Episode 660 - Statues for the Sleuths: Rex Harrison (Private Files of Rex Saunders)

Summary

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Down These Mean Streets (Old Time Radio Detectives)

Episode 660 – Statues for the Sleuths: Rex Harrison

Release Date: March 15, 2026
Host: Mean Streets Podcasts

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Overview

This episode pays tribute to Oscar-winning actors who portrayed radio detectives, spotlighting Rex Harrison, famed for both “My Fair Lady” and his lesser-known radio role as suave sleuth Rex Saunders in The Private Files of Rex Saunders. The host explores the show’s brief history and stylistic roots, then presents four complete Rex Saunders mysteries, giving listeners a rare chance to hear Harrison in peak form as a razor-witted investigator. The episode features a blend of origin stories, vintage performances, and a behind-the-scenes glimpse through a rehearsal recording, fully immersing listeners in the atmospheric world of golden age radio crime.

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Key Discussion Points & Insights

1. Introduction & Context: Rex Harrison as Detective Rex Saunders

• Oscar Connection: In honor of the Academy Awards, the series spotlights radio detective actors who won Oscars (Rex Harrison, in this case, for My Fair Lady).
• About Rex Saunders:
  • A radio detective series aired on NBC, 1951.
  • Produced/directed by Hyman Brown, who also did Inner Sanctum Mysteries and Bulldog Drummond.
  • Stylistic similarities noted with Bulldog Drummond: foghorn intros, footsteps, sidekick structure (Denny/Alec).
  • Harrison’s “mellifluous voice” was well-suited to radio, but his stint was brief (May–August 1951).
  • RCA Victor was a sponsor, and the series had an East Coast cast recognizable from shows like Philo Vance and Boston Blackie.

“It’s too bad because he did a great job on the series, and it would have been nice to have heard more from him.”
(Host, 01:44)

2. Featured Episodes Breakdown

i. When You Play a Game with Death

• Plot: A high-stakes gambling ship, double-crosses, a mysterious gun, and a missing briefcase put Rex Saunders on the trail of a killer targeting Jerry Connell.
• Notable Details:
  • Rehearsal recording with directorial feedback from Hyman Brown – offers “a bonus peek into how these shows were made.”
• Key Moments:
  • Helen Carmel’s desperate ruse to get Saunders’ help.
  • Gambling ship intrigue—chips with the S.S. Lucky mark as a vital clue.
• Memorable Quote:

  “It’s only a temporary delay till we find out what this pistol hide and seek game’s about.”
  (Rex Saunders, 14:46)

• Twist: The murderer was not the expected villain Tony Marco, but instead, a betrayal from within the victim's circle.
• Resolution:

  “Oh, and by the way, Ms. Connell, the shock you receive at seeing me alive is nothing compared to the shock the state has in store for you.”
  (Rex Saunders, 35:49)

ii. The Lady with Hate in Her Heart (May 2, 1951)

• Plot: A mysterious ocean voyage, a courier delivering $200,000 in diamonds, a deadly imposter, and an elaborate frame-up involving murder and counterfeiting.
• Key Elements:
  • A woman posing as ‘Alison’ manipulates the case; a courier is murdered for more than jewels—a printing plate for counterfeit pounds is hidden in tire tubes.
  • Classic golden-age tropes: mistaken identities, femme fatale, criminal masterminds.
• Notable Dialogue:

  “A dying woman’s message… R O C, then the K. R-O-C-K. Rock. That was part of Ms. Peter’s message to us.”
  (Rex Saunders, 27:29)

• Conclusion: Saunders uses a staged “death” to force the villains’ hand and unravels a high-level counterfeiting ring.
• Atmosphere: The episode is marked by clever banter, as Saunders and his sidekick Alec dodge danger while unmasking a plot abroad.

iii. A Shocking Still Life (May 9, 1951)

• Plot: In Greenwich Village, an artist’s model is murdered, tied to a haunting portrait, acid burns, and a hidden Renoir painting.
• Distinctive Elements:
  • Noir mood with bohemian Manhattan as a backdrop.
  • The “Passing Over” painting is both a clue and a cover for a stolen masterpiece.
  • Multiple murders (model, artist, dealer) all traced back to an art underworld plot.
• Outstanding Quotes:

  “You really shouldn’t keep yourself cooped up like that. You’re much too young.”
  (Rex Saunders, 66:49)

• Twist Reveal: Secret of the painting, hidden Renoir revealed using a chemical solution.
• Justice Note: The episode wraps with the idea that “justice works with hard and bold strokes.” (87:36)

iv. Murder Deep in the Killer’s Mind (June 20, 1951)

• Plot: During Mardi Gras in New Orleans, an escaped convict is gunned down by a masked killer, sparking a tangle of revenge, false leads, and another murder as Saunders pursues the devil-costumed perpetrator.
• Plot Mechanics:
  • Disguises, Carnival chaos, and a critical clue: a public locker key.
  • A sidekick takes a risk in disguise to bait the killer.
  • The real villain, Eddie Ferris, frames Rocky Connors, nearly kills Kitty Miller, but is trapped by Saunders’ evidence.
• Key Exchange:

  “That knife was supposed to put you out of the pitching. That’s the only thing I messed up on.”
  (Eddie Ferris, 110:36) “We found the devil’s disguise in your apartment. What the well dressed murderer should wear.”
  (Rex Saunders, 111:20)

3. Behind-the-Scenes and Thematic Notes

• Occasional direction from Hyman Brown provides a “fly-on-the-wall” experience (see 18:38, 29:56).
• The show’s scripts confront classic noir subjects: greed, betrayal, the criminal underworld, treasure conceals (gambling chips, paintings, secret compartments).
• Recurring motif: the masquerade—be it in art, under Mardi Gras masks, or beneath a criminal’s alibi.
• Host frequently praises Harrison’s star quality and the lost potential for radio drama, linking OTR (Old Time Radio) mysteries to high culture (Oscars, classics).

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Notable Quotes & Memorable Moments (with Timestamps)

• Rex Saunders on the mystery’s misdirection:

  “These things always happen to us. Only a temporary delay till we find out what this pistol hide and seek game’s about.”
  (14:46)

• On gritty justice:

  “We’re determined to see it through. We’re going to bring the murderer to justice.”
  (26:47)

• Defining noir:

  “The look of death.”
  (66:25)

• On elaborate villainy:

  “Who’d ever think of looking inside the tire tubes of your car for counterfeit money?”
  (62:43)

• Theme of prejudice and justice:

  “A divided America with protestant set against catholic, Christian against Jew, or white against negro, could only play into the hands of those who seek to discredit us… Speak up against race and religious prejudice.”
  (116:54, 117:30)

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Timestamps for Key Segments

| Timestamp | Segment | |-----------|-------------------------------------------------------------| | 00:57 | Host intro, Rex Harrison & “Rex Saunders” series overview | | 06:37 | Rex Saunders program begins | | 08:45 | Episode one main case launches: Gambling ship, murder plot | | 39:51 | Episode two opens: Jewel courier on ocean liner | | 65:13 | Episode three opens: The mysterious art shop portrait | | 87:44 | Episode four opens: Mardi Gras, murder in New Orleans | | 116:05 | Host outro: Upcoming episodes, call for ratings, support | | 116:54 | Public service message on prejudice and unity (Vincent Price) |

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Style, Tone & Host Commentary

The host maintains the program’s original vintage energy, channeling classic radio drama’s suspenseful and sophisticated vibe. Commentary is enthusiastic but respectful, laced with nostalgia and genuine admiration for the format and Rex Harrison’s performance:

“Whatever the origin of the show, it gave Harrison a chance to put his mellifluous voice to good work on radio.”
(01:30)

Regular reminders of the show’s ephemeral nature enrich the tribute atmosphere—e.g., noting how rare these “fine performances” are, and reflecting on what might have been had Harrison stayed longer in radio.

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Conclusion

This episode of Down These Mean Streets delivers a first-class, immersive window into one of the Golden Age’s lesser-remembered radio detectives, celebrating Rex Harrison’s brief but dazzling run as Rex Saunders. Listeners are treated to noir-laden intrigue involving gambling ships, art theft, jewel couriers, and Mardi Gras murder, all supported by rich performances and sharp dialogue.

If you're a fan of film noir, detective fiction, or classic radio, this showcase not only entertains but captures a time when star power and sharp writing made sleuthing into high culture.

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Transcript

[Narrator/Announcer]

Get this and get it straight. Crime is a sucker's road and those who travel it wind up in the gut of the prison of the grave. The story you are about to hear is true. Only the names have been changed to protect the innocent. The Adventures of Sam Spade Detective the Adventures of the Saint starring Vincent Price. Bob Bailey in the exciting adventures of the man with the action packed expense account, America's fabulous freelance insurance investigator. Yours truly, Johnny Dollar.

[Podcast Host]

Hello and welcome to down these Mean Streets and more old time radio detectives and crime solvers. In honor of this month's Academy Awards ceremony, we're spending Sundays in March with radio detective stars who took home Oscars for their big screen performances. Today's award winner is Rex Harrison, who won the Best Actor trophy for his performance in My Fair Lady. But before he was Professor Henry Higgins on stage and screen, Rex Harrison was Rex Saunders, a debonair detective on NBC in the Private Files of Rex Saunders. The show was produced and directed by Hyman Brown, who was also behind the scenes of Inner Sanctum Mysteries and another radio show about a debonair sleuth, Bulldog Drummond. In fact, if you listen to them side by side, Rex Saunders feels like a copy of Drummond. From the similar series intro of a foghorn and footsteps slowly walking down the street to the nature of the character himself and his ever present sidekick. It was Denny on Bulldog Drummond and Alec on Rex Saunders. Whatever the origin of the show, it gave Harrison a chance to put his mellifluous voice to good work on radio. Unfortunately, despite a big sponsor in RCA Victor, Rex Saunders only walked a beat on the air from May until August 1951. And Harrison didn't do that much dramatic radioacting outside of Rex Saunders. It's too bad because he did a great job on the series and it would have been nice to have heard more from him. Today we'll hear four adventures taken from those Private Files of Rex Saunders with Leon Janney as his sidekick Alec. The show was produced in New York, so the supporting cast is made up of great east coast radio actors like Jackson Beck, Elspeth Eric and Leslie woods, the people we hear on shows like Boston Blackie and Philo Vance. First up is when youn Play a Game With Death and we'll hear a rehearsal recording that occasionally features feedback from director Hyman Brown. We get the whole story, but with a bonus peek into how these shows were made. Then we'll hear the lady with Hate in her heart from May 2, 1951, a shocking still life from May 9, 1951, and a murder deep in the killer's mind. From June 20, 1951. We'll hear Rex as Rex in 4 Old Time Radio Mysteries right after these messages.

