August 3, 2025 • 44 mins
CBS Radio Mystery Theater - Death Pays No Dividend
Become a supporter of this podcast: https://www.spreaker.com/podcast/good-old-radio-vintage-old-time-radio-shows--2778176/support.
Become a supporter of this podcast: https://www.spreaker.com/podcast/good-old-radio-vintage-old-time-radio-shows--2778176/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:16):
Come in, or Eldrum, I'm g Marshall. I'm sure you
know by now that.
Speaker 2 (00:23):
The door you have just entered leads to a strange world,
a land of forbidden fancies, peopled by giants and pygmies,
kings and cobblers, saints and sinners. Happy children play in
its streets, while just behind the lert iniquitous monsters, unspeakable
crimes are committed here, and acts of breathtaking valor.
Speaker 1 (00:46):
You are the sovereign in this place.
Speaker 2 (00:49):
It is the realm of your own imagination. Our story
this time searches one of its deep recesses, the hidden
place of fear. My history drama Death Pays No Dividend
was written especially for the Mystery Theater by Mary Jane
Higbee and stars Anne Shepherd and Guy Soell. Is sponsored
(01:11):
in part by imported Vigna, Jose Wine and Buick Motor Division.
I'll be back shortly with that one. A famous traveler
once said that the most important words in any language
(01:34):
are where is the exit? Hui LASOFTI don't esta la salida?
But what of the place where there is no way out?
For every wall is a blank one marked no exit.
This is the circumstance of three men whose work brings
them to the tip of a very small island. There
was once a stockade here. It was the wall for
(01:56):
which the street was named. Wall Street is silent now,
the rush of the day had not yet descended. But
thirty stories above the narrow street, footsteps echo sharply along
a marble corridor.
Speaker 1 (02:10):
Thiss, Hadigan.
Speaker 3 (02:11):
It's Hadigan.
Speaker 4 (02:12):
Late, Oh, mister Green, good morning.
Speaker 1 (02:15):
I didn't expect you here that in the morning. Mister
Green has been so worried about getting another job. Well,
I'm sure we can help you. Our recommendation should be
worth something.
Speaker 4 (02:25):
And no, no, no, not not about myself. It's mister Ellis. Oh,
he's horribly depressed.
Speaker 1 (02:31):
Well that's only to be expected. You put your whole
life into a business and then, through no fault of
your own, it suddenly blows up in your face.
Speaker 4 (02:40):
No wait, please, don't open the office door yet. I've
got to tell you something.
Speaker 1 (02:45):
We couldn't you tell me inside?
Speaker 4 (02:47):
Know, I think mister Ellis may be inside there, I
do hope. So he's not in his apartment. He was
late last night cleaning out the desk and making the
last arrangement.
Speaker 1 (02:57):
It's like a few mos.
Speaker 4 (02:58):
It's worse than for mister Ellis. He's not like you
and mister Soldier. You both have family, someone to share them.
Speaker 1 (03:06):
It's small comfort to share disgrace with people you love 'em,
to drag them down, whether you're my two boys.
Speaker 4 (03:12):
I know, I know, I didn't mean the minimize. It's
just a well frankly, I'm afraid mister Ellis's going to
do away with.
Speaker 5 (03:20):
Himself, killing hisself. Oh no, he wouldn't do that.
Speaker 4 (03:25):
He he made me go home last night. I wanted
to stay with him, but he forced me to leave.
I tried nearly all night to get him by phone.
No answer.
Speaker 1 (03:34):
Well, let's get in and see what's going on.
Speaker 4 (03:39):
Oh clen people snowing all over the the winter disgrase.
Look standing on the legs to the left of the window.
Speaker 1 (03:51):
Lot careful, miss Hannigan. I wasn't startling, and he might jump.
Speaker 3 (03:57):
You.
Speaker 5 (03:57):
Better speak to him, but quietly, quite sound.
Speaker 4 (04:00):
Come mister Ellis. Don't do it, mister Ellis, Please don't.
Mister Ellis doesn't think to hear me.
Speaker 1 (04:15):
He hears you. All right, try again.
Speaker 4 (04:19):
Come back in, please, you may hurt somebody else yet
you mister Ellis, listen to me, come back. You mustn't
do that, please.
Speaker 1 (04:37):
Okay, Victor, Victor, don't don't do it. You listen to me.
What I'm gonna say is important. There's a better way.
Did you hear me. There's a better way. John and
I have a plan. You may be doing the right thing, Vic,
(05:00):
but you're doing it the wrong way. Victor, get back
in here. He moved. He's coming in. Yeah. When he
gets his head to the window, grab his on on
the wooden pull.
Speaker 5 (05:14):
Now, damn old Ledge.
Speaker 1 (05:18):
Don't let him there. You are that hurt. That's tedy,
old man. Come, mister Ellie, let me go. All right,
all right, hold, thank god, let you close the window again.
(05:38):
I looked down. I could have done it if I
hadn't looked down.
Speaker 3 (05:45):
I fouled this up.
Speaker 1 (05:47):
Like everything else. I can't do anything right.
Speaker 4 (05:51):
You don't say that nothing that happened with your full
You were all victims of a rotten crow.
Speaker 1 (05:58):
I didn't have the guts. Jump just didn't have.
Speaker 4 (06:02):
The guts, Thank heaven, you didn't. You must never try
a thing like that, cap never.
Speaker 5 (06:10):
It's all right now, miss Hannigan, Right now, I'd.
Speaker 4 (06:16):
Never forgive myself no.
Speaker 1 (06:18):
No, now, calm down, good boy. What's going on? What's
with Matt Hanigan? She's had a bad shot. What happened? Later?
Speaker 3 (06:26):
John?
Speaker 1 (06:28):
Please?
Speaker 4 (06:28):
Miss he.
Speaker 1 (06:32):
Come on, snap out of it, Halligan. She's gonna do
a terrible strain.
Speaker 4 (06:37):
I'm tired.
Speaker 1 (06:39):
Yes, oh, yes, of course, of course, Victor, get us
some water, will you? Oh, I'm sure I'll be a moment.
I I've got to talk to you alone. John, Okay,
come in my office. Be sure you're all right now,
Miss Hannigan, I'm sorry that I relax. Try to go
(07:00):
on as though nothing had happened. Here's the water. I
didn't mean to put you through this, you of all people.
Come on, John, I think we should let Miss Hanigan
go home. No, that won't be necessary, mister Fool's anymore,
can't Yes, what did you mean? There's a better way.
(07:24):
We'll talk about it later. Now. What was going on?
Victor tried to jump out of the window. What he
was standing on the ledge when we got here this morning? Oh,
for Pete's sake, that idiot. How long was he out there?
Speaker 3 (07:46):
Did he do a clown?
Speaker 4 (07:47):
No?
Speaker 1 (07:47):
Well, I suppose somebody must have seen him though, that's
fool host settles to John, We've got to let him
in on the ski. No thick to unstable. He should
have blown. It's the only way to keep him from
blowing it. It's obvious if word gets around that a
member of the firm tried to commit suicide and then
something happened to us, they'd never stopped the investigation, not
(08:11):
until our families were starving. Damn at all. That's not
going to happen. I'm going to meet my obligation to Marajia.
We both have obligations. You're not going to leave my
wife helpless. I'm going to provide for her. If it's
the last thing I do, it will be. Look, you
don't understand Victor. His father founded this firm, and it's
(08:33):
been Victor's whole life for sort of memorial to his father. Well,
now this scandal, well, the mood he's in, he's act
to do anything. The only way to protect the scheme
is to let him in on it. Probably right, but
all my instincts are against it. Well, shall I get
him in here? Yeah? Yeah, I guess so, I'll get him.
(08:58):
But if he louses this up, Uh, Vic, Yes, come
in here a minute, will you?
Speaker 3 (09:06):
Yes?
Speaker 1 (09:08):
What is it close the door. You made a jackass
of yourself. Cool it, John, Have you got some cockyde
scheme to keep the scandal from breaking? You know, don't
waste my time. We'll be lucky if we get less
some twenty years. Come on, stop the emotional jag and
talk sense. Ken and I are in the worse spot
(09:28):
than you are. We both have families to provide for,
right and there is just one way to do it.
Our life insurance. You can't collect on suicide, we know that,
But you can collect on murder. Huh. I don't get
(09:49):
a good clean bullet in the back of the head
when you're least expecting it. An easy way to go, Vic,
you'd never know what hits you. And now do you
think you're going to be bring that out? Never mind,
I can bring it off. Years ago, I did a
favor for somebody. I didn't know him do well, but
I used to drop into his place once in a while.
(10:10):
Well never mind what for? Later he got mixed up
with some pretty notorious characters, so I figured he'd be
in a position to arrange what they call the contract,
what kind of contract? Oh, for Pete's sake, I know
you have devoted your whole life to the firm.
Speaker 3 (10:25):
But don't you ever go to the movies.
Speaker 1 (10:26):
You must know there's such a thing as a hired killer.
Oh that kind of country.
Speaker 3 (10:33):
Yes, yes, that kind.
Speaker 1 (10:35):
So we have two contracts right now. How do you
want to make a third? You mean, pay somebody to
kill me three thousand dollars? Well, now, I don't know.
It's a great deal, more sense than what you just
tried to do. No pain, no mess. These guys are professionals.
(10:56):
It's a tough idea to get used to. How do
I go about it? One quick phone call and three
thousand dollars in cash? And maybe you ought to take
a few hours to make it over And I've tried
three times to kill myself. I haven't been nerved. Okay,
(11:19):
go ahead, make your phone call. You're sure, yes, because
once I complete this call, there'll be no turning back.
You understand that thing. I got to be sure you
want to go through it. Hello, is Louis there? Right,
I'll hold on.
Speaker 3 (11:39):
You.
Speaker 1 (11:39):
Sure you want me to go ahead? Yes, Louis, this
is John Folger.
Speaker 3 (11:45):
Yes, yes, I know.
Speaker 1 (11:46):
I promise not to call you again. No, no, no,
We're going through with it. We want to add another
name to the shareholders three thousand, right where.
Speaker 3 (12:03):
All three of us?
Speaker 1 (12:06):
Oh, alright, we'll do well to put the money in
a book in the forty second Street library. Put the
book back on the shelf at exactly five pm, walk
out and stand for a few minutes chatting near the
lions on the library steps, and then split. How they're kidding.
