CBS Radio Mystery Theater - Every Blossom Dies

CBS Radio Mystery Theater - Every Blossom Dies

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Episode Transcript

Speaker 1 (00:16):
Come in welcome. I me, g Marshall, what are you
doing right now? Give me the next hour of your life.
Let me fill it full of mystery and suspense. And
who knows that hour might just last as long as eternity?

(00:36):
Is there a judgment? And is there a judge at
the very end? Do we approach the final bar, the
ultimate bench? We do? The philosopher tells us we do,
And sitting there, ready to put on the white cap
or the black is the severest judge of all, And
from his judgment there is neither appeal nor hope of

(00:58):
a creed. This judge, this last stern arbiter of our fate,
is the very person each of us was meant to be.
Our mystery drama, Every Blossom Dies was written especially for
the Mystery Theater by Sam Dan and stars Michael Tolan.

(01:20):
It is sponsored in part by Bullick Motor Division. I'll
be back shortly with that one. Why does the moth
constantly seek the flame? Surely the moth must be aware
of the ultimate consequence. The question will only permit two answers.

(01:45):
A the moth is driven by mysterious forces beyond our comprehension,
or B the moth is out to have a good
time and simply doesn't care. Like so many maws. There
are so many girls like Georgia tis ample, pretty, vivacious,
fun to be with, smart, except for one little thing.

(02:07):
They have atrocious luck with men. I wish I could
go on talking about Georgia longer, because the moment I stop,
she's going to be killed. But fortunately none of us
here may prevail against fate. But what are you doing?

Speaker 2 (02:26):
Why are you pointing that gun at me? It's not
a joke, Billy, I don't like it, Billy, don't look
at me like that. Uh. I was worried.

Speaker 1 (02:58):
Worried for dinner? Ah? Is it the first time, Barbara, No, and.

Speaker 2 (03:05):
It won't be the last.

Speaker 1 (03:06):
But you usually called I'm sorry? Did I did I
ruin the stake?

Speaker 2 (03:10):
Steak? You ought to do the shopping? You're lucky to
get still.

Speaker 1 (03:14):
Huh, Well, if it's ready, I'm ready.

Speaker 2 (03:17):
You know I was really worried there.

Speaker 1 (03:19):
Oh why should you be worried?

Speaker 2 (03:20):
You mean a CoP's wife doesn't have the right to worry.

Speaker 1 (03:22):
Oh, I'm not really a cop in that sense. I
mean I'm not in uniform. I'm called in after the crime.
Jerry Ferris and me. Whatever shooting or stabbing, the rough
stuff has already happened. Jerry and I. We do the
gentleman's job, the inquiry.

Speaker 2 (03:37):
It's called Well, you still should have phoned.

Speaker 1 (03:40):
That's right, and there's no excuse.

Speaker 2 (03:43):
I wanted to know about dinner, so I called the
desk at five and they said you'd left for the
day about an hour before. And do you know at
seven point thirty? Now, Well, Darling, Um, no, honey, I
I'm sorry. I have no right to time.

Speaker 1 (03:59):
You have every right now.

Speaker 2 (04:00):
It's not under these conditions.

Speaker 1 (04:01):
Barbara, if you wanna know where I was, because.

Speaker 2 (04:04):
That would mean that I'm well, I'm taking that note seriously, Barbara.

Speaker 1 (04:10):
Let me tell you, I.

Speaker 2 (04:11):
Don't believe that note. It was sent by some vicious psycho.

Speaker 1 (04:14):
Darling. I wanted to explain it.

Speaker 2 (04:16):
If a person has something to say to me about
my husband, if anyone wish to accuse my husband of infidelity,
let that person fat me openly and with crew.

Speaker 1 (04:27):
I'll tell you where I was this afternoon.

Speaker 2 (04:28):
I just know you wouldn't have another woman.

Speaker 1 (04:32):
Say you are sure of me, aren't you?

Speaker 2 (04:35):
I know you?

Speaker 1 (04:36):
That's all.

Speaker 2 (04:38):
It's just a note like that well, I it's upsetting, darling.

Speaker 1 (04:44):
Why didn't you let me see it? Because I could
have taken it to headquarters and turned it over to
the lab.

Speaker 2 (04:48):
I didn't wanna get involved in anything, and oh, it's
just a crank thing anyhow, I thought it'd be best
all around if i'd just tore it up. I don't
even know why I told you when I'm just scared
to think there are people with that type of mentality
running around.

Speaker 1 (05:05):
Look, the fact is I left headquarters completely resolved to
get home early. When I saw someone, a huddler who
has no business in this particular territory, I thought i'd
keep an eye on him for a while to see
where he might lead me.

