March 5, 2026 • 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. 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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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
BBS Radio Mystery Theater presents, Come in Welcome. I'm e. G. Marshall.
(00:26):
This is a tale. It takes its inspiration from the
eighteenth century poet Alexander Pope, who said, poetic justice with
her lifted scale, wherein truth with gold she weighs poetic
justice because the weapon a man of no conscience feared
might unmask him, became, in a strange way, the instrument
(00:49):
to bring him the sordid commodity he dealt in death.
Speaker 2 (00:54):
Keep shooting.
Speaker 1 (00:55):
I can't, Diane, I'm not a film.
Speaker 3 (00:57):
What did you expect me to get the killer?
Speaker 1 (01:01):
What?
Speaker 2 (01:02):
There was one Bob, the man who felt didn't fall,
He was pushed, and by sheer chance you may have
gotten a picture of the murder.
Speaker 1 (01:23):
Our mystery drama The Death Shot was written especially for
the Mystery Theater by Ian Martin and stars Anne Williams
and Michael Tolan. It is sponsored in part by True
Value Hardware Stores and Buick Motor Division. I'll be back
shortly with that one. In the spring of nineteen sixty seven,
(02:06):
Greece was torn apart by political strife to control the country,
about to explode. On April twenty first of that year,
six army colonels seize the government in a kudeta. This
story has little to do with politics, except as sometimes
(02:26):
it breeds violent death. Athens in that year was one
of the least safe places in the world for Greeks
or for anyone. As Bob and Diana Paisley are about
to find out, what was that in an accident? Huh
(02:47):
no on, just another crazy Athenian driver.
Speaker 2 (02:50):
Oh nothink for this vacation. I'll pick the walking.
Speaker 1 (02:53):
You'll be doing plenty once we start off the Acropolis.
Speaker 2 (02:56):
We're going to go to bed early to get ready
to bath. What are you doing with that tripod?
Speaker 1 (03:01):
I just want to get a couple of shots from
here on the balcony at night. There's a full moon
coming up. See where right over there by the Temple
of Zeus.
Speaker 2 (03:12):
Oh, yes, it's lovely. What a beautiful city it is.
Hold in you.
Speaker 1 (03:19):
You can say that again.
Speaker 2 (03:20):
I will end something else. I love you.
Speaker 1 (03:25):
You can say that again and again. What are you
planning to shoot now? Well, turn your head the other
way that the apropolis. Yeah, it's rear end anyway.
Speaker 2 (03:38):
Well, it's lovely by moonlight. I never thought the Apropolis
looked like I mean, I just thought it was a
ripothenon with all those columns.
Speaker 1 (03:46):
You know, Well it is plus other buildings. But what
it really was was a fortress.
Speaker 2 (03:51):
And see that now looking at it from here, it's amazing.
Twenty five hundred years ago. How could they build a.
Speaker 1 (03:59):
Thing like fat to the world's greatest democracy. But that
only worked for the freemen. The rest were slaves. You
get enough ants, you can move a mountain. It is
a mountain, yep, part of it. The rest men build.
There must be ten twenty stories up to the top.
I'd hate to fall off quite a few people have.
(04:20):
Now hand me the camera.
Speaker 3 (04:21):
Will you sure?
Speaker 2 (04:23):
Who?
Speaker 1 (04:24):
Who? What?
Speaker 2 (04:25):
Who fell off?
Speaker 1 (04:26):
Oh? Well? Uh? A Geus for one? Who?
Speaker 2 (04:30):
He he was Theseus's.
Speaker 1 (04:32):
Father, a king, and a ship was coming back to
Athens with black sails, and he thought that meant his
son was dead.
Speaker 2 (04:39):
He committed suicide.
Speaker 1 (04:41):
They say, yeah, Diana, baby, it's like the Empire State
or the World Trade Center or whatever. Cooks are attracted
to them.
Speaker 2 (04:49):
Well, I hope no one falls off the.
Speaker 1 (04:51):
Knife fat chance it's closed by now. Nobody up there?
Speaker 2 (04:54):
Well, I can see people up there where Oh you
can only look right through one eye CYCLI just look
in your viewfinder.
Speaker 1 (05:02):
Hey, you're you're right? Why would anyone? Oh well, I
just want to get the silhouette, some of the shading
on the wall and the feeling of tremendous height. Boy,
you took a leap off that you'd be one scrambled
egg when you're landed.
Speaker 2 (05:16):
No, Bob, don't.
Speaker 1 (05:17):
I'm sorry. It's a silly thing to say. Well, I'm
just about set as soon as mister moon cooperates completely.
Speaker 2 (05:25):
It's pretty bright.
Speaker 1 (05:27):
It isn't quite high enough to get light on the
fortress wall. Hey, you got into that nice white wine,
left that retsin or whatever you call it. Oh, don't bother.
The moon is just right. I gotta shoot.
Speaker 3 (05:39):
Yeah, yeah, this ought to be it.
Speaker 1 (05:41):
Oh boy, gorgeous, super hold everything?
Speaker 2 (05:51):
What somebody just fell off?
Speaker 3 (05:54):
Huh?
Speaker 1 (05:55):
I didn't see it?
Speaker 2 (05:55):
How I don't stop shooting chip taking pictures?
Speaker 1 (05:58):
Well, I am, but I didn't see anyone and something
blurred across the lens.
Speaker 2 (06:01):
But I didn't just keep shooting, like I.
Speaker 1 (06:04):
Can't about a film. But what did you expect it
to get the killer? The what? There was one?
Speaker 2 (06:12):
The man who fell didn't he was pushed, he was murdered,
and just by sheer chance, you may have gotten a
picture of who did it?
Speaker 1 (06:28):
Yes, where'd you go?
Speaker 2 (06:30):
I woke up and I was all along.
Speaker 1 (06:32):
I didn't want to disturb your funny face. He was
sleeping so nice and easy. I want to turn in
the film for developing. And I picked up the Athens news.
Speaker 2 (06:43):
Oh great, who translates for it?
Speaker 3 (06:44):
Now?
Speaker 1 (06:44):
It isn't in Greek, it's in English. You won't need
anyone to translate that headline.
Speaker 2 (06:51):
Broadcaster plunges to death that I was right, you were
Who was it, Jeffrey Kellen?
Speaker 1 (07:00):
Oh noow, well, no one seems to know. What do
you mean?
Speaker 2 (07:04):
Who caused it?
Speaker 1 (07:05):
Well, according to the story, he jumped or fell.
Speaker 2 (07:08):
Oh, my aunt Mary, he was pushed shopped.
Speaker 1 (07:10):
I saw it come on Dianea in the moonlight, a
quarter of a half a mile away.
Speaker 2 (07:14):
I saw it, I tell you. Oh, anyway, you know,
nobody has to take my word. You have some film
on it?
Speaker 1 (07:21):
Maybe you know you have? Well, I don't not until
I get some prints back.
Speaker 2 (07:25):
Oh wish you were home, see it could have developed
your own.
Speaker 1 (07:27):
Well I'm not so I have to wait another twenty
four hours.
Speaker 2 (07:30):
In the meantime, we ought to go to the police.
Speaker 1 (07:32):
Well, not just ease back, baby, This is no way
to start off a honeymoon. We could get our feet
and a heck of a lot of piping hot.
Speaker 2 (07:39):
Water by just being good citizens of.
Speaker 1 (07:42):
The wrong country. This is Greece and the pot is
really boiling, and Jeff Kellen was stirring it up pretty good.
He's really been bugging the little kernels that run our
oldest democracy.
Speaker 2 (07:55):
So they had him taken care of.
Speaker 1 (07:56):
We don't know that, but just suppose they did. We
have to walk into their whole machine and accuse him
of murder. I get my own head in a basket.
Speaker 2 (08:04):
What are we going to do? Well, we can't just
sit still for murder.
Speaker 1 (08:09):
Look, just just cool off for a moment. If we
have any proof there was well, foul play.
Speaker 2 (08:16):
I keep telling you I saw it. This man lunched
forward and pushed the other man over.
Speaker 1 (08:20):
Yeah, until we get the contacts back, we don't know that.
We can't do anything until then, if ever, what do
you mean if ever? Look, it's supposed to be our honeymoon.
We wanted to hang loose. Remember, we stick our noses
into this, and we're right in a hornet's nest. Do
we want to do that?
Speaker 2 (08:39):
What choice do we have?
Speaker 1 (08:41):
I'm not kind of wrest on what the pictures show.
Speaker 2 (08:44):
Okay, And supposing they backed me up.
Speaker 1 (08:47):
Then what do we do. Listen to me, childbride, it's
hell to get mixed up in any other countries politics.
I just plan hope we don't have to. For the
first time in my life, I'm keeping my fingers crossed.
I blew those shots for my money. I hope they'll washout.
Speaker 2 (09:07):
Well, how are they clear.
Speaker 1 (09:10):
As a bell? Was he shoved? No question?
Speaker 2 (09:15):
You can see who does it?
Speaker 1 (09:16):
Yeah? Like he posed for it? Who was it? Search me?
The guy with the umbrella? What he had an umbrella?
The killer?
Speaker 3 (09:26):
What?
Speaker 2 (09:26):
Four? It wasn't raining?
Speaker 1 (09:28):
Well maybe he thought it might. He was a pessimist.
I don't know. Might not even have been his No,
you lost me. What I mean is here, Look at
the pictures. The third frame here, See it looks as.
