October 12, 2025 • 25 mins
The Doctor prescribed Death aired on February 2, 1943. Boris Karloff plays psychiatrist Antonio Bacile, who believes that a suicidal person can, instead, be convinced to murder someone else.
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Episode Transcript
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Speaker 1 (00:00):
This is Hudson River Radio dot com.
Speaker 2 (00:04):
And so it is that the doctor prescribed death and
Bela Lugosi's performance, we again hope to keep you in suspense.
Professor Antonio Basil has a theory, but let him tell
you about it.
Speaker 1 (00:22):
As a psychologist, I have worked out a theory, a
theory I know to be sound. I contend that a
person who has decided to kill himself can very easily
be turned from this desire to the desire of taking
the life of another. I can prove my theory, and
if necessary, that is exactly what I will do.
Speaker 2 (00:51):
Yes, Professor Antonio Basil has a theory, but only a theory,
and he's worried about what his publisher will say, so
he visits the editor, whose name is Hellman. Hellman finishes
the manuscript and passes it on the desk. Professor Bassi
leans forward eagerly.
Speaker 1 (01:11):
And well, Helman, what do you think, Professor Vasil. It's
furely conjecture, simply a theory, and I wouldn't advise publishing it.
I worked on that theory for a long time. I'm
positive of it. I know it will work. Suppose it will.
What good is it? What good have you accomplished if
you can prove it'll work? How you laughing at me? Heaven,
it's so silly. An ordinary human being has suffered reverses
(01:33):
as sick of it all, he wants to leave it
all behind, and you say he can be changed to
want to kill someone else. I do self destruction and
the destruction of other life are closely related in the mind.
The dividing line is very thin. It's ridiculous, and you
won't publish. A ranger would fire me? Why he told
me that, in his opinion, you should be in the asylum.
(01:56):
Mister Granger said that. Does he think I'm insane? How
do I know? Hellman? Mister Granger didn't say that. It's
you who thinks I'm crazy. You've never liked me for
some reason. You are trying to tear me down. Well,
we'll see, mister Hellman. You'll see a Wait a minute,
I'll show you whether my works are illogical. I show
(02:19):
you whether I'm insane. Oh calm, I'm going to make
you eat those words. I know you don't like me,
but I'm going to prove that my theory sound good night?
Wait a minute, what's it? Wait? You'll wait hellman, you wait.
Speaker 2 (02:39):
Yes, wait, hellman.
Speaker 1 (02:42):
Wait.
Speaker 2 (02:43):
Professor Basil's seeding with resentment, rushes from the office and
stride angrily down.
Speaker 1 (02:48):
The streets, insane. Eh, I'll prove my theory. I'll find
the subject. I'll find someone who wants to teak his
own life.
Speaker 2 (03:00):
So Basile goes home late for dinner. He finds a
note from his wife Myra, saying she's decided to attend
the opera and will be home around eleven thirty. Then
Professor Basil'll get an inspiration. He goes to the bridge
over the Deep Canyon, the bridge called Suicide, and strangely enough,
he hasn't long to wait. As he stands against the
(03:23):
railing in the fog, a figure peers a few feet beyond,
stops pierres the leap.
Speaker 1 (03:29):
I don't know it. Wait a minute, listen. Huh that's
very silly.
Speaker 3 (03:36):
God me.
Speaker 1 (03:37):
Oh no, I couldn't do that. I need you. I
don't need you. Look, you know this is against law.
Speaker 3 (03:45):
You're not an You can't start me.
Speaker 1 (03:48):
It's five hundred feet to those trags below hard steel rails.
And don't believe what they all tell you about not
being conscious of what happened. You'd know. People don't die
instantly lost, lying back on it for minutes and sometimes
for an hour, it's a horrible death. I know.
Speaker 3 (04:07):
How do you know?
Speaker 1 (04:08):
I'm a doctor? Doctor? Yes, I can tell you much
simpler ways, much less painful ways, and quicker. You're a
nice young girl, an intelligent girl. You wouldn't want it
to happen this way. Maybe after I talked to you
a while, you wouldn't want to do this at all. No, no,
(04:28):
but come on, let's talk it over, maybe a few minutes.
Speaker 3 (04:32):
Talk.
Speaker 1 (04:33):
We've changed the entire picture for you.
Speaker 4 (04:35):
What could you do to help me?
Speaker 1 (04:37):
If you'll come, I'll tell you there's a motive bag
of you wanting to do this, and I'd like to
know what it is.
Speaker 4 (04:45):
Nothing doing.
Speaker 1 (04:46):
Am you any relatives, any loved ones you'd like to
do something for? Yes? Then if you talk with me
for a while, maybe I can find my way clear
to help those people. Well, here we are, come in? Please?
Speaker 3 (05:15):
Well how do you want to know?
Speaker 1 (05:17):
And see down? First? Are you hungry?
Speaker 3 (05:21):
No? I'm not that broke Disney talk.
Speaker 1 (05:24):
That I could tell her first? Why do you come here?
Speaker 3 (05:28):
Why?
Speaker 1 (05:29):
Why?
Speaker 3 (05:30):
Because you talked me into it?
Speaker 1 (05:31):
See, you're not.
Speaker 3 (05:32):
Afraid of me, afraid in my frame of mine?
Speaker 4 (05:37):
What can I lose?
Speaker 1 (05:38):
Suppose I told you that I really brought you here
to kill you kill me. You know you're a very
pretty girl, don't you.
Speaker 3 (05:50):
Yeah, that doesn't always mean so much.
Speaker 1 (05:53):
The right man. It might, That's what.
Speaker 3 (05:55):
I thought, but I found out it didn't mean a thing.
Speaker 1 (06:00):
Then it was because of a man. I knew it.
Speaker 3 (06:03):
Really, How did you guess?
