Who Took the Corpse? | Breakdown - Molle Mystery Theatre

[00:00:11] Have you ever watched a magician work? A really good sleight-of-hand artist can pull lighted cigarettes from the air. He's able to saw a woman in half. He can pull a rabbit out of a hat or make a fountain pen disappear. But have you ever seen a magician who could make a 200-pound corpse disappear?

[00:00:45] Hello creeps, this is T4Y, opening the doors of the Mystery Playhouse. Our story tonight is an imaginative tale called, Who Took the Corpse? It was written by D.L. Champion.

[00:01:11] The Little Town of Fernville's Only Scarlet Crime was born of a corncob pipe and grew to the stature of a celebrated case when its corpse vanished. The crime involved three men. One became the corpse, another the killer, and the third lived to record tonight's story. It all started one night in the Palace Bar, where Sid Doughton, the police deputy, watched Fernville's newest resident amuse the mill hands with clever card tricks.

[00:01:39] The newcomer was good. He was a magician, a suave satanic figure in a red-lined cape. He called himself Marvalo. And Marvalo, Sid Doughton noticed as he crowded into watch, carried his many drinks well. And now, gentlemen, a flip, so, a shuffle, so, and here is your carefully concealed card, the ace of spades.

[00:02:07] Now, gentlemen, will the man who was smoking that horrible pipe desist the odor as offensive? I guess he means that corncob of yours, Sid. May I see that pipe, sir? Oh, sure. Let me knock the ashes out first. Here you are. I placed the horrible object on the bar. So. Then I placed the magic cloth over it. So. What you gonna do, Marvalo? Make it smell like violet? No.

[00:02:38] No. I will do better than that, my friend. Now a magic word. Do shavi. Presto a new pipe. Well. Hey, somebody should have made Sid's old pipe disappear a long time ago. Come, sir. Don't you approve a new pipe for an old one? Nope. I like my old one. Let's have it. I'm terribly sorry, sir. I can't bring your old pipe back. It's in a limbo beyond my call. Bartender, another scotch, please. Marvalo. Sir? Give me that pipe.

[00:03:08] You, sir, are an individual I dislike. A poor sport. Might be, but I'm a deputy. And also, I think you've had a lot of drinks. And also, I think I ought to take you home. Now, come on. It'd be most unwise of you to lay a hand on me, my friend. Yeah, I know. I know. I know. Now, come on. I told you not to lay a hand on me. Hey, Sid. What you doing sitting on the floor? Yeah, lots of chairs around. Hey, that's what they call jujitsu, isn't it? Yeah, that's what they call it. Now, bartender, that's scotch, please.

[00:03:41] Hey, Sid.

[00:04:12] Oh, hang it, Sid. You used to knock pipe ashes out all over. Now you're spilling cigarette tobacco on me. Oh, I'm sorry, Lamb. Oh, I'll see you later. And I'll be at the palace tonight in case the boys rough it up. Yeah. Oh, man. Best deputy in the state, but the untidiest man I've ever seen.

[00:04:40] You can tell it's payday, huh, Sid? Yep. Alice is sure busy tonight, Tom. Uh-oh. What? Here comes your pal Marvolo. Gentlemen. Gentlemen, may I have your attention? Gentlemen, please. Thank you. Who's going for you, Sid? Shut up, Tom, and listen. Card tricks and feats of magic are merely a profession, gentlemen. My basic interest is the study of the occult, the black arts.

[00:05:07] Very few men, gentlemen, have gone as deeply into the forbidden realm of evil as I. Very few men possess my power. What's he driving at, Sid? Shh, shh, shh. I read men's hidden thoughts. I see their souls mirrored in their minds. Tonight, in this room, a man plans murder. That man plans to murder me. You're all my witnesses.

[00:05:35] I will point this man out to you by means of this... Look out, Sid! You blasted fool. All right, Marlolo, you asked for it this time. I don't know magic, but this is a 38, and these are handcuffs. And tonight you can study your black books in our jail. No jail and no steel handcuffs can hold Marlolo, you idiot. What do you say we just try it, huh?

[00:06:14] See you in court, Marlolo. Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha. A little quiet, please. Next case. Daniel Biggs, alias Marlolo. That's the one, Marlolo. Where's the defendant? Sid Dolton's upstairs getting him out of his cell, your honor.