Speaker 2 (09:42):
Though he were taking it away from Jeff Kellen.
Speaker 1 (09:45):
Oh back, what do you mean? Back?
Speaker 2 (09:48):
Look in your first shot doesn't look as if you
were handing it to Kellen, And then the next he
starts to push him, and and the other three he's taking.
Speaker 1 (09:55):
It away maybe we'll be able to see more clearly
in the blow ups. When do we get those rush
jobs special tomorrow morning? Then what then? We may have
a lot of soul searching to do. Whether to go
to the police. You mean, if the killer shows up
clean enough to identify, that's first. What's second? Whether we
(10:17):
go anywhere or just keep our noses clean and don't
make waves. Well, there he is any idea of who
are you? And I never saw him before in my life.
I'm sorry I ever opened the shutter and saw him
at all. This whole thing is hitting up die. I mean,
(10:38):
we stick on our necks. We're really going to be
in it up to them?
Speaker 2 (10:41):
Why we just show the picture and make a statement.
Speaker 1 (10:44):
That won't be that easy. Well, look, it's all over
the morning paper again, and it's gone international. Jeffrey Kellen
may have been a muckbreaker at home and a troublemaker abroad,
but he is a US citizen. He can't get himself
bumped off without an investigation. And I sure don't want
to see us in the middle of it. We haven't
any choice, Yes we do. Nobody knows yet it was murder.
(11:06):
He jumped or fellas off.
Speaker 2 (11:08):
We can't just not say anything.
Speaker 1 (11:09):
No, but once we get mixed up and it, Lord
knows where it leads. Supposing this character and our pictures
turns out to be with the Greek government or tied
to it, and some can of worms, it would open up.
Well maybe it needs opening. Well, maybe they'd never let
us crack it. What do you mean? And if we
go direct to the police, who knows? They might want
to bury the evidence and us. I mean, this is
(11:33):
a police state as of the moment. Where else can
we go to our embassy? I know a guy there
slightly but enough. Maybe I can get in and let
him handle this hot potato, and then with any luck,
we can fold our tents and silently steal away.
Speaker 3 (11:56):
You had to take these pictures.
Speaker 1 (11:58):
I suppose there was an accident.
Speaker 3 (12:00):
An accident looking for somewhere to happen.
Speaker 1 (12:03):
You had to second on me. Aren't you glad to
have the evidence?
Speaker 3 (12:07):
I'll lay it on your straight.
Speaker 1 (12:09):
No, a guy got murdered.
Speaker 3 (12:12):
He got pushed.
Speaker 1 (12:13):
Over the edge, just like he's been pushing other guys
for years, poetic justice.
Speaker 3 (12:18):
The only difference is he never actually killed anyone. He
just ruined them.
Speaker 1 (12:22):
He got it all the way just because he didn't
like the guy doesn't mean he isn't the title of justice.
Speaker 3 (12:27):
Kellen didn't know the meaning of the word. But that
isn't the point.
Speaker 1 (12:32):
What is You see this unlovely son of a sea
cook that finally gave Kellen what he's been asking for
all these years. You know who your subject is? No, Well,
there are the colonels. That's first government echelon, and then
there's Major Constantine Malis. Some people, including our secret service
(12:57):
and G two think maybe he will and is the
government you mean that's Malas in the picture that's our
boy between you and me, Bob, You've created what is
usually referred to as an international incident if these pictures
are ever published. You mean you want to suppress them.
You have the negatives with you at the back of
(13:20):
the hotel?
Speaker 3 (13:21):
Can I send them? Pick them up?
Speaker 1 (13:23):
I guess my wife's there, but I don't understand hold
everything at the moment.
Speaker 3 (13:28):
What's your hotel stand? By Jones?
Speaker 1 (13:31):
The Ava on Lisocratus ortis right?
Speaker 3 (13:36):
Jones?
Speaker 1 (13:37):
Send a message into the ava Hotel Lisocratus. Yeah, you
know it is right off from the top. Best writer
of blumbers contact missus Paisley. Yeah, She'll give you something
in an envelope, top secret rush.
Speaker 3 (13:55):
You know the hotel number?
Speaker 1 (13:56):
Yes, all right, call your wife to expect messenger and
turn over those negatives. Okay, but why do you need them?
Because you want to enjoy your honeymoon?
Speaker 3 (14:08):
Don't you sure so?
Speaker 1 (14:10):
Great? This is out of your hands from now on.
Why don't you make your call from here? My secretary,
you get your line. I'm due for an important outside
appointment as of right before now. Hello, well us, this
(14:33):
is Dean Camby from the American Embassy. I'm I'm holding
a bomb that could blow you right.
Speaker 3 (14:42):
Out of your seat.
Speaker 1 (14:43):
I've got a notion you might be holding something of
interest for me. I figure we might just make a trade. Well,
(15:05):
there you have the ingredients of a good spy drama.
The innocence embroiled in happenings outside their knowledge, but drawn
into the web and threatened by their accidental knowledge. A
country in transit between governments, the wilful destruction of one
man's life by another for what reason. We'll know more
(15:29):
about all of this when I returned with that too.
(15:51):
Back to our web of intrigue and danger, and that
interrupted phone call. At this end of it, an American
ready to tray both his principles and his country for game.
At the other end, a man with a steel trap
jaw and eyes like chips of flint, A man to
(16:11):
whom all human life means less than nothing except his own.
A man who can take another man's life as casually
as you or I might swa fi major Constantine, malice,
chief hatchetman for the dictatorship. Where are you going from?
I don't worry your phone both the call can't be
(16:33):
bugged or trist pictures by moonlight night before last, you
can guess where I see? Where do we meet? The
gardens the big elm This Sendagama, not far off the boulevard,
a Marius, you know, with a metal seat all around
the trunk.
Speaker 3 (16:54):
I know it alone. No secret police or palace guards alone.
Speaker 1 (17:01):
If I don't return to my flat in one piece
by ten o'clock, I've made arrangements for the pictures to
be mailed to the newspapers. You will get home safely
web time.
Speaker 3 (17:11):
As soon as it gets dark eight point thirty.
Speaker 1 (17:14):
You will bring your proof.
Speaker 3 (17:16):
I'll bring a sample.
Speaker 1 (17:17):
And what must I bring? Money in large large hunks,
say five million dragma. I can't put my hands in
a mounted like that so fast. Well, then you bring
a sample too, enough to establish your good faith.
Speaker 2 (17:40):
I'm flying.
Speaker 1 (17:41):
It's not too bad. We're halfway there.
Speaker 2 (17:43):
Oh, I'm proof for the moment.
Speaker 1 (17:45):
Let's sit on a bench. Why not? Your cropless has
been there for twenty five hundred years. I guess it
can wait a couple more minutes for us. It won't
go away.
Speaker 2 (17:54):
The which part of it would? I mean, sort of
spoils it now after what happened.
Speaker 1 (17:59):
The other look, try to blanket out Hanitz. It's not
any part of us, not anymore anyway.
Speaker 2 (18:04):
Well, what we have to testify in court or something?
Speaker 1 (18:06):
Nope, Dean Can's going to keep us out of it.
Speaker 2 (18:09):
Oh, I don't see how he can.
Speaker 1 (18:10):
Well, let's leave that up to him.
Speaker 2 (18:12):
We've left it all up to him. I don't know.
It seems like a cop out.
Speaker 1 (18:17):
How come he's far better able to handle something like
this than we are. I guess so.
Speaker 2 (18:21):
I just don't like the way it goes about it.
Speaker 1 (18:23):
What are you trying to say, Die, I don't know, Darling.
Speaker 2 (18:26):
It's just why didn't he call the police right away?
What's he waiting for?
Speaker 1 (18:31):
You know what? He said that this had to be
handled carefully, it might create an international incident.
Speaker 2 (18:36):
Oh I don't dig that. I mean why this wasn't
a political assassination. It was just playing criminal homicide.
Speaker 1 (18:42):
No, not quite. This Mollus is supposed to be some
big mucky muck in the government, and apparently he must
have had reason to believe that Jeffrey Kellen had some
dirt on him and was about to blow the whistle.
Speaker 2 (18:52):
So Kellen asks Major Mallis or whatever his name is,
to meet him by moonlight on the Acropolis to tell
him he is well.
Speaker 1 (18:58):
Maybe Malis followed there.
Speaker 2 (19:00):
Maybe also maybe Kellen was trying a little extortion.
Speaker 1 (19:04):
Or something blackmail. Sure, what are you, Agatha Christie or something?
He got little gray cells like air q POI role.
Speaker 2 (19:12):
What I have, Bob is little gray goosebumps that nudge me.
Speaker 1 (19:16):
Something smells fishy. Oh brother, women's intuition, huh. A lot
of my.
Speaker 2 (19:20):
Hunters turn out right taking a chance on you.
Speaker 1 (19:23):
Oh, thanks a bunch. So you figured I was a
gamble Huh.
Speaker 2 (19:26):
I was only kidding about that, but not about the other.
How well do you know Dean Canby Well?
Speaker 1 (19:32):
I was one of the press photographers that met his
plane when he flew back a couple of years ago
with a special report on Cyprus. While he was back
in the States, he dated a girl I knew, and
I ran into him a couple of times. He seemed
good enough.
Speaker 3 (19:44):
Joe, we hung around a bit quail shooting.
