B (4:51)

Yes?

C (4:52)

Miss Waters, would you come in, please?

B (4:53)

Yes, Doctor.

C (4:55)

Miss waters, this is Mr. Carter. Nick Carter.

B (4:58)

How do you do, Detective?

C (4:59)

Yes. I regret to tell you that Mr. Gould did not die naturally. He was murdered.

B (5:06)

Murdered? But Doctor, you said he died of heart failure.

C (5:09)

He did, Ms. Waters. That somebody induced that heart failure. I want to know where were you when Mr. Gould died?

B (5:15)

Why, in the kitchen, I suppose. You see, every day Dr. Bradford comes to see Mr. Gould around 5:00'.

C (5:21)

Clock.

B (5:22)

So about 4:30 I go down to the kitchen to get his supper ready. He likes to eat right after Dr.

C (5:27)

Goes.

B (5:28)

And I was there till Dr. Bradford called me to tell me Mr. Gould was dead.

C (5:32)

Was anyone there with you?

B (5:34)

Cook was, same as always. You don't think I did it, do you?

C (5:37)

Death checking, that's all. Did you give him anything except his regular medicine today?

B (5:42)

No.

C (5:43)

You ever used the glass that was here in the corner of this table?

B (5:46)

Well, that was Mr. Gould's water glass. Anybody could have used it to give him a drink. He drank lots of water.

C (5:52)

Did Mr. Gould keep any valuables here in this room?

B (5:55)

The only thing I know about is that box of his on the shelf under the table over there. He used to. Well, I declare it's open.

C (6:03)

Was it usually kept locked?

B (6:04)

Yeah. Never saw it open before unless he was using it. And look at the keys there on the table. They was always kept under his pillow.

C (6:11)

Let's have a look at that. No, no, don't touch it. Maybe prints on it. That we'll need. Now look it carefully. Like this. This copper surface shows up the prints excellently. Well, what is it, Nick? This is strange. Only one set of prints on this tube. Are they Mr. Gould? I don't think so. I can't be sure. Well, let's see what's inside. Sorted papers, letter from his lawyer, few notes. And a will signed and witnessed by Amelia Waters and Delfina Hayes.

B (6:48)

That's cocaine.

C (6:51)

Leaves a thousand a year to Peter and the rest to Raymond. You must be mistaken, Nick. He'd never leave everything to Raymond. Well, that's what it says here. That's queer. That's very queer indeed. Does Raymond know about this will?

B (7:03)

Oh, no, sir, he doesn't. Crook and I were told to keep it a secret and we have.

C (7:08)

I see. Are both the boys here now, Doctor? Yes, downstairs in the living room. Good. I'll take the dead man's prints and then we'll have a talk with the two sons. You know the law says you have to report a murder as soon as it's discovered. Why ask me a fool question like that? I just wanted to be sure. Maddie. Oh, for the love of Pete. Well, here's the report. Yeah. Gerald Gould has just been found dead in his bed. Apparently died of heart failure. But that ain't murder, Nick. That's your. Well, that. Ah, fooey. But it is murder. Even though the only real proof at the moment is my own hunch. Well, why didn't you say so? I'll have a man up there right away. No use matter, you won't find anything. Won't find anything? Why not? Because I've got all the clues with me. So don't bother sending anyone up here. But Nick, if there's a murder. I can't this time, Maddie. Leave everything to me. I'll see you in a little while. Goodbye then. I'll wait.

B (8:04)

Nick.

C (8:05)