[Narrator/Announcer]

Next time you refresh, enjoy a frosty, ice cold Pepsi Cola.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Sociability, Charlie.

[Narrator/Announcer]

All right, Kay, how's this? Pepsi is light, refreshes without filling. You like to refresh? Have a Pepsi right now.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

We'll offer it to everybody. Charlie.

[Narrator/Announcer]

I will enjoy Pepsi at the fountain. It's delicious at home, too. Have one at lunch or with a snack at the beach or at dinner. Wherever you go, wherever you're thirsty, Pepsi is there.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

It's here too, in our Be Sociable song. Be sociable. Look smart Keep up to date with Pepsi. Drink light, refreshing the tear Stay young and fair Never be smart Sociable.

[Narrator/Announcer]

Have a Pepsi for the weekend. Have plenty of Pepsi around. Pick up an extra carton today. CK I'm sociable with Pepsi.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Everyone is.

[Narrator/Announcer]

Here's sensational news for shavers. A terrific money saving offer on Colgate Shave Cream and Ever Sharp Shick Injector Razor. Listen. For only $0.89, Colgate offers you one, a genuine ever Sharp Shick Injector razor whose retail value alone is $1. Two, an injector with 10 blades and three, a large size tube of Colgate Shave Cream, either Colgate Brushless or Colgate Lather. And you get all this for only $0.89. Right, men, here's your chance to get the ideal shaving combination at tremendous savings. Imagine, only $0.89 buys you a genuine Ever Sharp Shick Injector Razor. The world's only razor that changes blades automatically. As Bill said, its retail value alone is $1. You also get an injector with 10 super keen, super smooth ever sharp shick blades. Retail value $0.49. And to top it all, there's a large size tube of Colgate Shave Cream. Take your choice. Colgate Brushless or Colgate Lather. In one combination package, you get everything you need for swift, smooth, comfortable shaves. And it costs you only 89 cents. Yes, sir. Colgate offers this outstanding bargain to prove that no cream tops Colgate Brushless or Colg Lather. For shaves that are slick, sweet and free of razor scrape. Whether you prefer a brush and you try Colgate Rapid Shave Cream or you choose the convenience of Colgate Brushless, you'll find this because they're light and finer textured, Colgate Shave Creams completely surround, soften and support each bristle better than greasy heavy creams. Your razor doesn't skid or slip but when you use Colgate Brushless, it cuts through clean and smooth. Try it tonight. Good evening. This is your Rexall family druggist with a welcome from the 10,000 independent druggists

[Rex Saunders (Detective)]

who have made the word Rexall part

[Narrator/Announcer]

of our own store names.

[Rex Saunders (Detective)]

We've done that because we recommend and sell the 2,000 or more drug products made by the Rexall Drug Company.

[Narrator/Announcer]

Like Rexall Milk of Magnesia, for example. Here's the milk of Magnesia that's so pure and creamy smooth, so free from that unpleasant earthy taste, even children spot the difference. Ask for the Rexall Milk of Magnesia

[Rex Saunders (Detective)]

at Rexall Drugstores everywhere.

[Narrator/Announcer]

And remember, you can depend on any drug product that bears the name Rexall. Ed Stevens of Long Beach, California, is the Whistler fan who receives a $20 signal gasoline book this week as a token of our appreciation for sending in this limerick. There once was a driver named Abbott whose car took off like a rabbit. Signal Ethel said he is the fuel for me. From now on I'll make it a habit. Signal, Signal, Signal gasoline. Your car will go far with go farther gasoline. If, like our friend Abbott, you like pickup that's quick as a rabbit, then Signal Ethyl is a gasoline for you. But flashing pickup, mind you, is only one of the improvements you'll discover when you power your car with this super fuel. In addition, you'll enjoy Signal Ethyl's extra power that makes cars fairly fly up hills and makes passing safer. And you'll be amazed at your engine's contented ping free purr. For Signal Ethyl is scientifically engineered to bring out the very peak of performance your car is capable of regardless of age. So why not discover how much fun driving can be? Next time, treat your car to a tank full of the gasoline that's packed with more gold. Next time, fill up with Signal Ethel. I dedicate this program to the fight against crime. Not merely crimes of violence and crimes of dishonesty, but crimes of intolerance, discrimination and bad citizenship.

[Rex Saunders (Detective)]

Crimes against America.

[Narrator/Announcer]

Rex Harrison stars in another intriguing adventure from the private. Don't. It's a little too fast. All right. Rex Harrison stars in another intriguing adventure from the private files of Rex Saunders. Concerning gambling, a roulette wheel has no conscience. For you're bound to pick an unlucky number when you play the game with death. The National Broadcasting Company brings you Rex Harrison, brilliant star of stage and screen in the newest and most exciting detective adventures taken from the private files of Rex Thunder. It all started on the gambling ship. Riding at Anchor beyond the mile limit, the speedboat slows down and then glides gently in alongside the gambling ship. The swarthy man gets out, mounts the swaying steps to the gaily lit deck and makes his way through the crowd, briskly acknowledging a greeting here and there. He continues along the deck, past the series of gaming rooms and then stops before a door marked Tony Marco, Private.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Hello, Tony.

[Narrator/Announcer]

Look, Vera, I told you I didn't want to be disturbed tonight. I told you I was gonna be busy in town.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Tony, I know about your important business in town.

[Narrator/Announcer]

Oh, so that's it. That's why you dragged me out here. No way, Vera, how many times do I have to tell you? You and me are only partners on this quick money scowl. That's where the partnership ship in.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Okay, okay, Tony. Just wanted to let you know that he's back again.

[Narrator/Announcer]

Who's back again?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

That stepbrother of hers, Jerry Connell.

[Narrator/Announcer]

What?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

And losing heavy.

[Narrator/Announcer]

Where is he?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Inside at the roulette table. I tried to get him to leave, but he started to make trouble. I thought you'd want to handle it yourself. That's why I sent for you.

[Narrator/Announcer]

Okay, I'll handle it. Make your bets.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

There he is, Tony.

[Narrator/Announcer]

At the end of the table as I see him. You stay here. Make your bet. Hello, Jerry. Mr. Connell to you. Marco, I asked you to stay off this boat. Something wrong with my money, Marco? Bet's closed. Rocky. Hold that wheel a minute. Pick up your bet, Jerry. Pick it up and get out of here. Afraid I might get back some of my losses, Marco. How much did you go for it so far? 1500. Why? You'll get it back from the cashier. Not on your life, Marco. I'm not taking back that money. You're not dealing with my sister now. I'm one Connor with a little pride left. No cheap tin horn gambler can buy me off the way you buy her off. Gary, I don't like the way you talk about Helen. Well, you are buying her off with your lousy money. You're gonna remember never to talk like that about Helen. Okay, Rocky, pick him up and get him back to shore. Never mind. Now I'll give you something to remember. Marco, I'd rather see Helen dead than married to you. Or even better than that, I'd rather see you dead. Marco, I checked our baggage through Chicago X. All right, Alec, let's get aboard.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Oh, I thought I'd not get even time, but. Oh. Oh, I'm so sorry.

[Narrator/Announcer]

Believe me, young lady, so am I. Sorry not to deceive whoever he May be.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Please forgive me, I. I thought you were a friend. You look so much like Steve. You dress the same way too. How stupid of me to come up and throw my arms around a perfect stranger.

[Narrator/Announcer]

Well, it's the one way of making strangers friends. Mr. Saunders, our trained.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You will forgive me, won't you?

[Narrator/Announcer]

Yes, of course.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Thank you. Goodbye.

[Narrator/Announcer]

Goodbye. Well, Alec, that was a pleasant send off for our trip. Rhett. Yes, it was that girl. She disappeared into the crowd. Yes, rather hurriedly. Well, no wonder. Your briefcase is gone. She took it, I know she did What? And you let her walk off just like that? Alec, get our baggage off the train. We're postponing our trip to Chicago. I'm going to scout around the station. Meet me at the information booth in 15 minutes. Well, all right. And in the meanwhile, you better hold on to the collateral the young lady left and return to my briefcase. What are you talking about? During our embrace, she slipped this pistol into my top coat pocket. Did you find her? No. I've been waiting here at the information brew for 10 minutes. What took you so long? Well, I. I don't know how to explain it to you. At first I thought it was just lost, but now I think I know how it happened. I'm sure of it. What happened? What are you. I was getting our baggage off the train and a man bumped into me. It was done. Purposeless addict. What the deuce are you talking about? That pistol you gave me to hold. It's Miss. I had a feeling earlier this evening that something would happen to prevent us from going on that trip. These things always happen to us. Only a temporary delay till we find out what this pistol hide and seek business go. It's only a temporary delay until we find out what this pistol hide and seek game's about. Chris, I'm particularly interested in locating a mysterious young lady. What I don't understand is why she should steal your briefcase. There was nothing of value in it, apparently, was alex, but. What? 10 at the next corner. I thought we were taking our baggage home. We are, eventually. Right now there's a car behind us. That black sedan. What's so unusual about that? It's been following us ever since we left the railroad station garage. That's just a coincidence. We'll soon find out. All right, turn now. You were right. It's still behind us. We are being followed.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Why?

[Narrator/Announcer]

Well, we'll soon find that out too. The next corner. Put out your hand to signal for a right turn. Then quickly swerve left to a short stop. I get it. Block the street. That's it. You better hold tight. There might be a minor collision. We're coming to the corner. Get that. I'm ready. Here we go. Let's go. All right, you can come out of that. Well, it's that girl. Well, young lady, you're still looking for your friend Steve.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

No, there isn't any Steve.

[Narrator/Announcer]

I didn't think there was. Now, why did you steal that briefcase and where is it?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

It's in a car. I was going to return it to Mr. Saunders.

[Narrator/Announcer]

Well, Alex, she knows who I am. That puts another one up on us.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I can explain everything. Mr. Saunders, I took that briefcase to stop you from going to Chicago. I had to do something to stop you from leaving town.