(12:28):
Oh no, we're in earnest, deadly earnest. Why hang around
on the steps? I should imagine somebody who wants to
get a good look at us the killer. Yes, it
would be a shame to rub out the wrong guys.
Speaker 2 (12:52):
A suicide packed by quite unlike your ordinary run of
the mill agreement, the participants had really quished any option
of withdrawing. From now on, each one knows that his
next move may.
Speaker 1 (13:06):
Well be his last.
Speaker 2 (13:08):
We'll see how they stand up under that unpleasant knowledge
when we return with Act two. Rather than face a
financial scandal, the officers of a small but highly respected
(13:29):
Wall Street firm have decided to commit suicide to a
go between. They have arranged for a paid executioner to
do the job for them, an easy way out. We'll
never know what hit us, They tell each other. But
have they considered their remaining days and hours when even
the most chance encounter will chill the blood and the
(13:51):
question rise?
Speaker 1 (13:53):
Is this the face of my killing?
Speaker 2 (13:55):
To see how they are facing up under the strain,
Let's listen to a telephone conversation.
Speaker 1 (14:01):
Hello, can't this is John?
Speaker 3 (14:03):
You heard what happens?
Speaker 1 (14:05):
No?
Speaker 3 (14:06):
He goofs off, ran away?
Speaker 6 (14:09):
Remember we were getting They had a getification the cruise
to the Caribbean or the last minute he decides.
Speaker 3 (14:15):
To go with her.
Speaker 1 (14:16):
Well, well, I guess he wants to do some of
the things he never took time for before.
Speaker 6 (14:22):
Come off and he's running away. He knows they won't
shoot him awad ship. They couldn't make it get away.
He's the same on that boat as he would.
Speaker 3 (14:30):
Be in jail.
Speaker 1 (14:30):
Well, whatever, they'll hit him when he gets off.
Speaker 6 (14:33):
Well I was hoping they tend to think first before
they got you or me?
Speaker 1 (14:38):
Did you tell Louis that I.
Speaker 6 (14:40):
Couldn't tell him anything? He made me promise never to
contact him again. Louie's not part of the mob or
a family or whatever they call it nowadays. They just
use his place of business sometimes meet there.
Speaker 1 (14:51):
What kind of business is he in?
Speaker 3 (14:53):
Look?
Speaker 6 (14:53):
I swore to keep him out of it. Now, what
you don't know can't hurt Louis.
Speaker 1 (14:58):
Okay, Well, I wouldn't worry too much about the victory.
Speaker 3 (15:02):
Damn, I do worry. He hasn't got our motivation.
Speaker 6 (15:06):
Once you and I are out of the way. He
wants to keep him from getting the wind up and
running to the police with the whole story.
Speaker 1 (15:11):
I don't think you can do that. There's such a
thing as accessory before the fact. You know, this may
look like a suicide pack to us, but to the police,
it's going to be murder.
Speaker 3 (15:23):
Oh you mean he's face a murder rapper.
Speaker 1 (15:26):
Well he might.
Speaker 3 (15:28):
I just hope he knows that.
Speaker 1 (15:36):
Look, Dan, things started me. Every time I hear it.
Speaker 4 (15:42):
We should be used to it by now. They blow
it every day at noon. I've been looking all over
the ship for you.
Speaker 1 (15:47):
I would take a turn around the decks. No, No,
I'm all right.
Speaker 4 (15:56):
Look, I'm not absolutely sure, but I think I have
something wonderful to you. Did you hear the news broadcast
this morning?
Speaker 1 (16:03):
No? Indeed, And I'm wasting my last few days listening
to No I didn't.
Speaker 4 (16:09):
Well, you know those penny gold stocks you bought a
few years ago, you and mister green Penny gold.
Speaker 1 (16:16):
Oh, yes, the uh stock we bought Harrison to help
him out of the type spot hums worthless.
Speaker 4 (16:23):
Well that company. I think it's the same company, cause
justly the greatest gold strike since eighteen forty nine?
Speaker 1 (16:31):
Why Harrison's Company.
Speaker 4 (16:34):
I went straight to the radio room as soon as
I heard it. The broadcaster takes you know, and they
were kind enough to run it again for me. I
have the note type of here in my person no
toffully win nearness. We'll go inside the President Taped Mining Corporation.
That's the one, isn't it.
Speaker 1 (16:54):
I'd leave? So yes, here, let me get the door.
Speaker 4 (17:04):
Released to get out of that wind. Now here's what
I took down. The President Haf Mining Corporation is uncovered
what seems to be the lost for Tuna vein. Does
that make sense to you?
Speaker 3 (17:17):
Yes?
Speaker 1 (17:19):
The Fort Tuna, Yes it does. Harrison mentioned the Fortuna vein.
Speaker 4 (17:24):
This led of almost pure goals said to exist in
Mono County, California, Colty.
Speaker 1 (17:29):
That's right, has.
Speaker 4 (17:31):
Been sought by miners for over a hundred years.
Speaker 1 (17:35):
The Fort Tuna vein. It must be Harrison's company.
Speaker 4 (17:38):
Where this changes everything, doesn't it?
Speaker 3 (17:42):
Sure does.
Speaker 4 (17:43):
You can pay off the debts of that cook and
is disgraceful Charisma Funding Company CURL.
Speaker 1 (17:48):
If this report is accurate, we can you.
Speaker 4 (17:51):
Have a lot of cat stock. And with the price
of gold.
Speaker 1 (17:54):
Now, who'd never have thought, Oh why that part of
California has been picked over so much it seems impossible
there'd be an ounce of gold left in the ground.
We only bought it to help Harrison out. So happy
for you, miss Hannig and your You're a jewel.
Speaker 7 (18:15):
Head.
Speaker 1 (18:16):
Don't mind my kissing. What a day he Come on
down to the bar. We'll crack a bottle of champagne, can't.
I'm so glad you decided to telephone me here aboard
ship instead of waiting until I got back. I've been
(18:36):
trying to get you all afternoon. There was no answer
at the office.
Speaker 3 (18:39):
No, the office has paused.
Speaker 1 (18:42):
Where are you home?
Speaker 3 (18:43):
No, I'm calling from outside the pay well.
Speaker 1 (18:46):
Great news, eh, it is Harrison's company, isn't it what
the Taff Mining Corporation?
Speaker 3 (18:53):
Oh?
Speaker 6 (18:53):
Yes, yes, Harrison's stock has gone way up out of.
Speaker 1 (18:57):
That just about gets us off the hook, doesn't it.
Speaker 6 (19:00):
Yes, Financially it looks like things can be worked out.
Speaker 1 (19:03):
Oh great, who'd never thought it. You got in touch
with the bank and called Morgan and Benson, didn't you, Ken? Hello, Hello, Yes, yes,
I'm here Ken. John got in touch with that man Louie,
didn't He called it off, Kent, Mick.
Speaker 3 (19:26):
That's why I falled.
Speaker 1 (19:28):
Is John all right?
Speaker 3 (19:30):
No?
Speaker 1 (19:31):
You mean he didn't get to Louis.
Speaker 3 (19:35):
He never had the chance.
Speaker 1 (19:38):
Oh when where in front of his house?
Speaker 6 (19:43):
Just one shot thick from a passing car, just one shot.
Speaker 1 (19:58):
Not the greatest this guy the world, but the best
I could do. I bought the hitty clothes from the
kid down the tourist, and I had the ship's beauty
Polo dye my hair. Goodbye, Miss Hanigan.
Speaker 4 (20:08):
Waste you seriously believe it? The gun I'm waiting for
you when we die.
Speaker 3 (20:12):
That's hell.
Speaker 1 (20:12):
But I don't know where he is here at the office,
my apartments.
Speaker 4 (20:18):
Call. Don't wash off like this. You're not thinking clearly.
There's only one sensible thing to do. Go to the police,
the police, tell them the whole story and ask for protection.
Speaker 1 (20:27):
I can't do that. It's the only way I can't
do that to John.
Speaker 4 (20:31):
Mister Soldier's dead. Mister ellis.
Speaker 1 (20:34):
His widow's alive and she's an invalid. If I go
to the police, they cancel the insurance you'll get.
Speaker 4 (20:39):
The firm can take care of missus soldiers.
Speaker 1 (20:41):
He'll be lucky if we can pay our debts and
save the firm. No, I got into this mess, and
I've got to see it too. I'm going to make
a break and run for it. I'll be the first
one off the ship.
Speaker 4 (20:51):
No, no, that's please listen to me. Don't rush down
the bank quite alone. Let some of the other passengers
start first. Then, so off casually. Let's take my arm.
I'm coming with you.
Speaker 1 (21:06):
No, absolutely not. I'm a living target. Stay out of range,
Miss Hannigan. Your life depends on it.
Speaker 3 (21:14):
Goodbye.
Speaker 4 (21:15):
Where do you plan to go?
Speaker 1 (21:16):
Some hotel? I guess, because I can get away to
get out of town safely.
Speaker 4 (21:20):
Here, look, take my keys. Go to my apartment.
Speaker 1 (21:24):
No, no, I'm not going to drag you into this.
Speaker 4 (21:27):
It's the safest place for you. Nobody will dream of
looking for you there, and I can reach you my phone.
I'll go straight to the office that way. You know
what's going on.
Speaker 1 (21:36):
Well, all right, but only for a few hours.
Speaker 4 (21:39):
We've got to talk to this Lewis prison.
Speaker 1 (21:41):
I hope it can still alive. If not, you have
the power of attorney I executed for you in preto
recar take complete charge until you hear from one of
us again, if you ever do. Goodbye, Miss Hannigan.
Speaker 4 (22:03):
Aw hello, oh good you made it to the apartment alright.
Speaker 6 (22:10):
Yes, I haven't dared open a window or raise the blind.
Speaker 3 (22:14):
Everything all right in the office.
Speaker 4 (22:16):
I don't know, I guess so I have an uneasy
feeling that I'm being watched as I sit here.
Speaker 3 (22:21):
You're all a lord.
Speaker 4 (22:23):
Yes, it's Saturn day, you know. I'm just getting kiddly,
I guess tried to keep my imagination from running row it.
There is one strange thing, though, What's that one of
the walls in your office is half painted. You didn't
authorize the paint job, did you?