[00:06:44] Well, what's keeping him? Somebody go up in here. Judge Westward. Well, deputy, where's the defendant? He's gone, Judge. Gone? What do you mean gone? Where? Wasn't he in the cell? Oh, he was locked in the cell with handcuffs on. And I locked the outer door, too, but he's gone. Well, that's ridiculous. Any signs of escape? Nope. The door's locked from the inside, and the bars are solid. He's just disappeared into thin air. But I'll find that black devil, your honor.

[00:07:13] But the last thing I do, I'll find... It could very well be the last thing you do, Mr. Dolton. Order! How did you get out, Mr. Biggs? Your honor, how could you expect me to tell you that? The black arts reveal their secrets only to those who keep them. Yes, well, here's a secret the court will share with you. In Fernville, we don't go in for throwing knives around in public places.

[00:07:41] What is all this grudge between you two, Dolton? Your honor, this guy has a screw loose somewhere. He goes around thinking that I want to kill him. And so you do. A half hour after I left the palace the first night I met you, your animal brain had conceived a cowardly plot to murder me and to hide behind your badge of office. That's a lie! I warned you last night, publicly. Today, Dolton, before this court, I warn you that your plan won't work because I am going to kill you first. Why, you...

[00:08:11] Hold it, Sid. Slim, did you hear that? Yep. Now, look, Marlowe. For that kind of talk, I can arrest you again. For killing, I can hang you. You got that straight? Hang, Marlowe. My friend, if your deputy doesn't change his mind about murdering me, I will kill him. And you will be powerless to stop me or to hang me or even to prove I have committed a crime. Good day, O.

[00:08:46] Don't trust him, Sid. Keep an eye on him. Yeah, yeah, he's just a nut. Oh, that doesn't bother me, Lamb. But I'll watch him. Hello? This the freight office? Oh, hello, Tom. This is Sid Dolton.

[00:09:16] Say, did the express stop today? Yeah, that's right. New radio with a phonograph gadget. Sure, I got it for my wife's birthday. Now, look, I took a room at the Palace Hotel, room 212. I want to keep it there and try it out. Send it over tomorrow, will you? Now, don't forget room 212.

[00:09:47] Good morning, bartender. Oh, hey. I must be your first customer. Yeah, you sure are, Marvolo. It ain't noon yet. Will it be? Double brandy, please. Right there. Ah, there you are. Say, you don't come around till night, usually. How come you hear so early? Yes, it is unusual, isn't it? But then it isn't every day that... that one kills a man. Huh? Is it? I'm going to room 212.

[00:10:16] Hey, that's Stoughton's room. He's up there now. There's new radio. Yes, I know. Huh? How'd you know? It's a secret. How I know is my secret. Hey, you can't... Ah, he's nuts. He wouldn't do that and tell me about it. Sid can handle him anyhow.

[00:10:45] In which direction is room 212, please? 212, it's right here, sir. That door over there. Oh, thank you, thank you. Yeah? Marvalone. You can't say I didn't warn you, Doughton. No, you idiot. No, put away that gun. No, you'll hang. Now, don't, Marvalone. Don't. Look, what do you want? This is it, Doughton. And after you're dead, they won't be able to bury you because they'll never find your corpse.

[00:11:27] I saw him. I saw him do it. I saw him lying right there in the blood. Yes, I saw him. I saw him. Yeah, Lime, yeah. Sure he's dead. Marvalone? No. He's just standing in front of the room, grinning. Yeah. Yeah, Bill Sanders has got him covered with my shotgun. Yeah. Yeah, we'll hold him. Hurry up, will you?

[00:12:01] All right, here comes the sheriff now. Yeah, there he is. All right, Bill. Take the shotgun out of his ribs. Well, Marvalone. You weren't bluffing, they tell me. You actually killed Sid. You're the police chief, Mr. Tracy. You expect me to testify against myself? Here's the gun. Thanks. Open the room door, Bill. What's going on here?

[00:12:30] Somebody being funny? There ain't no one in this room. I saw him. I saw him lying right there, Mr. Tracy. See the blood? There's blood, all right. The closet's empty. Window's locked on the inside. Sid's radio half out of the crate.