[Narrator/Announcer]

Why?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Well, I want your help. I called your apartment this afternoon. I was told that you were leaving for Chicago tonight. My name is Helen Carmel.

[Narrator/Announcer]

Carmel? That's right. Ms. Carmel did call. I told her you weren't taking any cases.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Mr. Sanders, I need your help desperately.

[Narrator/Announcer]

So you tried a desperate trick.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Well, wouldn't you? To save a man's life.

[Narrator/Announcer]

Who's the man?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

My stepbrother, Jerry. I've got to find him before he's murdered.

[Narrator/Announcer]

And just why is Jerry's life in danger?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I don't know. He wouldn't tell me anything. He just left the house. After what happened last night, I haven't been able to find him anywhere.

[Narrator/Announcer]

You mentioned last night. What happened last night?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Well, as he was coming into the house, someone shot at him. Luckily, the bullet only grazed his arm.

[Narrator/Announcer]

Well, then we might find out what it's all about. If we can track down the gun that fired the bullet. Bush.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Oh, I found it.

[Narrator/Announcer]

Where?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

In the bushes outside our house. That was a gun I slipped into your pocket back at the railroad station.

[Narrator/Announcer]

RCA Victor again brings you the top in popular records. The smash hit songs of the day by a trio of artists whose words and music are taking the Nation by Storm. Three stars, three songs. Dennis Day and his sensational new release, Mr. And Mississippi Henry. Renee's superb arrangement of I'm in Love Again. And Vaughn Monroe singing the Ballad Old Smokey. Three great songs recorded by RCA Victor in all three records. Speed, 78, Long Play and 45. And they're available now.

[Rex Saunders (Detective)]

Hear them, buy them, take them home with you.

[Narrator/Announcer]

Their records you and your family will enjoy playing over and over again. So be sure to ask for these best selling popular records. And at the same time, listen to Vaughn Monroe's other great recordings of old soldiers. Never die and sound off. Hear this fine music on A new Victrola radio, phonograph console.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Hello, Mr. Saunders? This is Helen Connell.

[Narrator/Announcer]

I'm sorry, Ms. Connell, nothing to report yet. No trace of your brother so far.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Yes, but I know where Jerry is.

[Narrator/Announcer]

What?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

He just called me a moment ago.

[Narrator/Announcer]

He's all right.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I don't know. He cut the conversation short. He said he was being watched. Someone was outside the building.

[Narrator/Announcer]

Did he say where he was calling from?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Yes, he did. He's in a rooming house down at the waterfront.

[Narrator/Announcer]

622 Grant St. 622 Grant St. Second

[Female Character (e.g., Helen Carmel, Kitty Miller)]

floor in the rear. I told him that I was sending you down.

[Narrator/Announcer]

All right, Ms. Connell. We'll have Gary home in an hour. Down the steps, Colonel, to the boat. Where are you taking me, Rocky? For a boat ride out to Marco's ship. Maybe Marco's wasting his time. I've got something to say to him. None of his tricks are going to work. Get into the boat. Okay, you're steering. Go ahead, start it up. Turn off. Maybe you're in for a little surprise. What do you mean? You're in my hands. And I got a little trick that I think is going to work. Yeah, I think it's going to work. Good. All right, shove off. I spoke to the landlady, Rex. What did you say? A man rented this room last night. He said his name was Jerry Connell. But the landlady's description of him doesn't fit the one Helen Connell gave us. I see. Now, why should someone pose if Carmel. I don't know. Did the landlady team go out tonight? No. Did you find anything? Here? Just these. What are they? Gambling chips. Not much to go on, eh? No, I don't know about that, Alec. These chips are just out of place. Enough to excite my interest. What do you mean? They're marked S.S. lucky. S.S. lucky. Well, that's the gambling ship that's operating out beyond the three mile limit. That's right, Tony. Marcus gambling ship going out to Marco's ship tonight to try our luck. Yes, Alec, and try our luck at preventing a murder. Let me stop that. Do. Do that. Give me the cue again and do it again from the top of the page. Do it from the top of the page, please. SS Lucky. Quiet. Where Trump at 12. SS Lucky. Well, that's the gambling ship that's operating out beyond the three mile limit. That's right, Tony. Marco's gambling ship. They're getting out to Marco's ship tonight to try our luck. Yes, Alec. To try our luck at preventing a murder. Okay, Jerry, cut the motor. I said cut the motor. We're stopping here. What are we doing here, Rocky? You said you were. You were taking me to Marco's ship. You said so. I didn't. You get wrong. Now, what is this? This is where you get off. What? This is where you go for a swim. All right. Over the side, Rocky. My way. I said over the side. Rocky, listen to me. Please. Take me to Marco. I want to talk to him. Don't you remember, Jerry? You said you got nothing to say to Marco. He can marry my sister, Helen. I won't say a word. Don't open my mouth. I'll give him my word. Only don't do this. Please. Rocky, listen. I said get into the water. But I wouldn't have a chance. Sure, you got a chance at life, boy. He hit a bell. It's only about 100 yards off. All you have to do is swim to that boy. I can't swim. That's what I hear. He can't swim. It's too bad. Now get over the side, Rocky. Don't push me. Free forever. Rocky. Rocky. Hello, Saunders. Hello, Marco. I heard you were a boy. I had an idea that bit of news would travel to your f. Well, it's the visit for it. Oh, just looking around. You expect me to believe that? No, I really came out, Marco, to return some stray property of yours. Like what? These gambling chips. You catch them in at the window. I wasn't thinking of these chips in the terms of surrender value. Well, that's all they're good for, Saunders. Just money. No, I don't know, Marco. These particular chips have an extra value. I found them in a rooming house in Grant Street. Well, sometimes the customers keep Mr. Veneers. I see. Well, the particular customer I'm thinking of was Jerry Connell. Being an attempt made on his life, maybe others. What are you telling me for it? Somebody aboard this evening indicated that you and Connell had rather bitter words the other night. Oh, that didn't amount to anything. The kids hot headed. That song. I also understand that you and Jerry's stepsister Helen are friendly. Okay, Saunders, what are you driving at? Jerry would do anything in his power to break up the match. And from what I understand, you'd do anything in your power to keep it from being broken. That's right, I would. Well, Marco, that's another reason why I dropped around. Just to tell you that it would put you in a difficult position. I'll start it again. Well, Marco, that's another reason why I dropped around just to tell you that it would Put you in a difficult position if anything should happen to Jerry Connell. So you understand, in a way, it's now up to you to see that nothing does happen to Jerry.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Tony, I just saw the paper. That Connell kid's body was washed up in the waterfront this morning.

[Narrator/Announcer]

Yeah, I know.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I told you that. Demon get you into a jam, huh?

[Narrator/Announcer]

What are you talking about?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

That Connell kid's murder. Paper said it was a drowning. But you know it was murder, Tony.

[Narrator/Announcer]

What do you mean I know it was a murder? Where do you get that stuff from?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Even if you didn't do it?

[Narrator/Announcer]

Even if I didn't do it, they

[Female Character (e.g., Helen Carmel, Kitty Miller)]

pin it on you anyway. That's why Saunders was out here the other night. They're wise to you, Tony.

[Narrator/Announcer]

What's wrong with you, talking that way?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Tony, listen to me. My name is Vera. That's some tricky snob from uptown. I'm with you like I've always been with you. If we can get away from here, maybe it could beat this. We can get to South America. We got this boat. We'll do all right, Tony. You and me. Be just like it used to be. Like it was before it. Cheap money grabbing dame. Put you in by the ears.

[Narrator/Announcer]

Talking about a lady that way. Talking about Helen that way. Me go away with you? Why, I wouldn't be seen dead with you. Now get out of here.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

All right, Tony. But you're going to be sorry you didn't listen to me. You're going to be very sorry.

[Narrator/Announcer]

We're awfully sorry, Ms. Connell.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You and Mr. Saunders did everything you possibly could.

[Narrator/Announcer]

We might have quite a job proving that Jerry's death was not an accident. But we're determined to see it through.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Doesn't matter now, Mr. Saunders.

[Narrator/Announcer]

Oh, it does. It matters very much. We're going to bring the murderer to justice. And by that Mr. Saunders means Tony Marco and whatever henchman of his did the actual killing.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Oh, but Tony wouldn't do a thing like that. I know he wouldn't.

[Narrator/Announcer]

You better get there, Alex.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Oh, thank you.

[Narrator/Announcer]

Hello? Oh, yes, he is. Just a moment, please. It's for you, Rex. A woman. Hello? Yes, this is Rex Saunders. I certainly would. Pier 65. A blue Nash sedan. I'll be there. Death at 9. Promptly. Well, Ms. Connor, we may be nearer to a solution than I'd thought. That was Vera Peters on the phone.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Tony's partner?

[Narrator/Announcer]

Yes. What did he say, alec? We're meeting Ms. Peters at the waterfront. She said she has information which will lead to Derry's murderer tonight. A blue Nash sedan. There it is over near the pier light. Let's go. Just nine. We're in time for our appointment. Have you thought that this might be some sort of an ambush? After all, Ms. Peters is Marco's partner. I thought just Aleck. You've noticed the auto that's just pulled up behind ours? It's a police car. Oh, you'll be well covered. And remember, I'll do the talking. You just keep your eyes open. Ms. Peters. I'm Ms. Peters. What's the matter with her? She's been stabbed. Ms. Peters is dead. We were too late again. Yes, Alec. Seems as if the murderer made a previous appointment with. Yes, Alec. It seems as if the murderer made a previous appointment with Peters. Wait a minute. What is it? This lip rouge on the window windshield. She was trying to write something to make out. R O C, that nice letter. Notice the way the line starts to curve down there. That's unmistakable. It's the K. R o, C K rock. That was part of Ms. Peter's message to us. Rock. What could it possibly mean? I'm sure Tony Marco can some find me with the answer to that question and many others he didn't respond to on my last visit to his ship. I'm going up there again tonight. Only this time Alex, I'm coming back with the answers. And Tony Marco. Back to the climax of our story in a moment. You can buy it for a song. Yes, for as little as $12.95. You can now own the wonderful economical RCA Victor 45 attachment. This neat, compact, easy to play record changer can be attached to and play through your present radio, phonograph or television set.