Did you say father was murdered? Boys, this isn't really my assistant. It's Nick Carter, the private investigator. Nick Carter. Now boys, it seems to be a little questioned, but what your father died of heart failure induced by someone who wanted him dead now rather than later. And that's murder. I can't believe it. Do either of you know the terms of your father's will? No, I don't. I've always understood he was planning to leave most of his money to Peter. He didn't exactly approve of me. Where have you two been this afternoon? I've been right here in the living room since after lunch. I came home about 3 o' clock and I've been in my room ever since. Did either of you go to the sick room this afternoon at any time? I didn't. I didn't leave my room. I haven't been near it. Have there been any visitors? No. If there had been, I'd have seen them. Come in, Mr. Carter. What makes you think father was murdered? He left a note which said so. And also there's additional evidence to support that fact in the fingerprints on the glass he used and on the strongbox he kept in his room. Could you explain what you mean, Mr. Carter? Not just now. Then I suppose that if no one came in from outside, all of us here in the house, the cook, the nurse, Raymond and I are all suspects. You are? I'd like to take your fingerprints, if I may. Why? I'll need them as evidence. Just put your fingers in this ink pad so. And on this paper like this. Good. All right. Peter, you don't mind? Not at all. That's right. All right. Thank you, both of you. Now, neither of you will leave town Until I say so. All right, sir. But how do you go about finding a killer in a case like this? Routine investigation, to start with. Look into the backgrounds and personal lives of everyone concerned. That brings out the motives. And frequently gives us information that will help determine guilt or innocence. Together with actual clues present at the scene of the crime, of course. Sounds pretty complicated to me. It's sounds complicated to me, too. But there's one thing about Nick Carter. He has a reputation for always uncovering the guilty party. Once he gets on a case, nothing gets away from him. Well, I wish you luck, Mr. Carter. You better let me wish you luck. Because it won't be lucky for whoever killed Mr. Gould. All right, Doc, you ready? Right with you, Nick. Good day, boys. Goodbye, Dr. Branson. Well, Nick, where do you start this investigation of yours? Well, I think that before I do anything else, I better turn these documents I found on the strong box over to Mr. Lind Gool's lawyer. Oh, I can take them down for you. I'm going that way. Oh, would you? Thanks. I'm glad to do it. That'll let me get to police headquarters a little sooner. Matty must be ready to hang me by now. Well, it's darn near time you got here. You tell me there's been a murder, and then you tell me to stay away. Well, I sent a couple of men up there anyway. I told you on the phone, they won't find anything. I've got the only clues with me right here in the bag. I'm saving you time. Save me time? Yeah, give me heart failure. Oh, what a pal. All right, here we are. Here's a drinking glass, contents unknown, with only the dead man's prints on it. Have it analyzed to see what was in it, will you? Yeah. All right, Mr. Carter. Whatever you say. Thank you. Yes, Sergeant. Come in here. Yes, sir. Now, what else, Nick? Here's a copper box with some fingerprints on it. Gould kept his will and some other papers in it. And here, for comparison, are the prints of the dead man and his two sons. See if the prints in the box can be identified. Yes, Sergeant. Here. Take this glass to the chemist. Tell him I want to know what was in it. And have the fingerprint boys look this box over. Right, Sergeant. And here, Mary, is a note found under the dead man's body. Yeah, Let me see that. He killed me. He gave me. Huh? Well, I suppose he just had time to write this before he passed out. That's what I thought, too. And then when I found this pencil under the body, I wasn't so sure. How do you mean? The note was written with a soft pencil. But the pencil I found is a hard one. So the whole thing is a put up job murder. I told you that before. Yeah, yeah, yeah, I know you did. I'm just thinking. I can think too. Can I? I hope so. Why you. Okay, okay. Now look, Nick, would you mind telling me about the murder? Very simple, Matty. Gerald Gould had a very bad heart. Somebody gave him a stimulant, started his heart racing, overtaxed it and it stopped. He died. So? And without the clues you picked up, it would have looked like a natural death. Not bad. Not bad. Here's a report, Sergeant. Oh, let's see. Glass contained Benzedrine and water. It's an awful deadly combination. Certainly is if the victim had a bad heart as Mr. Gould did. How about the prints in the box? The only prints on the box are Raymond's. And that means what? Considering that the will which was in the box leaves practically everything to Raymond, is interesting to say the least. Y. You mean he did it? I do not. But I'm going to start finding out who did it if I can. Where you starting going? To do some research work on the two Gould boys. Well, good night, Mary. I'll see you soon. Okay. Hey, now look, Nick, will you keep in touch with me? Oh, by the way, Matty, is Demmler street open again? Yeah, they finished it up yesterday. Why? It's a shortcut for me on my way back to the office. Less traffic, saves time. Okay. Okay. So long. I'll be seeing you. Even less traffic here than usual. I wonder if Patsy's back yet. I'd be just like her to wait for me when there's no need of it. Calling Patsy Boone, Private investigator. Calling Patsy Boone. Patsy Boone, Patsy speaking.

B (13:47)

Nick, are you in trouble?

C (13:48)

No, indeed. Just wanted to tell you to go on home. Oh, did you get your hair fixed?

B (13:51)

No, I've been waiting here. I never know when you're going to need me.

C (13:54)

Oh, sorry, Patsy, go on home. Go to bed. I'll tell you all about it in the morning.

B (13:57)

Okay, Nick. Good night.

C (14:00)

Poor Patsy. Always gets done on a roll. Hey. Hey, you. Hey. What are you doing driving through a red light like that? Who's driving through a red light? Well, you big palooka. What's the matter, you color blind? Look at the radiator, my car and the fender while you smash the whole front end. I don't see nothing. Show me where I hit you. Show you. Look here, man. See the way that oh. Oh. Is that you, Patsy? Hello.

B (14:39)

Hello yourself. Oh, gosh, Nick, am I glad to hear you talking sense again. Huh?

C (14:45)

Talking sense?

B (14:46)

Yes. You've been lying here in the hospital for almost two days now, muttering and making no sense at all.

C (14:51)

Two? Did you say two days?

B (14:53)

Practically. That sock you got when you hit your head against the windshield almost gave you a concussion of the brain.

C (14:58)

When I what? Say that again, Patsy.

B (15:01)

I said that sock you got when you hit your head against the windshield.

C (15:04)

Is that what you think happened?

B (15:05)

Why, of course. One of the prowl cars found you lying on the wheel of your smashed car with your forehead all cut and bloody.

C (15:12)

Patsy, it's a plot. I wasn't hurt when the smash up occurred.

B (15:15)

Does your head hurt you?

C (15:17)

Yes, it does. But I'm not out of my mind. After the accident, I got out and started to argue with a mug who ran into me when he suddenly socked me in the head when I wasn't looking. There's a car that ran into me. Still there?

B (15:26)

No. That was a funny thing. The other car was gone.

C (15:29)

Somebody wanted to get rid of me and apparently thought they had, so they towed the other wreck away.

B (15:32)

But Nick, who would want to kill you?

C (15:34)

For a guess, I'd say the same person who killed Gerald Gould was afraid I'd find out too much when I started investigating him. He failed this time and he won't get the chance again. And I'll find out what he was afraid I'd find out just as soon as I get out of this bed.

B (15:48)

Well, the doctor says you'll have to stay here at least another three or four days.

C (15:51)

Nonsense. I'll be out of here tomorrow at the latest. Oh, by the way, have you heard anything more about the Gould case?

B (15:56)

Sergeant Matheson called this morning to ask how you were. That he was getting nowhere rapidly. Oh, he said he heard the gold will was to be read tomorrow afternoon at the lawyer's office.

C (16:06)

Now I know I'll be out of here tomorrow. I've got to be present where that will is red.

B (16:09)

Oh, but Nick, you can't. And why do you have to be there?

C (16:12)

I don't know, Patsy. I just know I've got to be present when Mr. Lynde reads at will.

B (16:16)

But the doctor.