[00:13:01] Well, Marvalone, where is it? Where is what, Mr. Tracy? Doughton's body. Search me. I see. Bill, how long did it take you to get up here after the shots? Oh, long enough to grab the shotgun under the counter and run up the stairs. About three or four minutes. Where was this guy when you got here, Bill? Right where he is now, Chief. Uh-huh. Fuck you. Hmm? Outside of being my deputy and a fellow human,

[00:13:31] Sid Doughton was a good friend of mine. And I can promise you, you'll dance on the end of a rope for this. Come on, you're under arrest. What for, may I ask? Murder. Murder? But you have no corpse. No corpus delicti. How can you arrest me for murder? I can hold you for 48 hours on suspicion of murder. I should be able to find Sid's body by then. Hey, Lam. Lam the mill just called to see if Sid was here. They're waiting for him

[00:14:00] to bring the payroll down. Oh. Well, now, isn't that a coincidence? Marvolo, you sure picked a fine day for it, didn't you? Now I've got to find a $110,000 payroll as well as a corpus delicti. Well, Lam, maybe the guy really used magic to get rid of Doughton. As a district attorney,

[00:14:29] you make a lousy detective, Milton. You realize I had to turn that killer loose in 12 hours? How about the bullets? Did you find them? Marvolo's gun shows he fired four chambers. It's a .25. That caliber slug stays in a man's body. You searched the palace? Top to bottom. He didn't hide it there. How about his house? Even Superman couldn't carry a corpse over the other end of town and come back in four minutes. But I searched anyhow. The only thing missing was his car. He's got a bill of sales showing he sold it to a dealer

[00:14:58] who drove it west three days ago. Okay, Marvolo. In the first round, I can't hold you any longer. Yes. Well, thank you for your hospitality, Chief, uh, Tracy. Mm-hmm. I think I will leave Fernville.

[00:15:27] That is, if I may. Sure, sure. You're free until I find Sid's body, that is. No, and by the way, you better spend that payroll money you took from Sid fast. Well, you're gonna wind up it ain't gonna be much good to you. Hello, Milton? Yeah, Lamb, what's up? I think I can crack this case. I just got a report on Marvolo's car. I can't make an arrest, of course, but the Chicago police have been able to tail the car

[00:15:57] and they've told me where Marvolo is living there. He's apparently been there since he left here four days ago. I'm leaving for Chicago today. Taxi! Taxi! Look, son,

[00:16:26] I want you to drive me out towards Arlington Park. There's no farmhouse out there I want to get to. I'll tell you where to drop me off. Okay, Pop. All right, son. Drop me off at that crossroad. Don't you want to go to the house you want? Nope. I want to surprise a friend of mine.

[00:16:59] Here you are, son. Keep the change. Thanks, mister. There it is. Mailbox. Daniel Biggs.

[00:17:31] And there's Marvolo's car in the driveway. Uh-huh. Yeah, that does it. Good evening, Chief Tracey. Marvolo. Put up your hands. Well, Marvolo, thought you'd be in the house. I'm getting careless, I guess. Yes, very careless, my friend.

[00:18:00] I was afraid you might track down my car, but it doesn't really matter. Just keep your hands on sight, please. Sir. Let's go inside where it's more comfortable, shall we? Believe me, I regret having to do this, Mr., uh, Tracy. Yeah. Well, you'll probably regret it longer than I will. I'll do you one favor, Tracy. As a detective,

[00:18:31] there are aspects of this case which you might like to know about. Hmm. I'll answer any one question for you. Just one question, Tracy. Before you die. Hmm. That's very thoughtful of your Marvolo. Not at all. All right. What did you do with Sid's body? Your deputy is... Ah! Sid! Sid, don't!

[00:19:09] First time I ever had a corpse save my life, Sid. Sure glad to see you. Tell me what happened, Sid. Sure. Uh, give me a match first. Yes, sir. Here you are. Thanks. Well, there's lots of it that I... I don't know, Lamb. Marvolo comes in the hotel and fires at me. Uh-huh. There's a puff of black smoke from the gun and I pass out. Uh, what then? Well, I don't know where he hid me, but I woke up seemed like years later in the trunk compartment of this car.

[00:19:39] Hank, now that Marvolo's dead we'll never know how he worked it. How'd you get away from him? Worked the ropes loose this afternoon and hid in the orchard. I knew he'd taken the payroll from us. Uh-huh. I saw him nab you, so I waited. Then I moved in. Oh, hang it, Sid. Why do you knock your pipe ashes out on floors? Oh, I'm sorry, Lamb. I forgot. Hey, why are you stopping here, Lamb? Well, might as well get some gas. Besides, I got a phone from Chicago Police about Marvolo.