Speaker 1 (19:48):
I hadn't met you yet. Now we were both hanging
loose that way. It was a big spender, so you
hiked along for the rock. Come on die. He was
on an expense account, and I got a chance to
see how the other half lived.
Speaker 2 (20:00):
So you don't really know him well at all.
Speaker 1 (20:02):
No, m Now, what are you dreaming of? He's part
of some plot to overthrow the world. I'm just riding
my hunch.
Speaker 2 (20:11):
I don't like it, Bob.
Speaker 1 (20:13):
You don't like what you know.
Speaker 2 (20:15):
These political types they all hang together, so.
Speaker 1 (20:18):
They won't so they won't what so they won't hang?
Speaker 2 (20:22):
Look now, why did you want the negatives of the
pictures you took?
Speaker 1 (20:25):
I don't know, and I don't much care. You did
turn them over to the guy who sent for.
Speaker 2 (20:29):
Them, Yes, and no, I held out one.
Speaker 1 (20:34):
For insurance, insurance against what.
Speaker 2 (20:39):
I don't know. Somehow I just don't trust him.
Speaker 3 (20:48):
Angel malice.
Speaker 1 (20:50):
He still gotten me. So we're here, no more names?
What did you want to sue me?
Speaker 3 (20:57):
Shall we sit down?
Speaker 1 (20:59):
They're not Why did you bring me here?
Speaker 3 (21:04):
You know?
Speaker 1 (21:05):
I know what you've told me. The proof.
Speaker 3 (21:09):
For a picture that is worth a thousand words. There are,
of course others.
Speaker 1 (21:16):
This photograph is not bad.
Speaker 3 (21:18):
So I told you what I want.
Speaker 1 (21:22):
You gambled too much. You know you are in serious trouble.
Speaker 3 (21:26):
If I wasn't, I wouldn't be mixed up in this.
Speaker 1 (21:30):
That's good that whatever bargain we make is from desperation,
it will be so much the better. I want money,
lots of it, A quarter of a million dollars. I
won't go for less. I want my neck. I could
scarcely reach for more.
Speaker 3 (21:49):
When we have a deal.
Speaker 1 (21:51):
I wish I could say, so the money I don't have.
Speaker 3 (21:56):
Let's not weasele around.
Speaker 1 (21:59):
I told you even this, safe surroundings, no names. When
I say money, I mean cash. What else can you
offer something equivalent? What the art of Greece is enshrined
in temples, in stone and freezes, frescoes, paintings on plaster
(22:19):
and so forth. Of course, in statuary, what little of
it is left priceless, No, of course, no. Arguably suppose
just suppose for a moment that someone like practiceteles Ophidias
could have lent his talent to another art form besides sculpture.
(22:42):
What suppose, if you will, that he was experimenting with
natural dyes and materials, and he thought of the idea
of stretching material on a frame and creating a canvas
on which he could paint later by layer with pigments.
You mean an oil painting. Such was discovered quite recently
(23:06):
in some new excavations, in an amazing repair, no question
of its authenticity, its value, astronomical whatever. Any given individual
will pay for it if he could get it out
of grace exactly. So far I have failed, but it
(23:29):
still can be gotten out for the right price. Well,
if you're looking at me, but out I don't have
that kind of money. Neither did Jeff Kellyn. But he
had the connections and the chance to squize through customs,
so that you much more than he. Actually, this is
really the perfect chance of a lifetime.
Speaker 3 (23:52):
Would you not say, well, I guess i'd have to.
Speaker 1 (23:55):
So here is what I propose. I will give you
this canvas fashion that you may smuggle it to America
through the contacts I give you. You can sell it
for a king ransom. I will make a better deal
with you than with Jeffrey Callen. I gave him thirty percent.
With you, we will split down the middle.
Speaker 3 (24:18):
Jeff Callen was going to smuggle at the painting for you.
Speaker 1 (24:22):
I made a rare mistake. I thought he was just
as corruptible as all men. At the last moment, disculty
was not.
Speaker 3 (24:32):
So you killed him.
Speaker 1 (24:33):
He died fortunately enough for me, as I would if
I made any slap up the rescue. Take you dictate
all the terms.
Speaker 3 (24:48):
Suppose I just wanted to turn you in.
Speaker 1 (24:51):
Do who you honestly take? You could leave the gardens alive.
I had better those pictures get to the newspapers. Ah, yes, though, well,
if we have made a deal, there will be no
problem there. They will be destroyed.
Speaker 3 (25:07):
Or whilst I have the money, friends are negatives, you.
Speaker 1 (25:10):
Have them all. Yes, it is not enough. Who took
the pictures?
Speaker 3 (25:16):
A guy I know on vacation with his wife by accident?
Does it matter?
Speaker 1 (25:21):
Yes? Why? Because what is camera saw? He must have
seen also by eye and his wife.
Speaker 3 (25:28):
You did say there was a wife, Yeah, he's.
Speaker 1 (25:31):
Married, so there is a corroborative witness their names. What's
the deal? You give me the pictures and the negatives.
Assure me they are all the dire extent. I give
you the painting in such form as you can get
it out of here. You sell it to the highest
builder and be split down the middle. If you cross me,
(25:54):
don't delude yourself. I will find you and kill you
wherever you try to hide, like you kill Je Affrica,
or anyone who tries to double cross me. But the
deal is not made yet. Why not you and I
can make all the promises we want. You can deliver
(26:15):
me princes and negatives, But how do I know they
are all that exist?
Speaker 3 (26:21):
I can put the fear of God in them? Well,
I think we can count on it.
Speaker 1 (26:25):
And maybe maybe we can count that all the physical
evidence has been destroyed. But I have learned through bitter
experience that is no safe decision. Before I bargain is complete.
I want the name or names of anyone responsible for
these pictures. I can't leave whoever took them alive, or
(26:49):
anyone involved in taking them. They are as potentially dangerous
to me as the princes themselves, who are they Oh,
what a glorious day.
Speaker 2 (27:08):
It's really loving.
Speaker 1 (27:09):
Huh.
Speaker 2 (27:10):
Twenty five hundred years ago, those people made all that
beauty life worthwhile.
Speaker 1 (27:15):
That's what kept us going. And will Oh yes, I'm dead.
Speaker 2 (27:20):
Tired, racked, but oh I never I never felt so
wildly alive in my life. Now I know what it's
all about. It's so precious. I don't want ever to let.
Speaker 1 (27:33):
A second of it go right on. We got it made, honey,
No one, nothing is going to stop us. Now, Oh, what.
Speaker 3 (27:47):
Are they matter?
Speaker 1 (27:47):
Malice?
Speaker 4 (27:48):
It is not for the discussion the names and addresses,
mister and missus, Robert Paisley, I've a hotel, who does lisker?
Speaker 5 (28:02):
What are you going to do with them?
Speaker 1 (28:20):
Dean can Bey looks at the Major, appalled. The Major
returns his glance calmly. There is no emotion in him, for,
as we've already said, he is a man without conscience.
The trouble is for Bob and Diana Paisley, the victims
that Dean can.
Speaker 3 (28:39):
Be has no conscience either.
Speaker 1 (28:41):
The only difference is that he isn't strong enough to
admit it to himself, and Major Malice doesn't have to
to himself or anyone it's the way he's made. I
shall return shortly with the conclusion of this story in
Act three, the two men still gaze at each other,
(29:24):
glances locked as we left them. But Dean can be
a weak man, cannot long sustain the steady, baleful look
of Major Malice's flat ob citian eyes, his look forters
and drops his eyes, swimming from side to side, nervously,
(29:44):
afraid of the words which have just been said. There
are other ways it can be managed. How I can
go to them, to the phases, have them, have them,
give me the whole role of film, and you can
be sure, mister Canby, I'm sure of nothing. Yet. First
(30:04):
we must arrange our affairs. What is the English term
a swap? Now? A trade is what we say in America,
very well at trade the pictures, the negatives, all of them,
for me and for me, the painting, my priceless canvas.
Speaker 3 (30:23):
How do you expect me to smuggle at out of Greece?
Speaker 1 (30:26):
You have diplomatic immunity?
Speaker 3 (30:28):
Not maybe, as far as my country is concerned. Not
sure so.
Speaker 1 (30:32):
Your baggage and effect will be searched, The canvas will
not be found.
Speaker 3 (30:36):
Why not? How is Calum going to get it out.
Speaker 1 (30:40):
As you will in that most innocuous and yet natural
of I like to pick the exact word pertinances for
any prowler to be carrying it this time of year.
This an umbrella, such a convenient way of providing for
any day.
Speaker 3 (31:01):
The canvas would be wrapped inside.
Speaker 1 (31:03):
Remember, this is not a canvas as we know it
a far lighter woven material which rolls unnoticed into a
tightly wrapped umbrella. But we must make haste. The theft
of the art. Treasure cannot remain hidden for long. It
must be gotten out of the country whom. As soon
as you bring me my treasures, I can help them
(31:24):
for you a knighthood. But not here too much opportunity
for third parties to conceal themselves. All right, where some
neutral territory where both are safe? Of course? Why not
the acropolis had say ten o'clock, they are crappled. There
will be a moon again, and I will bring a
(31:45):
viewer for the film. Where are there cropplers at the
west end on the battlements? That's where Glen met his death,
quite right, But then he was planning to double cross me.
Surely you have no such thought in mind? Wow, I
(32:11):
thought i'd never get that bad closed. Can we ever
come home someday with less than we left with instead
of more?