C (16:17)

Doctor or no doctor, I'm going to be at Lynn's office tomorrow afternoon. Now that Mr. Carter has arrived, I shall proceed to the reading of the will. What's the idea of having a detective and a cop here? This is a family affair, Raymond. Mr. Carter and Sergeant Matheson are here, at my invitation. And now, if you're ready. All set up, Mr. Lind. I shall be brief. This will, drawn up by Mr. Gould six days ago, directs that his funeral expenses and all other outstanding debts be paid first. He then directs that $1,000 a year for life be paid from his estate to his youngest son. Peter, what's that? I said he leaves you $1,000 a year for life. That's a dirty gypsy. He always said I was to have it all. Please, Peter, this is no time for an argument. But I can't live on that. Who gets the rest of the money? To his Elder son, Raymond. Mr. Gould leaves the balance of his estate. Father never wrote that will. This is amazing. Father always said I'd get practically nothing. I'll bet you had a hand in this, Ray. Father would never do a thing like that to me. Not unless he'd been influenced. Peter, how can you think that? You had much more influence with Father than I ever did. Let me see that will. Certainly. Here it is. See, I told you something was wrong. That's not Father's signature. I tell you, Father never signed that will. That signature is a forgery. Are you sure, Peter? Of course I'm sure. Get an expert. He'll tell you. Now that I look at it closely, it does look wrong. Excuse me a moment. I know Father would never do anything like that to me.

B (17:48)

This is why you wanted to hear the will read? Did you expect this?

C (17:51)

Well, I expected something, Betsy, but I wasn't sure what. Nick, this changes the whole case around. Yeah. Certainly puts a new light on things, doesn't it? I think I begin to see where we're headed.

B (18:00)

For goodness sake, here's Lind again.

C (18:02)

There's no question about it, gentlemen. This will is a forgery. I see it now. Ray forged the will. Crazy. Forged the will and then killed Father to get the money. I did no such thing. It was you who killed Father.

B (18:12)

I?

C (18:12)

Why should I kill him? I don't get anything out of the will. The boy's right. And it was Raymond's fingerprints on the strong box. Raymond Gould, I arrest you. You don't arrest me. Hey, come back.

B (18:23)

Aren't you going to help catch him, Nick?

C (18:25)

No, no. Mary will get him. He's got the whole police force at his command. I'm more interested in something else.

B (18:30)

Don't you think Raymond is guilty?

C (18:31)

Certainly looks that way, doesn't it? Oh, Mr. Lind. Oh, Mr. Carter, this is terrible. Never before such a thing happened in my office. Mr. Lind, did you ever see this will before? Yes, and that's why I can't understand it. I stopped in to see Mr. Gould the other afternoon, and he showed me the will he had just drawn up by himself. He bragged about saving a lawyer's fee by using his own typewriter and copying a will I had drawn for him some time ago. He said he'd changed the names of the heirs around, but otherwise it was just the same. Was it this will you now have? To the best of my knowledge, it was and is. And get the signature. Did he say why he'd changed the will? Simply said he'd learned something about his son he never knew before. And that he'd be darned if he was going to leave his money to a cheat like that. So this fake will is a copy of Mr. Gould's own will as he drew it up? I think so, as far as I can remember. Oh, it's incredible. Well, fancy. Let's go back and talk to Ms. Waters again.

B (19:25)

Mr. Gould's nurse.

C (19:26)

Right. Situation has changed somewhat since I last saw her. Oh, by the way, Mr. Lynn, you mind if I take this phony will along with me? Not at all, if it'll do any good in finding out what's happened. I think maybe it will. Thanks. I'll see you as soon as I learn. Ms. Waters, you said you and the cook witnessed the will which Mr. Gould drew up himself.

B (19:56)

Yeah, we did.

C (19:57)

Is this your signature?

B (19:58)

Why, yes, that. No, it ain't either.

C (20:00)

I thought not.

B (20:01)

Why, for pity sake?

C (20:02)

Because this will is a forgery, signatures and all. Well, did either of the sons ever borrow their father's typewriter?

B (20:08)

Yeah, they did. Most of them, every little while.

C (20:11)

Patsy, go upstairs, get me a sample of typing from that machine, will you?

B (20:14)

Of course, Nick bring you back every letter there is on it.

C (20:17)

Good girl. Now, Miss Waters, tell me, was there any friction between Mr. Gould and either of the boys?

B (20:23)

Him and Raymond used to argue all the time. Mr. Gould didn't like the way Raymond carried on, but him and Peter got along all right.

C (20:32)

Did Mr. Gould have an argument with anyone shortly before he drew up the new will, do you know?

B (20:37)

Yeah, he did. I was going by his room the evening before, and I could hear him giving somebody what's for?

C (20:43)

To whom was he talking?

B (20:44)

Well, now, I couldn't tell you. The other voice was so low, I don't know who it was. But Mr. Gould got a letter that afternoon, made him all excited. Maybe that was what he was talking about.

C (20:53)

Yes, maybe it was.

B (20:55)

And that reminds me, Mr. Carter, another letter Come today from that same party.

C (20:59)

You mean the one that got him so excited before?

B (21:01)

Yeah. Recognize the fancy handwriting? Want to see it?

C (21:04)

Yes, I think I better.

B (21:06)

Here it is.

C (21:10)

Dear Mr. Gould, why haven't you answered my last letter? I can't wait any longer. If you don't do what I asked you to in three days, I'm going to start something. And you don't want that, do you? Your friend, Alice Fenwick. Return address, 35 Gladstone Place.

B (21:27)

Here's a typing sample, Nick.

C (21:29)

Oh, thanks. Yes, that's the typewriter that was used to type the phony will beyond any question. Good. Well, Patsy, if you come along with me. I'd like to introduce you to Ms. Alice Fenwick.