[00:20:09] You're up? Yeah. You got a phone here? Right inside the door. Thank you. Hello? Police headquarters? Give me Deputy Green, please. Hello, Green? This is Tracy from Fernville. Yeah.

[00:20:38] Say, send that squad car down to Turnpike to Letton's gas station, will you? Yeah, I got them both. The corpse and the killer. Sid! You were listening. Yeah, I was listening. I'd come in behind you. Easy. Don't try anything, Sid. Try anything? Why, I'll blast you one. I'm sorry you made me do that, Sid. Sid. I'm arresting you for the murder of your partner, Daniel Biggs.

[00:21:08] Aliens, Marvolo. That bandage will hold you till the squad car gets here, Sid. Light your pipe if you want to. Oh, thanks. How'd you figure it out, Lam? Oh, well, I don't believe in magic, Sid. Marvolo had to have an accomplice to get out of jail.

[00:21:37] You're the only one who could have helped him stage that hokum? That, that all you had to go on? No. No, man has habits, Sid. Little habits like, uh, pipe smoking. Oh? Yeah. You said you never got your old pipe back from Marvolo. And then you pulled it out when we were in the car. Yeah, I, I gotta guess. How do you, how do you dope out my disappearance? Well,

[00:22:06] Marvolo probably shot four blanks at you. You cut your arm for the blood, the gal saw you lying there, and she ran out. You went out the window to the roof, and Marvolo locked the window after you. And I figure you made it to the car outside of town and waited for Marvolo to show up. And of course you had that payroll with you, so I found it hidden in Marvolo's car. And by shooting Marvolo? You probably thought he was gonna spill the set up to me. You're right, you know. Hmm?

[00:22:36] I wouldn't have had to split the payroll with him. They should have stuck to my old profession, huh, Lem? Yeah, you should have, son. Or you should have stuck to cigarettes. Oh, hang it, Sid. Why didn't you learn not to empty your pipe ashes all over? You're the untidiest guy I've ever seen. I'm sorry, Lem, I forgot. Sorry. Yeah, I'm sorry too, Sid. Mighty sorry.

[00:23:07] Come on, let's go, son. Anyhow, this is the first case in history where the corpse becomes the killer and the killer winds up as the corpse. The story was called Who Took the Corpse? This is T4Y closing the doors of the mystery playhouse and saying good

[00:23:37] night, sleep tight. This is the Armed Forces Radio Service.

[00:25:06] Love to women at once. Maurice Taylor is in a dilemma, a dilemma he fears will drive him to a nervous breakdown, a dilemma he tries to solve by murder

[00:25:22] on the stage of the mystery playhouse. You know, psychologists have demonstrated that a man may have many

[00:25:58] people have many personalities. There is a

[00:26:28] surface personality, his normal routine everyday self by which his friends know him. But deep within his subconscious mind, there may dwell another personality unknown to the world and perhaps unknown even to the man himself. Now, on the surface, Maurice Taylor was an ordinary, apparently respectable middle class Englishman. But deep within his subconscious,

[00:26:57] there was a voice that urged him to solve a certain nerve wracking problem by committing murder.

[00:27:04] about to leave. I must hurry and get aboard.

[00:27:35] Steady now, Maurice, steady. Killing your mistress and making your wife an accomplice to the crime isn't child's day, you know. Yes, I must get hold of myself. Muriel's on the train, and I couldn't stand any wifely concern. Not now, not now. Sorry, madam. Look out where you're going. There are other people on this train beside you. That's a bad beginning, Maurice. Everything must work on the split-second schedule. You must see Muriel and get back to your flat before Vera gets there. Vera,

[00:28:05] the other woman in the papers would call her. Control yourself. If Muriel sees your face muscles twitching like that, she may decide to get off this train, not go to London at all. There you are, Maurice. You don't know what trouble it's been keeping a seat for you. Oh, really? Thank you, Muriel. I was beginning to think the 152 might be too early for you, and I'd have to go up to London alone. I told you if I was busy at the office, I'd meet you at the Chadwick's at 430, remember? Well,

[00:28:35] of course I remember, darling. I just thought that, well... What did you think? Tell me, what was it? Maurice! I asked you a question, what was it? Excuse me, Maurice, let go of my arm, you're hurting me. Sorry. You are in a state, aren't you? You've been getting more and more nervous every day. Oh, I suppose it's just the thought of another dull afternoon at the Chadwick's, nothing but nerves. Oh, good Lord, I've nothing to read, I've got to get a magazine. Maurice, the train will be off any second. But, all right, I can still make the waiting room and back. I'll get on farther

[00:29:05] down.