Speaker 2 (32:16):
We got a lot more than we bargained for this time.
Speaker 1 (32:20):
Look, come on, honey, let's let's grab a good night's sleep.
We have a plane at the crack of dawn.
Speaker 2 (32:25):
I know I don't feel sleepy right now.
Speaker 1 (32:29):
Die if you're going to start it again.
Speaker 2 (32:31):
It's really Oh no, darling, that's all forgotten. I'm just
looking at the moon outside being sorry we had such
a short honeymoon.
Speaker 1 (32:39):
Oh, darling, none of that. Our whole life is all
what the honeymoon?
Speaker 2 (32:44):
Oh you're kind of a nice guy, you know, just
the way you got me going. Just grab in our
balcony for a last look. Right Oh, the moon's coming up.
Oh look at it.
Speaker 1 (33:00):
Shot of the acropolis. It must be beautiful up there now, yeah,
I can just see it. Oh boy, what pictures I
could get? Honey?
Speaker 2 (33:09):
Yeah, what'll live crazy?
Speaker 1 (33:11):
There's another way, not for us.
Speaker 2 (33:14):
Let's go up there, so beautiful. I'd like one last look?
Speaker 1 (33:19):
What the acropolis?
Speaker 2 (33:21):
Where else?
Speaker 1 (33:23):
That's really far out? After all, it's happened, well it
look it can't happen twice that's for sure.
Speaker 2 (33:28):
I guess it should be the safest place in Athens and.
Speaker 1 (33:30):
A photographer's heaven. Yeah, but let me just grab the
big strobe light and let's go. Now hold him to die.
I just want to get this shot. Oh, be beautyful.
Speaker 2 (33:48):
All on the point of view, all this moonlight. You
had the lug along the shoulder, sling and the strobe.
Speaker 1 (33:55):
Now I can't ask a bunch of statues to move
out and let the building they're holding up fall down
and get the right light on them. Can come on?
I want to get this temple from some other angles.
Oh to love, cherish, and obey.
Speaker 2 (34:07):
Your slave girl follows the master.
Speaker 1 (34:09):
Don't touch the stroke?
Speaker 2 (34:11):
Why not? I mean I was just kidding.
Speaker 1 (34:13):
No, no, not that. It's just I don't like to
take chances.
Speaker 2 (34:17):
Chances, IM well, just just the strobe light.
Speaker 1 (34:21):
You no idea what a lethal electrical charge that little
unit can build up.
Speaker 2 (34:25):
You mean that something you use every day for work.
Speaker 1 (34:27):
Is so dangerous I under ordinary circumstances. No, but every
photographer knows that a strobe light is nothing to get
careless with. I don't get it, How could well, Diana?
It's a million to one, But like well, if the
case were broken and the lamp and you happen to
get your hands in the wrong place, well, forget it.
It was just a reflex reaction.
Speaker 2 (34:47):
I just like to understand what you were afraid of.
Speaker 1 (34:50):
Well, it's a crazy outside chance, but it has happened.
You take a guy trying to fix the strobe, he
opens the case, the lamp is broken, and just by fate,
he gets both hands on the contacts dam or wipeout.
Speaker 2 (35:04):
He can get electrocuted.
Speaker 1 (35:05):
Well, like I say it, it can't happen.
Speaker 2 (35:08):
But I don't want you touching it.
Speaker 1 (35:10):
Honey, I know what I'm doing. I should hope. Come on,
let's go. I want to get some shots from the
other side and the full moot. Wait, what is it there?
That's funny. It looks like like Deane canby where just
passing by the Parthenon on the other side. I think
he was heading for the.
Speaker 2 (35:31):
Heading for what.
Speaker 1 (35:33):
Oh, don't forget it, die, I must have been mistaken.
Speaker 2 (35:36):
Heading for where Bob the west end?
Speaker 1 (35:40):
There the battlements, you know, the part our balcony overlooks.
Speaker 2 (35:45):
But that man Jeff Callen was pushed over.
Speaker 1 (35:48):
Yeah, well it's hard to see. I must have made
a mistake.
Speaker 2 (35:52):
Still, it's a strange coincidence if he was going there.
Speaker 3 (35:56):
Oh no, what does it die?
Speaker 2 (35:58):
I just have a cable. That's something.
Speaker 1 (36:04):
It's just too much of a coincidence.
Speaker 2 (36:06):
We better go see.
Speaker 1 (36:07):
No, no die. I just know we better leave well
enough alone. Stop right there, mister Gunby, well us, yes,
and we are nicely alone. Let us make sure if
we stay that way. Come along here, but the parapet
(36:32):
this will do far. We have too much of the
public eye over there by the seadows would be better. Really,
what are you afraid though?
Speaker 3 (36:42):
I'd like to live here the same way I came in.
Speaker 1 (36:45):
Not like Jeff Kelly in Van Swift Plunge. Don't be
a fool. First of all, I never press my luck. Secondly, immediate,
don't I Yeah, I suppose you're right, of course I am.
Don't be a child. I promise you will leave by
the same gate you entered. But I hope you have
(37:06):
brought some material for me to examine, and I prefer
not to have an audience. Shall we go in this shadow?
Said you brought the material for me? You see my umbrella.
Speaker 3 (37:24):
Okay, let's go over by the parent.
Speaker 2 (37:31):
Bob you went up the stairs at the edge of
the fortress, just like you guessed?
Speaker 1 (37:37):
What do you mean he you're.
Speaker 2 (37:38):
A friend for the embassy, mister Canby.
Speaker 1 (37:40):
I told you I must have been mistaken. I don't
think you were. Well, how could you know?
Speaker 2 (37:44):
You've never seen the No, I've seen the man he's
meeting now, so have you. Can't you see that's the
man who killed the reporter?
Speaker 1 (37:54):
Well, how could you possibly tell at this distance by
the umbrella? Hope, for heaven's sake that look. I don't
blame you for being jumpy, but honey, you're all wrong.
Speaker 2 (38:04):
Could we just take a walk over that way, like,
just in case?
Speaker 1 (38:07):
What if anything was going on? What could I do?
I tell you what you could do.
Speaker 2 (38:13):
You could point your camera at them and take a
flash picture.
Speaker 1 (38:15):
Of anything look wrong.
Speaker 2 (38:17):
You could just take a picture on gai what principles?
Like you were? What you are?
Speaker 1 (38:22):
A tourist?
Speaker 2 (38:23):
And then with no for sure, no monkey shines.
Speaker 1 (38:25):
I gotta have my head examined. You do talk me
into things? Okay, let's stroll that way, real casual. What
do we got to lose except maybe everything? Are you
sure of these are the prince?
Speaker 3 (38:45):
Of course they had no reason not to trust me.
Speaker 1 (38:49):
I have learned not to be sure of anyone. For example,
this what that's one strip of the negative got into
six frame? This one is one frames short or sometimes
six doesn't divide ride? I mean in a twenty exposure film.
You've God said, I can't count, my friend. I can
(39:11):
also read the frames are numbered. Number seventeen is missing.
That is not at the end of the film. So
somebody is holding out, Well, not me, you or your friends.
I told you they would have to be eliminated. That
can come later, no problem. In the meantime, there is you.
(39:34):
What security can I have that you are not holding out?
I am afraid you must go.
Speaker 3 (39:41):
Also, don't you come near me. You're not pushing me
over like Jeff can.
Speaker 1 (39:47):
Oh, my dear friend, nothing so crude, but don't move Anda.
God be the very efficient silence if I have to
use it. But I don't think that will be necessary.
I think you will live quietly with me until I
can turn you over to the police.
Speaker 3 (40:06):
The police, what.
Speaker 1 (40:07):
For, shall we say, stealing art treasures and attempting to
smuggle them from the country. I shall have to say,
of course, that this is your umbrella. No one I'll
believe you in Greece, my word against yours. The games
men play and take our chances. No, I'm not right,
(40:32):
you fool shooting? Bob Quit Shoot what.
Speaker 3 (40:35):
What I shn't shoot?
Speaker 1 (40:36):
It was just a fast photo time, all of you
and your daughter. It's okay, he just hit a give
me peaceide, brother, Shoot again. What happened in Macarel? I
told you Straub was nothing to fall around with. His
(40:59):
show busted the case in the lamp. When I get
out of him, you must have grabbed with both hands
and and what he electrocuted himself. I guess that's the
first shootout a man ever won without having a gun.
(41:41):
So there you have it. It happened because you heard
it here. Dean can be never regained consciousness, and who
can be too sorry for a man of no principle.
Diana and Bob had a rather extended honeymoon, if that's
(42:03):
the name for it, until they were cleared and could
go home. And a man named Malice died as he
lived violently, And I think we can all agree deservedly.
I'll be back shortly. It's an unfortunate idiom we use
(42:37):
about the camera borrowing from the image of the aimed gun,
saying when we snapped the shutter, that we pulled the
trigger and shoot. Who could ever imagine that this gentle
instrument could ever serve to deal out death a billion
to one chance, But how fortunate that luck was in
(42:59):
the right corner, and how interesting that Malice died from
the thing he most feared, the eye of truth justice. Indeed,
our cast included Anne Williams, Michael Tolan, Court Benson, and
Jackson Beck. The entire production was under the direction of
(43:19):
Hymon Brown. This is E. G. Marshall inviting you to
return to our Mystery Theater for another adventure in the macabre.