B (21:40)

Who in the world is Alice Fenwick?

C (21:42)

Well, after I introduce her to you, you can introduce her to me. I don't know her either, but I expect to shortly.

B (21:56)

Gosh, this is a lonely section out here.

C (21:59)

Yeah, it's pretty well out in the suburbs. But we're nearly there now. Hey, Patsy, you see that car parked in the dark shadows under that tree?

B (22:08)

Yes. Why?

C (22:08)

That's the car that ran into me the night I was hurt.

B (22:10)

Are you sure?

C (22:11)

Of course I'm sure. I recognize that patch of light colored paint on the rear fender.

B (22:14)

What's it doing out here, I wonder?

C (22:17)

Maybe there's some connection between that car and the Fenwick girl. She lives in the next house.

B (22:22)

Oh, Nick, hurry. Let's find out. Maybe it's more trouble.

C (22:25)

I hope we're not too late to prevent it. If there is, that mug who knocked me out plays altogether too rough. All right, this is close enough.

B (22:32)

Okay.

C (22:36)

Don't make any more noise than is necessary.

B (22:38)

That's it. I will. Somebody's having a fight in there, Nate.

C (22:42)

That sounds that way. Let's look there through the kitchen window.

B (22:47)

Nick is threatening her.

C (22:48)

I better get in there and fast.

B (22:51)

Nick, he's choking her. He's going to kill her.

C (22:54)

All right, you take your hands off that girl. Up with your hands, fast. Where'd you come from? Keep your hands up and your mouth shut. Patsy, see how she is.

B (23:02)

Sure, Nick.

C (23:03)

Now you. What are you doing here? None of your business. Who sent you? We've got you cold, so your only chance is to tell what you know. Jack sent me. Told me to scare her so she'd shut up about it. Jack who? Jack Gould. Who's Jack Gould? Old man Gould's son. The guy who killed the old man. You sure his name is Jack? Well, how should I know? That's what they call him. How's the girl? Patsy?

B (23:25)

She'll be all right, Nick. More scared than hurt, I think.

C (23:28)

Okay. I'll call Mary and tell him we're coming down. If he's picked up Raymond, and if he can get Peter to join us, car party will be complete and we can settle this case. So you caught Raymond, eh, Mary? Yeah. Excellent. Didn't get far, did he? I'll say he didn't. I'm glad you didn't let him get away. He has to pay for what he did. I didn't do it, I tell you. No matter what you think. All right. All right. You know what, Nick? Raymond here says he only ran away because the evidence looked so black against him that he was afraid he'd be convicted. And that's just the way the murderer wanted it to look. Mary. What? You mean he didn't do it, Nick? He did not. Peter killed his father. No. Better sit right where you are, Peter. I want to check my story for me. You haven't got anything against me? Not a thing. There's a cop outside the door, son, so I wouldn't try nothing. Are you sure you don't want those other two brought in, Nick? Not yet, Mary. Now, here's the story. About a week ago, Mr. Gould got a letter from a girl named Alice Fenwick telling him Peter had promised to marry her. And that on the strength of that promise, she had loaned him almost every cent she had. Several thousand. She says. Peter gambled it away and then told her he was through with her. She told him there was a baby coming and insisted he marry her. He laughed at it. So she wrote his father. After a row with Peter, which Ms. Waters overheard, Gould changed his will. Somehow, Peter found out about it and got the idea that if he copied the will, which left everything to Raymond, copied it just as it was, and forged the signatures, he could claim just what he later did, that Raymond had forged the will and killed his father to get the money. Nick, that's just what he said in the lawyer's office. That was part of his plan, too. Raymond's running away was the action of an innocent man who was scared. So Peter faked the will, then killed Father. Correct. And if the plan had gone as Peter had expected it to, I would have been executed for Father's death. And Peter would have inherited all the money. You can't prove a word of what you said, Carter. I can, or I wouldn't be saying it. It was you, not your father, who wrote the note saying he'd been murdered. You did that to Be sure nobody thought he had died a natural death. And you might have gotten away with it, but you left the wrong pencil with a note. Do you call that proof? And after my interview with you two boys that afternoon, you hired a thug to kill me. And it was just pure luck that he failed. That's a lie. And then this afternoon when you saw me up and around again, you got panicky that Alice Fenwick might be found to tell her story. So you sent this same thug to kill her, too. Peter did all that he did. The thug didn't know your correct name. So I asked him to come down here and identify you. All right. Get him, will you, Patsy?

B (25:59)

Of course not. Will you come in, please?

C (26:02)

Okay. All right. You. Is this man sitting here the one who hired you to bump me off and kill the Fenwick girl? Yeah, that's the guy. You lie. I never saw you before. Oh, so that's the way it is. You're gonna leave me to take the rap alone, huh? Nothing doing, Jack. You're in this as deep as me. Now, wait a minute. You. Nick, you're a wonder. But this one thing that bothers me. Why were the only fingerprints we found on the strong box? Raymond? That's easy, Mattie. If you were a criminal and wanted to be sure you didn't leave any prints on a shiny copper surface, would you wipe off the box before or after you handled it? Oh, that's a silly question. Why? After, naturally. Well, huh? Oh, yeah, yeah, I see what you mean. It was the guy who handled the box ahead of Raymond who was really the guilty one. No one ever wiped the box off before he handled it. Raymond, as a matter of curiosity, when did you touch that box? Right after Father's death. While the doctor was phoning. I looked in the room and saw the box was unlocked. So I sneaked a quick look at the will. That was all. Well, all I gotta say is, son, that your curiosity almost got you executed. If it hadn't been for Nick here. Suppose you watch out. Next time you feel nosy, you may not get off so easy. Well, Nick, it's about time to hear something about next week's story, I think. How about it? Next week, Ken, we're going to hear about a moving picture in which Waldo took an active part.