Speaker 7 (22:43):
Of course not if.
Speaker 1 (22:45):
The firm elding manager must have made a mistake.
Speaker 4 (22:48):
No, he says not, it's his painter didn't do it.
Speaker 1 (22:53):
Oh uh.
Speaker 4 (22:53):
By the way, I think I know who that man
Lewis is, the one who set up the deal.
Speaker 3 (22:58):
Well, how'd you find that out?
Speaker 4 (23:00):
The filing cabinet in mister Folger's office there's a promisory
note made to mister Foger by a Louis Wongeley. He
owned a small bart on each side.
Speaker 1 (23:11):
That makes sense, John said he used to drop in
at Louis place the bodie.
Speaker 4 (23:18):
MM. I'm going to drop in on Louis myself and
put an end of this awful business. But if I failed,
we better get you out of town in a hurry.
You can go to my grandfather's house in the country.
Speaker 1 (23:30):
Now. I'm not going to drag you any further into this,
and I certainly don't wanna bring your grandfather in.
Speaker 4 (23:36):
My house now I inherited it. You've got to go,
mister Ellis, because I called cant Green's home.
Speaker 1 (23:43):
Yes, what for Heaven's sake, me tell me what happened.
Speaker 4 (23:48):
He's been missing since the day John Folger died.
Speaker 3 (23:59):
Will it be? Yes?
Speaker 1 (24:00):
The nice frustrations just come in this morning.
Speaker 4 (24:03):
Uh, I'd like to see the owner.
Speaker 3 (24:05):
Please.
Speaker 4 (24:06):
I want to talk to Louis.
Speaker 1 (24:07):
You're talking to him. Well, it's a confidential matter, and
this is the lunch our lady. I'm busy. Come back,
say three thirty four o'clock.
Speaker 4 (24:21):
No, I'm gonna talk to you now. It's about John Folger.
Speaker 1 (24:26):
Yeah, never hate him.
Speaker 4 (24:30):
Uh, here's something to refresh your memory. This is your signature,
isn't it all right? Your signature? Miss promisorry note, you
know who mister Foger was and you know what happened
to him.
Speaker 1 (24:46):
Hey, Joe take over? Will you? My lady over this
table in the corner now said, what's this all about?
Speaker 4 (25:01):
This is your signature, isn't it.
Speaker 1 (25:04):
I ain't sure.
Speaker 4 (25:05):
Oh, come on, Louis. You borrowed twelve thousand dollars from
mister Folgier on July eighth, nineteen forty eight.
Speaker 1 (25:14):
Where are you a cop?
Speaker 4 (25:17):
I'm mister Folgier's secretary and mister Greens and mister Ellison. Uh,
we wanna call the uh deal off?
Speaker 1 (25:29):
I don't know nothing about no deal.
Speaker 4 (25:32):
You arrange the contract and you're the only one who
can cancel it.
Speaker 1 (25:37):
You got the wrong guy.
Speaker 4 (25:38):
Oh please, you must help me. Ye, we have no
way of reaching this man from Chicago. Please tell you
how to.
Speaker 1 (25:45):
Get back to my counter.
Speaker 4 (25:46):
At least tell me who he is.
Speaker 1 (25:47):
You'll have to leave now. I need this table. We've
got to stop him now for the last. You don't
need to.
Speaker 4 (25:53):
Let another man die. A man who doesn't wanna die
because of a mistake.
Speaker 1 (25:58):
Like I said, this is all Greek to me. But uh,
I did hear there's talk around Uh that Froggy bindses
in town? Who you hate me?
Speaker 4 (26:14):
Why can I find him?
Speaker 1 (26:15):
I wouldn't know?
Speaker 4 (26:16):
Well uh uh duh, tell me what he looks like.
Speaker 1 (26:20):
I never seen Froggy in my life.
Speaker 4 (26:22):
Uh, Froggy if he fringe me?
Speaker 1 (26:26):
They call him that because he ain't got hardly no
voice all I know, no voice. Yeah, he got a
knife from this cloak when he was a kid. Can
uh they make no sounds at all?
Speaker 2 (26:41):
A killer with hardly any voice. That not much to
go on, is it. May Hannigan's confidence is at a
low ebb as she walks out of Louis Angeles's bar
onto the teeming streets of Manhattan.
Speaker 1 (26:53):
M How long, she wonders.
Speaker 2 (26:55):
Can she keep the last remaining partner of Ellison, Green
and Folger alive. We'll find the answer to that question
when we returned shortly with Act three. We May Hannigan
(27:15):
found herself teering nervously into every darkened doorway as she
approached the garage which housed her automobile. This was a
job for a private detective, she thought, not a skilled typist.
Speaker 1 (27:28):
Her hands were icy as she drove.
Speaker 2 (27:30):
Up to the apartment building where Victor Ellis was waiting,
and it was with relief that she turned the wheel
over to him. In minutes, they had crossed the tribe
or a bridge and sped up Buckner Bulevard.
Speaker 1 (27:41):
Now they are on the Connecticut Turnpike.
Speaker 4 (27:43):
Mister Ellis, I wish you'd let me take this whole
business to the police for.
Speaker 1 (27:47):
The last time.
Speaker 4 (27:48):
No, Maid, No to making yourself accessory to murder.
Speaker 1 (27:54):
If you look at it that way, I am accessory
to a murder. There's nothing to be lumb about it.
What else did this man Louis say?
Speaker 4 (28:03):
Nothing except that Froggy has no voide.
Speaker 1 (28:06):
Well, maybe Louis will tell the UH mob to call
it off.
Speaker 4 (28:11):
No, he won't contact anybody now that there's been one killing.
He's terrified of being involved. He's frozen with here.
Speaker 1 (28:19):
Poor guy, poor car.
Speaker 4 (28:21):
What he did and what you all did was a sin.
Do what you worry about that.
Speaker 1 (28:27):
I've got other things on my mind. That car behind us,
for instance, a car now, a big one black I
think been with us ever since we left bucking The boulevard.
Speaker 4 (28:40):
But you sure it's the same one. Slow down the path?
Do you give him a chance to pasture? Okay, he's
dropping back now he's looking a pie.
Speaker 1 (28:51):
No, but that trugg is probably all imagination, perfectly Inno.
Isn't jap no doubt on his way home to his
white and kid.
Speaker 4 (29:00):
Yes, yes, but we can't assume that there's an exit
near here. Get off the turnpike. If he follows us, we'll.
Speaker 1 (29:07):
Know, we'll know we're in trouble. Still there, no, yes,
still yes, Uh, he's after us? All right, Okay, bless sir.
If it's a race you want, well, mister ellis not
so fast.
Speaker 4 (29:22):
You have to turn left at the next light. Stop,
mister Ellis, red light.
Speaker 1 (29:28):
Hat. Oh, don't really chill. His booth lost him, Yes,
he stopped for the life. Doesn't prove a thing except
that he's not taking any chance. He's on a brush
with the law.
Speaker 4 (29:43):
Now, if you were up past the veteran hospital from.
Speaker 1 (29:46):
The cemetery, we had to lose him for good. Oh,
look out for man?
Speaker 4 (29:51):
Alright, God, I was afraid you didn't see. If can
you get back on a turnpike? You turn up that hill?
Speaker 1 (29:59):
Is the insight.
Speaker 4 (30:00):
No, so down, you're coming to a cross or there's
a turnpike entrance over there.
Speaker 1 (30:06):
Good Oh, I'm going to open her up. Pray we
don't get stopped for a ticket.
Speaker 4 (30:12):
A ticket that would be just time with me. A
station house sounds like a nice safe place to summer night.
What are you doing now?
Speaker 1 (30:23):
Eighty five?
Speaker 4 (30:24):
Oh heaven helpus. I didn't know this car had it dinner.
Speaker 1 (30:29):
Oh no, is it here?
Speaker 3 (30:32):
Oh?
Speaker 4 (30:32):
Good lord, he must be doing a hundred.
Speaker 3 (30:34):
That settles it.
Speaker 1 (30:35):
You're ready to get out, No, don't argue. Your life's
in danger. Got John from a moving car with one shot.
Don't stop now. I've got to get you out of
this car. It's a death track.
Speaker 4 (30:46):
Not here at the next gas station, lots of people
in a bright lights. That's the best place, alright, Who
remember how to get to the house?
Speaker 1 (30:56):
Yes, right through Hamilton Village, up river road, right to
a sign that says the Laurel Night and the.
Speaker 4 (31:05):
House at the top of the hill. But don't get
off the turnpike unless you know you've lost him. Don't
let him overtake you on a dark road.
Speaker 1 (31:16):
Here's the gas station.
Speaker 4 (31:18):
Oh, mister ellis I beg you stop here and call
the police.
Speaker 1 (31:23):
I'll get out.
Speaker 4 (31:26):
He'll go to the house.
Speaker 1 (31:27):
Then I'll try. Heaven knows, I'll try.
Speaker 4 (31:31):
I'll phone there every half hour till you ask her.
Oh dear, what can I do? What can I do? Operator?
(31:55):
This is an emergency. Get me the Hamilton Police have Fulton.
H h A M I th that's right. Hello? Is
this the police station in Hamilton? I wanna report a
stolen car. My name Hannigan. The I own the house
(32:19):
on Laurel Hill. Oh this hello Stan Kelly. Yes, this
is May Hannigan. Look this weird looking man. He's middle age,
died there wearing ti dyed pants, striped sneakers and a
sweatshirt with a pair of uh the big red lips
on the back. Uh, A real weirdo. Yes, and uh
(32:41):
I think he's on drugs or something.
Speaker 7 (32:43):
He stole my car.
Speaker 4 (32:46):
Yes, that's correct. And and ah he's got my house
keys as well. He's on his way up there now.
And yes, then will you send a police card anymore? Yes,
I'll I'll be in tomorrow and press charges.
Speaker 7 (33:03):
Thank you.
Speaker 3 (33:06):
Will h h.
Speaker 4 (33:09):
That'll put him where he'll be safe for the night.
Speaker 1 (33:20):
Hello.
Speaker 3 (33:21):
Oh you'll make it.
Speaker 1 (33:23):
Yeah, I was doing ninety most of the time. Ah,
and you never saw a car, not a sign of
One's funny. It's dying cold in this house.
Speaker 7 (33:33):
Ah, yes, I I have the furnace turned off when
I left up a curR.