[Rex Saunders (Detective)]

And think of it.

[Narrator/Announcer]

With no trouble at all. You can load up to 14 records on your 45 attachments. There are no posts or clamps to adjust. Then press a button, relax and listen to the clear distortion free music of your choice. Wonderful music. Yes, the RCA Victor 45 system sounds better and plays easier than any other system of recorded music. What's more, you'll find an enormous selection of 45 records to choose from. Now you can hear all your favorite recording stars on Handy non breakable 7 inch records. So as soon as you can be sure to see and hear the superb low cost RPA Victor 45. Look Saunders, you're just wasting your breath with those questions. And Marco, you have no idea what the word rock could possibly mean. That's what I told you. It don't mean anything to me. Oh, I know what you think. But you've got me wrong. Yeah, gambling's my business, not killing. I'm just as anxious to have Vera's killer nad as you are. I see. But what about Jerry Connell's murderer? Well, that one too, for Helen's sake. I didn't like Connell. I admit it. I hated his guts. But I did kill him. I didn't say you did. It's upset Helen real bad. And that's what gets under my skin, seeing Helen that way. Frank Marco, I don't understand concern for Helen Connell. And I understand much less her concern for you. Okay, maybe then you understand this. No one was supposed to know about it. But I'm telling you, just for the record, Helen and I were married two months ago. Watch your step, folks. Watch your step. Going up. Oh, Rocky. Yeah, Mr. Marco. Take Mr. Saunders here back to shore right away. Don't wait to load up. Sure, Mr. Marco. Pop in, mister. Thanks. Well, special express for you, huh? So it seems. I believe I heard the other gentleman call you Rocky. Rocky's my name. Reminds me of something. Yeah? What? Handwriting on an auto windshield. A dying woman's message that. What does this remind you of? That gun? That reminds me strongly of two murders. Quite a coincidence. We could meet this way. No, it isn't. I was waiting for you, Saunders. This isn't for the right time. Then I presume this is it. This is it. Here's where you get off, Saunders. And then this is how it is at the Jerry Connell. Yeah, you're getting the same break. But I can swim Rocky in cat. A gambling ship isn't far off. I might make it. Aren't you being a little careless in your rush to get rid of me? How funny you think you'll get fonders. How far after I plow into you with both? I'd rather answer that question. Okay, then. Suppose you get parted. Go and get over side. I got a report to make on this. Hello, Ms. Honnell. Rocky. Well, I met up with Saunders tonight. I had him out in the boat like Jerry.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Is he finished?

[Narrator/Announcer]

Yeah, it's all finished. Good.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Marco will get the blame for that one too. That will concert Rocky.

[Narrator/Announcer]

Ms. Connell. Yes? The deal's closed, right?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

That's right.

[Narrator/Announcer]

So I'm coming up for the payoff.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

All right, Rocky, come on up.

[Narrator/Announcer]

I'll be waiting.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

What?

[Narrator/Announcer]

I'm coming. Hello, Helen.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Tony. What are you doing here this time of night?

[Narrator/Announcer]

Oh, just thought I'd stop in for a talk.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Oh, darling, it's awfully late. Tomorrow, huh? I'll see you tomorrow.

[Narrator/Announcer]

I know, Helen. Tonight we're having that talk tonight.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Tony. Please go, because you can't come in. Look, I'll explain everything tomorrow.

[Narrator/Announcer]

You're through explaining things, Helen. You're all through. You're finished. You're washed up. I know your game. I know you were dealing to me from the bottom of the deck.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Tony, what is the matter with you?

[Narrator/Announcer]

You rotten little killer. You had it done to Veering. You had it done to your stepbrother. You.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You don't know what you're saying.

[Narrator/Announcer]

You were setting me up for a murder rap so you could cash in on me.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

When you say things like that, where'd you get such ideas from?

[Narrator/Announcer]

You got them from me, Mr. Cinderella. And they're not just ideas. They're facts. The facts, Rocky included in confession. But.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

But I thought Rocky said that you

[Narrator/Announcer]

were dead and they're not just ideas. They're not just ideas. They're the facts. The facts, Rocky included in his confession.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

But I thought Rocky said that you were dead.

[Narrator/Announcer]

I would be if it hadn't been for Alec in a police patrol boat standing off the gambling ship. Alec?

[Rex Saunders (Detective)]

Yes.

[Narrator/Announcer]

Right. You can take her down to headquarters now. It'll be a pleasure. Oh, and by the way, Ms. Connell, the shock you receive at seeing me alive is nothing compared to the shock the state has in store for you. Sam. Join us next week at this same time when Rex Harrison, brilliant star of stage and screen, brings you another intriguing adventure taken from the private files of Rex Gonder. Next week it's concerning blackmail. Concerning blackmail. A dangerous game which paid off in either high dividends, more shallow grade. The Private Files of Rex Thorns is written by Ed. In the cast were Leon Denny as Alec and Alice Frost is Zera. The entire production was under the direct. The entire production was under the direction of Hyman Brown. Give me the Q again. Quiet, please. The Private Files of X Saunders is written by Ed Adamson. In the cast were Leon Janney as Alec, Alice Frost as Vera. The entire production was under the direction of Hyman Brown.

[Rex Saunders (Detective)]

In another intriguing adventure transcribed from the

[Narrator/Announcer]

private files of Rex Saunders.

[Rex Saunders (Detective)]

Concerning jewelry, diamonds may be a girl's best friend, but like any other precious ornament, they can be done to death.

[Narrator/Announcer]

And now the private files of Rex Saunders. RCA Victor, world leader in radio, first

[Rex Saunders (Detective)]

in recorded music and first in television, brings you the celebrated star of stage and screen, Rex Harrison. In another exciting story taken from the private files of Rex Saunders, radio's newest man of mystery.

[Narrator/Announcer]

We hope you enjoy these weekly stories

[Rex Saunders (Detective)]

of intrigue and adventure. And for another adventure in home entertainment, we suggest you try RCA Victor's fine

[Narrator/Announcer]

line of radio and television products now on display at your RCA Victor dealer. Now for our story.

[Rex Saunders (Detective)]

It's a gray, misty morning when the tugs nosed the mammoth hulk of the transatlantic liner Trigania into its north river birth. Alec and I were on the pier, standing near the guard rail, watching the Treganous passengers coming ashore. As they walked down the gang tank. I looked them over carefully, wondering which one was Allison. It's uncanny how we get ourselves in the strange situations. The strange situation Alec referred to was prompted by a radiogram which I received that morning at the rude hour of five. It was sent from aboard Trigania and said simply important you be appear when Trigania docks. Need your help. Don't fail. And it was signed Alison. But who is Alison? I told Alec that I really hadn't the faintest idea. So there we stood, watching the passengers debark when suddenly I felt a gentle tap on my shoulder.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Mrs. Saunders?

[Rex Saunders (Detective)]

I turned round. She was slim, brunette and she was quite attractive. Two small valises were resting at her feet.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You are exhaunders, aren't you? Yes, I'm Alison.

[Rex Saunders (Detective)]

Oh. I imagine that Alison was a man. So did I, Alec. I can hardly say that I'm disappointed. Vivian. Alison. About that radiogram you sent me. It had an urgent tone.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

It's rather an urgent matter. Here, look at this, Mr. Saunders. This bandage on my arm, it covers a wound. Bullet graze. I was shot at last night on deck.

[Narrator/Announcer]

By whom?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I don't know who he is. He's followed me about the ship ever since we left Liverpool. He goes under the name of Charles Strickland, but he's only one of them. There are others. They want to kill me.

[Rex Saunders (Detective)]

And just why do they want to kill you?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

They're after this valise. This brown one here.

[Rex Saunders (Detective)]

Oh. What's in it?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Diamonds. Diamonds valued at $200,000. They're from the South African mines. I'm a courier for the Kent Diamond Syndicate. I'm delivering them to the New York client, Robert Johnson and Sons.

[Rex Saunders (Detective)]

Well, now you're safely in New York.

[Narrator/Announcer]

New York?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I won't be safe until the diamonds are delivered. Till they're out of my possession.

[Rex Saunders (Detective)]

That's rather a tight fixture in.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You will help me?

[Rex Saunders (Detective)]

Well, it's the least I can do for someone from home.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I'm very grateful, Mr. Saunders.

[Rex Saunders (Detective)]

Just what do you plan to do, Rex?

[Narrator/Announcer]

Well, from what Ms. Allison has told

[Rex Saunders (Detective)]

us, Alec, it's apparent that her life is only in danger just as long as she has the diamonds in her possession. Well, she's going to hand that bag to me now. Right here in plain view.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

But, Mr. Saunders, where are we meet again?

[Rex Saunders (Detective)]

I'll follow you outside the pier. You take a taxi to Johnson and Sam's. What street are they on?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

59. 842 West.

[Rex Saunders (Detective)]

Very well. Now, you have your cab driver take you there, and I'll hop into another taxi and follow directly after you. Alec. Yes?

[Narrator/Announcer]

I want you to go aboard the

[Rex Saunders (Detective)]

Trania and find out what you can about Charles strickland.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Right.

[Rex Saunders (Detective)]

Now, Ms. Allison, you may hand me that bag.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Here you are.

[Rex Saunders (Detective)]

Now, you go ahead, Ms. Alison.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

As you say, I'll wait for you at Johnson and Thumb.

[Rex Saunders (Detective)]

Alex, forget what I told you about looking for information on Charles Strickland.

[Narrator/Announcer]

Forget?

[Rex Saunders (Detective)]

But why? Because there probably isn't any Charles Strickland. What?

[Narrator/Announcer]

But you go aboard the Dragania as

[Rex Saunders (Detective)]

planned, while I trail the young lady. But about Charles strickland. You mean Ms. Allison was lying to us? Precisely. I want you to find out what happened to the real Alison. The real Allison? Yes. While you were waiting for me here, I stopped in at the administration office and checked on the Treganius passenger list. There was only one Allison on that list, Alec. A Mr. Stephen Allison. With the brown bag in hand, I followed the attractive brunette along the crowded pier.