Speaker 1 (06:05):
I'm a student of psychology. I am Professor Antonio Basil
I see, and.
Speaker 3 (06:10):
You want to know what makes me tick? You want
to know the reason behind my action tonight, that's right.
Speaker 1 (06:16):
I would like to know what happened to make you
want to kill yourself. Suicide is the men's laboration, eh.
I'd like to know what preceded the decision to destroy
yourself and what you thought about until the moment I
stopped you on the bridge.
Speaker 4 (06:31):
What good will that do me?
Speaker 1 (06:32):
You said you weren't broke, but you are so said
you had some loved ones you'd like to do something for.
Speaker 3 (06:38):
I meant I wasn't broke to the point of being hungry.
I have a few dollars, but you suggested help for
someone in larger turn.
Speaker 1 (06:47):
Yes, I did. Who is the loved one my mother?
You are her only means of support? Yes? And you
intend to kill yourself. Yes, that's being selfish, isn't it selfish? Yes?
You are concentrating solely on self for else. The first
(07:08):
law of human nature is self preservation.
Speaker 5 (07:09):
Right.
Speaker 1 (07:10):
The second law is the preservation of family. So you
decide to deny the first law and destroy yourself in
as the consequence, deny the second and leave your mother alone.
And the need you indicate a form of insanity to
destroy the other person, the one who has done you wrong?
Have you heard him? No? Then the one who has
(07:33):
done wrong should be the one to suffer. You have
no legal recourse.
Speaker 3 (07:39):
Legal recourse, No, I haven't done Sorry.
Speaker 1 (07:43):
And you would kill yourself to let your poor mother
suffer because of the wrong of another. Why shouldn't he
be the one to suffer?
Speaker 3 (07:51):
I suppose you're right?
Speaker 1 (07:53):
Why shouldn't they? What happened? After all? Why not tell
me about it? Were you mad?
Speaker 4 (08:00):
No?
Speaker 3 (08:02):
He never seemed to find time to get a wrong
to the marriage. What's your mate, Gladys, Gladys Tanner?
Speaker 1 (08:08):
How long had you known him?
Speaker 3 (08:11):
Almost four years?
Speaker 1 (08:12):
And you all guest thought him in to marry you.
Speaker 3 (08:15):
Yes, until three weeks ago.
Speaker 1 (08:18):
Yes.
Speaker 3 (08:19):
On July first, he had to leave town for a
week on business, said he was going to Kansas City.
When he came back, he seemed.
Speaker 4 (08:27):
To be too busy to see me.
Speaker 3 (08:30):
Then a week ago, I found a snapshot, along with
several others, in his desk.
Speaker 4 (08:33):
And his home.
Speaker 1 (08:34):
May I see it?
Speaker 4 (08:36):
Certainly it's a.
Speaker 3 (08:38):
Picture of him and another woman. But the picture was
not taken in Kansas City. No, it was taken on
the beach at Atlantic City, and it dated by the
finish or July third. Since he returned, he refused to
see me. Yesterday he finally said he didn't care to
see me anymore, and I'd better forget him.
Speaker 1 (08:59):
But it isn't so easy, that is.
Speaker 4 (09:03):
I take it.
Speaker 3 (09:03):
I've done something and blame myself.
Speaker 1 (09:07):
Do you do you know this blonde woman in this snapshot?
Speaker 3 (09:15):
Yeah?
Speaker 1 (09:17):
And it must be a woman he has met recently.
You've known him for four years. I don't think you
are to blame. He's the one in the wrong, and
he should be made to suffer. How you were going
to kill yourself, why should you kill him instead? He
(09:37):
double crossed you. He deserves it. Now let me go
a little deeper into the situation. Whenever a person has
reached the conclusion you are sure you have made up
(10:02):
your mind, Misstanner. Now, if you're careful, you won't be caught.
That's whether you are or not. I'm giving you this
check for one thousand dollars made out of cash, to
des sent to your mother only after the man is dead.
I write his name on the spad. There you are
(10:25):
if you know what has happened by the newspapers. I
will be told payment until I learn that you have
gone through.
Speaker 3 (10:31):
But it'll happen tonight, very well.
Speaker 1 (10:36):
You are sure you are determined.
Speaker 3 (10:38):
Absolutely nothing could stop.
Speaker 1 (10:41):
Very good?
Speaker 3 (10:42):
But just what would happen if I did get caught?
Speaker 1 (10:47):
You won't get caught if you follow my instructions. I
know now here is a small revolver, and if it
is in your purse, that's all you need. Be sure
to wipe your finger prints off and leave the gun
near the body.
Speaker 3 (11:04):
Yeah. Well, goodbye, doctor Bassio, goodbye Gladys, and good luck.
Speaker 2 (11:17):
Professor Basil watches Gladys as she crosses the street to
the dimly lighted bus stop. Then he rushes to his
car and drives away. A few minutes later, he comes
to a stop at Hellman's house. Hellman, the editor who
ridiculed his theory.
Speaker 3 (11:36):
On a.
Speaker 1 (11:40):
Oh hello, Basil, good evening. Herman thought I had that
power to have a little chat with you. Well why
this time of night? Then? Late, isn't it? Eleven? Didn't
think that was late for you? Uh uh? Come in,
thanks the bell? What's on your mind? I want to
(12:01):
talk to you about my theory. You ridicule so definitely
my theory about suicide. Well, I just don't believe it,
that's all. And I said I prove it, didn't I? Yes?
But what are you getting at? It's going to be proved.
My theory is going to be proved tonight, Tall that's fine,
(12:21):
right aheadn't proven. I don't like the helmn. I never
liked you, and I know you don't like me. I
can't help that myself. Who are you staring at? Is
that someone here with you? Certainly not? Why that's a
woman's purse on the davenport. Oh my secretary job by
earlier this evening of the manuscript, she must have forgotten it.