[00:29:39] Someone sees me leaving the station now. They won't if you don't make yourself so conspicuous. Turn up your way I took to London. Country bumpkins will be pouring out of the station and you can lose yourself in the crowd. I wonder if Vera has arrived at the flat yet. Oh,

[00:30:08] Lord, how mad it is to kill her in my own home. On the contrary. Why shouldn't she visit your home? She's the friend of your wife's, clever part of your plan. Who would ever suspect that you would kill? I must do it today. Otherwise, it would be more than I could bear. My mind is spilling apart as it is.

[00:30:39] I'll go to pieces soon. I'll have a nervous breakdown. Yes, a nervous breakdown. This affair with Vera has been driving me mad. Paper, mister? All the rugby scores. Paper. Get your paper. What's that? Paper? Why should I want a paper? Don't bother me. Oh, just as you say, governor?

[00:31:14] Take me out of the way and I'll have to walk half a mile to the house. There's little chance of anybody recognizing me. I'll sneak down those grubby, improbable streets and go in the back way. I'll be there by three.

[00:32:28] If I don't, the breakdown will pour Vera. I wonder what she'll be thinking about when it happens when I kill her.

[00:34:12] Trying to do break me in half? Your lips are always so cool. Aren't you, darling? You're so very glad today. Am I? And I affect you that way? What do you think life with my wife has been? Well, I'm feminine enough to hope it's been a perfect hell. Your description of it is most apt. Well, aren't you going to take my coat? My glove?

[00:34:42] Oh, yes, of course. The sense of peace I ever get is sitting here, like this in front of it. Peace? Come over here, darling. Sit next to me. At the moment, I'd rather...

[00:35:12] Maurice, there's something strange about you today. You're so near and yet so distant at the same time. No, my dear. Don't endow me with any mystic qualities. I'm merely a middle-class English non-entity who's dared to rebel against the dullness of domestic life. Maurice, have you ever wondered why I've gloried in our assertive appointment? Well? Well, it's very simple. I enjoy all this because you go about it so badly. Oh.

[00:35:42] Is that supposed to be a recommendation? Well, call it what you will, but it's exciting. Flattering. Go on. You're not made for carrying on an intrigue, Maurice. What exhilarates other men just torments you. I've known every night when you couldn't look Muriel in the eyes. You've suffered wretched fits of depression and nerves and all because of me. Maurice, are you listening to me or are you more interested in that silly package you're holding? I'm listening. Well,

[00:36:11] then certainly you must have something to say. Shall I repeat myself and say I'll never again pass an old woman selling lavender without remembering that I once knew someone whose lips were always fragrant with it? Once knew someone? you're very sure I could never give you up, aren't you? Aren't you? How does it feel to have such power over someone else's life? It's damnable being with you and it's just as

[00:36:41] bad thinking about you when you're away. No one could have put it more neatly than you did before. I don't think I like you in this movie. No, let's finish it. We've talked all about Muriel. How about Richard, your husband? Haven't there been nights when you couldn't look him in the face? Richard doesn't mean to me what Muriel does to you. I don't think of him as my companion till death do us part. To live comfortably in this world, Maurice, you've no choice but be philosophical. You mean what? If your marriage is a failure, you simply have to make the best of a bargain,

[00:37:12] especially when the bargain is profitable. Maurice, will you please stop fiddling with that package? There's something in it for you. I've looked forward all day to giving it to you. Oh, darling. No, don't get up. Stay where you are. But I want to see it. You know how I am about presents. Just turn around. Close your eyes. Well, but hurry. Oh, please don't keep me in suspense. I won't.

[00:38:20] So I won't keep you in suspense any long.

[00:39:19] Taken by the thought of having murdered Vera Carraway, Maurice Taylor sits hunched behind his paper on the train to London. He knows it is too late to arrive at the Chadwick's in time to meet his wife Muriel for tea. Well, he'll meet her for the train back home at 6.05. But in the meantime, there is all the devilishly intricate necessity of building a foolproof alibi. He now stands in the crowded London station

[00:39:48] pondering his next move. Muriel, stop thinking about your wife. That's all you've been doing on the train. There are so many other things to occupy your mind. How

[00:40:18] could I brazen it out when Muriel sees Vera's body there in the living room? I'm not that much of an actor to simulate horror, surprise, pity. First things first. Right now there's a very important telephone call. Oh,

[00:40:49] no, don't bother. How long has he been there? Since lunch, eh? No, no message, thank you. Goodbye.