Speaker 2 (05:18):
And where did he lead you?

Speaker 1 (05:19):
To a rooming house where he's evidently living, So I
filed him in my mind for future reference and came home.

Speaker 2 (05:28):
Well, I hope you liked this stew and made it
with wine?

Speaker 1 (05:34):
How could it be bad?

Speaker 2 (05:36):
And a little music to aid the digestion?

Speaker 1 (05:45):
Uh? Do you mind?

Speaker 2 (05:46):
But I love that you hear it everywhere.

Speaker 1 (05:49):
That's the trouble. I've been listening to it all day,
so have.

Speaker 2 (05:51):
I and I never get tired of him?

Speaker 1 (05:53):
Could we could we just do without it? Oh?

Speaker 2 (05:55):
Sure, but it's such a pretty tune.

Speaker 1 (05:58):
I think it's the title that turns me up. Uh,
every flower must die?

Speaker 2 (06:03):
No, it's every blossom dies. Kind of gives it a
feeling of mystery.

Speaker 1 (06:09):
Al Right, if you really wanna hear it? Oh none,
If it really bothers you, no, it doesn't go ahead
play it?

Speaker 2 (06:13):
No, No, I'd rather talk about something more important. What well,
I hate a nag, but it's money. I'm sure again
this week?

Speaker 1 (06:22):
I know, I I know, Look I I just have
this situation. But look, could that be?

Speaker 2 (06:30):
I said? I know? Jerry Ferris tried to reach a
half hour ago. He left word to call it?

Speaker 1 (06:35):
Honey, why didn't you tell me it?

Speaker 2 (06:36):
It loose to have your dinner?

Speaker 1 (06:38):
Oh well, hello thell saddle and rise? Uh not me, friend, Jerry,
I'm starting my forty eight hours off. We got his homicide,
he addresses seven eighteen. As you don't even more than
fifteen minutes to get here? Faris? Yeah? I had better run.

Speaker 2 (06:57):
O can't you get finny?

Speaker 1 (06:58):
No, dear, I don't even know what kind of homicide
we're up against. I better get right over there. I'm sorry.

Speaker 2 (07:04):
Why it isn't if you didn't warn me before we
were married.

Speaker 1 (07:09):
Look, Darling, about that note.

Speaker 2 (07:10):
I've already forgotten about it. I wish you would too.

Speaker 1 (07:14):
Seven eighteen Hayes seven eighteen Hayes.

Speaker 3 (07:18):
What there?

Speaker 1 (07:19):
It's you address? Were I'm supposed to meet Jerry? That? No,
if he didn't it? Yeah? And why should that? A
dress sounds familiar? Oh you made a good time, Jerry.
Don't you have an ear for music? That needle stuck

(07:40):
in a groove? I know we'll turn the damn thing.
Oh it don't be sore. I know I pulled you
away from dinner. Why are you just standing there listening
to that? I'll explain. And her name on the door,
says Georgia Temple said her on the floor. Yeah, why
you mean? Doc hasn't been here yet? Everybody's been here,
and God, I decided not to move her until you

(08:03):
showed up. I want to get some of that famous
Bill Maitland inside. Well, I don't do too well on
an empty stomach. Bill. We gotta crack this one. The mayor,
the DA, they're all up for re election. Safety that's
the big thing today. How could you knock it? Incidentally?
You signed out at four to go home, and we
couldn't reach it. I ran into a guy I knew
for the army. We stopped for a couple of beers.

(08:25):
What we got here her name is was Georgia Temple.
Turns out she's an old girlfriend of yours. I never
knew a Georgia Temple. Now. Now let's get that famous
Bill Maitland memory and gear the name Georgia Temple, Temple,
Georgia Temple. Oh, there was that murder at the carousel,

(08:47):
probably about a year ago. Keep going. Georgia at Temple
was the singer there, and we picked up the other
one in the joint for questioning it. Since we finished
late at night. We gave her a lift home. You
mean you gave her a lift home? You topped me off,
as I recalled, because I had to pass your house first.
I just mentioned in fact, I read nothing into it. Hey,
I just dropped her off. I know. I kept thinking,

(09:08):
what a shame both of us were married. That doesn't
stop a lot of guys. But in short circuits, guys
like you and me, You're too idealistic and I'm too scared.
No wonder that address sounded familiar. Yeah, well we meet
her again, close that musted up. No signs of the fight,
no marks of any kind, Doc says, just three shots,

(09:29):
even through the place, just a quick glance around. It
doesn't look like a robbery. There's her pers good looking
portable TV. There's silver in the chest drawers. Now let's
roll out a robbery. Doc's pretty sure she wasn't assaulted.
No sign of forced entry, So evidently she knew the guy.
There's a lot of anger, a great deal of passion
involved here. Now why she was shot three times?