Speaker 1 (33:36):
You still at the gas station?
Speaker 3 (33:38):
No?
Speaker 4 (33:39):
Uh, Hamburger place down the road.
Speaker 1 (33:41):
Look, do you have any blankets here?
Speaker 3 (33:45):
Yes?
Speaker 7 (33:45):
Uh, upstairs, but I don't think you're going.
Speaker 3 (33:48):
To need 'em. Yes, calcilated.
Speaker 1 (33:55):
But it's I thought I heard something.
Speaker 3 (33:59):
Oh well, it's.
Speaker 7 (34:01):
Uh, it's an old house full of creeks and grown No,
not like that.
Speaker 1 (34:07):
I turned off the lamp and look out the window.
Speaker 7 (34:10):
Isn't there a police car there?
Speaker 1 (34:12):
Why should there be a police car?
Speaker 7 (34:14):
But you're sure there's no police.
Speaker 1 (34:17):
If I'm going back out to the garage, no, no, no.
Speaker 7 (34:21):
No, Well, for heaven's sake, don't leave the house. The
moon is like daylight.
Speaker 1 (34:26):
I am he's in the house with me.
Speaker 7 (34:30):
But don't go out. Stay inside.
Speaker 1 (34:32):
Oh if I only had a gun.
Speaker 4 (34:34):
Uh, the grandfather's gun is there, well, in the desk
where the phone.
Speaker 7 (34:40):
Is barm drawer. But it's in a strong box with
a combination lock. Victor, you're sure it's not the police well,
of course I am uh put on the lamp again.
Uh give you the combination of a lock.
Speaker 1 (34:54):
I'm going to make a dash for the stairs.
Speaker 4 (34:56):
No, no, no, no, you you got to cross the
open the hall. Please do as I tell you. Get
that drawer open.
Speaker 7 (35:05):
Have you got the lamp on again?
Speaker 1 (35:08):
Mister Ellis, I I'm d delighted.
Speaker 7 (35:12):
Do you hear anything now?
Speaker 3 (35:15):
No?
Speaker 7 (35:16):
Uh huh uh keep your hand on the light switch,
turn it off.
Speaker 4 (35:20):
If you see him and got to the floor, go ahead,
you see the lock?
Speaker 7 (35:26):
Yeah yeah, yeah, uh tee, calm, don't make mistakes. Six left, six.
Speaker 4 (35:36):
Two right.
Speaker 1 (35:39):
Two. My hands a sweating a nine right?
Speaker 3 (35:44):
Got it? Got it?
Speaker 7 (35:45):
That's it?
Speaker 1 (35:46):
Yes, yes, it's oopen.
Speaker 7 (35:49):
Huh mister Tyler rich who No.
Speaker 1 (36:00):
I'm well aware of my constitutional rights, and I don't
think you can lock me up. And that's all. I
don't happen to have identification on me. But I can
assure you that I am Victor Fairchild, Elis Junior, Lis
Foger and Green a brokerage burn sure you that outfits
the latest thing on Wall Street. All the brokers run
around in red, white and blue speakers. Come on here
(36:22):
you go. I can explain and explain all you like
in the morning. Now in both of you, I'm an
innocent place stander. I get not to do with this guy.
You could not mud me I and a concealed weapon.
Get moving or are we going to have to give
you a little help? You're not locking me up with
this not the idea. Now, simmer down and get some sleep.
(36:48):
You're going to need your wits about you in the morning.
You a new this, well, Froggy Burns, You're just the
man I want to talk to. And this is a
good place to do it, come to think of it,
it's a great place, the best I I could ever find.
Speaker 4 (37:06):
Oh, I'm sorry I had you arrested, but I didn't
know what else to do.
Speaker 1 (37:13):
Thank the Lord you did. And I've never been so
genera in my life. As soon as I got my
shaky hands on that gun, it went off.
Speaker 4 (37:20):
But I heard too shots.
Speaker 1 (37:22):
Oh uh, well that was Sergeant Kelly. He shot the
lock off the front door and rushed in.
Speaker 4 (37:28):
And where with Froggy throw all this?
Speaker 1 (37:30):
Stillnly glassed in sun poorts trying to pick the lock.
When he heard the commotion, he ran out and the
other cop in the prowl card abden. Uh do you
have the office keys made? Yes?
Speaker 4 (37:41):
Uh, because there's somebody in the office. I heard a
scraping noise.
Speaker 1 (37:46):
We've nothing to fear now here mile opening. It's the
pater say we didn't order a decorating job. What are you?
I can't, mister kee Am I glad to see you. Well,
it's great to see you can't. So you're okay. I've
been wondering about you.
Speaker 4 (38:06):
Oh we were a fraid you decree.
Speaker 1 (38:10):
I'm so happy. All right, Well, what's all this with
a paint and dirty overalls? Well, the day John was shot,
I sent the office staff home early. You can imagine
I was pretty nervous. I noticed there were painters working
in the outside hall, so I talked one of them
into selling me his overalls and some paint and brushes.
And in case anybody should be watching me from another building,
(38:31):
I started painting the back wall here nobody pays any
attention to painters. As soon as five o'clock came, I
walked right out with the rest of the paint crew.
Of course I didn't dare go home so well. I
got an old station wagon and put a sign in
the window. Metior Decorating company. I've been moving around more
or less freely ever since. I think of what I
(38:54):
went through, and you were simply roaming around down with
paint on your face.
Speaker 4 (38:58):
Well both stay now is Kent?
Speaker 1 (39:02):
The contract for killing is has been canceled. Oh, thank
the Lord. No, I can get washed up.
Speaker 4 (39:08):
Suppose we celebrate with a cup of coffee. I can
make them in mister Pos's office, your office now, May, Yes,
that's uh, yes.
Speaker 1 (39:22):
Her office. A great woman Kent. She saved my life.
I I asked her to marry me. Wow, congratulations. No, Uh,
she refused, said what she really wanted with a partnership
in the firm. Partnership. Well that's uh, Swift cries, What
could I do? I gave it to her. Strange having
(39:44):
a woman in John's office, I know, frankly, it bothers me.
My father was very conservative, you know, especially about the firm.
Elice Green Elhannigan. That's not a bad letterhead. No, But
if my father and knew what Hannagan stood for, he
turned his grave. Well, let's look at it this way.
(40:08):
If it weren't for Hannigan, you'd be turning in yours.
Speaker 2 (40:17):
So may Hannigan accomplished two very difficult things. That night
she saved her employer from certain deaths, and she raised
herself into the gilded executive ranks. And that, as any
secretary will tell you, is the hardest thing in the
world to do. But as May herself often says, there
must be an easier way.
Speaker 1 (40:39):
I'll be back shortly. You're driving a car. You knew
you were going to buy the miniature song sky Hawk,
Few weak sky Hawk. You just knew a car this
streamline would be easy on gas, and you were right
and published DPA mileage test results. Sky Hawk got twenty
five miles per gallon on the open road and sixteen
(40:59):
and at the Skyhark. It's racist, it's low slung. It
looks Europeans, but it's a viewing its grain.
Speaker 3 (41:12):
Hi, I'm Burrough ives.
Speaker 8 (41:14):
You know nothing hurts up a meal like an exciting
sight name, and I'd like to tell you about one.
Your family and your guests are sure to love and
keep on loving. It's Uncle Ben's long brain and wild rice.
It's a mouth watering mixture of Uncle Ben's converted brand rice,
wild rice, herbs, and seasoning. It's the kind of side
distance can make an ordinary meal a great meal and
(41:36):
can keep a great meal from becoming ordinary. In fact,
Uncle Ben's Long Grain and Wild Rice is so good
they tell me that most everyone who tries it comes
back for more. That's because there are no compromises in quality.
But that's the way Uncle Ben's does business. So to
make an ordinary meal a great meal, try huncle Ben's
(41:58):
Long Grain and Wild Rice to make sure you get
the party ingredients and good taste I've told you about.
Make sure it's not a ben.
Speaker 1 (42:09):
This Friday and Saturday during Macy's Exciting Today Wholesale, you'll
find dig savings on furniture, TVs, stereos, appliances, mattresses, and
much much more. In Macy's floor covering department, you'll say
three to five dollars a square yard on a selection
of dacron polyester broadroom. Choose from a dense velvet, a
thick plush, or a heavy texture in an array of
(42:29):
solids and tweeds regularly twelve ninety nine to fourteen ninety nine,
now just nine ninety nine a square yard install of
re sponge rubber padding. You'll also find twenty percent reductions
on every custom length drapery at Macy's Choice of styles,
sizes and colors. Fabrics in traditional, contemporary and Early American
designs cut to the exact inch length in standard widths.
(42:51):
Bring your window measurements. All delivered in just three weeks.
There is also a huge assortment of machine washable dacron
polyester Nenon curtains on sale at substantial Sale just a
few of the great buys Friday and Saturday at Macy's
Exciting to Day Home Sale Broadroom at all macy Stores
except Blackbush. If there's a moral to our story tonight,
(43:21):
it's this suicide is not even a loser's game.
Speaker 2 (43:25):
It's no game at all, because death is one commodity
that nobody can cheat you out of. When your option
comes to you, you'll cash in. In the meantime, life
has a lot of surprises in the store. Don't ever
sell it short. Our cast included Anne Shepherd, Guy Sorell,
(43:46):
Court Benson, and Ken Harvey. The entire production was under
the direction of Hyman Brown Radio. Mystery Theater was sponsored
in part by Contact, the Twelve Hour Cold Capsule.
Speaker 1 (43:57):
And Uncle Ben's Long Grain and Wildlace.
Speaker 3 (44:01):
This is a G.
Speaker 1 (44:02):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant Dream.
Speaker 8 (44:22):
The United's War mystery theater was also brought to you
in part I shall write supermarkets where you get a
lot more for a little less.
Speaker 1 (44:36):
The preceding program was furnished by the Columbia Broadcasting System.
You'll have to set for news with John Scott reporting.
This is WR New York an RKO General Session.
Come in, or Eldrum, I'm g Marshall. I'm sure you
know by now that.
Speaker 2 (00:23):
The door you have just entered leads to a strange world,
a land of forbidden fancies, peopled by giants and pygmies,
kings and cobblers, saints and sinners. Happy children play in
its streets, while just behind the lert iniquitous monsters, unspeakable
crimes are committed here, and acts of breathtaking valor.
