled by some designing rascal. In fact, I have
proof of it. Are you sure of that? Quite? Are
you both standing out there on the landing forever company
to breakfast? Julius boil the brandy, My dear mister Beckworth,
I see no food about, nothing to eat, but these
(35:08):
salted areas. Yes, Julius believes in keeping up my thirst
day and you won't forgive me mister and he says,
says Samson, the way I am dressed, This whole dressing
gown is all I seem to have. It. Might clothes
have all disappear, Sorry, mister Slinton. You could fetch him
some food to eat. The man is ill, mister Samson,
you're a man of the world. I'll be playing with you.
(35:32):
Oh no, you won't.
Speaker 2 (35:34):
I understand your object in visiting here London life, which
is to save its funds and escape from its liabilities.
These are old tricks of the trade with you insurance gentlemen.
Speaker 1 (35:49):
But you will not do it. So is Julius. I
found some brandy. No, you will not be able to
evade payments. Should anything happen to this dear man, you
will not succeed. Mister Samson. You have not an easy
adversary to play against when you play against me. When
the time comes and mister Beckwith is no more leaping
(36:15):
when and how he fell into his present habits, Julius, gentlemen,
I drink to your health.
Speaker 3 (36:23):
Sir, mister Samson, I put this incoherent, poor creature side, and.
Speaker 2 (36:31):
Wish you a good morning.
Speaker 1 (36:33):
With that. Alfred Beckwith took his entire glass of brandy
and threw it right into a Slington's face, and then
the glass after it. As he mopped the blood and
brandy away, Julius Slington saw before him a man no
longer reeling and trembling, but are changed, determined, forceful, Alfred
Beckwith Hayton, look at me, you'll fill it, see me
(36:55):
as I really am. I took these rooms to beat
a trap for you, bught me a poor drunkard, an imbecile.
You ensured my life, did you? I saw, mister Sampson
before you did. Your plot has been known to us
all along, having baited you with the prize of two
thousand pounds, you were going to kill me off with brandy,
and since the brandy didn't seem to be working quickly enough,
(37:17):
you were pouring poison into my glass per first. I
was not too far gone not to observe you. The
man is mad, obviously a drunkard and a fool murderer.
Why do you suppose I was certain you would fall
into the trap because you are no stranger to me,
Julia Slington, I knew you, murderer who for so much money,
had poisoned one innocent girl while she trusted you and
(37:39):
was on the point of killing another.
Speaker 4 (37:41):
Ah.
Speaker 1 (37:42):
I understand, he mister Zebsen, and listen to the ravings
in this lunartach. Perhaps we had better. But while you
may be able to deceive your young ladies, this old
bird was not fooled. Do you think that I drank
all the liquor you applied me with I poured it away,
and then when you were out, I let myself into
your apartment, investigated your papers, took samples from your poison bottles,
(38:06):
your packets of powder, changed the contents to harmless sugar
less you.
Speaker 2 (38:09):
We are trying to kill more.
Speaker 1 (38:11):
Innocence, Yeah me, Miss Samson. Don't you find all this
a little repetitious and boring? Not half as repetitious as
your private journal spelling out in detail, page after page,
how long it took you to do away with your victim,
the size of the doses, the signs of gradual decay
upon the mind and body, the fancies produced, the pain inflicted.
(38:34):
It's repetitious, but not boring, Miss Samson. I cannot remain
in this port imanted creature's presence any longer, I'm going
back to my apartment. You won't find that journal in
the secret drawer of your writing desk any longer. And
you are a thief. And I am also your niece
(38:56):
Marjorie's shadow. I followed you to Eastpod made sain and
mister Samson was on hand. When you try to use
beachy head is the scene of a suicide. And all
the while plying miss Nino with medicine, you said medicine. Indeed, ah,
who are you? Why have you pursued me like this?
(39:19):
Are you the police? No, mister Sinton. We are life insurers.
We bank on the life, not the death of those
we insure. I am not the police. Beg we who
are you? When you sent the sweet Margaret Nina, whom
you murdered, to the office of John Meltham, it fell
(39:41):
to his lot to see her, speak with her, give
her the insurance forms, naming you as beneficiary. But it
did not fall to his lot to save her. Having
lost her, he had but one object left in life,
and that was to avenge her and destroy you. I
am John, Help them. Jurius Linton was apprehended, brought to
(40:09):
trial and condemned to pay for his crimes with his life.
John Milton, I am happy to say, is beginning to
recover from the sadness of having lost his first love.
At least he no longer blames himself for her death,
and it may very well be if he and Marjorie
(40:29):
Nina continue to see one another, they will both find
a happiness long delayed. As for myself, Edgar Sampson, I
look very carefully at the line marked beneficiary in your policy.
I try to find out as much as I can
before we ensure your life.
Speaker 2 (40:56):
Insurance files are filled with stories like the one you
just heard.
Speaker 1 (41:00):
Recently.
Speaker 2 (41:01):
A man was insured for fifty thousand dollars. He was
thrown into an icy.
Speaker 1 (41:06):
River, left to catch pneumonia.
Speaker 2 (41:08):
Poisoned with alcohol, set a fire, run over by a car,
and still the man would not die.
Speaker 1 (41:15):
Others have not their so well.
Speaker 2 (41:18):
Is there a precaution an answer? I'll try to give
you one when I return shortly.
Speaker 1 (41:33):
Yes.
Speaker 2 (41:34):
It was over one hundred and twenty five years ago
that Charles Dickens wrote this brilliant expose, especially for American readers,
serialized in a newspaper. Have times and crimes changed that much?
In well over a century to seek for game murder
for profit.
Speaker 1 (41:51):
I'm afraid not.
Speaker 2 (41:53):
The answer, then, is to be on one's guard. Ask
who stands to win. If you lose your life, find out,
be careful and you may live longer. Our cast included
Gordon East, Patricia Elliott, Robert Dryden and Earl Hammond. The
entire production was under the direction of Hymon Brown
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