Speaker 2 (09:51):
Why?

Speaker 1 (09:51):
Why fire three shots? Any one of them was but enough?
One in the head, two in the heart, as if
the killer were determined to a knife? Yeah, later completely,
Who do we look for? Disappointed boyfriend? Those are always good?
Who found the body? A lady who has the apartment
down the hall. I got her statement here. She kept
hearing music with music this now when you shut that office?

(10:20):
Driving me nuts? Yeah, well it was driving the neighbor
nuts too. It kept going and going for two hours
at least. So she knocked on the door. She couldn't
get any answer, and for some reason she got nervous.
Call the police. What was the reason she got nervous?
She couldn't say, Well, if she's down the hall, let's
ask her.

Speaker 2 (10:40):
As I tell you, I heard the music, and I
knew the needle must have been stock.

Speaker 1 (10:46):
And then missus Woodlard's life already told this officer.

Speaker 2 (10:50):
I went down the hall, knocked on her door, but
received no answer. Yes, I called to her, Miss Temple,
Miss Temple, but there was no answer. Poor child, Now
I know why.

Speaker 1 (11:04):
And yes, they said, why are you staring at me? Well,
I'm not staring at you, young man. Uh, I'm sorry.
Perhaps I shouldn't have used that word, but it it
does appear that you are looking at me rather intently.
I'm I'm sorry.

Speaker 2 (11:21):
I do give that impression sometimes, but it doesn't do
me any good to look at anyone in any way.

Speaker 1 (11:29):
You see, I'm blind. Oh, I'm sorry. Oh it's quite
all right.

Speaker 2 (11:36):
You'd never know it, man, You never know it here
in my home, when everything is meticulously arranged.

Speaker 1 (11:43):
Uh. You say you heard the record player in this
Temple's apartment and it kept playing the same thing over
and over again. There was no answer. When you knocked
on a door, no answer, and you became very nervous
and called the police. That is correct, sir, what would
have made you that nervous?

Speaker 2 (11:58):
I can only say an old lady becomes nervous for
any reason or no reason.

Speaker 1 (12:06):
About miss Temple, who she.

Speaker 2 (12:09):
Meaned A nice enough young lady. Of course, she's only
been living here a few months. I hear she was
a singer, Yes, but she wasn't working.

Speaker 1 (12:19):
What did she do doing day? As father?

Speaker 2 (12:21):
I know she didn't do anything the What shouldn't say that?
She did practice a lot voice, you know, and acting.

Speaker 1 (12:31):
You'd heard her do this.

Speaker 2 (12:32):
She had a tape recorder and she'd work with it
all day.

Speaker 1 (12:36):
Did she have any visitors?

Speaker 2 (12:38):
Oh, well, I shouldn't say this, say what She had
a gentleman friend who I don't know who. He would
come and go. I could hear them quarreling sometimes about what.

Speaker 1 (12:53):
Two things, always the same two things.

Speaker 2 (12:57):
Money was the first and listen he was unwilling.

Speaker 1 (13:01):
To divorce his wife.

Speaker 2 (13:04):
Now I know why I felt nervous this time. Their
voices had an especially ugly tone. There was anger the man.

Speaker 1 (13:13):
Did he have a distinctive voice?

Speaker 2 (13:15):
Well, I never heard it, very clearly. It was always
on the other side.

Speaker 1 (13:20):
Of the wall. What kind of voice was it?

Speaker 2 (13:22):
What kind? Well? I would say he had a voice
that sounded very much like yours, Lieutenant.

Speaker 1 (13:31):
Very much like yours. If they say physician, heal thyself,
should they also say policemen investigate thyself. Well, there's such
a thing as coincidence, and certainly we all know about
circumstantial evidence. Right now, we only know that a girl

(13:54):
named Georgia Temple has been shocked to death in her apartments.
We have no real evidence that could point to anyone.
I'll be back shortly with that too. Georgia Temple was
found a shot to death in her apartment. The police
are naturally asking the expected question, who killed Georgia Temple?

(14:17):
So far, there isn't any evidence that would point to anyone.
There is, however, a clue, a lead. It isn't much,
but it's all we have, and it points at one person,
and that person happens to be the police detective who
is heading the investigation. Let me understand this, missus Woodruff.

(14:39):
You've heard this man's voice, yes, lieutenant, and it reminds
you of mine?

Speaker 2 (14:45):
Will It sounds like yours.

Speaker 1 (14:48):
They say that blind that sightless people have remarkable hearing.