Speaker 1 (00:46):
You are the sovereign in this place.
Speaker 2 (00:49):
It is the realm of your own imagination. Our story
this time searches one of its deep recesses, the hidden
place of fear. My history drama Death Pays No Dividend
was written especially for the Mystery Theater by Mary Jane
Higbee and stars Anne Shepherd and Guy Soell. Is sponsored
(01:11):
in part by imported Vigna, Jose Wine and Buick Motor Division.
I'll be back shortly with that one. A famous traveler
once said that the most important words in any language
(01:34):
are where is the exit? Hui LASOFTI don't esta la salida?
But what of the place where there is no way out?
For every wall is a blank one marked no exit.
This is the circumstance of three men whose work brings
them to the tip of a very small island. There
was once a stockade here. It was the wall for
(01:56):
which the street was named. Wall Street is silent now,
the rush of the day had not yet descended. But
thirty stories above the narrow street, footsteps echo sharply along
a marble corridor.
Speaker 1 (02:10):
Thiss, Hadigan.
Speaker 3 (02:11):
It's Hadigan.
Speaker 4 (02:12):
Late, Oh, mister Green, good morning.
Speaker 1 (02:15):
I didn't expect you here that in the morning. Mister
Green has been so worried about getting another job. Well,
I'm sure we can help you. Our recommendation should be
worth something.
Speaker 4 (02:25):
And no, no, no, not not about myself. It's mister Ellis. Oh,
he's horribly depressed.
Speaker 1 (02:31):
Well that's only to be expected. You put your whole
life into a business and then, through no fault of
your own, it suddenly blows up in your face.
Speaker 4 (02:40):
No wait, please, don't open the office door yet. I've
got to tell you something.
Speaker 1 (02:45):
We couldn't you tell me inside?
Speaker 4 (02:47):
Know, I think mister Ellis may be inside there, I
do hope. So he's not in his apartment. He was
late last night cleaning out the desk and making the
last arrangement.
Speaker 1 (02:57):
It's like a few mos.
Speaker 4 (02:58):
It's worse than for mister Ellis. He's not like you
and mister Soldier. You both have family, someone to share them.
Speaker 1 (03:06):
It's small comfort to share disgrace with people you love 'em,
to drag them down, whether you're my two boys.
Speaker 4 (03:12):
I know, I know, I didn't mean the minimize. It's
just a well frankly, I'm afraid mister Ellis's going to
do away with.
Speaker 5 (03:20):
Himself, killing hisself. Oh no, he wouldn't do that.
Speaker 4 (03:25):
He he made me go home last night. I wanted
to stay with him, but he forced me to leave.
I tried nearly all night to get him by phone.
No answer.
Speaker 1 (03:34):
Well, let's get in and see what's going on.
Speaker 4 (03:39):
Oh clen people snowing all over the the winter disgrase.
Look standing on the legs to the left of the window.
Speaker 1 (03:51):
Lot careful, miss Hannigan. I wasn't startling, and he might jump.
Speaker 3 (03:57):
You.
Speaker 5 (03:57):
Better speak to him, but quietly, quite sound.
Speaker 4 (04:00):
Come mister Ellis. Don't do it, mister Ellis, Please don't.
Mister Ellis doesn't think to hear me.
Speaker 1 (04:15):
He hears you. All right, try again.
Speaker 4 (04:19):
Come back in, please, you may hurt somebody else yet
you mister Ellis, listen to me, come back. You mustn't
do that, please.
Speaker 1 (04:37):
Okay, Victor, Victor, don't don't do it. You listen to me.
What I'm gonna say is important. There's a better way.
Did you hear me. There's a better way. John and
I have a plan. You may be doing the right thing, Vic,
(05:00):
but you're doing it the wrong way. Victor, get back
in here. He moved. He's coming in. Yeah. When he
gets his head to the window, grab his on on
the wooden pull.
Speaker 5 (05:14):
Now, damn old Ledge.
Speaker 1 (05:18):
Don't let him there. You are that hurt. That's tedy,
old man. Come, mister Ellie, let me go. All right,
all right, hold, thank god, let you close the window again.
(05:38):
I looked down. I could have done it if I
hadn't looked down.
Speaker 3 (05:45):
I fouled this up.
Speaker 1 (05:47):
Like everything else. I can't do anything right.
Speaker 4 (05:51):
You don't say that nothing that happened with your full
You were all victims of a rotten crow.
Speaker 1 (05:58):
I didn't have the guts. Jump just didn't have.
Speaker 4 (06:02):
The guts, Thank heaven, you didn't. You must never try
a thing like that, cap never.
Speaker 5 (06:10):
It's all right now, miss Hannigan, Right now, I'd.
Speaker 4 (06:16):
Never forgive myself no.
Speaker 1 (06:18):
No, now, calm down, good boy. What's going on? What's
with Matt Hanigan? She's had a bad shot. What happened? Later?
Speaker 3 (06:26):
John?
Speaker 1 (06:28):
Please?
Speaker 4 (06:28):
Miss he.
Speaker 1 (06:32):
Come on, snap out of it, Halligan. She's gonna do
a terrible strain.
Speaker 4 (06:37):
I'm tired.
Speaker 1 (06:39):
Yes, oh, yes, of course, of course, Victor, get us
some water, will you? Oh, I'm sure I'll be a moment.
I I've got to talk to you alone. John, Okay,
come in my office. Be sure you're all right now,
Miss Hannigan, I'm sorry that I relax. Try to go
(07:00):
on as though nothing had happened. Here's the water. I
didn't mean to put you through this, you of all people.
Come on, John, I think we should let Miss Hanigan
go home. No, that won't be necessary, mister Fool's anymore,
can't Yes, what did you mean? There's a better way.
(07:24):
We'll talk about it later. Now. What was going on?
Victor tried to jump out of the window. What he
was standing on the ledge when we got here this morning? Oh,
for Pete's sake, that idiot. How long was he out there?
Speaker 3 (07:46):
Did he do a clown?
Speaker 4 (07:47):
No?
Speaker 1 (07:47):
Well, I suppose somebody must have seen him though, that's
fool host settles to John, We've got to let him
in on the ski. No thick to unstable. He should
have blown. It's the only way to keep him from
blowing it. It's obvious if word gets around that a
member of the firm tried to commit suicide and then
something happened to us, they'd never stopped the investigation, not
(08:11):
until our families were starving. Damn at all. That's not
going to happen. I'm going to meet my obligation to Marajia.
We both have obligations. You're not going to leave my
wife helpless. I'm going to provide for her. If it's
the last thing I do, it will be. Look, you
don't understand Victor. His father founded this firm, and it's
(08:33):
been Victor's whole life for sort of memorial to his father. Well,
now this scandal, well, the mood he's in, he's act
to do anything. The only way to protect the scheme
is to let him in on it. Probably right, but
all my instincts are against it. Well, shall I get
him in here? Yeah? Yeah, I guess so, I'll get him.
(08:58):
But if he louses this up, Uh, Vic, Yes, come
in here a minute, will you?
Speaker 3 (09:06):
Yes?
Speaker 1 (09:08):
What is it close the door. You made a jackass
of yourself. Cool it, John, Have you got some cockyde
scheme to keep the scandal from breaking? You know, don't
waste my time. We'll be lucky if we get less
some twenty years. Come on, stop the emotional jag and
talk sense. Ken and I are in the worse spot
(09:28):
than you are. We both have families to provide for,
right and there is just one way to do it.
Our life insurance. You can't collect on suicide, we know that,
But you can collect on murder. Huh. I don't get
(09:49):
a good clean bullet in the back of the head
when you're least expecting it. An easy way to go, Vic,
you'd never know what hits you. And now do you
think you're going to be bring that out? Never mind,
I can bring it off. Years ago, I did a
favor for somebody. I didn't know him do well, but
I used to drop into his place once in a while.
(10:10):
Well never mind what for? Later he got mixed up
with some pretty notorious characters, so I figured he'd be
in a position to arrange what they call the contract,
what kind of contract? Oh, for Pete's sake, I know
you have devoted your whole life to the firm.
Speaker 3 (10:25):
But don't you ever go to the movies.
Speaker 1 (10:26):
You must know there's such a thing as a hired killer.
Oh that kind of country.
Speaker 3 (10:33):
Yes, yes, that kind.
Speaker 1 (10:35):
So we have two contracts right now. How do you
want to make a third? You mean, pay somebody to
kill me three thousand dollars? Well, now, I don't know.
It's a great deal, more sense than what you just
tried to do. No pain, no mess. These guys are professionals.
(10:56):
It's a tough idea to get used to. How do
I go about it? One quick phone call and three
thousand dollars in cash? And maybe you ought to take
a few hours to make it over And I've tried
three times to kill myself. I haven't been nerved. Okay,
(11:19):
go ahead, make your phone call. You're sure, yes, because
once I complete this call, there'll be no turning back.
You understand that thing. I got to be sure you
want to go through it. Hello, is Louis there? Right,
I'll hold on.
Speaker 3 (11:39):
You.
Speaker 1 (11:39):
Sure you want me to go ahead? Yes, Louis, this
is John Folger.
Speaker 3 (11:45):
Yes, yes, I know.
Speaker 1 (11:46):
I promise not to call you again. No, no, no,
We're going through with it. We want to add another
name to the shareholders three thousand, right where.
Speaker 3 (12:03):
All three of us?
Speaker 1 (12:06):
Oh, alright, we'll do well to put the money in
a book in the forty second Street library. Put the
book back on the shelf at exactly five pm, walk
out and stand for a few minutes chatting near the
lions on the library steps, and then split. How they're kidding.
(12:28):
Oh no, we're in earnest, deadly earnest. Why hang around
on the steps? I should imagine somebody who wants to
get a good look at us the killer. Yes, it
would be a shame to rub out the wrong guys.
Speaker 2 (12:52):
A suicide packed by quite unlike your ordinary run of
the mill agreement, the participants had really quished any option
of withdrawing. From now on, each one knows that his
next move may.
Speaker 1 (13:06):
Well be his last.