Until next time, pleasant
Speaker 3 (44:00):
Bye, bye,
BBS Radio Mystery Theater presents, Come in Welcome. I'm e. G. Marshall.
(00:26):
This is a tale. It takes its inspiration from the
eighteenth century poet Alexander Pope, who said, poetic justice with
her lifted scale, wherein truth with gold she weighs poetic
justice because the weapon a man of no conscience feared
might unmask him, became, in a strange way, the instrument
(00:49):
to bring him the sordid commodity he dealt in death.
Speaker 2 (00:54):
Keep shooting.
Speaker 1 (00:55):
I can't, Diane, I'm not a film.
Speaker 3 (00:57):
What did you expect me to get the killer?
Speaker 1 (01:01):
What?
Speaker 2 (01:02):
There was one Bob, the man who felt didn't fall,
He was pushed, and by sheer chance you may have
gotten a picture of the murder.
Speaker 1 (01:23):
Our mystery drama The Death Shot was written especially for
the Mystery Theater by Ian Martin and stars Anne Williams
and Michael Tolan. It is sponsored in part by True
Value Hardware Stores and Buick Motor Division. I'll be back
shortly with that one. In the spring of nineteen sixty seven,
(02:06):
Greece was torn apart by political strife to control the country,
about to explode. On April twenty first of that year,
six army colonels seize the government in a kudeta. This
story has little to do with politics, except as sometimes
(02:26):
it breeds violent death. Athens in that year was one
of the least safe places in the world for Greeks
or for anyone. As Bob and Diana Paisley are about
to find out, what was that in an accident? Huh
(02:47):
no on, just another crazy Athenian driver.
Speaker 2 (02:50):
Oh nothink for this vacation. I'll pick the walking.
Speaker 1 (02:53):
You'll be doing plenty once we start off the Acropolis.
Speaker 2 (02:56):
We're going to go to bed early to get ready
to bath. What are you doing with that tripod?
Speaker 1 (03:01):
I just want to get a couple of shots from
here on the balcony at night. There's a full moon
coming up. See where right over there by the Temple
of Zeus.
Speaker 2 (03:12):
Oh, yes, it's lovely. What a beautiful city it is.
Hold in you.
Speaker 1 (03:19):
You can say that again.
Speaker 2 (03:20):
I will end something else. I love you.
Speaker 1 (03:25):
You can say that again and again. What are you
planning to shoot now? Well, turn your head the other
way that the apropolis. Yeah, it's rear end anyway.
Speaker 2 (03:38):
Well, it's lovely by moonlight. I never thought the Apropolis
looked like I mean, I just thought it was a
ripothenon with all those columns.
Speaker 1 (03:46):
You know, Well it is plus other buildings. But what
it really was was a fortress.
Speaker 2 (03:51):
And see that now looking at it from here, it's amazing.
Twenty five hundred years ago. How could they build a.
Speaker 1 (03:59):
Thing like fat to the world's greatest democracy. But that
only worked for the freemen. The rest were slaves. You
get enough ants, you can move a mountain. It is
a mountain, yep, part of it. The rest men build.
There must be ten twenty stories up to the top.
I'd hate to fall off quite a few people have.
(04:20):
Now hand me the camera.
Speaker 3 (04:21):
Will you sure?
Speaker 2 (04:23):
Who?
Speaker 1 (04:24):
Who? What?
Speaker 2 (04:25):
Who fell off?
Speaker 1 (04:26):
Oh? Well? Uh? A Geus for one? Who?
Speaker 2 (04:30):
He he was Theseus's.
Speaker 1 (04:32):
Father, a king, and a ship was coming back to
Athens with black sails, and he thought that meant his
son was dead.
Speaker 2 (04:39):
He committed suicide.
Speaker 1 (04:41):
They say, yeah, Diana, baby, it's like the Empire State
or the World Trade Center or whatever. Cooks are attracted
to them.
Speaker 2 (04:49):
Well, I hope no one falls off the.
Speaker 1 (04:51):
Knife fat chance it's closed by now. Nobody up there?
Speaker 2 (04:54):
Well, I can see people up there where Oh you
can only look right through one eye CYCLI just look
in your viewfinder.
Speaker 1 (05:02):
Hey, you're you're right? Why would anyone? Oh well, I
just want to get the silhouette, some of the shading
on the wall and the feeling of tremendous height. Boy,
you took a leap off that you'd be one scrambled
egg when you're landed.
Speaker 2 (05:16):
No, Bob, don't.
Speaker 1 (05:17):
I'm sorry. It's a silly thing to say. Well, I'm
just about set as soon as mister moon cooperates completely.
Speaker 2 (05:25):
It's pretty bright.
Speaker 1 (05:27):
It isn't quite high enough to get light on the
fortress wall. Hey, you got into that nice white wine,
left that retsin or whatever you call it. Oh, don't bother.
The moon is just right. I gotta shoot.
Speaker 3 (05:39):
Yeah, yeah, this ought to be it.
Speaker 1 (05:41):
Oh boy, gorgeous, super hold everything?
Speaker 2 (05:51):
What somebody just fell off?
Speaker 3 (05:54):
Huh?
Speaker 1 (05:55):
I didn't see it?
Speaker 2 (05:55):
How I don't stop shooting chip taking pictures?
Speaker 1 (05:58):
Well, I am, but I didn't see anyone and something
blurred across the lens.
Speaker 2 (06:01):
But I didn't just keep shooting, like I.
Speaker 1 (06:04):
Can't about a film. But what did you expect it
to get the killer? The what? There was one?
Speaker 2 (06:12):
The man who fell didn't he was pushed, he was murdered,
and just by sheer chance, you may have gotten a
picture of who did it?
Speaker 1 (06:28):
Yes, where'd you go?
Speaker 2 (06:30):
I woke up and I was all along.
Speaker 1 (06:32):
I didn't want to disturb your funny face. He was
sleeping so nice and easy. I want to turn in
the film for developing. And I picked up the Athens news.
Speaker 2 (06:43):
Oh great, who translates for it?
Speaker 3 (06:44):
Now?
Speaker 1 (06:44):
It isn't in Greek, it's in English. You won't need
anyone to translate that headline.
Speaker 2 (06:51):
Broadcaster plunges to death that I was right, you were
Who was it, Jeffrey Kellen?
Speaker 1 (07:00):
Oh noow, well, no one seems to know. What do
you mean?
Speaker 2 (07:04):
Who caused it?
Speaker 1 (07:05):
Well, according to the story, he jumped or fell.
Speaker 2 (07:08):
Oh, my aunt Mary, he was pushed shopped.
Speaker 1 (07:10):
I saw it come on Dianea in the moonlight, a
quarter of a half a mile away.
Speaker 2 (07:14):
I saw it, I tell you. Oh, anyway, you know,
nobody has to take my word. You have some film
on it?
Speaker 1 (07:21):
Maybe you know you have? Well, I don't not until
I get some prints back.
Speaker 2 (07:25):
Oh wish you were home, see it could have developed
your own.
Speaker 1 (07:27):
Well I'm not so I have to wait another twenty
four hours.
Speaker 2 (07:30):
In the meantime, we ought to go to the police.
Speaker 1 (07:32):
Well, not just ease back, baby, This is no way
to start off a honeymoon. We could get our feet
and a heck of a lot of piping hot.
Speaker 2 (07:39):
Water by just being good citizens of.
Speaker 1 (07:42):
The wrong country. This is Greece and the pot is
really boiling, and Jeff Kellen was stirring it up pretty good.
He's really been bugging the little kernels that run our
oldest democracy.
Speaker 2 (07:55):
So they had him taken care of.
Speaker 1 (07:56):
We don't know that, but just suppose they did. We
have to walk into their whole machine and accuse him
of murder. I get my own head in a basket.
Speaker 2 (08:04):
What are we going to do? Well, we can't just
sit still for murder.
Speaker 1 (08:09):
Look, just just cool off for a moment. If we
have any proof there was well, foul play.
Speaker 2 (08:16):
I keep telling you I saw it. This man lunched
forward and pushed the other man over.
Speaker 1 (08:20):
Yeah, until we get the contacts back, we don't know that.
We can't do anything until then, if ever, what do
you mean if ever? Look, it's supposed to be our honeymoon.
We wanted to hang loose. Remember, we stick our noses
into this, and we're right in a hornet's nest. Do
we want to do that?
Speaker 2 (08:39):
What choice do we have?
Speaker 1 (08:41):
I'm not kind of wrest on what the pictures show.
Speaker 2 (08:44):
Okay, And supposing they backed me up.
Speaker 1 (08:47):
Then what do we do. Listen to me, childbride, it's
hell to get mixed up in any other countries politics.
I just plan hope we don't have to. For the
first time in my life, I'm keeping my fingers crossed.
I blew those shots for my money. I hope they'll washout.
Speaker 2 (09:07):
Well, how are they clear.
Speaker 1 (09:10):
As a bell? Was he shoved? No question?
Speaker 2 (09:15):
You can see who does it?
Speaker 1 (09:16):
Yeah? Like he posed for it? Who was it? Search me?
The guy with the umbrella? What he had an umbrella?
The killer?
Speaker 3 (09:26):
What?
Speaker 2 (09:26):
Four? It wasn't raining?
Speaker 1 (09:28):
Well maybe he thought it might. He was a pessimist.
I don't know. Might not even have been his No,
you lost me. What I mean is here, Look at
the pictures. The third frame here, See it looks as.