(12:42):
She's not enough, of course not. Then I continue, I
found a subject a girl who was ready to commit
suicide because a man jilted at her. In a few hours,
I was successful in changing her thoughts from suicide to homicide.
And she's going to kill the man and tonight, why
do you think of that? There maybe a dozen murders tonight. Ah,
(13:06):
but you know which one? I mean? You know about
this murder? What do you mean? Because I'm going to
tell you who the victim is going to be? You
know who the intended victim is. Why don't you stop it?
You're insane, basila, hopelessly insane? You think so? The whole
idea is mad, too utterly ridiculous for words, No sane man,
but ever think is such a useless, senseless idea? And
(13:28):
for Heaven's sake, stop, I'm thinking about the victim. Then
he learned who is the victim? Martin Harriman me, yes, you,
I don't believe you. Oh well this time? Who is
this girl?
Speaker 2 (13:42):
I know?
Speaker 1 (13:43):
No girl would want to kill me? This one does?
Now all nonsense? However, I wouldn't put to pass you
to hire someone to do something like this. Oh no,
this girl is no fake. This girl is serious, deadly serious.
You probably hypnotize some poor woman, figuring she never remember
what happened. Oh, Helen Man, you underestimate me. Maybe I
(14:05):
do underestimate your evil mind. But we'll leave off your hands. Helman,
get away from that desk. I'll just take care of
that gun.
Speaker 5 (14:14):
Helman.
Speaker 1 (14:16):
That's better. Well, it's when did you start carrying a gun? Basil? Aye,
a gun? Don't be silly. This isn't a gun in
my pocket, just my pie. See well while you hear heaven?
Well nothing? Oh yes you do. I heard it too,
(14:37):
sound on the porch. I leave now the back way.
I put your gun in the kitchen, and I'd be
very careful to remove all my fingerprints. You insane fool.
Fancy you, you hellman. You are going to help prove
my theory. Good night, Helman, crazy devil. I'll have him
(15:03):
locked up before he gets across town.
Speaker 3 (15:09):
Good evening, mister Helman.
Speaker 1 (15:11):
Huh how did you get in here through.
Speaker 4 (15:15):
The patio doors?
Speaker 1 (15:17):
What do you want?
Speaker 3 (15:18):
I wanted to talk to you very strangely, you're just
imagining thing and what are you doing here? I wanted
to tell you something. Yeah, but when you first indicated
to me that you were through with me, I was
terribly hurt.
Speaker 4 (15:35):
I thought all along that we were to be married.
Speaker 3 (15:37):
I couldn't understand. I tried and tried to think of
something I'd done to cause our break up. Then I
happened to find this snapshot in your death snapshot. Take
a look at it. Kansas City, No Atlantic City, New Jersey,
You and a blonde and the day to stamp from
the back a business trip.
Speaker 1 (15:58):
Huh, well, oh, what about it?
Speaker 3 (16:02):
I just wanted you to know that you weren't so slick.
I wanted you to know that I knew about the blonde,
that I knew you'd.
Speaker 1 (16:12):
Lie all that you've told me. What good does it
doal A lot of good? First, I thought you gave
here for money.
Speaker 3 (16:21):
How could you think such a thing.
Speaker 1 (16:23):
Well, I think you'd better go now.
Speaker 4 (16:28):
I'm going.
Speaker 3 (16:30):
Goodbye, Morton, and good luck in your new venture.
Speaker 1 (16:35):
What venture this one? Gladys glad and wish me luck
in mind.
Speaker 2 (16:51):
Gladys stands, staring a moment at the body of Hellman
and wipes off the gun, drops it to the floor,
takes the professor's check from her purse, steps to Hellman's
desk and writes a note. Then she puts the note
in an envelope with the check addresses it, stamps it,
turns out the lights, and steps out into the dark street.
(17:12):
At the corner, she drops the envelope in the mail
box and disappears. Professor Basil heard the shots. Fear he
worked hellman will torment him no more the perfect crime.
So he can go home to his wife now and
go to sleep.
Speaker 1 (17:32):
Why huh what?
Speaker 4 (17:38):
Oh Antonio?
Speaker 1 (17:40):
What are you doing asleep on the damn board? You
know what time it is?
Speaker 4 (17:43):
Must be after midnight. I've been waiting for you. I
was opera, oh fair, nothing to brag about.
Speaker 1 (17:49):
Who sang the lead?
Speaker 5 (17:50):
Belkiati?
Speaker 4 (17:51):
He wasn't very good. He's a poor old fellow.
Speaker 1 (17:55):
Hell I thought they were doing Eyda to night.
Speaker 4 (17:59):
No, they switched because someone was illed justice through the
stay at home.
Speaker 1 (18:04):
Have a night cup mid him?
Speaker 4 (18:05):
No, it takes some time. I think I'll go to bed.
Speaker 1 (18:12):
I belong present thing. Good night.
Speaker 2 (18:21):
Then the night passes and the morning comes. The Professor
rises cheerfully and prepares for breakfast.
Speaker 1 (18:28):
Then I get Admira. Yes are you Professor Basil? Yes,
and we come in. We like to talk with you,
of course, what is it you want? Is your wife?
N Yes? We'd like to see her too, Marah, that
(18:50):
what it's all about?
Speaker 4 (18:51):
What is it, Antonio?
Speaker 1 (18:53):
These men are from Detective at Quarters. They want to
talk to us.
Speaker 4 (18:56):
Really?
Speaker 1 (18:57):
What about? May I ask where you were last night?
Missus Basil certainly went to the opera. What time did
you get home? Oh?
Speaker 4 (19:03):
I imagine it was a round the level shortly after.