B (27:39)

But not an active enough part.

C (27:41)

Other clues were a few yellow hairs, a pair of Hollywood sunglasses and a.

B (27:45)

Movie director whose looks in 15 years didn't change at all.

C (27:49)

And what do you call this mixed up mess? I call it the case of the make believe. Robbery. Nick Carter Master Detective, which is produced and directed by Jack McGregor, is copyrighted by street and Smith Publications Incorporated. Pictured stories of Nick Carter appear in every issue of the Shadow Comics. In the broadcasts of Nick Carter Master Detective, Lon Clark is starred as Nick. Charlotte Manson is featured as Patsy. Matthew is played by Ed Latimer. Original music is played by George Wright. Script is by Jock McGregor. Any resemblance in these programs to actual persons, living or dead, or to actual places is purely coincidental. Nick Carter Master Detective is presented over most of these mutual stations each week at this same time. This is Ken Powell saying, so long until next week. This program was heard in Canada through the facilities of the Canadian Broadcasting Corporation. The Equitable Life Assurance Society presents this is your FBI. This is your FBI. The official broadcast from the files of the Federal Bureau of Investigation. Presented as a public service by the Equitable Life Assurance Society of the United States and the Equitable society's representative in your community. One of the happiest hours of the year for every father comes on Christmas morning when excited little fingers untie the ribbons from their gifts. Yes, this is the season at Christmastide when a man realizes that his love for his family is the most important thing in the world. Undoubtedly, that's why in December more than any other month, fathers increase their family's protection with the Equitable Life Assurance Society. After all, what better time is there to see your Equitable Society representative and talk over with him the greatest gift any man can provide for his loved ones. The gift of security through life insurance. Tonight's FBI file. Swampland Killer. Despite many reminders, there are still those who regard the crime wave as something that is happening to some. Someone else. As something that is foreign to their daily existence. Perhaps one single fact, simply stated, will convince them that the crime wave is a grave concern of every citizen in this nation. That single fact is that there are in the criminal files at FBI headquarters in Washington the fingerprints of more than 76 million people, which means that nearly 5% of the adult population of this country have been arrested. That is a sobering figure. A figure that becomes terrifying when you learn that the number of criminals is getting not smaller, but larger. Tonight's file opens in a fisherman's cabin located along a stream near a bleak stretch of Atlantic coast. It is late in the evening and John Perry is resting. After a hearty dinner. His wife Matilda enters.

B (32:19)

John, what are you doing?

C (32:24)

Just resting.

B (32:25)

Thought you were gonna fix the area for my radio.

C (32:28)

Yeah, I am.

B (32:30)

When?

C (32:31)

I just want about 10 minutes rest.

B (32:35)

Me? You're always resting.

C (32:37)

Tilly, please, let's not have an argument.

B (32:40)

I'm not the one that argues, okay? You're the one always starts things.

C (32:45)

All right, Tilly, all right.

B (32:46)

You say I'm a nagger. I'm a terrible wife.

C (32:48)

Tilly, I. I didn't say any of those things.

B (32:51)

You say them all the time. And I'm sick of it. Sick of this old dress I'm wearing. I'm sick of living in this broken down shack. I'm sick of. Where you going?

C (33:02)

Out to fix the area.

B (33:04)

About time.

C (33:08)

Well, what is it? Motorboat coming up to the dock.

B (33:13)

Well, who'd be coming out here this time of night?

C (33:15)

I don't know. Stopping.

B (33:22)

Stopping here?

C (33:23)

Uh huh. Someone's getting on.

B (33:27)

Who is it?

C (33:29)

I can't make them out. Hiya, Tully.

B (33:40)

Paul?

C (33:41)

That's right.

B (33:42)

Paul, it's so good to see you.

C (33:44)

Thanks.

B (33:45)

How in the world did you ever find this place?

C (33:47)

I couldn't get lost in these streams, but trying.

B (33:50)

Paul, you remember John.

C (33:54)

Hiya, John. Hello.

B (33:57)

Well, can you stay awhile, Paul?

C (33:59)

Sure. Tilly.

B (34:00)

What?

C (34:01)

We. We only have room here for ourselves.

B (34:04)

Look, how often does my brother come to visit us?

C (34:06)

Where would he sleep? In our bedroom, where we sleep.

B (34:09)

In the storeroom. What?

C (34:11)

Where is your bedroom, sis?

B (34:12)

Right back there.

C (34:14)

Well then I think I'll turn in. I'm tired. Morning. Good morning. I'm looking for Sheriff Watson. Well, you came to the right place. You're talking to him. Hello, Sheriff. I'm Jim Taylor, the FBI. Oh, FBI, huh? Yes. You're my credentials, Sheriff. Fine. Mm. Well, I'm at your service, Mr. Taylor. What can we do for you? I'm looking for a man who committed a murder about five miles out in the Atlantic. And you think he's around here? Well, let me give you the whole story, Sheriff. Oh, sure. You remember the yacht Mermaid ii? One that caught fire and sank about two months ago? Yes, I remember that. Well, the Mermaid was carrying a couple of hundred thousand dollars worth of jewelry when it went to the bottom. It wasn't insured, so the owner hired a salvage outfit to see if it could come up with the jewelry. I see. Well, they brought about half of it up to the surface to the salvage boat. Last night the man who was guarding the jewelry was assaulted and killed. Well, murderer apparently used a skiff to get out there. We found it this morning down at the mouth of the river. Got any lead on him? Well, there were some clear fingerprints on a bottle of whiskey that was in the skiff. I've sent them off to Our headquarters in Washington. Say, you know, your man could be the one that stole a motorboat. What motorboat? Well, Mr. Taylor, I got a call that a motorboat had been stolen down by the mouth of the river last night. Had been sighted going up the river about an hour later. Oh, I was just about to go out and look for that bull when you came in. I see. Why don't you come along with me? I can, Sheriff. I've got to go back to the hotel to wait for a report on those fingerprints. Well, okay then. I'll phone you if I find anything. Good. I'll wait for your.