Speaker 2 (14:53):
Oh, it's like everything else. Some do, some don't. And
the fact that your voice sound it almost exactly like
the the gentleman friend of Miss Temples will that doesn't
have to move very much. After all.

Speaker 3 (15:10):
Just as there are.

Speaker 2 (15:11):
People who look very much alike, there are people who
sound very much alike.

Speaker 1 (15:17):
Thank you, missus Woodrow.

Speaker 2 (15:18):
I hope I'd been able to help you.

Speaker 1 (15:20):
Gentlemen, you were very helpful, Missus Woodrow. Well, Bill, have
we cracked this case this fast? Are you the killer?
If she's willing to testify on her oath said it
was my voice? Were you pulling a fast one on everybody?
It were a way in every way like you saw

(15:42):
her home that time? You did, didn't you? Yeah? And
maybe why not come in for a night cap? Tell more?

Speaker 3 (15:48):
And maybe you did?

Speaker 1 (15:49):
And well, maybe one thing led to another, and you've
had this cozy little setup for the past couple of years.
Keep talking, But you know the course of true love,
it never runs. So maybe you have this fight and
you pumped three slugs into her. Maybe you better check
my service revolver. I already got the lab report. The
weapon was a twenty two caliber. I guess that puts

(16:11):
me in a clear I guess it does. So where
are we we know it's a guy. They quarreled for
any one of uh the maybe reasons or something else.
How carefully, if you searched the place, we don't have
any prints. You mean, no finger prints at all, not
not even hers, not even hers. But her print should
be all over the place, after all, she lived here.

(16:33):
Nothing that means he took a rag and worked the
whole apartment over because his prince must have been all
over the place too. This guy spent a lot of
time here. Somebody must have seen him. Look, why don't
you ring some doorbells? I'll poke around the apartment. There's

(16:54):
no good in the eyewitness departments. Four other tenants, Missus
Woodruff was blind. We already know down to three. Mister
Sasax musician all night, sleeps all day, doesn't know anything.
Mister McPhee has been in Afghanistan for the past four months.
Nobody can tell us when he'll be back. Lewis is
here in Florida. Well, they spend six months of the
year and that's it. Now, what do you got? I

(17:17):
look through the garbage? Can I find these papers? These
half torn, crumpled papers here? Read? Ask your husband where
he is all the times when he tells you he's
at work, Ask and stuff that's cost on. I'll read
the next one. Ask your husband where he is when

(17:38):
he's supposed to be working. Ask him why money is
so short. The rest is cost off. Yeah, she was
writing or had written a note. These are just the
copies she made the mistakes on. Then when she typed
one finally that was okay. That was the one. She said, Hey,
that figures bill. She sent a note to the guy's wife.
But why, who knows why? Maybe to force him into

(17:58):
some kind of move, to put it in a position
where he'd have to choose between them. She's got a typewriter.
I saw it in her bedroom. Yeah, you can see
these were typed on her machine. So, oh, she sent
the note. The guy's wife got it. She raised the roof.
The guy got so Mady killed her. Sounds reasonable, Yeah,
so somewhere there's a note that was typed on her machine.

(18:19):
Some wife has it. If we find the wife, we
find the guy.

Speaker 2 (18:30):
Hey, I remember your tellers. Yeah, the cops that was
in the place tonight, we had that unfortunate situation.

Speaker 1 (18:37):
Tell us about Georgia Temple. Poor Georgia said, all you
can say all that about thumbs it up.

Speaker 2 (18:43):
Poor Georgia. She left here about a year ago.

Speaker 1 (18:46):
Did she go to another job.

Speaker 2 (18:49):
Now she's I guess you'd have to say she retired
at her age. Wow, that's what it came to see.
She started running around with a guy who nobody knows
who any how, she must have been nuts about him.
She could sing him just because he told her to. Boy,
I asked her, she said, he doesn't want me to

(19:09):
be an entertainer. He doesn't want to share me. Does
she quit?

Speaker 1 (19:13):
How did she live?

Speaker 2 (19:15):
He was supporting her.

Speaker 1 (19:16):
He must have been a man with money, No.

Speaker 2 (19:18):
Not too much, not the type that's got it to
throw around. After all, she wasn't living in a lot
of luxuries. That's what she wanted. She could have done better.

Speaker 1 (19:27):
Do you think so?

Speaker 2 (19:28):
Oh yeah, oh yeah. She was a kid who could
a gone places. You know, some gals, they just get
tied in with the wrong guys. I guess you fellas
see things like this every day, maybe every other day.