Speaker 1 (19:06):
Were you at home last evening? Professor Well, I was
at the club and at home about twelve thirty. By
the way, Uh, do you know Morton Hellman suddenly had
about him? He's been murdered, murdered? Good lord? When run
midnight last night? I found him this morning? How terrible?
Who I've known him for years? He was editor in
(19:27):
chief of the company publishing my writings. I'm a psychologist,
you know, yes, I know? But uh, what do you
want to know from us? We were unconnected socially with
Hellman and just in business.
Speaker 5 (19:39):
Did you know him, Missus Bouscil.
Speaker 4 (19:41):
He's finding him very slightly.
Speaker 5 (19:43):
Either of you know of anyone who would have reason
to killed him?
Speaker 1 (19:46):
I certainly not. Everyone thought highly of him. Did you
ever hear of a girl named Gladys Tanner? Ladies Stanner?
Speaker 2 (19:52):
No?
Speaker 5 (19:53):
Did you know of a gladyst Tanner, Missus Boscil.
Speaker 1 (19:55):
No, is this your purse, Missus Boscil? Why of course
it that's the one I gave you last Christmas. Miner.
Speaker 4 (20:03):
Oh, yes, I must have lost in downtown.
Speaker 1 (20:05):
Where do you find little tenants at Hellman's home? Hellman's home?
We founded on the sofa.
Speaker 4 (20:13):
I can't imagine how it could get there.
Speaker 1 (20:14):
This is the revolver that killed Helman found on the
floor beside him. What no fingerprints on it, however, but
may I see it him? This is your gun? HI
bought this for you two years ago when I went
on the lecture to it.
Speaker 4 (20:28):
Yes, I think it's mine, but it just just makes sense.
Speaker 1 (20:31):
You have the gun in your purse when you lost
it left?
Speaker 4 (20:34):
Perhaps I did? I have so confused.
Speaker 1 (20:36):
No, I can't remember that thing I think it is.
It is terrible, I know.
Speaker 4 (20:42):
Oh did I feel you?
Speaker 1 (20:43):
Did you ever fire this gun?
Speaker 4 (20:45):
Yes? Once last year up in the mountain. I wanted
to see how it worked.
Speaker 1 (20:47):
Ever reloaded No, I've never reloaded it.
Speaker 4 (20:49):
I just didn't think about it. Maybe I did put
it in my person why I don't know. And and
whoever found the person may have used the gun to
o I just can't see this.
Speaker 1 (21:00):
This gun misfired on the first two shots. The other
three killed Helman. This is the most amazing piece of
coincidence I ever heard of. Why would my wife want
to do such a thing. Why should she get to Hellman?
She hardly knew him.
Speaker 5 (21:13):
Are you sure about that, professor?
Speaker 1 (21:14):
Of course?
Speaker 5 (21:16):
Well, sorry to say, and I don't believe her.
Speaker 1 (21:18):
But this is ridiculous.
Speaker 5 (21:20):
This is going to be a shock to you, professor.
But here's a snap shot we found on Hellman's death
taking an Atlantic city last July.
Speaker 1 (21:29):
Good heavens, why this is you? You and Hellman. You
were at mother's in Florida in July, Mida. Look at me?
What does this mean? I can, I can, and I
can't believe such a thing. I have the purse, the
(21:49):
gun on the photo. Thank you. I'm sorry, but I'll
have to take her down the headquarters.
Speaker 4 (21:54):
But I didn't kill him. I didn't. I wouldn't.
Speaker 1 (21:58):
I loved him. Myra, better pull yourself together. You'll have
to go back. You want pourtosen fingerprints, yes, better get
it ready. Myra certainly looks bad for her grad. It
does looks like an opening shutcase. Oh, will you come
along to professor suddenly.
Speaker 2 (22:21):
And so it all worked out beautifully, not quite as
the Professor had planned, But then he changed his plan
from the moment when Gladys Tanner showed him the snap
shot taken in Atlantic City and he realized that the
girl's fiancee was Hellman and the blonde was Myra, his wife.
He had no intention of allowing Gladys Tanner to kill
(22:43):
Helman until he saw that snapshot, and when he recognized
Myra's person Hellman's home, he decided to let Gladys kill
him and the blame be placed on Myra. The perfect crime.
But several hours later, the fingerprints and many questions, the
Professor is just about to be dismissed when Sergeant rank
(23:04):
And steps into the room and speaks quietly to Lieutenant Davis,
what is it?
Speaker 5 (23:08):
Rancon and I stayed at the Seals place, as you said, Well,
a few minutes ago, special delivery letter came for the professor.
This will knock your eye off.
Speaker 1 (23:16):
Reading well, spits perfectly with the writing we're trying to
make out on Helm's desk, Ladder, Professor, here's a letter
sent special deliberty a few minutes ago, postmarked last night.
Read it. The Professor Basil, your theory worked a certain degree.
You convinced me I should kill him. I should kill him.
(23:42):
But when that gun you gave me a misfire advice,
I almost quit. Who ahead, Professor read on. Then as
I looked at him on the floor, the feeling of
self destruction came back. I'm going ahead with my plan.
Here's your check. I won't need it. Besides, I lied
to you. I lost my mother long ago, but the
(24:05):
luck next time.
Speaker 5 (24:07):
That is Tenna, and a half hour ago they found
her body beneath the suicide bridge.
Speaker 1 (24:12):
Well, professor, your perfect crime has failed. Pay Yes, wonderful
set up on paper, but your theory backfired, and you're
up for murder. But I didn't kill out. You planned
it yours. Gilly as ladders, he stayed her penalty. Now
it's your turn. No, No, I won't. I won't be hanged.
Never right and.
Speaker 2 (24:29):
Breath, And now the doctor lies on the sidewalk seventeen
stories below. His entire theory worked in reverse.