[Narrator/Announcer]

It was obvious that her real name

[Rex Saunders (Detective)]

was not likely to be Alison, but there was nothing obvious about the game she was playing. I waited outside the pier until she got into a taxi, and then I hailed the next cab in line. Where to, mister? That taxi ahead, please. Follow it when it pulls out. Okay, move over, chum. This cab's taken. Hey, look, buddy, this gent flagged me first. Shut your trap. Get this moving. Hey, Rod. He's got a ride, mister. Yeah, shove off like I told you. Yeah, but look here. You better do as he says, driver. Hey, you're a smart boy. Thanks for the compliment.

[Narrator/Announcer]

It ain't no compliment.

[Rex Saunders (Detective)]

It's a warning. Oh, don't get over smart. You're liable to end up with your face in a ditch. I take it you're referring to my encounter with Miss Allison. Hey, don't give me that Ms. Allison business. Where do you tie in with a dame? I haven't the slightest idea what you're talking about. You know, playing too dumb can be worse than giving it to me too smart. Give me the bag. The one.

[Narrator/Announcer]

The bag.

[Rex Saunders (Detective)]

The one you're trying to hide behind you. Oh, this? Oh, I'm sorry. I. I didn't know what you meant. Not much. You did all right, Driver, pull up. Get out. Smart talker. Go on, get out. And remember what I told you. Stay out of this game, or the next time you get tagged for a slab in a morgue. I not only lost the bogus Ms. Allison, but also the valuable little brown bag. I headed back to the pier to pick up Alec.

[Narrator/Announcer]

What do you suppose he was?

[Rex Saunders (Detective)]

I suppose I don't know. But I won't forget his face quickly. Well, anyway, we're sure he was one of the gang after the diamonds. And now they have what they were after. I wouldn't be too sure of that.

[Narrator/Announcer]

What do you mean?

[Rex Saunders (Detective)]

He got the bag from you, didn't he? Yes, Alec, he got the bag all right. However, I managed to open it before I hopped into that cab. Hey, that was quick thinking on your part. You opened the valise, removed the diamonds, and then hid them on yourself. And our ugly friend was left holding the bag. I wouldn't love Alec. Why not? Well, the joke happens to be on us, huh? And it was played by the deceptive young lady. When I opened the bag, it was empty. Empty as a punctured water bucket. So there would be. Ms. Allison used us as a faint. Alec, remind me never to trust a handsome woman again, will you?

[Narrator/Announcer]

As if you listened.

[Rex Saunders (Detective)]

What did you find out about Stephen Allison? Well, the Dexter told me that Allison was a man of medium height, about 40, somewhat baldish. He was sick during the voyage and he remained in his stateroom throughout the entire trip.

[Narrator/Announcer]

His door was constantly locked.

[Rex Saunders (Detective)]

Anything else? Yes, I was just getting to this. A very interesting piece of information. Allison had a frequent visitor. A young lady who I imagine fits the description of our brunette friend.

[Narrator/Announcer]

Sears.

[Rex Saunders (Detective)]

Vivian Sears. Vivian. Well, Ms. Sears at least told us the truth about her first name. Come along, Alec. Where to now? That phone.

[Narrator/Announcer]

Move.

[Rex Saunders (Detective)]

Just over there. Who are you calling? Police headquarters. Inspector Kelly is checking a matter for me. Inspector Kelly, please. Hello, Inspector? Inspector Rex Sanders. Oh, you have? Fine. 6 to 7 East 20th Street. Thank you very much. Yes, I'll call back later on the other tracer. 6 to 7 East 20th Street. What's at that address? Perhaps $200,000 worth of diamonds.

[Narrator/Announcer]

What?

[Rex Saunders (Detective)]

I made a note of the license plate number on that cab that the mysterious Ms. Sears took when she left here. A police radio car located that taxi a few moments ago. According to the driver's trip schedule, Ms. Sears went from the pier directly to the house on 20th Street. The house on 20th street was a dilapidated brownstone which had been converted into a rooming house. The landlady recalled that an hour before our arrival, a young woman fitting Ms. Sears description had entered the house. I wonder whose room she went into. The landed. It says it was rented six months ago by a man named Vincent. That she'd only seen Vincent twice.

[Narrator/Announcer]

And that a special lock was put on the door.

[Rex Saunders (Detective)]

It's that room at the end of the hall there. I have a feeling that we're walking

[Narrator/Announcer]

headlong into some more trouble. This door isn't locked.

[Rex Saunders (Detective)]

Might be a trap. No one's in here. Look, a table here.

[Narrator/Announcer]

It's valise.

[Rex Saunders (Detective)]

It was like the one Ms. Sears gave you. Yes. The mate, the one she kept. There's nothing in it. And here we are left holding an empty bag again. Now how are we going to find her?

[Narrator/Announcer]

Or the diamonds?

[Rex Saunders (Detective)]

She certain won't return here. Alec, I was wrong.

[Narrator/Announcer]

Huh?

[Rex Saunders (Detective)]

There was someone in this room. What are you talking about? This body behind the couch. Oh, yeah. Help me turn him over. On his back. Yes. Who can he be? This photo in the passport I found in his pocket. Look. Yes, it's him all right.

[Narrator/Announcer]

What to say his name is.

[Rex Saunders (Detective)]

This passport identifies him as Stephen Allison.

[Narrator/Announcer]

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[Rex Saunders (Detective)]

I phoned headquarters. The homicide crew with all its equipment came to the murder room on 20th street and began its usual relentless and scientific search for clues and leads in the shooting of Stephen Allison. After I completed my report to the detective lieutenant in charge, I left the brownstone house and walked across the street where Alec waited for me in the car. I called Inspector Kelly as you asked. Did the report come in? Yes. The driver of the cab you were in went directly to the police with his story. What did he say? Well, the mug who manhandled you forced

[Narrator/Announcer]

the Cab driver to take him up

[Rex Saunders (Detective)]

the west side Drive to 125th street, then across town to Lexington Avenue. Then he got out and disappeared in the Lexington Avenue subway. All right, Alec, we'll get the car started.

[Narrator/Announcer]

So way to 59th street, the West side of town.

[Rex Saunders (Detective)]

Was anything of special interest found in the murder room? Yes, several things, but so far, nothing conclusive. There were some cigarette butts in an ashtray. Homicide check with a pack which was in Allison's pocket, and they were a different brand. Well, evidently those cigarettes in the tray were smoked by Ms. Sears. From the evidence, they weren't.

[Narrator/Announcer]

I don't follow you.

[Rex Saunders (Detective)]

Well, there was no lip rouge trace on the cigarettes. And here's something else. An empty book of matches was found in an ashtray. It advertised a roadhouse in Baybrook, out on Long Island. A place called Holly Inn. In view of the fact that Both Allison and Ms. Sears both just arrived in the country this morning, it's unlikely that the matchbook was carried by either of them. I'm really confused. Am I? You? What about? Well, something else Homicide uncovered. They found a great number of particles under Allison's fingernails. They haven't tested them yet, but they're quite sure that the particles are metal filings, most likely copper. I'll get a report on that later. But why would metal filings be under Allison's nails? He was a diamond courier. I'm not sure just what Allison was. On the way uptown, I'm stopping off to send a cable to Scotland Yard and then paying a call on Johnson and Sons to see what they can tell me about you. Stephen Allison.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Mr. Johnson will see you now, Mr. Thornton.

[Rex Saunders (Detective)]

Thank you, Ms. Gaines.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Oh, you know my name?

[Rex Saunders (Detective)]

Well, the receptionist outside mentioned it. And I always make a point of

[Female Character (e.g., Helen Carmel, Kitty Miller)]

remembering certain names for professional reasons.

[Rex Saunders (Detective)]

Well, you know what they say about all work and no play. By the way, mind if I borrow your matches for life at all?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Yes, thank you. Keep them.

[Rex Saunders (Detective)]

I forgot to tell you, Ms. Gaines, I also make a point of remembering telephone numbers.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I think you do. You'd better go inside. Mr. Johnson's a busy man. He doesn't like to be kept waiting.

[Rex Saunders (Detective)]

Mr. Johnson should know that some things are worth waiting for, even telephone numbers.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

The door straight ahead.

[Rex Saunders (Detective)]

Come in, Mr. Saunders. Come in. I won't take up much of your time, Mr. Johnson. Oh, that's quite all right. You know about the murder of the courier, Alison, the police were already here. They left just a short while ago.

[Narrator/Announcer]

I thought the matter was settled.

[Rex Saunders (Detective)]

Settled? $200,000 worth of diamonds Your diamonds are missing. Oh, you have it wrong, Mrs. Saunders. I guess you haven't heard the latest. I guess I haven't. What are you trying to say? Merely that the police recovered my diamonds. They're in a safe in our ballroom. Where did they find the diamonds? Well, there was an auto accident up in Van Cortland Park. The diamonds were found in the wrecked car, and the. The police have the driver. Oh, yes. Yes, the police have her. A woman named Vivian Sears? Yes, the police said that was her name. They asked me questions about her, but I could tell them nothing. Well, if you'll excuse me, Mr. Johnson, I must run along. There are some questions I want to ask Ms. Sears. Well, I'm afraid that won't be possible. The Police tell me Ms. Sears is dead. She was killed in the accident. Miss Sears death wasn't an accident, Alec. I'm almost positive of it. But the police reported her death due to accidental causes. Well, just the same, I'm sure that the car she was in was forced off the road and down the hill in the park. According to the record, there was less than 5 gallons of gas in the car. If anyone is planning a long trip for a getaway, they'd be sure to be better stopped with gasoline. No, Alec, it was no accident. You think she was killed by the same man who murdered Allison? Yes, I think so. Oh, you take the. The next right to Baybrook. The. The Holly Inn is about two miles this side of town. Next right, Rex. Yeah. I don't understand any of it. If Ms. Sears and Allison were murdered for the diamonds, which is the only logical reason why were the diamonds returned to their rightful owner. Alec, for the time being, we're going to have to abandon the logic in this case. Then where will we be? Perhaps on the right track. We'll eliminate the diamonds from the case. Eliminate the diamond? Then what do we have? Scotland Yard's reply to my inquiry on Allison told us that Allison at one time was an engraver. Now, that fact fits in with the metal filings which were found under his fingernails. Yes, it doesn't fit too well when you consider that Allison abandoned his trade to act as a diamond courier over a year ago. Perhaps he didn't abandon his trade at all. You remember that the deck steward told you that Allison remained in his stateroom throughout the entire voyage? Yes. Well, he may have been spending his time aboard ship, engraving in secret. Engraving what? I don't know. But something valuable enough to cost him and Ms. Sears their lives. And that brings me to the visit I'm making to the Holly Inn. The book of matches which were found in Alison's room advertised the inn. So did the book of matches I got from Evelyn Gaines, Ralph Johnson's secretary. Well, that may be only a coincidence. That may be, but the long arm of coincidence. Distance can be stretched only so far like. And then it snaps back and somebody's bound to be caught in its grip. Alec waited outside in the car. I walked into the Holly Inn. It was a typical small roadhouse. There was a bar on one side and a row of dimly lit booths along the other. I walked along the booth side and then a hand reached out and grasped my sleeve.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Hello.