[00:41:55] When you suburban nights will show up? Quite right. Oh, it's wonderful to see you, old chap. Could have made an afternoon of it. Surprising the things you can get done a free afternoon in London, eh? Or have you forgotten old married stick in the mud? On the contrary, Tony, I agree with you. You can get a great many things done of an afternoon. Things no one would ever suspect or know about. You sly old

[00:42:34] not too long, I hope. I say that is a shame. Not your fault. Must be very important. In fact, it is. up you out. Maurice, if you only could, you have no idea how rough things have been. Oh, I say, you make me feel like a swine, make me wait out from the hall for hours when you come bearing gifts. It's all right.

[00:43:05] Must be quite a bit of business you have up your sleeve, Maurice. And I am very glad to be able to do this, Tony. I always felt you never got a real start since we got out of law school. Oh, wretched luck. You've no idea. Well, to get to the point... Sit down, have a drink. No, thank you. I don't think there's enough time. As you know, Tony, my partner Morgan has been ill. In fact, he's been talking of retiring. I believe I heard someone mention it. I had no idea how hard I'd been working until, well, I began to feel a little shaky the other day.

[00:43:35] I can't afford to break down, you know. No, of course not, old man. So I was thinking if you'd care to take it on, you could have a part of Morgan's accounts. George, I can't tell you what this means to me. I always think of the two hours you've been waiting for me as the most decisive moments in my life. So will I, Tony. So will I. Well, I have to go now. Oh, sure about that drink? Quite sure, thank you. I must meet Muriel and

[00:44:05] catch the 605. Try to make it, but... why all this fuss? First all this business about the tradwits and now almost missing the train. Missing it? Why,

[00:44:40] it got them right there in your hand. Oh. Now, come on, darling, or we won't get a seat. A

[00:45:13] seat. Her eyes closed. Her hand so delicately against her cheek. She wasn't at all upset about my not turning up at the Chadwick's. She always meets the disagreeable things in life like that. Gracefully, fastidiously. Good Lord, if I only had her composure. Well, she'll need every bit of it soon when we get home. Home. Oh, Lord, Vera lying there dead.

[00:45:44] Dead. I can't stand it. Stop that. Pull yourself together. But so much can go wrong. I'll give myself away to Muriel. No, you won't. Muriel will hate me. She'll turn me over to the police. Will you stop that, you fool? I wonder if Muriel will scream when she sees the body. Darling, tired, aren't you? Well, you'll feel better when we get home.

[00:46:28] Taxi home. Have you loaded down with all these parcels? There's no hurry about getting home, mister. You talk as though you didn't care when you got home. That's the most stupid thing I've ever heard you say. Oh, I have a rotten headache. You'll feel better after dinner. For heaven's sake, stop being so wifely. nerves, but it doesn't seem to have helped at all.

[00:46:59] Well? Well, what? Well, surely we're not going to sit here in front of our house in a taxi all night. Oh. Maurice, we've got to talk this whole thing out tonight. All right, but let's not begin now. That'll be two and six, sir. Two and six. Arch, you're up. Let me see now. How much did you more than

[00:47:29] enough right there in your hands, sir? Have I? Well, here, take it, take it all. Oh, thank you. Thank you, sir. It's one thing being generous, Maurice, but people don't just dump all their money into a cabbie's hand. I have the key.

[00:48:16] I will just as soon as I get my hat and coat off. That is so terrified she won't watch your reaction.

[00:48:46] What is it? Look, you must let me help you. No one can help me. Maurice, I'm worried about you. You've been acting strangely all afternoon. Everyone at the Chadwick's noticed it. The Chadwick's? I wasn't there. But of course you were. Now, Maurice, I want you to come into the living room with me. Don't go in there. Don't be silly, dear. I have to. I said. Maurice, please, I'm going. No,

[00:49:07] it was

[00:49:55] only in my mind. I was at the Chadwick's, as Muriel said. As Muriel said. Where's

[00:50:48] the Armed Forces Radio Service?

[00:51:45] This has been a Cryptic County podcast. To listen to our other storytelling podcasts, like Let's Not Meet and Odd Trails, visit crypticcountypodcasts.com. We'll see you next time. If this was a horror story, what ought to happen next? It did.