B (36:15)

John. Want some more coffee?

C (36:18)

No, thanks.

B (36:20)

Look, are you still sore about Paul being here?

C (36:23)

No, I'm not sore, Tilly. It's just that.

B (36:25)

It's just that my brother isn't welcome in my own home.

C (36:29)

Well, if you want to put it that way, yes. No good Tilly, for you or anybody else.

B (36:34)

He's my brother and he stays here as long as he wants to.

C (36:38)

Tilly. This is my home too, you know.

B (36:41)

Are you starting another argument?

C (36:43)

No, no, but I will if he sticks around. He went to prison once and I.

B (36:48)

John, I've heard enough.

C (36:51)

Okay.

B (36:53)

Now, where are you going?

C (36:54)

Out to do a day's work. Oh, yeah.

B (37:09)

Oh, you're awake.

C (37:11)

Who can sleep with that husband of yours yelling his head off?

B (37:13)

I'm sorry, Billy.

C (37:16)

Ain't you had enough of that guy?

B (37:18)

Listen, you should know what I go through. Always arguing, always picking on me. Always. Hey.

C (37:26)

What?

B (37:28)

Where'd you get all this jewelry, beautiful?

C (37:32)

Friend of mine give it to me.

B (37:34)

Gave it to you?

C (37:35)

Well, not exactly. You see, the stuff's hot and he wants me to get rid of it for him. Oh, I get a piece of the dough for selling it. It's worth about 100,000 bucks. If we sell it, there's a big chunk of cash in it for us.

B (37:50)

What do you mean, us?

C (37:51)

You're fed up with this deal around here, aren't you?

B (37:54)

Sure.

C (37:54)

Well, you help me sell this stuff, I'll cut you in for half of my end, huh? You could live in a house in the city, get away from these swamps.

B (38:02)

Oh, yeah. When do we start?

C (38:19)

Hello, Sheriff. Hello, Mr. Taylor. I got your message you were back. Did you find anything? Oh, not much. I got a bad description of the man that was seen in the motorboat up the river, but. Huh, I don't think it's enough to help us. Did you hear from Washington? Yes. The fingerprints belong to a man named Paul Mitchell. Paul Mitchell, huh? That's right. I don't think I know him. Want me to send out an alarm? No, our field office has already done that, Sheriff. Good. Ms. Mitchell was a bad egg. Long record? Well, not particularly long, but vicious. He was sent to jail the last time for stabbing a man to death. Well, how'd he get out of jail? He was paroled. What? How? Well, in some states, sheriff, the worst killers have been paroled. Well, this is the answer. That kind of carelessness, that's it. But it doesn't catch our man voice. Anything else on his record? Oh, yes. Take a look for yourself. Oh, thanks. Say, Taylor. What? I remember this man. You do? Yes. He's got relatives around here someplace. His sister married a fisherman in this neck of the woods a couple, three years ago. Can you find out this fisherman's name, where he lives? Sure, sure. It'll only take a minute. Wait till I make a phone call and we can get your Paxus.

B (39:44)

No, but it'll only take me a minute. I ain't got much.

C (39:47)

Where do we sell some of this stuff?

B (39:50)

First thing I'm gonna buy is a fur coat.

C (39:52)

What do you want with a fur coat? We're gonna go south.

B (39:54)

I don't care. I want a fur coat. Okay, look, how are we gonna work this? I can't just walk into a place and say I'm selling jewelry.

C (40:02)

Oh, no, no, no, no, no. I've got some dough. We buy a real good outfit for good.

B (40:07)

I get some clothes.

C (40:08)

Then you go into a hot shop.

B (40:09)

Yeah.

C (40:09)

And you tell the man that you lost all your money in bad investments.

B (40:13)

Oh, and I want to sell some of my jewelry.

C (40:16)

Right?

B (40:16)

Oh, that'll be easy. I thought for a minute I would. Oh, hello, John. I thought you went fishing for the whole day.

C (40:31)

I did.

B (40:32)

What brought you back?

C (40:34)

I heard something on the radio in my boat.

B (40:38)

What'd you hear?

C (40:40)

The police are searching for a killer.

B (40:42)

For what?

C (40:43)

For a killer. A murderer. They gave the description of the man they're looking for.

B (40:49)

For what?

C (40:49)

The description fits your brother here.

B (40:52)

What?

C (40:52)

That's right. And that boat he came in, he stole it. Didn't you, Paul? Suppose I did. You admit it was you, then? Yeah.

B (41:00)

Well, you told me.

C (41:01)

Never mind what I told you, Sid. You know the deal or not, I'm in. What do you mean by that?

B (41:08)

Tilly, I'm gonna leave Paul.

C (41:11)

But he's going to jail. Are you kidding? Tilly, we gotta turn him into the police. No, but, Tilly, we got to. He's gonna blow any whistle on me. Paul, put down that chair. I will, as soon as I.

B (41:27)

Home.

C (41:28)

Yes, sis.

B (41:29)

I better finish packing.