Speaker 2 (13:08):
We'll see how they stand up under that unpleasant knowledge
when we return with Act two. Rather than face a
financial scandal, the officers of a small but highly respected
(13:29):
Wall Street firm have decided to commit suicide to a
go between. They have arranged for a paid executioner to
do the job for them, an easy way out. We'll
never know what hit us, They tell each other. But
have they considered their remaining days and hours when even
the most chance encounter will chill the blood and the
(13:51):
question rise?
Speaker 1 (13:53):
Is this the face of my killing?
Speaker 2 (13:55):
To see how they are facing up under the strain,
Let's listen to a telephone conversation.
Speaker 1 (14:01):
Hello, can't this is John?
Speaker 3 (14:03):
You heard what happens?
Speaker 1 (14:05):
No?
Speaker 3 (14:06):
He goofs off, ran away?
Speaker 6 (14:09):
Remember we were getting They had a getification the cruise
to the Caribbean or the last minute he decides.
Speaker 3 (14:15):
To go with her.
Speaker 1 (14:16):
Well, well, I guess he wants to do some of
the things he never took time for before.
Speaker 6 (14:22):
Come off and he's running away. He knows they won't
shoot him awad ship. They couldn't make it get away.
He's the same on that boat as he would.
Speaker 3 (14:30):
Be in jail.
Speaker 1 (14:30):
Well, whatever, they'll hit him when he gets off.
Speaker 6 (14:33):
Well I was hoping they tend to think first before
they got you or me?
Speaker 1 (14:38):
Did you tell Louis that I.
Speaker 6 (14:40):
Couldn't tell him anything? He made me promise never to
contact him again. Louie's not part of the mob or
a family or whatever they call it nowadays. They just
use his place of business sometimes meet there.
Speaker 1 (14:51):
What kind of business is he in?
Speaker 3 (14:53):
Look?
Speaker 6 (14:53):
I swore to keep him out of it. Now, what
you don't know can't hurt Louis.
Speaker 1 (14:58):
Okay, Well, I wouldn't worry too much about the victory.
Speaker 3 (15:02):
Damn, I do worry. He hasn't got our motivation.
Speaker 6 (15:06):
Once you and I are out of the way. He
wants to keep him from getting the wind up and
running to the police with the whole story.
Speaker 1 (15:11):
I don't think you can do that. There's such a
thing as accessory before the fact. You know, this may
look like a suicide pack to us, but to the police,
it's going to be murder.
Speaker 3 (15:23):
Oh you mean he's face a murder rapper.
Speaker 1 (15:26):
Well he might.
Speaker 3 (15:28):
I just hope he knows that.
Speaker 1 (15:36):
Look, Dan, things started me. Every time I hear it.
Speaker 4 (15:42):
We should be used to it by now. They blow
it every day at noon. I've been looking all over
the ship for you.
Speaker 1 (15:47):
I would take a turn around the decks. No, No,
I'm all right.
Speaker 4 (15:56):
Look, I'm not absolutely sure, but I think I have
something wonderful to you. Did you hear the news broadcast
this morning?
Speaker 1 (16:03):
No? Indeed, And I'm wasting my last few days listening
to No I didn't.
Speaker 4 (16:09):
Well, you know those penny gold stocks you bought a
few years ago, you and mister green Penny gold.
Speaker 1 (16:16):
Oh, yes, the uh stock we bought Harrison to help
him out of the type spot hums worthless.
Speaker 4 (16:23):
Well that company. I think it's the same company, cause
justly the greatest gold strike since eighteen forty nine?
Speaker 1 (16:31):
Why Harrison's Company.
Speaker 4 (16:34):
I went straight to the radio room as soon as
I heard it. The broadcaster takes you know, and they
were kind enough to run it again for me. I
have the note type of here in my person no
toffully win nearness. We'll go inside the President Taped Mining Corporation.
That's the one, isn't it.
Speaker 1 (16:54):
I'd leave? So yes, here, let me get the door.
Speaker 4 (17:04):
Released to get out of that wind. Now here's what
I took down. The President Haf Mining Corporation is uncovered
what seems to be the lost for Tuna vein. Does
that make sense to you?
Speaker 3 (17:17):
Yes?
Speaker 1 (17:19):
The Fort Tuna, Yes it does. Harrison mentioned the Fortuna vein.
Speaker 4 (17:24):
This led of almost pure goals said to exist in
Mono County, California, Colty.
Speaker 1 (17:29):
That's right, has.
Speaker 4 (17:31):
Been sought by miners for over a hundred years.
Speaker 1 (17:35):
The Fort Tuna vein. It must be Harrison's company.
Speaker 4 (17:38):
Where this changes everything, doesn't it?
Speaker 3 (17:42):
Sure does.
Speaker 4 (17:43):
You can pay off the debts of that cook and
is disgraceful Charisma Funding Company CURL.
Speaker 1 (17:48):
If this report is accurate, we can you.
Speaker 4 (17:51):
Have a lot of cat stock. And with the price
of gold.
Speaker 1 (17:54):
Now, who'd never have thought, Oh why that part of
California has been picked over so much it seems impossible
there'd be an ounce of gold left in the ground.
We only bought it to help Harrison out. So happy
for you, miss Hannig and your You're a jewel.
Speaker 7 (18:15):
Head.
Speaker 1 (18:16):
Don't mind my kissing. What a day he Come on
down to the bar. We'll crack a bottle of champagne, can't.
I'm so glad you decided to telephone me here aboard
ship instead of waiting until I got back. I've been
(18:36):
trying to get you all afternoon. There was no answer
at the office.
Speaker 3 (18:39):
No, the office has paused.
Speaker 1 (18:42):
Where are you home?
Speaker 3 (18:43):
No, I'm calling from outside the pay well.
Speaker 1 (18:46):
Great news, eh, it is Harrison's company, isn't it what
the Taff Mining Corporation?
Speaker 3 (18:53):
Oh?
Speaker 6 (18:53):
Yes, yes, Harrison's stock has gone way up out of.
Speaker 1 (18:57):
That just about gets us off the hook, doesn't it.
Speaker 6 (19:00):
Yes, Financially it looks like things can be worked out.
Speaker 1 (19:03):
Oh great, who'd never thought it. You got in touch
with the bank and called Morgan and Benson, didn't you, Ken? Hello, Hello, Yes, yes,
I'm here Ken. John got in touch with that man Louie,
didn't He called it off, Kent, Mick.
Speaker 3 (19:26):
That's why I falled.
Speaker 1 (19:28):
Is John all right?
Speaker 3 (19:30):
No?
Speaker 1 (19:31):
You mean he didn't get to Louis.
Speaker 3 (19:35):
He never had the chance.
Speaker 1 (19:38):
Oh when where in front of his house?
Speaker 6 (19:43):
Just one shot thick from a passing car, just one shot.
Speaker 1 (19:58):
Not the greatest this guy the world, but the best
I could do. I bought the hitty clothes from the
kid down the tourist, and I had the ship's beauty
Polo dye my hair. Goodbye, Miss Hanigan.
Speaker 4 (20:08):
Waste you seriously believe it? The gun I'm waiting for
you when we die.
Speaker 3 (20:12):
That's hell.
Speaker 1 (20:12):
But I don't know where he is here at the office,
my apartments.
Speaker 4 (20:18):
Call. Don't wash off like this. You're not thinking clearly.
There's only one sensible thing to do. Go to the police,
the police, tell them the whole story and ask for protection.
Speaker 1 (20:27):
I can't do that. It's the only way I can't
do that to John.
Speaker 4 (20:31):
Mister Soldier's dead. Mister ellis.
Speaker 1 (20:34):
His widow's alive and she's an invalid. If I go
to the police, they cancel the insurance you'll get.
Speaker 4 (20:39):
The firm can take care of missus soldiers.
Speaker 1 (20:41):
He'll be lucky if we can pay our debts and
save the firm. No, I got into this mess, and
I've got to see it too. I'm going to make
a break and run for it. I'll be the first
one off the ship.
Speaker 4 (20:51):
No, no, that's please listen to me. Don't rush down
the bank quite alone. Let some of the other passengers
start first. Then, so off casually. Let's take my arm.
I'm coming with you.
Speaker 1 (21:06):
No, absolutely not. I'm a living target. Stay out of range,
Miss Hannigan. Your life depends on it.
Speaker 3 (21:14):
Goodbye.
Speaker 4 (21:15):
Where do you plan to go?
Speaker 1 (21:16):
Some hotel? I guess, because I can get away to
get out of town safely.
Speaker 4 (21:20):
Here, look, take my keys. Go to my apartment.
Speaker 1 (21:24):
No, no, I'm not going to drag you into this.
Speaker 4 (21:27):
It's the safest place for you. Nobody will dream of
looking for you there, and I can reach you my phone.
I'll go straight to the office that way. You know
what's going on.
Speaker 1 (21:36):
Well, all right, but only for a few hours.
Speaker 4 (21:39):
We've got to talk to this Lewis prison.
Speaker 1 (21:41):
I hope it can still alive. If not, you have
the power of attorney I executed for you in preto
recar take complete charge until you hear from one of
us again, if you ever do. Goodbye, Miss Hannigan.
Speaker 4 (22:03):
Aw hello, oh good you made it to the apartment alright.
Speaker 6 (22:10):
Yes, I haven't dared open a window or raise the blind.
Speaker 3 (22:14):
Everything all right in the office.
Speaker 4 (22:16):
I don't know, I guess so I have an uneasy
feeling that I'm being watched as I sit here.
Speaker 3 (22:21):
You're all a lord.
Speaker 4 (22:23):
Yes, it's Saturn day, you know. I'm just getting kiddly,
I guess tried to keep my imagination from running row it.
There is one strange thing, though, What's that one of
the walls in your office is half painted. You didn't
authorize the paint job, did you?
Speaker 7 (22:43):
Of course not if.
Speaker 1 (22:45):
The firm elding manager must have made a mistake.
Speaker 4 (22:48):
No, he says not, it's his painter didn't do it.
Speaker 1 (22:53):
Oh uh.
Speaker 4 (22:53):
By the way, I think I know who that man
Lewis is, the one who set up the deal.
Speaker 3 (22:58):
Well, how'd you find that out?
Speaker 4 (23:00):
The filing cabinet in mister Folger's office there's a promisory
note made to mister Foger by a Louis Wongeley. He
owned a small bart on each side.
Speaker 1 (23:11):
That makes sense, John said he used to drop in
at Louis place the bodie.