Speaker 3 (25:03):
Hudson River Radio dot Com.
Speaker 1 (25:05):
We're so good we don't need a transmitter
This is Hudson River Radio dot com.
Speaker 2 (00:04):
And so it is that the doctor prescribed death and
Bela Lugosi's performance, we again hope to keep you in suspense.
Professor Antonio Basil has a theory, but let him tell
you about it.
Speaker 1 (00:22):
As a psychologist, I have worked out a theory, a
theory I know to be sound. I contend that a
person who has decided to kill himself can very easily
be turned from this desire to the desire of taking
the life of another. I can prove my theory, and
if necessary, that is exactly what I will do.
Speaker 2 (00:51):
Yes, Professor Antonio Basil has a theory, but only a theory,
and he's worried about what his publisher will say, so
he visits the editor, whose name is Hellman. Hellman finishes
the manuscript and passes it on the desk. Professor Bassi
leans forward eagerly.
Speaker 1 (01:11):
And well, Helman, what do you think, Professor Vasil. It's
furely conjecture, simply a theory, and I wouldn't advise publishing it.
I worked on that theory for a long time. I'm
positive of it. I know it will work. Suppose it will.
What good is it? What good have you accomplished if
you can prove it'll work? How you laughing at me? Heaven,
it's so silly. An ordinary human being has suffered reverses
(01:33):
as sick of it all, he wants to leave it
all behind, and you say he can be changed to
want to kill someone else. I do self destruction and
the destruction of other life are closely related in the mind.
The dividing line is very thin. It's ridiculous, and you
won't publish. A ranger would fire me? Why he told
me that, in his opinion, you should be in the asylum.
(01:56):
Mister Granger said that. Does he think I'm insane? How
do I know? Hellman? Mister Granger didn't say that. It's
you who thinks I'm crazy. You've never liked me for
some reason. You are trying to tear me down. Well,
we'll see, mister Hellman. You'll see a Wait a minute,
I'll show you whether my works are illogical. I show
(02:19):
you whether I'm insane. Oh calm, I'm going to make
you eat those words. I know you don't like me,
but I'm going to prove that my theory sound good night?
Wait a minute, what's it? Wait? You'll wait hellman, you wait.
Speaker 2 (02:39):
Yes, wait, hellman.
Speaker 1 (02:42):
Wait.
Speaker 2 (02:43):
Professor Basil's seeding with resentment, rushes from the office and
stride angrily down.
Speaker 1 (02:48):
The streets, insane. Eh, I'll prove my theory. I'll find
the subject. I'll find someone who wants to teak his
own life.
Speaker 2 (03:00):
So Basile goes home late for dinner. He finds a
note from his wife Myra, saying she's decided to attend
the opera and will be home around eleven thirty. Then
Professor Basil'll get an inspiration. He goes to the bridge
over the Deep Canyon, the bridge called Suicide, and strangely enough,
he hasn't long to wait. As he stands against the
(03:23):
railing in the fog, a figure peers a few feet beyond,
stops pierres the leap.
Speaker 1 (03:29):
I don't know it. Wait a minute, listen. Huh that's
very silly.
Speaker 3 (03:36):
God me.
Speaker 1 (03:37):
Oh no, I couldn't do that. I need you. I
don't need you. Look, you know this is against law.
Speaker 3 (03:45):
You're not an You can't start me.
Speaker 1 (03:48):
It's five hundred feet to those trags below hard steel rails.
And don't believe what they all tell you about not
being conscious of what happened. You'd know. People don't die
instantly lost, lying back on it for minutes and sometimes
for an hour, it's a horrible death. I know.
Speaker 3 (04:07):
How do you know?
Speaker 1 (04:08):
I'm a doctor? Doctor? Yes, I can tell you much
simpler ways, much less painful ways, and quicker. You're a
nice young girl, an intelligent girl. You wouldn't want it
to happen this way. Maybe after I talked to you
a while, you wouldn't want to do this at all. No, no,
(04:28):
but come on, let's talk it over, maybe a few minutes.
Speaker 3 (04:32):
Talk.
Speaker 1 (04:33):
We've changed the entire picture for you.
Speaker 4 (04:35):
What could you do to help me?
Speaker 1 (04:37):
If you'll come, I'll tell you there's a motive bag
of you wanting to do this, and I'd like to
know what it is.
Speaker 4 (04:45):
Nothing doing.
Speaker 1 (04:46):
Am you any relatives, any loved ones you'd like to
do something for? Yes? Then if you talk with me
for a while, maybe I can find my way clear
to help those people. Well, here we are, come in? Please?
Speaker 3 (05:15):
Well how do you want to know?
Speaker 1 (05:17):
And see down? First? Are you hungry?
Speaker 3 (05:21):
No? I'm not that broke Disney talk.
Speaker 1 (05:24):
That I could tell her first? Why do you come here?
Speaker 3 (05:28):
Why?
Speaker 1 (05:29):
Why?
Speaker 3 (05:30):
Because you talked me into it?
Speaker 1 (05:31):
See, you're not.
Speaker 3 (05:32):
Afraid of me, afraid in my frame of mine?
Speaker 4 (05:37):
What can I lose?
Speaker 1 (05:38):
Suppose I told you that I really brought you here
to kill you kill me. You know you're a very
pretty girl, don't you.
Speaker 3 (05:50):
Yeah, that doesn't always mean so much.
Speaker 1 (05:53):
The right man. It might, That's what.
Speaker 3 (05:55):
I thought, but I found out it didn't mean a thing.
Speaker 1 (06:00):
Then it was because of a man. I knew it.
Speaker 3 (06:03):
Really, How did you guess?
Speaker 1 (06:05):
I'm a student of psychology. I am Professor Antonio Basil
I see, and.