C (41:48)

We will return in just a moment to tonight's file which shows how your FBI promotes security for the nation. Now a word to fathers about security for the family. Fathers, for the next few minutes, I'm going to ask all of you to take off your glasses. No, I don't mean the ones on your nose. I mean the rose colored glasses that so many of you have been looking through for so long. Take them off so you can face some facts honestly. Facts that will startle you. Facts that will make you think. Ready? All right, ask yourself this question. If I should die, how would my family get through the critical years before the youngest child finished high school? How long would my wife and children continue to be well fed, well housed and well clothed? Please don't say to yourself, oh, I guess they'd get along all right. That's those rose colored glasses again. What you're after now is a true and honest answer. To help you get it, the Equitable Life Assurance Society has prepared a special back facing chart for fathers which has these three advantages. First, its simplicity itself. You can fill it out in five minutes flat. Second, you are guided every step of the way by easy to understand pictures which illustrate the unavoidable expenses your family will have to meet. Third, when you're finished with this fact facing chart, you'll have a clear, accurate and complete picture of just what income your family would need during the critical years. Okay, I'm through with rose colored glasses. How can I get hold of one of these fact faking charts? And how much does it cost? Why, it doesn't cost a cent. The equitable society representative in your community will be glad to bring you a copy of this fact facing chart. Phone him tomorrow or send a postcard share of this station to the Equitable Society. That's equi t a b l E the Equitable Life Assurance Society of the United States. And now back to the FBI file. Swampland Killer. Your FBI does not wish to go on record as being against the practice of paroles for certain prisoners who have committed crimes and repented. But your FBI very strongly wishes to be on record as saying that at times the practice of parole is unworthy of its name. The theory is good, but the procedure often does not protect society. In the state of Oklahoma, for instance, a mad killer author Doc Bawker was given a parole a number of years ago with the fantastic provision that he leave the state and never return. After that parole, Doc Barker and his gang were responsible for the killing of 12 people before your FBI finally cornered and arrested him. Those 12 murders concern you, the average American citizen, Because there can be another Doc Barker. Unless you care enough to pitch in and work to be sure that you in every town and village, enjoy an honest local government. Tonight's file continues with Special Agent Jim Taylor and Sheriff Watson headed up the river toward the cabin of John Perry, where they hope to get a clue regarding the whereabouts of Paul Mitchell, the killer. John Perry's place is right beyond this turn in the river, Jim. Oh, good. We oughta be. Sheriff, what are we stopping for? I just want to see something up ahead. There. Yep, that's the motorboat we're looking for. Sheriff, is that Perry's house? Yes. Look, let's get out of this launch and approach the house on land, huh? Good idea. Hey, grab that branch there. All right. Hey, wait till I tie up here. Can I help you? No. There, that's got it. Let's go. Right. Hold it here. What do we do? I'm gonna walk up to the door, Sheriff. You come up behind me with your gun drawn. Okay. Nobody home, huh? Well, there was smoke coming out of the chimney. Wait a minute.

B (47:06)

Come on.

C (47:06)

I think I hear someone. Come on, let's go. Come in. Hey, look there on the floor. Yes, I see him. No wonder he didn't come to the door. Are you Mr. Perry? Yeah. Yeah. Who are you? This is Sheriff Watson. I'm Agent Taylor of the FBI. Oh, Mr. Perry, did Paul Mitchell do this to you? Yes, as he did. He ran away with my wife. Was Mitchell's sister. Yes, I remember, Mr. Perry. Do you know where they went? No, but you can look into swamps. Why would they go there? They were raised there. I see. Are you. You trying to rest, Mr. Perry? We'll call the doctor after that. Sheriff. We've got to get Mo.

B (48:06)

Where are we going, Paul?

C (48:08)

I got a hide out in the swamps.

B (48:09)

Who made you pick a place like that?

C (48:11)

So the cops won't find us.

B (48:13)

Oh, where is it?

C (48:16)

About a mile beyond the old hotel.

B (48:20)

What are you pulling into this place for?

C (48:22)

This is where you get out and get your bus for town, huh? Are you sure you got everything straight?

B (48:28)

Yes. I go into town. I go to a hop shop, right? I tell the man that I lost all my money in bad investments, right? I just want to pawn this jewelry for a few days.

C (48:37)

Yeah, all right. Now get going.

B (48:39)

Paul, What? I just happen to think. What do you want to meet me back in the swamp for? Why don't I meet you in town?

C (48:46)

Let me run this.

B (48:47)

But I'm going with you to get away from the swamp.

C (48:49)

Billy, listen to me. We gotta lay low for a while, then we can go away.

B (48:54)

Where are we gonna go to?

C (48:56)

I don't know yet.

B (48:56)

Why can't we go right from town after I get rid of the stuff?

C (48:59)

Oh, Tilly, will you go?

B (49:01)

Okay. Oh, wait.

C (49:03)

Oh, now what?

B (49:04)

How do I get to the cabin? When I come back with the money.

C (49:06)

Take a cab to Palmer's General Store and call me. Phone number is 102.

B (49:11)

You'll come and pick me up?

C (49:13)

Yeah.

B (49:13)

And you'll be sure to wait for me.

C (49:15)

Oh, look, stop talking so much, will you, and get going. Sheriff, we must have stopped at 15 docks so far. Yeah, I know. Not a sign of Mitchell or his sister. You know, there must be some way we can get a clue on those two. Well, that's the last dock right up there. Head. What do you mean, the last one? The last one before we hit the swamps. Oh, once we get into those swamps, there'll be no telling which way they took off. I see. Well, then, let's hope for the best, huh? Look, there's a man there on the dock. See if he knows anything. Hello there. Speaking to me? Yes, sir. What can I do for you? We're looking for a young man, a young girl who came this way in a motorboat about an hour ago. I saw him. Yep, saw him and heard him talk. You did? Just told. You did? What did they say? Well, sir, the girl, she got off here. And the fella, he went on up into the swamps. Do you know where either he or the girl went to? Nope. Excepting that the fella, he held back to her to remember to meet him at the cabin. You don't know what cabin, do you? No, sir, we don't. But I reckon it's in the swamps. Cause that's the way he was pointing. Well, thank you, sir. Thank you very much for the information. Okay, Sheriff, let's go. Do we head to the swamps? No, that'd be too much like finding a needle in a haystack. What else can we do? Well, I think I've got a plan, Sheriff. Let's turn this boat around, head back to your office. Hello.