[Rex Saunders (Detective)]

That long arm of coincidence I told Alec about was working overtime. Evelyn Gaines pretty face came out of the dimness of the booth to smile at me.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Imagine meeting you here. Mr. Saunders.

[Rex Saunders (Detective)]

Ms. Gaines. What a pleasant surprise.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Won't you sit down and join me in a drink?

[Rex Saunders (Detective)]

Rex, I'm glad you asked me that question.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

This Evelyn.

[Rex Saunders (Detective)]

Evelyn, what brings you here? I thought you lived in town.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Weren't you sure?

[Rex Saunders (Detective)]

Frankly, I was sure.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

After business hours into.

[Rex Saunders (Detective)]

Shall we stop playing the game?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I was just beginning to enjoy it.

[Rex Saunders (Detective)]

Your friends might object to your wasting time.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Oh, speaking of my friends, meet Al.

[Rex Saunders (Detective)]

Move over, chum. You know, I have a feeling I've been through the same thing someplace before. It's the same shooter you're feeling, you reb. Smart tiger.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

He's all yours, Al. I'll be going along.

[Rex Saunders (Detective)]

Yeah, sure. I'll be seeing you, Evelyn.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Goodbye, Rex. Thanks for the game.

[Rex Saunders (Detective)]

Nice girl, Al. Lula. You know, Al, ever since our encounter in the taxi yesterday, I've been looking forward to meeting you again. You and me both. Smart, tacky. Only this meeting you don't walk away from.

[Narrator/Announcer]

Back to the climax of our story.

[Rex Saunders (Detective)]

In a moment. Three bestsellers.

[Narrator/Announcer]

Three RCA Victor bestsellers. 1. E. Turby plays the haunting Claire de Lune.

[Rex Saunders (Detective)]

2.

[Narrator/Announcer]

Leopold Stokovsky conducts his symphony orchestra in

[Rex Saunders (Detective)]

the blue Danube Waltz. 3.

[Narrator/Announcer]

The Boston Pops Orchestra plays the beautiful Warsaw Concerto. Three bestsellers high on the honor roll of immortal music. Three RCA Victor bestsellers. Stop in at your RCA Victor dealers and listen to these great Red Seal singles.

[Rex Saunders (Detective)]

Buy them, take them home with you.

[Narrator/Announcer]

Own them, because they're classics in the classical field. You'll never tire of them. You'll play them over and over again. Claire de Lune, Blue Danube in the

[Rex Saunders (Detective)]

Warsaw Concerto will make a wonderful addition to any record library. And they're available on the amazing 45

[Narrator/Announcer]

as well as 78 RPM. Buy them now get your copies of these three all time best selling RCA Victor Red Seal recordings.

[Rex Saunders (Detective)]

Consciousness flowed back into my brain on the tide of a low humming sound. And the tide swept in faster and faster. And the sound became settlement. Instinct. I was on the floor in the back seat of a car. I was sick. Everything in me hurt. Then I heard him whistle. And I knew who it was. The man called Al. Al Happy Al. Whistling while he worked. And I knew what his work for the night was going to be. A job named Rex Sanders. An auto accident. An accident like the one in which Vivian Sears was killed. But Al was going to have a hitch in this accident. I felt weak, but I could still move. I saw his head swinging from side to side and his thick neck swinging in time with his tune. I waited a moment to tell him myself. Then I wrapped my arms around his throat. I pulled tighter. Tighter. He let go the wheel. He let go the wheel. And his hands came up, claw at my arms. The car started to swerve crazily. I held onto him with all my strength. Al was going to have his accident. But he was going to have it my way. He was going to be in it with me. Here's to you, Evan.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

To both of us. Little Evie Gaines in rap.

[Rex Saunders (Detective)]

Yes, and two hour trip to England.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

And to Al. To Al Mason. Long may he rest in peace alongside

[Rex Saunders (Detective)]

the dear departed Rex.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Too bad about Al dying in that accident too. I wonder how he met.

[Rex Saunders (Detective)]

No, my dear, we mustn't fret over Al. He served his purpose of ridding us of Allison and his lady friend, Vivian Sears. It's just as well. This way, my dear.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Allison did. Beautiful engraving, Ralphie. Very beautiful.

[Rex Saunders (Detective)]

Oh, an accomplished artist. His last work was a masterpiece. The fraud will never be detected. Everything's perfect. The printing, the paper, everything. The British public will be honored with the new and unofficial pound notes.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

The pound notes. Let's drink to the pound note.

[Rex Saunders (Detective)]

And to my car. Down in the hold of this very fine vessel.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You're terrific, Ralphie. You think of everything.

[Rex Saunders (Detective)]

It's kind of you to say so.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Oh, who'd ever think of looking inside the tire tubes of your car for counterfeit money? Whoever think of it, I'm sure most

[Rex Saunders (Detective)]

people wouldn't sond you mind if Alec and I join your little celebration? Johnson. Well, perhaps we're intruding.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You're dead.

[Rex Saunders (Detective)]

Can't be. The paper said Al and you were. The papers were quite correct about Al's death and the accident. But the story of Mr. Saunders death was a bit exaggerated. A Ruse I carried through with the cooperation of the police. And it paid off rather well for us. I permitted you to get this far, Johnson, so that I would be sure to stop the counterfeit money from being circulated in England. However, I must say that you had rather a neat plan. Manufacturing the pound notes in the States and then taking them to England in the tires of your car. But murder always upsets the neatest of plan.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I had nothing to do with the killings. They were all his idea.

[Rex Saunders (Detective)]

Don't be a fool. Don't you see they counsel anything?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I'm not gonna die for you. He did it. He had Al kill Allison because he was finished with him. Allison found out that he was gonna die when he finished the plate on the trip over. That's why he gave it to his girlfriend, Vivian Sears. It was all Johnson's idea. I had nothing to do with it.

[Rex Saunders (Detective)]

Thank you for the confession, but it was quite unnecessary.

[Narrator/Announcer]

What?

[Rex Saunders (Detective)]

Alec and I heard everything outside while you two were having your bon voyage toasts in here. And from what we heard, it wasn't difficult to put the pieces together. And speaking of bon voyage, there's another trip waiting. You two in a government launch cruising off the port side of this liner. It will take us all to the pier where a special delegation from the police department is waiting to extend a toast of welcome back. Concerning art, the value of a portrait does not always depend upon the artist. There's the model to be considered. Especially when the model turns out to be a shocking still life.

[Narrator/Announcer]

And now, the private files of Rex Saunders.

[Rex Saunders (Detective)]

Now for our story. The portrait hung in the window of one of those little out of the way art shops that help give Greenwich Village its bohemian air. I was about to move on, but something held me to the spot. There was a strange fascination about the girl in the painting. She was uncommonly beautiful. But there was the unmistakable mark of doom on her. It was in the eyes. Two bottomless black pools.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You think she's beautiful, don't you?

[Rex Saunders (Detective)]

I turned and saw her standing next to me. She'd come out of the shadows unnoticed. She was cheaply dressed and her face was partially hidden by a scarf she held to it.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Everybody thinks she's beautiful. You do too, huh?

[Rex Saunders (Detective)]

You mean that portrait?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I mean the portrait. Her.

[Rex Saunders (Detective)]

Well, to be frank, it isn't her beauty that interests me Exactly. It's the look about her.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

The look of death.

[Rex Saunders (Detective)]

Yes, that's just what I was thinking.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

The artist called the picture the Passing Over. He was thinking of death.

[Rex Saunders (Detective)]

You seem to be familiar with the work.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Yes, Familiar. I come here every day to look at. I come after it gets dark. I don't go out in the daylight anymore. I sit in my room. I sit and wait for the dark to come. I'm like something dead.

[Rex Saunders (Detective)]

You really shouldn't keep yourself cooped up like that. You're much too young.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Young and attractive. That's what you were going to say, isn't it? Something like that.

[Rex Saunders (Detective)]

Yes. Something like that.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Well, look at me, mister. Take a good look.

[Rex Saunders (Detective)]

She lowered the scarf from her face and moved into the night. Her face, from the eyes down was etched with a mass of ugly purplish red streaks which drew her features into weird contortions.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

As it doesn't do pretty things to a face, does it? Like the ads before and after. That was me before that girl in the picture. This is me now. After.

[Rex Saunders (Detective)]

I looked at the picture again. Then I saw it. The eyes. They were the same. She was the girl in the portrait.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

That's one of the reasons I come here every night. And there are other reasons too.

[Rex Saunders (Detective)]

Oh, now look younger. You've obviously been in a terrible accident. But that's no accident.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

This was no accident. He threw it in my face. He thought that would keep me quiet. But it won't. When the time comes, I'll talk. I'll tell about him. They'll all pay for what he did to me. Every last one of them.

[Rex Saunders (Detective)]

I don't understand. What is this?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Nothing. It's nothing. Forget it.

[Rex Saunders (Detective)]

Well, maybe I can help. My name is.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Okay, what's your name is? I don't need any help. I told you to let me alone. Just let me alone.

[Rex Saunders (Detective)]

She hurried down the dim lit street. I waited a moment and then decided to follow her. She turned around and seeing I was behind quickened her face. I quickened mine. Then she came to the corner. She turned again. She stepped off the curb. She didn't see the fast moving auto coming towards her.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Look out.