Speaker 3 (06:10):
You want to know what makes me tick? You want
to know the reason behind my action tonight, that's right.
Speaker 1 (06:16):
I would like to know what happened to make you
want to kill yourself. Suicide is the men's laboration, eh.
I'd like to know what preceded the decision to destroy
yourself and what you thought about until the moment I
stopped you on the bridge.
Speaker 4 (06:31):
What good will that do me?
Speaker 1 (06:32):
You said you weren't broke, but you are so said
you had some loved ones you'd like to do something for.
Speaker 3 (06:38):
I meant I wasn't broke to the point of being hungry.
I have a few dollars, but you suggested help for
someone in larger turn.
Speaker 1 (06:47):
Yes, I did. Who is the loved one my mother?
You are her only means of support? Yes? And you
intend to kill yourself. Yes, that's being selfish, isn't it selfish? Yes?
You are concentrating solely on self for else. The first
(07:08):
law of human nature is self preservation.
Speaker 5 (07:09):
Right.
Speaker 1 (07:10):
The second law is the preservation of family. So you
decide to deny the first law and destroy yourself in
as the consequence, deny the second and leave your mother alone.
And the need you indicate a form of insanity to
destroy the other person, the one who has done you wrong?
Have you heard him? No? Then the one who has
(07:33):
done wrong should be the one to suffer. You have
no legal recourse.
Speaker 3 (07:39):
Legal recourse, No, I haven't done Sorry.
Speaker 1 (07:43):
And you would kill yourself to let your poor mother
suffer because of the wrong of another. Why shouldn't he
be the one to suffer?
Speaker 3 (07:51):
I suppose you're right?
Speaker 1 (07:53):
Why shouldn't they? What happened? After all? Why not tell
me about it? Were you mad?
Speaker 4 (08:00):
No?
Speaker 3 (08:02):
He never seemed to find time to get a wrong
to the marriage. What's your mate, Gladys, Gladys Tanner?
Speaker 1 (08:08):
How long had you known him?
Speaker 3 (08:11):
Almost four years?
Speaker 1 (08:12):
And you all guest thought him in to marry you.
Speaker 3 (08:15):
Yes, until three weeks ago.
Speaker 1 (08:18):
Yes.
Speaker 3 (08:19):
On July first, he had to leave town for a
week on business, said he was going to Kansas City.
When he came back, he seemed.
Speaker 4 (08:27):
To be too busy to see me.
Speaker 3 (08:30):
Then a week ago, I found a snapshot, along with
several others, in his desk.
Speaker 4 (08:33):
And his home.
Speaker 1 (08:34):
May I see it?
Speaker 4 (08:36):
Certainly it's a.
Speaker 3 (08:38):
Picture of him and another woman. But the picture was
not taken in Kansas City. No, it was taken on
the beach at Atlantic City, and it dated by the
finish or July third. Since he returned, he refused to
see me. Yesterday he finally said he didn't care to
see me anymore, and I'd better forget him.
Speaker 1 (08:59):
But it isn't so easy, that is.
Speaker 4 (09:03):
I take it.
Speaker 3 (09:03):
I've done something and blame myself.
Speaker 1 (09:07):
Do you do you know this blonde woman in this snapshot?
Speaker 3 (09:15):
Yeah?
Speaker 1 (09:17):
And it must be a woman he has met recently.
You've known him for four years. I don't think you
are to blame. He's the one in the wrong, and
he should be made to suffer. How you were going
to kill yourself, why should you kill him instead? He
(09:37):
double crossed you. He deserves it. Now let me go
a little deeper into the situation. Whenever a person has
reached the conclusion you are sure you have made up
(10:02):
your mind, Misstanner. Now, if you're careful, you won't be caught.
That's whether you are or not. I'm giving you this
check for one thousand dollars made out of cash, to
des sent to your mother only after the man is dead.
I write his name on the spad. There you are
(10:25):
if you know what has happened by the newspapers. I
will be told payment until I learn that you have
gone through.
Speaker 3 (10:31):
But it'll happen tonight, very well.
Speaker 1 (10:36):
You are sure you are determined.
Speaker 3 (10:38):
Absolutely nothing could stop.
Speaker 1 (10:41):
Very good?
Speaker 3 (10:42):
But just what would happen if I did get caught?
Speaker 1 (10:47):
You won't get caught if you follow my instructions. I
know now here is a small revolver, and if it
is in your purse, that's all you need. Be sure
to wipe your finger prints off and leave the gun
near the body.
Speaker 3 (11:04):
Yeah. Well, goodbye, doctor Bassio, goodbye Gladys, and good luck.
Speaker 2 (11:17):
Professor Basil watches Gladys as she crosses the street to
the dimly lighted bus stop. Then he rushes to his
car and drives away. A few minutes later, he comes
to a stop at Hellman's house. Hellman, the editor who
ridiculed his theory.
Speaker 3 (11:36):
On a.
Speaker 1 (11:40):
Oh hello, Basil, good evening. Herman thought I had that
power to have a little chat with you. Well why
this time of night? Then? Late, isn't it? Eleven? Didn't
think that was late for you? Uh uh? Come in,
thanks the bell? What's on your mind? I want to
(12:01):
talk to you about my theory. You ridicule so definitely
my theory about suicide. Well, I just don't believe it,
that's all. And I said I prove it, didn't I? Yes?
But what are you getting at? It's going to be proved.
My theory is going to be proved tonight, Tall that's fine,
(12:21):
right aheadn't proven. I don't like the helmn. I never
liked you, and I know you don't like me. I
can't help that myself. Who are you staring at? Is
that someone here with you? Certainly not? Why that's a
woman's purse on the davenport. Oh my secretary job by
earlier this evening of the manuscript, she must have forgotten it.