Speaker 2 (09:42):
Though he were taking it away from Jeff Kellen.
Speaker 1 (09:45):
Oh back, what do you mean? Back?
Speaker 2 (09:48):
Look in your first shot doesn't look as if you
were handing it to Kellen, And then the next he
starts to push him, and and the other three he's taking.
Speaker 1 (09:55):
It away maybe we'll be able to see more clearly
in the blow ups. When do we get those rush
jobs special tomorrow morning? Then what then? We may have
a lot of soul searching to do. Whether to go
to the police. You mean, if the killer shows up
clean enough to identify, that's first. What's second? Whether we
(10:17):
go anywhere or just keep our noses clean and don't
make waves. Well, there he is any idea of who
are you? And I never saw him before in my life.
I'm sorry I ever opened the shutter and saw him
at all. This whole thing is hitting up die. I mean,
(10:38):
we stick on our necks. We're really going to be
in it up to them?
Speaker 2 (10:41):
Why we just show the picture and make a statement.
Speaker 1 (10:44):
That won't be that easy. Well, look, it's all over
the morning paper again, and it's gone international. Jeffrey Kellen
may have been a muckbreaker at home and a troublemaker abroad,
but he is a US citizen. He can't get himself
bumped off without an investigation. And I sure don't want
to see us in the middle of it. We haven't
any choice, Yes we do. Nobody knows yet it was murder.
(11:06):
He jumped or fellas off.
Speaker 2 (11:08):
We can't just not say anything.
Speaker 1 (11:09):
No, but once we get mixed up and it, Lord
knows where it leads. Supposing this character and our pictures
turns out to be with the Greek government or tied
to it, and some can of worms, it would open up.
Well maybe it needs opening. Well, maybe they'd never let
us crack it. What do you mean? And if we
go direct to the police, who knows? They might want
to bury the evidence and us. I mean, this is
(11:33):
a police state as of the moment. Where else can
we go to our embassy? I know a guy there
slightly but enough. Maybe I can get in and let
him handle this hot potato, and then with any luck,
we can fold our tents and silently steal away.
Speaker 3 (11:56):
You had to take these pictures.
Speaker 1 (11:58):
I suppose there was an accident.
Speaker 3 (12:00):
An accident looking for somewhere to happen.
Speaker 1 (12:03):
You had to second on me. Aren't you glad to
have the evidence?
Speaker 3 (12:07):
I'll lay it on your straight.
Speaker 1 (12:09):
No, a guy got murdered.
Speaker 3 (12:12):
He got pushed.
Speaker 1 (12:13):
Over the edge, just like he's been pushing other guys
for years, poetic justice.
Speaker 3 (12:18):
The only difference is he never actually killed anyone. He
just ruined them.
Speaker 1 (12:22):
He got it all the way just because he didn't
like the guy doesn't mean he isn't the title of justice.
Speaker 3 (12:27):
Kellen didn't know the meaning of the word. But that
isn't the point.
Speaker 1 (12:32):
What is You see this unlovely son of a sea
cook that finally gave Kellen what he's been asking for
all these years. You know who your subject is? No, Well,
there are the colonels. That's first government echelon, and then
there's Major Constantine Malis. Some people, including our secret service
(12:57):
and G two think maybe he will and is the
government you mean that's Malas in the picture that's our
boy between you and me, Bob, You've created what is
usually referred to as an international incident if these pictures
are ever published. You mean you want to suppress them.
You have the negatives with you at the back of
(13:20):
the hotel?
Speaker 3 (13:21):
Can I send them? Pick them up?
Speaker 1 (13:23):
I guess my wife's there, but I don't understand hold
everything at the moment.
Speaker 3 (13:28):
What's your hotel stand? By Jones?
Speaker 1 (13:31):
The Ava on Lisocratus ortis right?
Speaker 3 (13:36):
Jones?
Speaker 1 (13:37):
Send a message into the ava Hotel Lisocratus. Yeah, you
know it is right off from the top. Best writer
of blumbers contact missus Paisley. Yeah, She'll give you something
in an envelope, top secret rush.
Speaker 3 (13:55):
You know the hotel number?
Speaker 1 (13:56):
Yes, all right, call your wife to expect messenger and
turn over those negatives. Okay, but why do you need them?
Because you want to enjoy your honeymoon?
Speaker 3 (14:08):
Don't you sure so?
Speaker 1 (14:10):
Great? This is out of your hands from now on.
Why don't you make your call from here? My secretary,
you get your line. I'm due for an important outside
appointment as of right before now. Hello, well us, this
(14:33):
is Dean Camby from the American Embassy. I'm I'm holding
a bomb that could blow you right.
Speaker 3 (14:42):
Out of your seat.
Speaker 1 (14:43):
I've got a notion you might be holding something of
interest for me. I figure we might just make a trade. Well,
(15:05):
there you have the ingredients of a good spy drama.
The innocence embroiled in happenings outside their knowledge, but drawn
into the web and threatened by their accidental knowledge. A
country in transit between governments, the wilful destruction of one
man's life by another for what reason. We'll know more
(15:29):
about all of this when I returned with that too.
(15:51):
Back to our web of intrigue and danger, and that
interrupted phone call. At this end of it, an American
ready to tray both his principles and his country for game.
At the other end, a man with a steel trap
jaw and eyes like chips of flint, A man to
(16:11):
whom all human life means less than nothing except his own.
A man who can take another man's life as casually
as you or I might swa fi major Constantine, malice,
chief hatchetman for the dictatorship. Where are you going from?
I don't worry your phone both the call can't be
(16:33):
bugged or trist pictures by moonlight night before last, you
can guess where I see? Where do we meet? The
gardens the big elm This Sendagama, not far off the boulevard,
a Marius, you know, with a metal seat all around
the trunk.
Speaker 3 (16:54):
I know it alone. No secret police or palace guards alone.
Speaker 1 (17:01):
If I don't return to my flat in one piece
by ten o'clock, I've made arrangements for the pictures to
be mailed to the newspapers. You will get home safely
web time.
Speaker 3 (17:11):
As soon as it gets dark eight point thirty.
Speaker 1 (17:14):
You will bring your proof.
Speaker 3 (17:16):
I'll bring a sample.
Speaker 1 (17:17):
And what must I bring? Money in large large hunks,
say five million dragma. I can't put my hands in
a mounted like that so fast. Well, then you bring
a sample too, enough to establish your good faith.
Speaker 2 (17:40):
I'm flying.
Speaker 1 (17:41):
It's not too bad. We're halfway there.
Speaker 2 (17:43):
Oh, I'm proof for the moment.
Speaker 1 (17:45):
Let's sit on a bench. Why not? Your cropless has
been there for twenty five hundred years. I guess it
can wait a couple more minutes for us. It won't
go away.
Speaker 2 (17:54):
The which part of it would? I mean, sort of
spoils it now after what happened.
Speaker 1 (17:59):
The other look, try to blanket out Hanitz. It's not
any part of us, not anymore anyway.
Speaker 2 (18:04):
Well, what we have to testify in court or something?
Speaker 1 (18:06):
Nope, Dean Can's going to keep us out of it.
Speaker 2 (18:09):
Oh, I don't see how he can.
Speaker 1 (18:10):
Well, let's leave that up to him.
Speaker 2 (18:12):
We've left it all up to him. I don't know.
It seems like a cop out.
Speaker 1 (18:17):
How come he's far better able to handle something like
this than we are. I guess so.
Speaker 2 (18:21):
I just don't like the way it goes about it.
Speaker 1 (18:23):
What are you trying to say, Die, I don't know, Darling.
Speaker 2 (18:26):
It's just why didn't he call the police right away?
What's he waiting for?
Speaker 1 (18:31):
You know what? He said that this had to be
handled carefully, it might create an international incident.
Speaker 2 (18:36):
Oh I don't dig that. I mean why this wasn't
a political assassination. It was just playing criminal homicide.
Speaker 1 (18:42):
No, not quite. This Mollus is supposed to be some
big mucky muck in the government, and apparently he must
have had reason to believe that Jeffrey Kellen had some
dirt on him and was about to blow the whistle.
Speaker 2 (18:52):
So Kellen asks Major Mallis or whatever his name is,
to meet him by moonlight on the Acropolis to tell
him he is well.
Speaker 1 (18:58):
Maybe Malis followed there.
Speaker 2 (19:00):
Maybe also maybe Kellen was trying a little extortion.
Speaker 1 (19:04):
Or something blackmail. Sure, what are you, Agatha Christie or something?
He got little gray cells like air q POI role.
Speaker 2 (19:12):
What I have, Bob is little gray goosebumps that nudge me.
Speaker 1 (19:16):
Something smells fishy. Oh brother, women's intuition, huh. A lot
of my.
Speaker 2 (19:20):
Hunters turn out right taking a chance on you.
Speaker 1 (19:23):
Oh, thanks a bunch. So you figured I was a
gamble Huh.
Speaker 2 (19:26):
I was only kidding about that, but not about the other.
How well do you know Dean Canby Well?
Speaker 1 (19:32):
I was one of the press photographers that met his
plane when he flew back a couple of years ago
with a special report on Cyprus. While he was back
in the States, he dated a girl I knew, and
I ran into him a couple of times. He seemed
good enough.
Speaker 3 (19:44):
Joe, we hung around a bit quail shooting.