Speaker 1 (19:48):
She didn't tell me why he wanted to come back
to the apartment built the tape recorder, missus Woodluf said,
Georgia Temple worked with a tape recorder. Yeah, where is
it do you remember seeing it? No, they if you
stole him. Come on, why would a guy come in
here kill her and just take the paper recorder? She
had money in her purse, remember, Okay, let's look around. Hey,
hold it. I think I remember something. When I looked

(20:12):
through her bag, I think I saw Why I hold it,
Lieutenant Maitland. Let me have the property office. Please, what
do you think you saw? Maxwell? This is Bill Maitland.
There stuff that belonged to Georgia Temple. See if there's
a pawn ticket, Yeah, I'll hold pawn ticket. She pawned

(20:33):
the recorder? But why she needed money? Look? The guy
paid for everything else, the TV set, the furniture, the
silver But the tape recorder that must have been hers. Yeah, Maxwell,
there is be right down to pick it up. Yeah, yeah,

(20:55):
I wrote it about in the paper. Why what can
you do? You gave her fifty dollars for this type ability?
It's a good one, high quality.

Speaker 4 (21:03):
Listen, wait, Justice, Let there be no delay, no shadow
of suspicion, delay, A A dot A sound say a
not a well great actress. You'll never be Georgie back
to night clubs for you. Let there be no delay,

(21:28):
and let there be no delay tonight. Either have it
out with Billy boy without delay, Weak justice. Let there
be no delay nor shadow of suspicion. How if he
doesn't shape up.

Speaker 1 (21:43):
You'll have to hold it. Let's uh, let's run it back.

Speaker 4 (21:51):
And let there be no delay tonight. Either have it
out with Billy Boy without delay.

Speaker 1 (21:59):
Billy boy, Billy, let it run, sweet justice.

Speaker 4 (22:04):
Let there be no delay or shadow up the STI.
And if he doesn't shape up, you'll have to you'll
have to do something definite, Sweet justice.

Speaker 1 (22:16):
Let there be, Let there be, Let there be. What
a letter?

Speaker 4 (22:24):
We'll write a little letter, just a simple little note
guaranteed to get his goat. Ask your husband where he
is all the times when he tells you he's at work.
Where is he's spending those long evening in hours dying
one of the girls. Well, Billy boy, that should get

(22:45):
us some action. You won't have to worry about divorcing her.
Maybe she'll divorce you.

Speaker 1 (22:51):
Mm.

Speaker 4 (22:53):
That's the way to write it.

Speaker 1 (22:58):
I guess that's all. So now we know his name.

Speaker 3 (23:02):
Billy and me block and die.

Speaker 2 (23:17):
Hu Hi, Bob deal, I think you were coming home
late tonight.

Speaker 1 (23:23):
I am Paris and I am making around at some
of the watering places. I was at the Starlight Club.
There's a few blocks from here. Do you wanna shut
that off for a minute. I I just like to relax. Oh, shure. I.
I don't know what there is about that song. It
just I don't know. It makes me nervous. I don't
know why.

Speaker 2 (23:43):
I think you're working too hard.

Speaker 1 (23:44):
That's possible.

Speaker 2 (23:45):
You're probably killing yourself.

Speaker 1 (23:47):
I know, but that's me. How's the key inching along?

Speaker 2 (23:52):
Why you be getting the saloon?

Speaker 1 (23:54):
Somebody must have seen that girl out with this guy.
They had to go somewhere. Why do you say that
you're a woman? Would you be satisfied just to sit
home and wait for your man and never get to
go out? Well?

Speaker 2 (24:06):
I do sit around here most of the time, don't.

Speaker 1 (24:10):
I'm sorry.

Speaker 2 (24:12):
That's how.

Speaker 1 (24:13):
It is not just that this has been an unusually
busy year.

Speaker 2 (24:16):
No, just that you're an unusually busy cop. Your own partner,
Jerry Ferris, is home a good deal of the time.
I know I talk to Janet, but I'm satisfied.

Speaker 1 (24:26):
No, Barbie, you shouldn't be. It isn't right.

Speaker 2 (24:28):
If it's the way you look at your job, your responsibility,
then it's right now.

Speaker 1 (24:32):
I have another responsibility and it's just as important you, dear.

Speaker 2 (24:37):
I don't mind, and I do understand because I love
you and I want you to be happy in your work.

Speaker 1 (24:44):
We're we're going away just as soon as this case
is in the bag. I'm taking my leave. Do you
realize I've got a whole month coming?

Speaker 2 (24:51):
Are you sure?

Speaker 1 (24:52):
You let you know where we're going? We're going to Europe?

Speaker 3 (24:56):
Europe?

Speaker 1 (24:57):
Ohio?

Speaker 2 (25:00):
How can we even talk about it? You yourself did?
Money's very kind?