(12:42):
She's not enough, of course not. Then I continue, I
found a subject a girl who was ready to commit
suicide because a man jilted at her. In a few hours,
I was successful in changing her thoughts from suicide to homicide.
And she's going to kill the man and tonight, why
do you think of that? There maybe a dozen murders tonight. Ah,
(13:06):
but you know which one? I mean? You know about
this murder? What do you mean? Because I'm going to
tell you who the victim is going to be? You
know who the intended victim is. Why don't you stop it?
You're insane, basila, hopelessly insane? You think so? The whole
idea is mad, too utterly ridiculous for words, No sane man,
but ever think is such a useless, senseless idea? And
(13:28):
for Heaven's sake, stop, I'm thinking about the victim. Then
he learned who is the victim? Martin Harriman me, yes, you,
I don't believe you. Oh well this time? Who is
this girl?
Speaker 2 (13:42):
I know?
Speaker 1 (13:43):
No girl would want to kill me? This one does?
Now all nonsense? However, I wouldn't put to pass you
to hire someone to do something like this. Oh no,
this girl is no fake. This girl is serious, deadly serious.
You probably hypnotize some poor woman, figuring she never remember
what happened. Oh, Helen Man, you underestimate me. Maybe I
(14:05):
do underestimate your evil mind. But we'll leave off your hands. Helman,
get away from that desk. I'll just take care of
that gun.
Speaker 5 (14:14):
Helman.
Speaker 1 (14:16):
That's better. Well, it's when did you start carrying a gun? Basil? Aye,
a gun? Don't be silly. This isn't a gun in
my pocket, just my pie. See well while you hear heaven?
Well nothing? Oh yes you do. I heard it too,
(14:37):
sound on the porch. I leave now the back way.
I put your gun in the kitchen, and I'd be
very careful to remove all my fingerprints. You insane fool.
Fancy you, you hellman. You are going to help prove
my theory. Good night, Helman, crazy devil. I'll have him
(15:03):
locked up before he gets across town.
Speaker 3 (15:09):
Good evening, mister Helman.
Speaker 1 (15:11):
Huh how did you get in here through.
Speaker 4 (15:15):
The patio doors?
Speaker 1 (15:17):
What do you want?
Speaker 3 (15:18):
I wanted to talk to you very strangely, you're just
imagining thing and what are you doing here? I wanted
to tell you something. Yeah, but when you first indicated
to me that you were through with me, I was
terribly hurt.
Speaker 4 (15:35):
I thought all along that we were to be married.
Speaker 3 (15:37):
I couldn't understand. I tried and tried to think of
something I'd done to cause our break up. Then I
happened to find this snapshot in your death snapshot. Take
a look at it. Kansas City, No Atlantic City, New Jersey,
You and a blonde and the day to stamp from
the back a business trip.
Speaker 1 (15:58):
Huh, well, oh, what about it?
Speaker 3 (16:02):
I just wanted you to know that you weren't so slick.
I wanted you to know that I knew about the blonde,
that I knew you'd.
Speaker 1 (16:12):
Lie all that you've told me. What good does it
doal A lot of good? First, I thought you gave
here for money.
Speaker 3 (16:21):
How could you think such a thing.
Speaker 1 (16:23):
Well, I think you'd better go now.
Speaker 4 (16:28):
I'm going.
Speaker 3 (16:30):
Goodbye, Morton, and good luck in your new venture.
Speaker 1 (16:35):
What venture this one? Gladys glad and wish me luck
in mind.
Speaker 2 (16:51):
Gladys stands, staring a moment at the body of Hellman
and wipes off the gun, drops it to the floor,
takes the professor's check from her purse, steps to Hellman's
desk and writes a note. Then she puts the note
in an envelope with the check addresses it, stamps it,
turns out the lights, and steps out into the dark street.
(17:12):
At the corner, she drops the envelope in the mail
box and disappears. Professor Basil heard the shots. Fear he
worked hellman will torment him no more the perfect crime.
So he can go home to his wife now and
go to sleep.
Speaker 1 (17:32):
Why huh what?
Speaker 4 (17:38):
Oh Antonio?
Speaker 1 (17:40):
What are you doing asleep on the damn board? You
know what time it is?
Speaker 4 (17:43):
Must be after midnight. I've been waiting for you. I
was opera, oh fair, nothing to brag about.
Speaker 1 (17:49):
Who sang the lead?
Speaker 5 (17:50):
Belkiati?
Speaker 4 (17:51):
He wasn't very good. He's a poor old fellow.
Speaker 1 (17:55):
Hell I thought they were doing Eyda to night.
Speaker 4 (17:59):
No, they switched because someone was illed justice through the
stay at home.
Speaker 1 (18:04):
Have a night cup mid him?
Speaker 4 (18:05):
No, it takes some time. I think I'll go to bed.
Speaker 1 (18:12):
I belong present thing. Good night.
Speaker 2 (18:21):
Then the night passes and the morning comes. The Professor
rises cheerfully and prepares for breakfast.
Speaker 1 (18:28):
Then I get Admira. Yes are you Professor Basil? Yes,
and we come in. We like to talk with you,
of course, what is it you want? Is your wife?
N Yes? We'd like to see her too, Marah, that
(18:50):
what it's all about?
Speaker 4 (18:51):
What is it, Antonio?
Speaker 1 (18:53):
These men are from Detective at Quarters. They want to
talk to us.
Speaker 4 (18:56):
Really?
Speaker 1 (18:57):
What about? May I ask where you were last night?
Missus Basil certainly went to the opera. What time did
you get home? Oh?
Speaker 4 (19:03):
I imagine it was a round the level shortly after.
Speaker 1 (19:06):
Were you at home last evening? Professor Well, I was
at the club and at home about twelve thirty. By
the way, Uh, do you know Morton Hellman suddenly had
about him? He's been murdered, murdered? Good lord? When run
midnight last night? I found him this morning? How terrible?