Speaker 1 (19:48):
I hadn't met you yet. Now we were both hanging
loose that way. It was a big spender, so you
hiked along for the rock. Come on die. He was
on an expense account, and I got a chance to
see how the other half lived.
Speaker 2 (20:00):
So you don't really know him well at all.
Speaker 1 (20:02):
No, m Now, what are you dreaming of? He's part
of some plot to overthrow the world. I'm just riding
my hunch.
Speaker 2 (20:11):
I don't like it, Bob.
Speaker 1 (20:13):
You don't like what you know.
Speaker 2 (20:15):
These political types they all hang together, so.
Speaker 1 (20:18):
They won't so they won't what so they won't hang?
Speaker 2 (20:22):
Look now, why did you want the negatives of the
pictures you took?
Speaker 1 (20:25):
I don't know, and I don't much care. You did
turn them over to the guy who sent for.
Speaker 2 (20:29):
Them, Yes, and no, I held out one.
Speaker 1 (20:34):
For insurance, insurance against what.
Speaker 2 (20:39):
I don't know. Somehow I just don't trust him.
Speaker 3 (20:48):
Angel malice.
Speaker 1 (20:50):
He still gotten me. So we're here, no more names?
What did you want to sue me?
Speaker 3 (20:57):
Shall we sit down?
Speaker 1 (20:59):
They're not Why did you bring me here?
Speaker 3 (21:04):
You know?
Speaker 1 (21:05):
I know what you've told me. The proof.
Speaker 3 (21:09):
For a picture that is worth a thousand words. There are,
of course others.
Speaker 1 (21:16):
This photograph is not bad.
Speaker 3 (21:18):
So I told you what I want.
Speaker 1 (21:22):
You gambled too much. You know you are in serious trouble.
Speaker 3 (21:26):
If I wasn't, I wouldn't be mixed up in this.
Speaker 1 (21:30):
That's good that whatever bargain we make is from desperation,
it will be so much the better. I want money,
lots of it, A quarter of a million dollars. I
won't go for less. I want my neck. I could
scarcely reach for more.
Speaker 3 (21:49):
When we have a deal.
Speaker 1 (21:51):
I wish I could say, so the money I don't have.
Speaker 3 (21:56):
Let's not weasele around.
Speaker 1 (21:59):
I told you even this, safe surroundings, no names. When
I say money, I mean cash. What else can you
offer something equivalent? What the art of Greece is enshrined
in temples, in stone and freezes, frescoes, paintings on plaster
(22:19):
and so forth. Of course, in statuary, what little of
it is left priceless, No, of course, no. Arguably suppose
just suppose for a moment that someone like practiceteles Ophidias
could have lent his talent to another art form besides sculpture.
(22:42):
What suppose, if you will, that he was experimenting with
natural dyes and materials, and he thought of the idea
of stretching material on a frame and creating a canvas
on which he could paint later by layer with pigments.
You mean an oil painting. Such was discovered quite recently
(23:06):
in some new excavations, in an amazing repair, no question
of its authenticity, its value, astronomical whatever. Any given individual
will pay for it if he could get it out
of grace exactly. So far I have failed, but it
(23:29):
still can be gotten out for the right price. Well,
if you're looking at me, but out I don't have
that kind of money. Neither did Jeff Kellyn. But he
had the connections and the chance to squize through customs,
so that you much more than he. Actually, this is
really the perfect chance of a lifetime.
Speaker 3 (23:52):
Would you not say, well, I guess i'd have to.
Speaker 1 (23:55):
So here is what I propose. I will give you
this canvas fashion that you may smuggle it to America
through the contacts I give you. You can sell it
for a king ransom. I will make a better deal
with you than with Jeffrey Callen. I gave him thirty percent.
With you, we will split down the middle.
Speaker 3 (24:18):
Jeff Callen was going to smuggle at the painting for you.
Speaker 1 (24:22):
I made a rare mistake. I thought he was just
as corruptible as all men. At the last moment, disculty
was not.
Speaker 3 (24:32):
So you killed him.
Speaker 1 (24:33):
He died fortunately enough for me, as I would if
I made any slap up the rescue. Take you dictate
all the terms.
Speaker 3 (24:48):
Suppose I just wanted to turn you in.
Speaker 1 (24:51):
Do who you honestly take? You could leave the gardens alive.
I had better those pictures get to the newspapers. Ah, yes, though, well,
if we have made a deal, there will be no
problem there. They will be destroyed.
Speaker 3 (25:07):
Or whilst I have the money, friends are negatives, you.
Speaker 1 (25:10):
Have them all. Yes, it is not enough. Who took
the pictures?
Speaker 3 (25:16):
A guy I know on vacation with his wife by accident?
Does it matter?
Speaker 1 (25:21):
Yes? Why? Because what is camera saw? He must have
seen also by eye and his wife.
Speaker 3 (25:28):
You did say there was a wife, Yeah, he's.
Speaker 1 (25:31):
Married, so there is a corroborative witness their names. What's
the deal? You give me the pictures and the negatives.
Assure me they are all the dire extent. I give
you the painting in such form as you can get
it out of here. You sell it to the highest
builder and be split down the middle. If you cross me,
(25:54):
don't delude yourself. I will find you and kill you
wherever you try to hide, like you kill Je Affrica,
or anyone who tries to double cross me. But the
deal is not made yet. Why not you and I
can make all the promises we want. You can deliver
(26:15):
me princes and negatives, But how do I know they
are all that exist?
Speaker 3 (26:21):
I can put the fear of God in them? Well,
I think we can count on it.
Speaker 1 (26:25):
And maybe maybe we can count that all the physical
evidence has been destroyed. But I have learned through bitter
experience that is no safe decision. Before I bargain is complete.
I want the name or names of anyone responsible for
these pictures. I can't leave whoever took them alive, or
(26:49):
anyone involved in taking them. They are as potentially dangerous
to me as the princes themselves, who are they Oh,
what a glorious day.
Speaker 2 (27:08):
It's really loving.
Speaker 1 (27:09):
Huh.
Speaker 2 (27:10):
Twenty five hundred years ago, those people made all that
beauty life worthwhile.
Speaker 1 (27:15):
That's what kept us going. And will Oh yes, I'm dead.
Speaker 2 (27:20):
Tired, racked, but oh I never I never felt so
wildly alive in my life. Now I know what it's
all about. It's so precious. I don't want ever to let.
Speaker 1 (27:33):
A second of it go right on. We got it made, honey,
No one, nothing is going to stop us. Now, Oh, what.
Speaker 3 (27:47):
Are they matter?
Speaker 1 (27:47):
Malice?
Speaker 4 (27:48):
It is not for the discussion the names and addresses,
mister and missus, Robert Paisley, I've a hotel, who does lisker?
Speaker 5 (28:02):
What are you going to do with them?
Speaker 1 (28:20):
Dean can Bey looks at the Major, appalled. The Major
returns his glance calmly. There is no emotion in him, for,
as we've already said, he is a man without conscience.
The trouble is for Bob and Diana Paisley, the victims
that Dean can.
Speaker 3 (28:39):
Be has no conscience either.
Speaker 1 (28:41):
The only difference is that he isn't strong enough to
admit it to himself, and Major Malice doesn't have to
to himself or anyone it's the way he's made. I
shall return shortly with the conclusion of this story in
Act three, the two men still gaze at each other,
(29:24):
glances locked as we left them. But Dean can be
a weak man, cannot long sustain the steady, baleful look
of Major Malice's flat ob citian eyes, his look forters
and drops his eyes, swimming from side to side, nervously,
(29:44):
afraid of the words which have just been said. There
are other ways it can be managed. How I can
go to them, to the phases, have them, have them,
give me the whole role of film, and you can
be sure, mister Canby, I'm sure of nothing. Yet. First
(30:04):
we must arrange our affairs. What is the English term
a swap? Now? A trade is what we say in America,
very well at trade the pictures, the negatives, all of them,
for me and for me, the painting, my priceless canvas.
Speaker 3 (30:23):
How do you expect me to smuggle at out of Greece?
Speaker 1 (30:26):
You have diplomatic immunity?
Speaker 3 (30:28):
Not maybe, as far as my country is concerned. Not
sure so.
Speaker 1 (30:32):
Your baggage and effect will be searched, The canvas will
not be found.
Speaker 3 (30:36):
Why not? How is Calum going to get it out.
Speaker 1 (30:40):
As you will in that most innocuous and yet natural
of I like to pick the exact word pertinances for
any prowler to be carrying it this time of year.
This an umbrella, such a convenient way of providing for
any day.
Speaker 3 (31:01):
The canvas would be wrapped inside.
Speaker 1 (31:03):
Remember, this is not a canvas as we know it
a far lighter woven material which rolls unnoticed into a
tightly wrapped umbrella. But we must make haste. The theft
of the art. Treasure cannot remain hidden for long. It
must be gotten out of the country whom. As soon
as you bring me my treasures, I can help them
(31:24):
for you a knighthood. But not here too much opportunity
for third parties to conceal themselves. All right, where some
neutral territory where both are safe? Of course? Why not
the acropolis had say ten o'clock, they are crappled. There
will be a moon again, and I will bring a
(31:45):
viewer for the film. Where are there cropplers at the
west end on the battlements? That's where Glen met his death,
quite right, But then he was planning to double cross me.
Surely you have no such thought in mind? Wow, I
(32:11):
thought i'd never get that bad closed. Can we ever
come home someday with less than we left with instead
of more?