Speaker 1 (25:04):
Yeah, but I think I think I'm out for London.
I think hard. Molly. The name Billy, What does it
mean to you? Not a thing? She never spoke about
a guy named Billy. Now you knew she was going out.

Speaker 3 (25:23):
With a guy.

Speaker 1 (25:23):
Yep, Billy means nothing.

Speaker 2 (25:26):
Not in connection with your pampa.

Speaker 1 (25:29):
Well not to me anytime, Jerry. Let's get out of here.
You come across anything in your travels? Nothing? Molly? Don't
they ever play any other kind of song in here?
I like her? Where you wanna go? Now? Back to
the apartment again? Yeah, let's start all over. I think
I see the trail that will lead us straight to
the killer. What do we know for sure. We know

(25:59):
a girl was killed. We know a man named Billy
is the killer. We know they quarreled over money. We're
pretty sure Georgia wrote an anonymous note to Billy's wife.
We also know the police detective who is investigating the
murder is also named Bill. His wife received an anonymous
note accusing her husband of being with another woman. Well,

(26:23):
before you reach any definite conclusions, wait until I returned.
Shortly with Act three, the great French writer De Mossan
wrote a fascinating short story. The man was a professional
knife thrawer. His wife was his partner. He threw the heavy,

(26:47):
sharp knives at her outlined form on the board. The
slightest error of judgment on his part would mean death
for her, But the audience was unaware of the real
drama on the stage. She was unfaithful to him. He
knew it. She even taunted him. Why didn't she know that?
He could have killed her by accident? But she knew

(27:11):
a great secret.

Speaker 2 (27:12):
He was an artist.

Speaker 1 (27:14):
He could not deliberately make a mistake, so she was safe.
Why do we tell you this? What is the connection
with our story? Well, don't you want to do any
of the work yourself? You still haven't told me why
I wanted to come back to her apartments. We picked
it clean, We found everything that was here. Okay, now

(27:36):
let's look for what isn't here. Like what the lad says,
she was killed because she was shot three times. It
was a twenty two caliber pistol. Yeah, it was the gun.
But it would have been great if the guy I'd
loved to hear. But as you well know, killers aren't
usually that considerate. Now, I don't expect him to leave
the gun. But what should have been here that wasn't

(27:57):
and they should have been on the floor. Chrischelle, you
fire a pistol, the shellcases are ejected. Now would the
guy stop to look for him and pick him up?
Not likely now, But for our guy it is likely
smart capable killer, no mess, no fuss. He picks a
weapon that makes hardly any noise, just a crack that
could be an automobile backfire, no panic. He cleans the

(28:21):
place from top to bottom, does away with all his prints,
tries there's not a trace of him here. Another thing, Now,
it's his closet. It's empty. Would a woman have an
empty closet in her house? Never? So what does it
mean means he kept some clothes here, that's right, And
he removed all traces of him and of himself. Well,

(28:45):
we kind of knew all this about him, Bill, How
do we move ahead? What did he do with the gun?
He got rid of it? Right, He wouldn't keep that
gun five seconds longer than necessary. He knows he has
to get rid of that weapon. But where, okay, where
you're this guy? He just killed her? He got the gun.

(29:06):
You go to your car, you drive off. Now, just
nine hundred yards from here is the bridge over the
Westland River, a very deep, fast flowing, murky body of water.
So you stop the car. Is there a better place?
You know? Bill? You say this as if you're gonna

(29:28):
actually see it. It's just a question of putting yourself
in the killer's place. That's all. I have to come
home for dinner more often. This chicken is great, you know.
I forgot how fantastic a cook you are. Bill.

Speaker 2 (29:47):
I was going through your closet today. I wanted to
see if you had anything to the cleaners and and what.
And I came across some clothes.

Speaker 1 (29:56):
You clothes, Oh, I.

Speaker 2 (29:57):
Don't remember you're buying them?

Speaker 1 (29:59):
How do you like 'em.

Speaker 2 (30:00):
Well, they're not quite the conservative stay you were on.

Speaker 1 (30:03):
Your job that I was for the job. I just
picked him up the other day I I passed by
this place. They were having a sale. I'll need 'em
for the trip. What trip? The trip to Europe? Don't
you remember?

Speaker 2 (30:16):
Do you mean you were serious?

Speaker 1 (30:17):
Sure? Why do you think I bought all these clothes?

Speaker 2 (30:19):
When you are going?

Speaker 1 (30:21):
Look tomorrow, you go shopping?

Speaker 2 (30:23):
Okay?

Speaker 1 (30:23):
Can I depend on you to get yourself a complete
wardrobe house?

Speaker 5 (30:27):
I'm so happy I'll get it. Hi, Marlborah, Uh, come
on in there, Bill?

Speaker 2 (30:38):
It your sign me? Quinn?