Who I've known him for years? He was editor in
(19:27):
chief of the company publishing my writings. I'm a psychologist,
you know, yes, I know? But uh, what do you
want to know from us? We were unconnected socially with
Hellman and just in business.
Speaker 5 (19:39):
Did you know him, Missus Bouscil.
Speaker 4 (19:41):
He's finding him very slightly.
Speaker 5 (19:43):
Either of you know of anyone who would have reason
to killed him?
Speaker 1 (19:46):
I certainly not. Everyone thought highly of him. Did you
ever hear of a girl named Gladys Tanner? Ladies Stanner?
Speaker 2 (19:52):
No?
Speaker 5 (19:53):
Did you know of a gladyst Tanner, Missus Boscil.
Speaker 1 (19:55):
No, is this your purse, Missus Boscil? Why of course
it that's the one I gave you last Christmas. Miner.
Speaker 4 (20:03):
Oh, yes, I must have lost in downtown.
Speaker 1 (20:05):
Where do you find little tenants at Hellman's home? Hellman's home?
We founded on the sofa.
Speaker 4 (20:13):
I can't imagine how it could get there.
Speaker 1 (20:14):
This is the revolver that killed Helman found on the
floor beside him. What no fingerprints on it, however, but
may I see it him? This is your gun? HI
bought this for you two years ago when I went
on the lecture to it.
Speaker 4 (20:28):
Yes, I think it's mine, but it just just makes sense.
Speaker 1 (20:31):
You have the gun in your purse when you lost
it left?
Speaker 4 (20:34):
Perhaps I did? I have so confused.
Speaker 1 (20:36):
No, I can't remember that thing I think it is.
It is terrible, I know.
Speaker 4 (20:42):
Oh did I feel you?
Speaker 1 (20:43):
Did you ever fire this gun?
Speaker 4 (20:45):
Yes? Once last year up in the mountain. I wanted
to see how it worked.
Speaker 1 (20:47):
Ever reloaded No, I've never reloaded it.
Speaker 4 (20:49):
I just didn't think about it. Maybe I did put
it in my person why I don't know. And and
whoever found the person may have used the gun to
o I just can't see this.
Speaker 1 (21:00):
This gun misfired on the first two shots. The other
three killed Helman. This is the most amazing piece of
coincidence I ever heard of. Why would my wife want
to do such a thing. Why should she get to Hellman?
She hardly knew him.
Speaker 5 (21:13):
Are you sure about that, professor?
Speaker 1 (21:14):
Of course?
Speaker 5 (21:16):
Well, sorry to say, and I don't believe her.
Speaker 1 (21:18):
But this is ridiculous.
Speaker 5 (21:20):
This is going to be a shock to you, professor.
But here's a snap shot we found on Hellman's death
taking an Atlantic city last July.
Speaker 1 (21:29):
Good heavens, why this is you? You and Hellman. You
were at mother's in Florida in July, Mida. Look at me?
What does this mean? I can, I can, and I
can't believe such a thing. I have the purse, the
(21:49):
gun on the photo. Thank you. I'm sorry, but I'll
have to take her down the headquarters.
Speaker 4 (21:54):
But I didn't kill him. I didn't. I wouldn't.
Speaker 1 (21:58):
I loved him. Myra, better pull yourself together. You'll have
to go back. You want pourtosen fingerprints, yes, better get
it ready. Myra certainly looks bad for her grad. It
does looks like an opening shutcase. Oh, will you come
along to professor suddenly.
Speaker 2 (22:21):
And so it all worked out beautifully, not quite as
the Professor had planned, But then he changed his plan
from the moment when Gladys Tanner showed him the snap
shot taken in Atlantic City and he realized that the
girl's fiancee was Hellman and the blonde was Myra, his wife.
He had no intention of allowing Gladys Tanner to kill
(22:43):
Helman until he saw that snapshot, and when he recognized
Myra's person Hellman's home, he decided to let Gladys kill
him and the blame be placed on Myra. The perfect crime.
But several hours later, the fingerprints and many questions, the
Professor is just about to be dismissed when Sergeant rank
(23:04):
And steps into the room and speaks quietly to Lieutenant Davis,
what is it?
Speaker 5 (23:08):
Rancon and I stayed at the Seals place, as you said, Well,
a few minutes ago, special delivery letter came for the professor.
This will knock your eye off.
Speaker 1 (23:16):
Reading well, spits perfectly with the writing we're trying to
make out on Helm's desk, Ladder, Professor, here's a letter
sent special deliberty a few minutes ago, postmarked last night.
Read it. The Professor Basil, your theory worked a certain degree.
You convinced me I should kill him. I should kill him.
(23:42):
But when that gun you gave me a misfire advice,
I almost quit. Who ahead, Professor read on. Then as
I looked at him on the floor, the feeling of
self destruction came back. I'm going ahead with my plan.
Here's your check. I won't need it. Besides, I lied
to you. I lost my mother long ago, but the
(24:05):
luck next time.
Speaker 5 (24:07):
That is Tenna, and a half hour ago they found
her body beneath the suicide bridge.
Speaker 1 (24:12):
Well, professor, your perfect crime has failed. Pay Yes, wonderful
set up on paper, but your theory backfired, and you're
up for murder. But I didn't kill out. You planned
it yours. Gilly as ladders, he stayed her penalty. Now
it's your turn. No, No, I won't. I won't be hanged.
Never right and.
Speaker 2 (24:29):
Breath, And now the doctor lies on the sidewalk seventeen
stories below. His entire theory worked in reverse.
Speaker 3 (25:03):
Hudson River Radio dot Com.
Speaker 1 (25:05):
We're so good we don't need a transmitter
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