[Rex Saunders (Detective)]

The car stopped for a moment, then started up and disappeared into the darkness. I rushed to the corner. She was lying face down in the gutter. She was dead. I did what had to be done. I made my report to homicide and then Alec picked me up in the car. Now where to, Rick? Fourth Street, Alec? Just off sixth. Too bad she didn't hear your warning. Yes, the car was almost on her by then. Where'd you find out about it? The police had a previous report. Her name was Betty Stark, an artist model. She was taken to Bellevue Hospital six months ago. The aspect burns on her face. Yes, she was working For a painter named Philip Darcy. At the time, Becca told the police that the accident occurred in Darcy's studio. She claimed that it was she was reaching for a bottle on the shelf and that the acid spilled over her. But she told you someone threw it at it. And I believe that to be the truth, Alec. No more an accident than her death was. What, you mean she was murdered? That's exactly what I mean. There's no hit and run accident. That cast swerved in from the other side of the street and ran into her deliberately. But what could the reason be? That's what we're going to find out. We might ask that artist, Philip Darcy a question or two. We might. But there's the simple matter of his being unavailable. What do you mean by that? Inspector Kelly at homicide tells me that yesterday morning Philip Darcy's body was found floating in the East River. The artist and the face scarred model were both dead. Murdered. There were no obvious motives. There was nothing to go on. But there was that strangely fascinating canvas which hung in the window of the village art shop. Well, Rex, what do you expect to learn from a portrait? Well, you can never tell. The shop's just down the block a bit here. Right. Come on. Well, not a particularly impressive piece of art. That's quite right, Alec. That portrait in the window there isn't nearly as impressive as the one which was in its place when I was here earlier. Huh. That's not the passing over. It isn't Betty Stark's portrait? No, it isn't. Wait here, Alec. I'm going inside. Good evening, sir. Good evening. What is your pleasure? Well, I had a portrait in mind. The portrait? Yes. The portrait is called the passing over.

[Narrator/Announcer]

Passing Over?

[Rex Saunders (Detective)]

I'm sorry, I've never heard of the painting. Are you quite sure? Quite sure. That's rather odd. The portrait you're so ignorant of was hanging out there in your window less than two hours ago. It was replaced by the one that's hanging there now. You're mistaken. You must have the wrong shot. That portrait in the window has been hanging there for more than a week. I was sure the proprietor of the art shop had the answers to some of my questions. But I decided to wait for a more appropriate time to press them. I had Alec drive me around the block quickly and we parked further along the street with a shop in good view. Then we waited. A few minutes later the shop went dark and the dealer came out with a large package. Undoubtedly a wrapped painting. Got into a waiting cab. We follow the taxi through the narrow streets of Downtown Manhattan. Then it turned south onto the East River Drive and finally the cab pulled up in front of a deserted pier. Hey, he's getting out of the cab. Alec. I wonder what he's up to down here. Come along, Alec. Stay close to the wall here. I don't like this. Heaven knows what sort of a mess this will get us into. Heaven knows, Alec. Whatever it is, it can't be a. Wait. What is it? He's climbing down that ladder alongside the wharf. There must be a boat waiting for him. No, I can make it out down there. There's no boat. Well, then why does he. Hurry before we lose him. He's disappeared into the water. Don't be silly. There's a ramp at the bottom of this ladder. It runs under the pier. I go down first. Come on. Watch your step. What now? We're going under the pier. And be careful. This ramper on is rather shaky. Ready? But most unwilling. It's awfully dark out here. Yeah, but just watch your step and stay close behind me. Hold it, Alec. What's wrong? Look ahead. It's a flashlight. And there's another one.

[Narrator/Announcer]

Where?

[Rex Saunders (Detective)]

Over there to the left, out towards the end of the pier. They're both blinking on and off signals. Hey.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Down, Alec.

[Rex Saunders (Detective)]

It. The shots rang out. We could see gun flashes spit from out towards the end of the pier. The flashlight nearest to us went out. Then we heard the engine of a boat start up and fade off up into the river. You all right, Rex? Yeah. What's it all about? First, the flashlight signals and the shots. I think I have a good idea what it's about. Come on. Just up ahead of this. Yeah. Here we are. This is your answer, Alec. Look at him. The art dealer. Those shots found their target, all right. Here's his flashlight. Now we'll be able to get a better picture of what things are down here. Look. There's the package he was carrying. I get it. The artist, the model, them, now this dealer. They were all murdered because of that picture. No, Alec, not because of this picture. Huh? See for yourself. Why. Why, that's the Mona Lisa. Yes, Alec. And a very cheap reproduction at that. While Alec went to notify Homicide, I searched the murdered man's clothes. As I was looking through his wallet, I heard a creak in the ramp board behind me. I turn quickly, but not quickly enough. Oh, Mr. Sunders.

[Narrator/Announcer]

Yeah.

[Rex Saunders (Detective)]

I finished with your sleep, miss? Yeah. I suppose my waking up will have its disadvantages. In this case, I take it I owe my eclipse to you. Oui, monsieur. To me. It was necessary the moment. Forgive me. I did not know who you are. Monsieur Rex Saunders. Well, you won't hold it against me? You make the joke very badly. We are brothers, monsieur. I am Marcel Juve. Prince Jei, monsieur. I see that for which you go to the dock this evening. I was at that dock trying to track down a murderer. Frankly, I can't see where the French surety fits in that. You are correct, monsieur. I do not seek murderer. It is the painting I have come to this country. For what? The passing over? Oh, no. I do not know of such a painting. I have come here to find the Renoir. Renoir? Oui, Renoir. An early work of the master. It was stolen from the museum at Lyon. And you traced it here to New York. Finally, monsieur, would you mean to tell me that the Renoir was in that little art shop on fourth Street? I believe it was there. I was thinking, monsieur. Yes? Perhaps we two working together could meet success. Perhaps we could. Then it is agreeable. Very well, Ms. Jouvet. It is agreeable. The entire story is just too crazy to swallow. Yes, but it's true, Alec. Juve is convinced that all three deaths are tied in with the Renoir. How do you feel about it? Well, in the absence of anything concrete, I'll go along with Juve. Hello? Oh, yes, Juve. Where? 21 Front Street, Brooklyn. Yes, I have that. We'll be there in half an hour. All right, Juve. Goodbye. Alec, bring the car around front. I'll be right out after I make a call. What's up? We're going to a warehouse on the Brooklyn waterfront. Juve tells me his show will get results there tonight. But there's one thing I'm not so sure of.

[Narrator/Announcer]

What do you mean?

[Rex Saunders (Detective)]

The man I spoke to just now on the phone, I'm not entirely sure it was Juve. I called Juvet Hotel. The desk clerk had some surprising information for me. Marcel Juve had checked out a few hours previous. The man who called called me to meet him. Could have been Juve. But there was that margin of doubt in my mind. It was one sure way of erasing that doubt. See what the Brooklyn warehouse have to offer. Rex, at the risk of sounding monotonous, I don't like this. Jouvain moves out of his hotel without notifying you, and then you receive that strange call to come here. Yes, but as I said, Alec, the caller could have been Juve. There's something radically wrong when you're not sure of things. Well, we'll be all right. Don't worry. The warehouse is over here. He said it'd be unlocked. Well, this place is empty. Well, we have to go upstairs. What's supposed to be up there? Juve said the answer to all our stuff. One move from either one of you, get a pack full of holes. Okay, now turn around slow. He doesn't look a bit like Juve, doesn't he? Alec Jouvet couldn't make it. He got a sudden call out of town. In that case, I suppose we may as well leave. Yeah, sure. You leave my way. That sounds unpleasant. You won't feel it much. It goes fast. Did you ever see one of these? It's a thermite bomb. I just pull this plug out and the joint goes up in smoke in no time. And you two nosy characters go with it. Now, turn back the way you were. Go ahead. Do what I said. Okay, now over there to that door. You open it. All right. Inside, Bullion. Don't knock yourselves out. Trying to rush this door won't work. It's got an iron bolt on the outside there. It's kind of you to warn us.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Yeah, how nice.

[Rex Saunders (Detective)]

That way. So on characters, here goes nothing. See you in the funny papers. How are you now, Alex? I'm all right. Still a little shaken. It's a miracle we get out of that trap alive. No miracle. Simple telephone call. Did a trick. A telephone call. But after I found the Juve had checked out of his hotel, I phoned Inspector Kelly at Homicide. A squad of his men had the warehouse surrounded when we arrived. Well, that was a bright idea, to say the least. I take it the inspector's men have our firebug friend well in hand. No, Alec, as a matter of fact. Let him slip through their fingers. What, purposely? At my special request. But he's being watched closely. I want him on the loose. He'll be of more help to us that way. The reporter, the detective who was assigned to trail I would be slayer, had one particular item of interest to me. Subject visited Nagel art galleries at 9am so Alec and I hurried over to the Nagel Galleries. The marble were busy with the chatter of critics, lovers of art for art's sake. We made our way through the crowd, taking in each painting in the exhibit. And then I saw it. Oh, what's the matter? Why'd you stop? That painting hanging to our right? It's the passing over the portrait of Betty Stark. Then we certainly came to the right place, eh? We certainly were right. And I expected to find the right answer to all my questions. I had Alec take the picture down. We walked to the end of the main exhibit hall and stopped before the door with a gold letter spelled out Vera Nagel.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

What do you mean by just walking in here? Who are you?

[Rex Saunders (Detective)]

You're Vera Nagel.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I am. What do you want? Who are you?

[Rex Saunders (Detective)]

My name is Sanders. Rex Sanders.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You will leave immediately or I shall have to have you forced out.

[Rex Saunders (Detective)]

I have no intention of leaving, Ms. Nagel, without getting what I came here for.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

What do you mean?

[Rex Saunders (Detective)]

A violent, ruthless killer?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

This is an art gallery, not a rogues gallery. Or aren't you aware of it?

[Rex Saunders (Detective)]

Ms. Nagel? I am very much aware of the exhibit you have on display outside one work in particular. I believe it to be the cause of three murders. Perhaps even a fourth.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I don't understand what you're trying to say.

[Rex Saunders (Detective)]

In that case, I let the portrait talk for itself. Alec, show Ms. Nagle what I mean. Right.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

What are you doing with that painting? How did you get it?

[Rex Saunders (Detective)]

I took the liberty of removing it from the wall outside. Now, Ms. Nagel, in your own expert way, you will please tell me the history of this painting.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You're insistent, aren't you, Mr. Saunders?

[Rex Saunders (Detective)]

It is a habit of long standing.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Well, it might interest you to know that I am equally determined at the moment.

[Rex Saunders (Detective)]

I can't see how you can afford to be.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Then in that case, suppose you look a little closer. Oh, and I know how to use this gun in my own expert way.