Speaker 1 (30:40):
Anything new? They finally got where where you set? It was?
In the river bed under the bridge? Anything on it?
The lad's checking it now. Let's go down and wait
for the report.

Speaker 2 (30:55):
Who, Bill, won't you finish your dinner?

Speaker 1 (30:57):
How do you put it away for me? I'll be
stabbed when I get home. Who?

Speaker 2 (31:00):
I don't know when you even have a minute for yourself?
Where did you get a chance to do that shopping?

Speaker 1 (31:06):
Want shopping?

Speaker 2 (31:07):
You mean you boys have secrets from each other? Call me,
I'll show you. How do you like that snazzy new
wardrobe your partner picked up not bad?

Speaker 1 (31:20):
Would you buy all these?

Speaker 2 (31:22):
Simon Lagreen? You gave him some time off the other afternoon. Remember,
I don't.

Speaker 1 (31:27):
Remember how we were checking out places where Georgia Temple
might have been seen with her boyfriend. You and I
split up. I passed by this store and did a
little shopping on the city. Time is if the.

Speaker 2 (31:36):
City doesn't owe you more time than it can ever
pay you for.

Speaker 1 (31:39):
Well, don't look at me. We better get downtown and
check out the story on that gun. Hollistics establishes this
little baby used the gun, all right? What about the
serial number? Take a look and file off. But can't
be filed off completely. Lab can always find a trace.
This guy, I know what he was doing. Yeah, well,

(32:03):
I don't know about you, but I'm stuck. I must
be losing my grip. Come on, Billy, look at how
you carry the case? Is far you mean? We?

Speaker 2 (32:14):
No?

Speaker 1 (32:14):
You? We'd be at god zero without you. You found
out about the notes, You found out about the tape
recorder which gave us his first name. You figured out
where to look for the gun. I was great police officers,
routine police work, Jerry. And what does it mean?

Speaker 2 (32:29):
Now?

Speaker 1 (32:29):
I'm stuck? This uh guy he's been making moves, and
I've been finding the counter move to each of them.
I get him to reveal his motive, then his first name.
Then when he tried to hide the murder weapon, and
we find the gun, and on the serial number, I
should be able to trace him down. But well, you're

(32:49):
feeling okay, But there's no serial number. It is if
this guy knew every move I'd make. And he leads
me on, feeds me one little clue after another, and
just feel like I'm ready to go in for the cot.
He yanks the rug out come under. You know something
right now, I'm sure he's laughing at me. We been

(33:09):
in thoughts like this before, Bill, hundreds of time. Now
there comes a time in every case when you know
who's smarter. You are the guy you're after. Bill, you
don't know what you're saying. What I'm saying is we're
up against the killer who's smarter than we are, and
that's why he's gonna get away with it.

Speaker 2 (33:38):
Oh hi, Jake, Bill's left a lady.

Speaker 1 (33:42):
I know I came to see you.

Speaker 2 (33:45):
Who who come on?

Speaker 1 (33:46):
You?

Speaker 2 (33:48):
What you got there?

Speaker 1 (33:51):
Portable typewriter?

Speaker 2 (33:52):
Oh? Well, can I do something for you?

Speaker 1 (33:56):
Jack, you'll have to answer question, Barbara.

Speaker 2 (34:00):
Why you sound serious?

Speaker 1 (34:02):
I should. It's a matter of life and death? Barbara?
Did did you get a notes? A typewritten note suggesting
that Bill might be seeing another woman?

Speaker 2 (34:15):
What are you talking about?

Speaker 1 (34:17):
I said, it's a matter of life and death.

Speaker 2 (34:20):
No, it's the matter is my own personal and private.
Didn't it?

Speaker 1 (34:23):
Note? Why a girl named Georgia Temple?

Speaker 2 (34:26):
George, you mean the one who would murder?

Speaker 1 (34:30):
Yeah? But what would that have to do with Barbara?
You did get the notes?

Speaker 2 (34:38):
How'd you know?

Speaker 1 (34:39):
That's the only thing that makes sense, the only possibility left.

Speaker 2 (34:42):
Why would she let me a note about Bell?

Speaker 1 (34:47):
I said, we have to help him?

Speaker 2 (34:50):
Help him? Do what?

Speaker 1 (34:51):
Get the killer? You see right now? He's stuck. He
needs a hand, he needs a clue. When we first
came across the idea of the note, he said, the
note some wife has. If we find the wife, we
find eyes.

Speaker 2 (35:05):
But I destroyed the nose.

Speaker 1 (35:08):
I have Miss Temple's typewriter.

Speaker 2 (35:10):
Ah, you're trying to find him? What Miss you think
I would help you?