Speaker 2 (32:16):
We got a lot more than we bargained for this time.
Speaker 1 (32:20):
Look, come on, honey, let's let's grab a good night's sleep.
We have a plane at the crack of dawn.
Speaker 2 (32:25):
I know I don't feel sleepy right now.
Speaker 1 (32:29):
Die if you're going to start it again.
Speaker 2 (32:31):
It's really Oh no, darling, that's all forgotten. I'm just
looking at the moon outside being sorry we had such
a short honeymoon.
Speaker 1 (32:39):
Oh, darling, none of that. Our whole life is all
what the honeymoon?
Speaker 2 (32:44):
Oh you're kind of a nice guy, you know, just
the way you got me going. Just grab in our
balcony for a last look. Right Oh, the moon's coming up.
Oh look at it.
Speaker 1 (33:00):
Shot of the acropolis. It must be beautiful up there now, yeah,
I can just see it. Oh boy, what pictures I
could get? Honey?
Speaker 2 (33:09):
Yeah, what'll live crazy?
Speaker 1 (33:11):
There's another way, not for us.
Speaker 2 (33:14):
Let's go up there, so beautiful. I'd like one last look?
Speaker 1 (33:19):
What the acropolis?
Speaker 2 (33:21):
Where else?
Speaker 1 (33:23):
That's really far out? After all, it's happened, well it
look it can't happen twice that's for sure.
Speaker 2 (33:28):
I guess it should be the safest place in Athens and.
Speaker 1 (33:30):
A photographer's heaven. Yeah, but let me just grab the
big strobe light and let's go. Now hold him to die.
I just want to get this shot. Oh, be beautyful.
Speaker 2 (33:48):
All on the point of view, all this moonlight. You
had the lug along the shoulder, sling and the strobe.
Speaker 1 (33:55):
Now I can't ask a bunch of statues to move
out and let the building they're holding up fall down
and get the right light on them. Can come on?
I want to get this temple from some other angles.
Oh to love, cherish, and obey.
Speaker 2 (34:07):
Your slave girl follows the master.
Speaker 1 (34:09):
Don't touch the stroke?
Speaker 2 (34:11):
Why not? I mean I was just kidding.
Speaker 1 (34:13):
No, no, not that. It's just I don't like to
take chances.
Speaker 2 (34:17):
Chances, IM well, just just the strobe light.
Speaker 1 (34:21):
You no idea what a lethal electrical charge that little
unit can build up.
Speaker 2 (34:25):
You mean that something you use every day for work.
Speaker 1 (34:27):
Is so dangerous I under ordinary circumstances. No, but every
photographer knows that a strobe light is nothing to get
careless with. I don't get it, How could well, Diana?
It's a million to one, But like well, if the
case were broken and the lamp and you happen to
get your hands in the wrong place, well, forget it.
It was just a reflex reaction.
Speaker 2 (34:47):
I just like to understand what you were afraid of.
Speaker 1 (34:50):
Well, it's a crazy outside chance, but it has happened.
You take a guy trying to fix the strobe, he
opens the case, the lamp is broken, and just by fate,
he gets both hands on the contacts dam or wipeout.
Speaker 2 (35:04):
He can get electrocuted.
Speaker 1 (35:05):
Well, like I say it, it can't happen.
Speaker 2 (35:08):
But I don't want you touching it.
Speaker 1 (35:10):
Honey, I know what I'm doing. I should hope. Come on,
let's go. I want to get some shots from the
other side and the full moot. Wait, what is it there?
That's funny. It looks like like Deane canby where just
passing by the Parthenon on the other side. I think
he was heading for the.
Speaker 2 (35:31):
Heading for what.
Speaker 1 (35:33):
Oh, don't forget it, die, I must have been mistaken.
Speaker 2 (35:36):
Heading for where Bob the west end?
Speaker 1 (35:40):
There the battlements, you know, the part our balcony overlooks.
Speaker 2 (35:45):
But that man Jeff Callen was pushed over.
Speaker 1 (35:48):
Yeah, well it's hard to see. I must have made
a mistake.
Speaker 2 (35:52):
Still, it's a strange coincidence if he was going there.
Speaker 3 (35:56):
Oh no, what does it die?
Speaker 2 (35:58):
I just have a cable. That's something.
Speaker 1 (36:04):
It's just too much of a coincidence.
Speaker 2 (36:06):
We better go see.
Speaker 1 (36:07):
No, no die. I just know we better leave well
enough alone. Stop right there, mister Gunby, well us, yes,
and we are nicely alone. Let us make sure if
we stay that way. Come along here, but the parapet
(36:32):
this will do far. We have too much of the
public eye over there by the seadows would be better. Really,
what are you afraid though?
Speaker 3 (36:42):
I'd like to live here the same way I came in.
Speaker 1 (36:45):
Not like Jeff Kelly in Van Swift Plunge. Don't be
a fool. First of all, I never press my luck. Secondly, immediate,
don't I Yeah, I suppose you're right, of course I am.
Don't be a child. I promise you will leave by
the same gate you entered. But I hope you have
(37:06):
brought some material for me to examine, and I prefer
not to have an audience. Shall we go in this shadow?
Said you brought the material for me? You see my umbrella.
Speaker 3 (37:24):
Okay, let's go over by the parent.
Speaker 2 (37:31):
Bob you went up the stairs at the edge of
the fortress, just like you guessed?
Speaker 1 (37:37):
What do you mean he you're.
Speaker 2 (37:38):
A friend for the embassy, mister Canby.
Speaker 1 (37:40):
I told you I must have been mistaken. I don't
think you were. Well, how could you know?
Speaker 2 (37:44):
You've never seen the No, I've seen the man he's
meeting now, so have you. Can't you see that's the
man who killed the reporter?
Speaker 1 (37:54):
Well, how could you possibly tell at this distance by
the umbrella? Hope, for heaven's sake that look. I don't
blame you for being jumpy, but honey, you're all wrong.
Speaker 2 (38:04):
Could we just take a walk over that way, like,
just in case?
Speaker 1 (38:07):
What if anything was going on? What could I do?
I tell you what you could do.
Speaker 2 (38:13):
You could point your camera at them and take a
flash picture.
Speaker 1 (38:15):
Of anything look wrong.
Speaker 2 (38:17):
You could just take a picture on gai what principles?
Like you were? What you are?
Speaker 1 (38:22):
A tourist?
Speaker 2 (38:23):
And then with no for sure, no monkey shines.
Speaker 1 (38:25):
I gotta have my head examined. You do talk me
into things? Okay, let's stroll that way, real casual. What
do we got to lose except maybe everything? Are you
sure of these are the prince?
Speaker 3 (38:45):
Of course they had no reason not to trust me.
Speaker 1 (38:49):
I have learned not to be sure of anyone. For example,
this what that's one strip of the negative got into
six frame? This one is one frames short or sometimes
six doesn't divide ride? I mean in a twenty exposure film.
You've God said, I can't count, my friend. I can
(39:11):
also read the frames are numbered. Number seventeen is missing.
That is not at the end of the film. So
somebody is holding out, Well, not me, you or your friends.
I told you they would have to be eliminated. That
can come later, no problem. In the meantime, there is you.
(39:34):
What security can I have that you are not holding out?
I am afraid you must go.
Speaker 3 (39:41):
Also, don't you come near me. You're not pushing me
over like Jeff can.
Speaker 1 (39:47):
Oh, my dear friend, nothing so crude, but don't move Anda.
God be the very efficient silence if I have to
use it. But I don't think that will be necessary.
I think you will live quietly with me until I
can turn you over to the police.
Speaker 3 (40:06):
The police, what.
Speaker 1 (40:07):
For, shall we say, stealing art treasures and attempting to
smuggle them from the country. I shall have to say,
of course, that this is your umbrella. No one I'll
believe you in Greece, my word against yours. The games
men play and take our chances. No, I'm not right,
(40:32):
you fool shooting? Bob Quit Shoot what.
Speaker 3 (40:35):
What I shn't shoot?
Speaker 1 (40:36):
It was just a fast photo time, all of you
and your daughter. It's okay, he just hit a give
me peaceide, brother, Shoot again. What happened in Macarel? I
told you Straub was nothing to fall around with. His
(40:59):
show busted the case in the lamp. When I get
out of him, you must have grabbed with both hands
and and what he electrocuted himself. I guess that's the
first shootout a man ever won without having a gun.
(41:41):
So there you have it. It happened because you heard
it here. Dean can be never regained consciousness, and who
can be too sorry for a man of no principle.
Diana and Bob had a rather extended honeymoon, if that's
(42:03):
the name for it, until they were cleared and could
go home. And a man named Malice died as he
lived violently, And I think we can all agree deservedly.
I'll be back shortly. It's an unfortunate idiom we use
(42:37):
about the camera borrowing from the image of the aimed gun,
saying when we snapped the shutter, that we pulled the
trigger and shoot. Who could ever imagine that this gentle
instrument could ever serve to deal out death a billion
to one chance, But how fortunate that luck was in
(42:59):
the right corner, and how interesting that Malice died from
the thing he most feared, the eye of truth justice. Indeed,
our cast included Anne Williams, Michael Tolan, Court Benson, and
Jackson Beck. The entire production was under the direction of
(43:19):
Hymon Brown. This is E. G. Marshall inviting you to
return to our Mystery Theater for another adventure in the macabre.
Until next time, pleasant
Speaker 3 (44:00):
Bye, bye,
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