Speaker 4 (23:18):
MM. I'm going to drop in on Louis myself and
put an end of this awful business. But if I failed,
we better get you out of town in a hurry.
You can go to my grandfather's house in the country.
Speaker 1 (23:30):
Now. I'm not going to drag you any further into this,
and I certainly don't wanna bring your grandfather in.
Speaker 4 (23:36):
My house now I inherited it. You've got to go,
mister Ellis, because I called cant Green's home.
Speaker 1 (23:43):
Yes, what for Heaven's sake, me tell me what happened.
Speaker 4 (23:48):
He's been missing since the day John Folger died.
Speaker 3 (23:59):
Will it be? Yes?
Speaker 1 (24:00):
The nice frustrations just come in this morning.
Speaker 4 (24:03):
Uh, I'd like to see the owner.
Speaker 3 (24:05):
Please.
Speaker 4 (24:06):
I want to talk to Louis.
Speaker 1 (24:07):
You're talking to him. Well, it's a confidential matter, and
this is the lunch our lady. I'm busy. Come back,
say three thirty four o'clock.
Speaker 4 (24:21):
No, I'm gonna talk to you now. It's about John Folger.
Speaker 1 (24:26):
Yeah, never hate him.
Speaker 4 (24:30):
Uh, here's something to refresh your memory. This is your signature,
isn't it all right? Your signature? Miss promisorry note, you
know who mister Foger was and you know what happened
to him.
Speaker 1 (24:46):
Hey, Joe take over? Will you? My lady over this
table in the corner now said, what's this all about?
Speaker 4 (25:01):
This is your signature, isn't it.
Speaker 1 (25:04):
I ain't sure.
Speaker 4 (25:05):
Oh, come on, Louis. You borrowed twelve thousand dollars from
mister Folgier on July eighth, nineteen forty eight.
Speaker 1 (25:14):
Where are you a cop?
Speaker 4 (25:17):
I'm mister Folgier's secretary and mister Greens and mister Ellison. Uh,
we wanna call the uh deal off?
Speaker 1 (25:29):
I don't know nothing about no deal.
Speaker 4 (25:32):
You arrange the contract and you're the only one who
can cancel it.
Speaker 1 (25:37):
You got the wrong guy.
Speaker 4 (25:38):
Oh please, you must help me. Ye, we have no
way of reaching this man from Chicago. Please tell you
how to.
Speaker 1 (25:45):
Get back to my counter.
Speaker 4 (25:46):
At least tell me who he is.
Speaker 1 (25:47):
You'll have to leave now. I need this table. We've
got to stop him now for the last. You don't
need to.
Speaker 4 (25:53):
Let another man die. A man who doesn't wanna die
because of a mistake.
Speaker 1 (25:58):
Like I said, this is all Greek to me. But uh,
I did hear there's talk around Uh that Froggy bindses
in town? Who you hate me?
Speaker 4 (26:14):
Why can I find him?
Speaker 1 (26:15):
I wouldn't know?
Speaker 4 (26:16):
Well uh uh duh, tell me what he looks like.
Speaker 1 (26:20):
I never seen Froggy in my life.
Speaker 4 (26:22):
Uh, Froggy if he fringe me?
Speaker 1 (26:26):
They call him that because he ain't got hardly no
voice all I know, no voice. Yeah, he got a
knife from this cloak when he was a kid. Can
uh they make no sounds at all?
Speaker 2 (26:41):
A killer with hardly any voice. That not much to
go on, is it. May Hannigan's confidence is at a
low ebb as she walks out of Louis Angeles's bar
onto the teeming streets of Manhattan.
Speaker 1 (26:53):
M How long, she wonders.
Speaker 2 (26:55):
Can she keep the last remaining partner of Ellison, Green
and Folger alive. We'll find the answer to that question
when we returned shortly with Act three. We May Hannigan
(27:15):
found herself teering nervously into every darkened doorway as she
approached the garage which housed her automobile. This was a
job for a private detective, she thought, not a skilled typist.
Speaker 1 (27:28):
Her hands were icy as she drove.
Speaker 2 (27:30):
Up to the apartment building where Victor Ellis was waiting,
and it was with relief that she turned the wheel
over to him. In minutes, they had crossed the tribe
or a bridge and sped up Buckner Bulevard.
Speaker 1 (27:41):
Now they are on the Connecticut Turnpike.
Speaker 4 (27:43):
Mister Ellis, I wish you'd let me take this whole
business to the police for.
Speaker 1 (27:47):
The last time.
Speaker 4 (27:48):
No, Maid, No to making yourself accessory to murder.
Speaker 1 (27:54):
If you look at it that way, I am accessory
to a murder. There's nothing to be lumb about it.
What else did this man Louis say?
Speaker 4 (28:03):
Nothing except that Froggy has no voide.
Speaker 1 (28:06):
Well, maybe Louis will tell the UH mob to call
it off.
Speaker 4 (28:11):
No, he won't contact anybody now that there's been one killing.
He's terrified of being involved. He's frozen with here.
Speaker 1 (28:19):
Poor guy, poor car.
Speaker 4 (28:21):
What he did and what you all did was a sin.
Do what you worry about that.
Speaker 1 (28:27):
I've got other things on my mind. That car behind us,
for instance, a car now, a big one black I
think been with us ever since we left bucking The boulevard.
Speaker 4 (28:40):
But you sure it's the same one. Slow down the path?
Do you give him a chance to pasture? Okay, he's
dropping back now he's looking a pie.
Speaker 1 (28:51):
No, but that trugg is probably all imagination, perfectly Inno.
Isn't jap no doubt on his way home to his
white and kid.
Speaker 4 (29:00):
Yes, yes, but we can't assume that there's an exit
near here. Get off the turnpike. If he follows us, we'll.
Speaker 1 (29:07):
Know, we'll know we're in trouble. Still there, no, yes,
still yes, Uh, he's after us? All right, Okay, bless sir.
If it's a race you want, well, mister ellis not
so fast.
Speaker 4 (29:22):
You have to turn left at the next light. Stop,
mister Ellis, red light.
Speaker 1 (29:28):
Hat. Oh, don't really chill. His booth lost him, Yes,
he stopped for the life. Doesn't prove a thing except
that he's not taking any chance. He's on a brush
with the law.
Speaker 4 (29:43):
Now, if you were up past the veteran hospital from.
Speaker 1 (29:46):
The cemetery, we had to lose him for good. Oh,
look out for man?
Speaker 4 (29:51):
Alright, God, I was afraid you didn't see. If can
you get back on a turnpike? You turn up that hill?
Speaker 1 (29:59):
Is the insight.
Speaker 4 (30:00):
No, so down, you're coming to a cross or there's
a turnpike entrance over there.
Speaker 1 (30:06):
Good Oh, I'm going to open her up. Pray we
don't get stopped for a ticket.
Speaker 4 (30:12):
A ticket that would be just time with me. A
station house sounds like a nice safe place to summer night.
What are you doing now?
Speaker 1 (30:23):
Eighty five?
Speaker 4 (30:24):
Oh heaven helpus. I didn't know this car had it dinner.
Speaker 1 (30:29):
Oh no, is it here?
Speaker 3 (30:32):
Oh?
Speaker 4 (30:32):
Good lord, he must be doing a hundred.
Speaker 3 (30:34):
That settles it.
Speaker 1 (30:35):
You're ready to get out, No, don't argue. Your life's
in danger. Got John from a moving car with one shot.
Don't stop now. I've got to get you out of
this car. It's a death track.
Speaker 4 (30:46):
Not here at the next gas station, lots of people
in a bright lights. That's the best place, alright, Who
remember how to get to the house?
Speaker 1 (30:56):
Yes, right through Hamilton Village, up river road, right to
a sign that says the Laurel Night and the.
Speaker 4 (31:05):
House at the top of the hill. But don't get
off the turnpike unless you know you've lost him. Don't
let him overtake you on a dark road.
Speaker 1 (31:16):
Here's the gas station.
Speaker 4 (31:18):
Oh, mister ellis I beg you stop here and call
the police.
Speaker 1 (31:23):
I'll get out.
Speaker 4 (31:26):
He'll go to the house.
Speaker 1 (31:27):
Then I'll try. Heaven knows, I'll try.
Speaker 4 (31:31):
I'll phone there every half hour till you ask her.
Oh dear, what can I do? What can I do? Operator?
(31:55):
This is an emergency. Get me the Hamilton Police have Fulton.
H h A M I th that's right. Hello? Is
this the police station in Hamilton? I wanna report a
stolen car. My name Hannigan. The I own the house
(32:19):
on Laurel Hill. Oh this hello Stan Kelly. Yes, this
is May Hannigan. Look this weird looking man. He's middle age,
died there wearing ti dyed pants, striped sneakers and a
sweatshirt with a pair of uh the big red lips
on the back. Uh, A real weirdo. Yes, and uh
(32:41):
I think he's on drugs or something.
Speaker 7 (32:43):
He stole my car.
Speaker 4 (32:46):
Yes, that's correct. And and ah he's got my house
keys as well. He's on his way up there now.
And yes, then will you send a police card anymore? Yes,
I'll I'll be in tomorrow and press charges.
Speaker 7 (33:03):
Thank you.
Speaker 3 (33:06):
Will h h.
Speaker 4 (33:09):
That'll put him where he'll be safe for the night.
Speaker 1 (33:20):
Hello.
Speaker 3 (33:21):
Oh you'll make it.
Speaker 1 (33:23):
Yeah, I was doing ninety most of the time. Ah,
and you never saw a car, not a sign of
One's funny. It's dying cold in this house.
Speaker 7 (33:33):
Ah, yes, I I have the furnace turned off when
I left up a curR.
Speaker 1 (33:36):
You still at the gas station?
Speaker 3 (33:38):
No?
Speaker 4 (33:39):
Uh, Hamburger place down the road.
Speaker 1 (33:41):
Look, do you have any blankets here?
Speaker 3 (33:45):
Yes?
Speaker 7 (33:45):
Uh, upstairs, but I don't think you're going.
Speaker 3 (33:48):
To need 'em. Yes, calcilated.
Speaker 1 (33:55):
But it's I thought I heard something.
Speaker 3 (33:59):
Oh well, it's.
Speaker 7 (34:01):
Uh, it's an old house full of creeks and grown No,
not like that.