B (51:08)

Hello, Paul.

C (51:09)

Tilly's. You get the doll?

B (51:10)

Yeah, sure.

C (51:11)

How much?

B (51:11)

8,000.

C (51:12)

Eight thou for a hundred thousand dollars worth of stuff.

B (51:16)

I'm sorry, that's all I could get.

C (51:19)

Are you at Palmer's store?

B (51:20)

Yeah, I'm waiting for you. You gonna pick me up?

C (51:22)

I'll be right down. There. Well, we ain't coming back here.

B (51:24)

No?

C (51:25)

No. I got an idea. We're gonna take a trip.

B (51:28)

Oh, good. Where are we gonna go?

C (51:30)

Cuba.

B (51:31)

Oh, Paul, that's wonderful. Rum drinks and swimming pools and dancing all night.

C (51:35)

Hold it, hold it, hold it. Wait till we get there. I'm leaving here right now. Sailor to plane. Taylor to plane. Come in, Sheriff. I haven't spotted the thing yet, Jim. It's okay. I just wanted to check this equipment works fine. Yes. Say, these small planes don't move along very fast. Well, that's why we use them, Sheriff. You can really spot a territory from up there, can't you? Yeah, I can see every inch of the swamps down there. Good. Say, Jim. Yes? I think I spot the boat we're looking for. Where is it? It's coming along the stream that's marked with a number 34 on our map. 34? Where do I find it on my map? Yeah. Okay, I've got it. Well, you see that little bend just before the stream widens out? Yes. It's about a mile downstream from where I am. Right. And the boat is heading towards you. Then I'd better get moving. All right, Sheriff. Keep an eye on both of us if you can. Let me know if he stops before I reach him. Right. You're headed toward each other still. Okay, Jim. Now wait a minute. What's the matter? He's pulling into a cove. Oh? Where? It's marked Palmer's Cove on your map, Jim. Is that the one about three quarters of a mile from where I am now? Yes, it is, Sheriff. Where's the other boat now? It's pretty near the shore. About a quarter of a mile, I'd say. I don't know how you're going to get there in time. Well, according to my map, Sheriff, the a road that runs right alongside this river. I'm going to try and hit him off by land. Hello, Tilly.

B (53:44)

Gee, I thought you'd never get it.

C (53:45)

Well, I came as fast as I could. Got the dough on you?

B (53:50)

Yeah. See, I think it's wonderful about Cuba. Ever since you took.

C (53:53)

Now look, how do we get away from here?

B (53:55)

I kept the cab. I came in. He's waiting.

C (53:56)

Good. Let's go. Who are you, mister? Special Agent Taylor of the FBI.

B (54:04)

The FBI? What do you want?

C (54:06)

You and your brother know what I want, Paul.

B (54:09)

Is he arresting us?

C (54:10)

That's right.

B (54:10)

But we gotta go to Cuba.

C (54:12)

Where you two go in the future will be decided by a judge in the jury. Paul Mitchell was turned over to the state authorities by the Federal Bureau of Investigation. After being tried and convicted of first degree murder, he was sentenced to death in the electric chair. His sister Matilda Perry, as an accomplice, was sentenced to serve 10 years in the state penitentiary. And so your FBI wrote finish on another file on another career devoted to crime. But as quickly as one criminal career is arrested, another somewhere else begins. There are 25,000Americans every every month who commit their first crime. 25,000Americans who will either be killed or will spend part of their lives in prison. Now, no country in the world, however wealthy, can stand that kind of drain on its manpower. Sooner or later, the loss of those 25,000 citizens every month will weaken the nation. To prevent that, to see to it that this country does not indulge in national suicide. Your FBI is at work 24 hours a day. Soon, it hopes, the tide will turn. Turn in favor of law and order, of decency and the dignity of human. In just a moment we will tell you about next week's exciting case from the official files of your FBI. When the breadwinner of a family dies, what are the critical years for his wife and children? The critical years are the years before the youngest child finishes high school. Years in which the home must be kept together. To help you estimate just what income your family would need during those critical years, the Equitable Life Assurance Society has prepared a special fact facing chart for fathers. Your Equitable Society representative will be glad to bring you a copy of this fact facing chart. Phone him tomorrow or send a postcard care of this station to the Equitable Life Assurance Society of the United States. Next week we will bring you another colorful story from the files of the Federal Bureau of Investigation. The SWINDLING Swami. The incidents used in tonight's Equitable Life Assurance Society's broadcast Are adapted from the files of the Federal Bureau of Investigation. However, all names used are fictitious. And any similarity thereof to the names of of persons living or dead is accidental. Tonight the music was composed and conducted by Frederick Steiner. The author was Jerry D. Lewis and your narrator was Dean Carlton. This is your FBI is a Jerry Devine production. This is Milton Cross speaking for the Equitable Life Assurance Society of the United States. And the Equitable Society's representative in your community. And inviting you to tune in again next week. Week at this same time when the Equitable Life Assurance Society will bring you another thrilling story from the files of the Federal Bureau of Investigation. The Swindling SWAMI on this is your FBI. This is abc, the American Broadcasting Company.

A (58:16)

That's case closed for this week. There's more. Nick Carter this is your FBI this podcast and all of the other Relic Radio shows at the website relicradio.com our shoutcast stream is there as well with even more old time radio and you can donate through the website. If you'd like to help support this and all of the shows, donate. Relicradio.com or click on one of the support links in the show notes. Thanks to those who have thanks for joining me this Wednesday. I'll be back next week with another hour of mystery and crime on Case Closed.