Speaker 1 (35:15):
Barbara? He killed her? No?

Speaker 2 (35:20):
No, I don't believe you. You're talking about this.

Speaker 1 (35:23):
I know, but not your Bill. Another Bill, I don't
understand what you're saying, please, Barbara. Bill is two people.
Two yes. One is the hard working, brilliant detective of
your husband, the guy who loves you. The other is
a wild kind of guy who lives in the same skull,
but nobody ever know about him, not even Bill himself.
And suddenly this guy broke out. He fell for a

(35:44):
girl named Georgia Temple. Here we get out of here.
He had to kill her, and Bill's been trying to
find him.

Speaker 2 (35:51):
You're saying, my Bill is a murderer.

Speaker 1 (35:53):
I'm saying there's a part of me doesn't know about.

Speaker 2 (35:56):
It all comes down to one thing. He's the killer.

Speaker 1 (36:01):
Yes, he's the killer, say it that way. But he's blocked.
It's gone from his mind. Chi what I goed to do,
help him, help him find a note. He'll do his rest, Barbara,
It has to be done.

Speaker 2 (36:26):
Mind if I put something on the record, say a.

Speaker 1 (36:29):
Bill, No, of course not. How did he know enough
to get rid of the serial number?

Speaker 2 (36:40):
But he staying dying.

Speaker 1 (36:41):
He knew enough to file it down all the way
I would've had him.

Speaker 2 (36:48):
Why do I see it so clearly?

Speaker 1 (36:52):
Actually the way I would have done it myself. But
I'll get him. He left something loose. He couldn't have
tied everything up. Barbara, Barbara, don't hear that thing it's stuck?

Speaker 2 (37:06):
Well if it, Bobby, you can do well.

Speaker 1 (37:08):
That silly thing bothers me even when it isn't stuck.
Every blossom. Guys, what a name for a song?

Speaker 2 (37:13):
What tune does? Honey? Is it bother? He's so much?

Speaker 1 (37:15):
Al right, I will did you uh got this piece
of paper on the floor?

Speaker 2 (37:23):
What piece of paper here? What is it that?

Speaker 1 (37:29):
He says? Dear missus Maitland, ask your husband where he
is all the time? Is when he tells you he's
at work, whereas he's spending those long evening hours. Alright, Bill,
I think I found a new lead. Forget it. We
just won the whole ball game. We found a note.

(37:50):
Note the note, Georgia Temple wrote to the guy's wife.
Remember what we said, find the wife and you got
the guy. Yeah, we got the wife. Dear missus Maitland,
and her husband's the killer? H her her husband? Yes, Bill,

(38:12):
But I I'm her husband, yes Bill, No, No, I
I didn't kill her. I didn't kill her, Bill. Tell
her to Detective Lieutenant Bill Maitland tell her detective he
didn't kill her bear By, I didn't. How could I?

Speaker 2 (38:35):
I don't care?

Speaker 1 (38:37):
See why I didn't. I didn't. You see it now? Bill? Hi? Bill?
Can you? Oh? Yes, yeah, I see it now? What happened?
What happened? You know what happened? You thought it was

(38:59):
a joke, and you send it back at her apartment.
I thought it was a joke. You said, did you
take her home that night? And did she ask you
in for a night cap? And did one thing lead
to another? Well, yes it did, it did. But a
thing like that, it was wrong, and it kept getting worse,

(39:20):
and I couldn't face it anymore. It wouldn't go away,
She wouldn't go away, or maybe I couldn't stay away.
So I had to blast it away, wipe it out.
I fired three shots, and it was gone, gone, and
I was released. I was I was free, as if
it had never happened. Lieutenant, we've got all the evidence.

(39:48):
Do you wanna bring him in, Jerry? We have to
bring him in. He's a killer. Temporary insanity was the
way it finally wound up. Legally, Bill is no longer

(40:11):
a coup. He had undergone a long period of treatment
and I and Barbara lived quietly together. Now Bill's life
isn't very exciting, but it has other satisfactions. At least
Bill knows who he is. I shall be back shortly.

(40:38):
In music, they have what is known as theme and variations.
Often one composer will take a theme written by another
and write a beautiful series of variations on it. The
basic theme of today's story was, of course, Doctor Jekyll
and mister Hyde, which was a variation by Stevenson on
a famous medieval legend. Jekyll and Hyde, a famous partnership

(41:01):
which only requires one person, and you find it so
often almost everyone. Our cast included Michael Tolan, George Petrie,
Katherine Byers, and E. V. Jester. The entire production was
under the direction of Hyman Brown. For this is a G.

(41:22):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant Dream.

(41:42):
The preceding program was furnished by CBS Radio.