Speaker 1 (34:07):
I turned off the lamp and look out the window.
Speaker 7 (34:10):
Isn't there a police car there?
Speaker 1 (34:12):
Why should there be a police car?
Speaker 7 (34:14):
But you're sure there's no police.
Speaker 1 (34:17):
If I'm going back out to the garage, no, no, no.
Speaker 7 (34:21):
No, Well, for heaven's sake, don't leave the house. The
moon is like daylight.
Speaker 1 (34:26):
I am he's in the house with me.
Speaker 7 (34:30):
But don't go out. Stay inside.
Speaker 1 (34:32):
Oh if I only had a gun.
Speaker 4 (34:34):
Uh, the grandfather's gun is there, well, in the desk
where the phone.
Speaker 7 (34:40):
Is barm drawer. But it's in a strong box with
a combination lock. Victor, you're sure it's not the police well,
of course I am uh put on the lamp again.
Uh give you the combination of a lock.
Speaker 1 (34:54):
I'm going to make a dash for the stairs.
Speaker 4 (34:56):
No, no, no, no, you you got to cross the
open the hall. Please do as I tell you. Get
that drawer open.
Speaker 7 (35:05):
Have you got the lamp on again?
Speaker 1 (35:08):
Mister Ellis, I I'm d delighted.
Speaker 7 (35:12):
Do you hear anything now?
Speaker 3 (35:15):
No?
Speaker 7 (35:16):
Uh huh uh keep your hand on the light switch,
turn it off.
Speaker 4 (35:20):
If you see him and got to the floor, go ahead,
you see the lock?
Speaker 7 (35:26):
Yeah yeah, yeah, uh tee, calm, don't make mistakes. Six left, six.
Speaker 4 (35:36):
Two right.
Speaker 1 (35:39):
Two. My hands a sweating a nine right?
Speaker 3 (35:44):
Got it? Got it?
Speaker 7 (35:45):
That's it?
Speaker 1 (35:46):
Yes, yes, it's oopen.
Speaker 7 (35:49):
Huh mister Tyler rich who No.
Speaker 1 (36:00):
I'm well aware of my constitutional rights, and I don't
think you can lock me up. And that's all. I
don't happen to have identification on me. But I can
assure you that I am Victor Fairchild, Elis Junior, Lis
Foger and Green a brokerage burn sure you that outfits
the latest thing on Wall Street. All the brokers run
around in red, white and blue speakers. Come on here
(36:22):
you go. I can explain and explain all you like
in the morning. Now in both of you, I'm an
innocent place stander. I get not to do with this guy.
You could not mud me I and a concealed weapon.
Get moving or are we going to have to give
you a little help? You're not locking me up with
this not the idea. Now, simmer down and get some sleep.
(36:48):
You're going to need your wits about you in the morning.
You a new this, well, Froggy Burns, You're just the
man I want to talk to. And this is a
good place to do it, come to think of it,
it's a great place, the best I I could ever find.
Speaker 4 (37:06):
Oh, I'm sorry I had you arrested, but I didn't
know what else to do.
Speaker 1 (37:13):
Thank the Lord you did. And I've never been so
genera in my life. As soon as I got my
shaky hands on that gun, it went off.
Speaker 4 (37:20):
But I heard too shots.
Speaker 1 (37:22):
Oh uh, well that was Sergeant Kelly. He shot the
lock off the front door and rushed in.
Speaker 4 (37:28):
And where with Froggy throw all this?
Speaker 1 (37:30):
Stillnly glassed in sun poorts trying to pick the lock.
When he heard the commotion, he ran out and the
other cop in the prowl card abden. Uh do you
have the office keys made? Yes?
Speaker 4 (37:41):
Uh, because there's somebody in the office. I heard a
scraping noise.
Speaker 1 (37:46):
We've nothing to fear now here mile opening. It's the
pater say we didn't order a decorating job. What are you?
I can't, mister kee Am I glad to see you. Well,
it's great to see you can't. So you're okay. I've
been wondering about you.
Speaker 4 (38:06):
Oh we were a fraid you decree.
Speaker 1 (38:10):
I'm so happy. All right, Well, what's all this with
a paint and dirty overalls? Well, the day John was shot,
I sent the office staff home early. You can imagine
I was pretty nervous. I noticed there were painters working
in the outside hall, so I talked one of them
into selling me his overalls and some paint and brushes.
And in case anybody should be watching me from another building,
(38:31):
I started painting the back wall here nobody pays any
attention to painters. As soon as five o'clock came, I
walked right out with the rest of the paint crew.
Of course I didn't dare go home so well. I
got an old station wagon and put a sign in
the window. Metior Decorating company. I've been moving around more
or less freely ever since. I think of what I
(38:54):
went through, and you were simply roaming around down with
paint on your face.
Speaker 4 (38:58):
Well both stay now is Kent?
Speaker 1 (39:02):
The contract for killing is has been canceled. Oh, thank
the Lord. No, I can get washed up.
Speaker 4 (39:08):
Suppose we celebrate with a cup of coffee. I can
make them in mister Pos's office, your office now, May, Yes,
that's uh, yes.
Speaker 1 (39:22):
Her office. A great woman Kent. She saved my life.
I I asked her to marry me. Wow, congratulations. No, Uh,
she refused, said what she really wanted with a partnership
in the firm. Partnership. Well that's uh, Swift cries, What
could I do? I gave it to her. Strange having
(39:44):
a woman in John's office, I know, frankly, it bothers me.
My father was very conservative, you know, especially about the firm.
Elice Green Elhannigan. That's not a bad letterhead. No, But
if my father and knew what Hannagan stood for, he
turned his grave. Well, let's look at it this way.
(40:08):
If it weren't for Hannigan, you'd be turning in yours.
Speaker 2 (40:17):
So may Hannigan accomplished two very difficult things. That night
she saved her employer from certain deaths, and she raised
herself into the gilded executive ranks. And that, as any
secretary will tell you, is the hardest thing in the
world to do. But as May herself often says, there
must be an easier way.
Speaker 1 (40:39):
I'll be back shortly. You're driving a car. You knew
you were going to buy the miniature song sky Hawk,
Few weak sky Hawk. You just knew a car this
streamline would be easy on gas, and you were right
and published DPA mileage test results. Sky Hawk got twenty
five miles per gallon on the open road and sixteen
(40:59):
and at the Skyhark. It's racist, it's low slung. It
looks Europeans, but it's a viewing its grain.
Speaker 3 (41:12):
Hi, I'm Burrough ives.
Speaker 8 (41:14):
You know nothing hurts up a meal like an exciting
sight name, and I'd like to tell you about one.
Your family and your guests are sure to love and
keep on loving. It's Uncle Ben's long brain and wild rice.
It's a mouth watering mixture of Uncle Ben's converted brand rice,
wild rice, herbs, and seasoning. It's the kind of side
distance can make an ordinary meal a great meal and
(41:36):
can keep a great meal from becoming ordinary. In fact,
Uncle Ben's Long Grain and Wild Rice is so good
they tell me that most everyone who tries it comes
back for more. That's because there are no compromises in quality.
But that's the way Uncle Ben's does business. So to
make an ordinary meal a great meal, try huncle Ben's
(41:58):
Long Grain and Wild Rice to make sure you get
the party ingredients and good taste I've told you about.
Make sure it's not a ben.
Speaker 1 (42:09):
This Friday and Saturday during Macy's Exciting Today Wholesale, you'll
find dig savings on furniture, TVs, stereos, appliances, mattresses, and
much much more. In Macy's floor covering department, you'll say
three to five dollars a square yard on a selection
of dacron polyester broadroom. Choose from a dense velvet, a
thick plush, or a heavy texture in an array of
(42:29):
solids and tweeds regularly twelve ninety nine to fourteen ninety nine,
now just nine ninety nine a square yard install of
re sponge rubber padding. You'll also find twenty percent reductions
on every custom length drapery at Macy's Choice of styles,
sizes and colors. Fabrics in traditional, contemporary and Early American
designs cut to the exact inch length in standard widths.
(42:51):
Bring your window measurements. All delivered in just three weeks.
There is also a huge assortment of machine washable dacron
polyester Nenon curtains on sale at substantial Sale just a
few of the great buys Friday and Saturday at Macy's
Exciting to Day Home Sale Broadroom at all macy Stores
except Blackbush. If there's a moral to our story tonight,
(43:21):
it's this suicide is not even a loser's game.
Speaker 2 (43:25):
It's no game at all, because death is one commodity
that nobody can cheat you out of. When your option
comes to you, you'll cash in. In the meantime, life
has a lot of surprises in the store. Don't ever
sell it short. Our cast included Anne Shepherd, Guy Sorell,
(43:46):
Court Benson, and Ken Harvey. The entire production was under
the direction of Hyman Brown Radio. Mystery Theater was sponsored
in part by Contact, the Twelve Hour Cold Capsule.
Speaker 1 (43:57):
And Uncle Ben's Long Grain and Wildlace.
Speaker 3 (44:01):
This is a G.
Speaker 1 (44:02):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant Dream.
Speaker 8 (44:22):
The United's War mystery theater was also brought to you
in part I shall write supermarkets where you get a
lot more for a little less.
Speaker 1 (44:36):
The preceding program was furnished by the Columbia Broadcasting System.
You'll have to set for news with John Scott reporting.
This is WR New York an RKO General Session.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
My Favorite Murder with Karen Kilgariff and Georgia Hardstark
My Favorite Murder is a true crime comedy podcast hosted by Karen Kilgariff and Georgia Hardstark. Each week, Karen and Georgia share compelling true crimes and hometown stories from friends and listeners. Since MFM launched in January of 2016, Karen and Georgia have shared their lifelong interest in true crime and have covered stories of infamous serial killers like the Night Stalker, mysterious cold cases, captivating cults, incredible survivor stories and important events from history like the Tulsa race massacre of 1921. My Favorite Murder is part of the Exactly Right podcast network that provides a platform for bold, creative voices to bring to life provocative, entertaining and relatable stories for audiences everywhere. The Exactly Right roster of podcasts covers a variety of topics including historic true crime, comedic interviews and news, science, pop culture and more. Podcasts on the network include Buried Bones with Kate Winkler Dawson and Paul Holes, That's Messed Up: An SVU Podcast, This Podcast Will Kill You, Bananas and more.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.