[Rex Saunders (Detective)]

Taking up where your man left off at the warehouse last night?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

That's right. I'll finish what Sid left undone. I know how to use this gun, Mr. Saunders, in my own expert way.

[Rex Saunders (Detective)]

Taking up where your man left off at the warehouse last night?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

That's right. I'll finish what Sid left undone.

[Rex Saunders (Detective)]

I imagine gunshots would raise quite a racket among your clients outside.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I wouldn't think of disturbing my clients. This room is soundproof.

[Rex Saunders (Detective)]

The lady thinks of everything, Alec.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Unfortunately, in my business you have to.

[Rex Saunders (Detective)]

And I assume, Ms. Nagel, that murder is a good part of your business.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

When necessary. And at a time like this, it is most necessary.

[Rex Saunders (Detective)]

You are all right, Mr. Saunders? I'm all right. Jouvet. Jovet. I was in time this good. Nis Pas. I suppose it's none of my business, but how you do he get here? I received Mrs. Saunders telegram to go to Chicago and meet him there. You send Juve a wine? No, Alec. That wire must have been the sequel to the bogus phone call I received from Juvet. Oui. You are not in Chicago Mrs. Sanders. So I returned and we almost forgot. What about Ms. Nagel, there on the floor? Oh, I only shoot her in shoulder. She will be all right. She's the one for whom you search. She and an accomplice. We'll get him in due time. Then they were responsible for the three murders. All three of them. But I still don't see a motive. Well, it's quite simple. Betty Stark posed for this picture. From what she told me, I can judge of the acid was thrown in her face as a means of keeping her quiet. That wasn't satisfactory. So she was killed by the hit and run car. What about Philip Darcy? Well, the artist was murdered to keep him car too. And Courtenay, the dealer.

[Narrator/Announcer]

For the same reason.

[Rex Saunders (Detective)]

Yes, I'm sure for the same reason. But why was there silence placed at such a high premium? Well, I'll get to that in a moment. Alec Juvet, we. Monsieur, there's still the matter of your tracking down the Renoir. Oh, I will find it yet. Well, you haven't far to look now. You have for me a lead, Monsieur? I have something even better than that. This bottle. Now watch this, Juve. This should be of special interest to you. I rub some of the liquid from this bottle over a portion of the portrait. Like this, Monsieur. What are you doing there? Look, Juve. I cannot believe what I see. It cannot be. It is, Juve. It is your Renoir.

[Narrator/Announcer]

Yes.

[Rex Saunders (Detective)]

It was hidden beneath the portrait of Betty Stark. Yes, Alec. And that's the honor to all of our questions. Darcy superimposed Betty Stark's picture over the French master. But why? To make sure that the stolen Renoir was concealed until a safe and profitable sale was arranged and the murders were committed. To make sure the secret was kept. Exactly. Renoir. Just look at that, miss. You just look at that. Yes, Juve. It's a great work of art. You know, it brings another thought to my mind. What's that, Rex? I just happen to think of the picture the state is going to paint for Vera Nagel and her accomplice. It won't be pretty, but it's comforting to know that justice works with hard and bold strokes. RCA Victor and its dealers from coast

[Narrator/Announcer]

to coast have brought you the private files of Rex Saunders. Concerning a Mardi Gras. A joyous festival hides the sorrow deep in people's souls, unfortunately can also conceal the murder deep in a killer's mind. And now the private files of Rex Saunders. RCA Victor, world leader in radio, first in recorded music and first in television, brings you the celebrated star of stage and screen, Rex Harrison in another exciting story taken from the private files of Rex Saunders, radio's newest man of mystery. We hope you enjoy these weekly stories of intrigue and adventure. And for another adventure in home entertainment, we suggest you try RCA Victor's fine line of radio and television products now on display at your RCA Victor dealer. Now, for our story. We had come to New Orleans for the Mardi Gras. Alec was inside getting into his costume while I stood in the balcony of our hotel suite looking down at the gay spectacle in the street. I heard the phone ring inside, and a moment later, Alex came out. Rick, the call for you. Who is it? She wouldn't give her name. She a young lady? At least she sounds young. Does she sound attractive, too? Mysterious, I'd say. Good. Are you sure you didn't make an appointment with any young lady for the celebration this evening? Reasonably sure. I know what that means. It's that blonde you chatted with on the plane on the way down this morning. Married? Now, you go ahead and finish dressing while I talk to our caller. Hello?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Mr. Saunders?

[Narrator/Announcer]

Yes.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Did Sid get there yet?

[Narrator/Announcer]

Sid?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

He's not there.

[Narrator/Announcer]

What is this?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

He didn't make it. You'll have to go to him.

[Narrator/Announcer]

Would you mind telling me what you're talking about?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

M. Saunders, you've got to help Sid. You've got to go to him.

[Narrator/Announcer]

Who are you? And who is this Sid that you speak of?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Sid Bryce. He was on his way over to see you. I was to call to see if he got there all right. He said if he wasn't at your place by the time I phoned, you should meet him.

[Narrator/Announcer]

Just why should I meet him?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

He's in trouble. He needs your protection.

[Narrator/Announcer]

Well, the police usually supply protection to people in trouble.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Sid can't go to the police. He read in the paper that you

[Narrator/Announcer]

were a New Orleans. I see. And what does Mr. Brice need protection against?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

The devil.

[Narrator/Announcer]

The what?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

The devil.

[Narrator/Announcer]

Look here, miss.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

He's dressed in a devil's outfit. Red, with a red mask. He's been following my husband. Sid knows who he is. He wants to talk to you about him. You better hurry. He'll be waiting for you in front of Rand's jewelry store. It's on the corner of la Salle and Fifth.

[Narrator/Announcer]

Suppose you tell me what there is between Mr. Bryce and this. This devil person he's after. Sid.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

He's going to kill him. That's why you have to hurry, Mr. Saunders. You have to get there before Sid. Is murder.

[Narrator/Announcer]

I left the hotel and started out for Rand's Jewelry Shop for my appointment with Sid Bryce. I made slow headway through the Mardi Gras crowd. And just as I reached La Salle Street, I heard the shot. I pushed through the crowd frantically. A police officer was clearing a circle in front of to the jewelry shop. All right, everybody, step back. Step back. Break it up. Keep moving.

[Rex Saunders (Detective)]

Keep moving.

[Narrator/Announcer]

I squeezed to the edge of the circle. And then I saw him. He lay face down on the pavement. A crimson ring on his back marked the place where the bullet entered. Hey, you. Get back there with the others. Now, here's my identification. I say, you're Exon. Oh, I'm sorry I shoved you around. That's quite all right. The name is Davis. Inspector Davis. What brings you here, Saunders? That corpse. Well, I don't get it. Were you after Bryce too? What do you mean by that? Bryce was doing 10 years for manslaughter. He escaped from the state penitentiary three weeks ago. That explains why he couldn't go to the police. It looks as if the woman who telephone was telling the truth. Maybe there was something in what you said about the devil. Devil? You said devil. Devil? Who said devil? Why, a guy here says he saw the fellow who shot Bryce. Says he was dressed up like a devil. I learned from the police inspector that Sid Bryce was formerly a partner of Rocky Connors. From time to time, Bryce and Rocky had run gambling places in and around New Orleans. He had testified against Bryce when he was tried on the manslaughter charge and was now doing business at a place called the Delta Club. I started to the holiday crowd for the club and Rocky Connors. What's your hurry? I turned around. She was dressed as Salome. At any other time, I would have been quite happy to lose my head as an attractive princess. But right now, murder was on my mind. You're alone. Is that a crime?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

It is at the Mardi Gras. But now you're not alone any longer. I'm here.

[Narrator/Announcer]

So you are.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

My name is Kitty.

[Narrator/Announcer]

I was about to say, Kitty, that I'm sorry. I must run along. Perhaps we could meet later. Right here.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Say, you're Rex Standard.

[Narrator/Announcer]

What?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I said you're Rex Stander.

[Narrator/Announcer]

Yes, but how do you. You know we've never met before.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I followed you from your hotel.

[Narrator/Announcer]

Why?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I wanted to talk to you.

[Narrator/Announcer]

About what?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Sid Brice.

[Narrator/Announcer]

He's dead. I know.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You got there too late. And I can help you find out who killed him.

[Narrator/Announcer]

What's your interest in the case?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Sid's wife is my best friend.

[Narrator/Announcer]

I knew she Was calling you.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

She asked me to keep tabs on you. To make sure that everything went all right with Sid.

[Narrator/Announcer]

I see. You said before that you can help me find out who killed Bryce.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I can get you evidence. You need someone who knows all about the plan. The murder said.

[Narrator/Announcer]

She stopped suddenly. Her face twisted in pain. And slowly she began to sag to the ground. I grabbed her. When I swung my arm around to brace her, my hand brushed against the handle of the knife which was embedded in her shoulder. I lifted the limp body in my arms and carried her quickly through the crowd. Giddy. You're all right. The doctor said you were perfect. Perfectly all right. Doctor, what happened while you were talking to me? Someone in the crowd stabbed you. Tabbed your shoulder. It's. It's not a serious wound.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Where am I?

[Narrator/Announcer]

My hotel room. You'll be safe here, Kitty. Do you know why an attempt was made in your life?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

No. Why would anyone want to kill me?

[Narrator/Announcer]

Well, you haven't knew too much about the murder of Sid Brice. Tell me now what you started to say before this happened to you.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Mayhem called me this evening, Mr. Saunders. They tried to kill me. When they find out that I'm alive, they'll try again.

[Narrator/Announcer]

I told you, Kitty, you're safe here.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

But I'm not.

[Narrator/Announcer]

Go ahead, finish. You said a man called you this evening.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Yes. He said if anything happens to Sid Brice tonight, that I should go to the carousel.

[Narrator/Announcer]

The carousel?

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Yes, it's in Lafayette Square. They have it there every year for the Mardi Gras.

[Narrator/Announcer]

Go on.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Well, there's a Roman chariot on the carousel. He said that if I was awake there for him in the chariot, I could find out who killed Sarah Ray.

[Narrator/Announcer]

I'm here, alec. I located Mrs. Brice. But I. Alex, what is. Oh, Alec, this is Miss. Miller. Kitty Miller? What's she doing here? I get around to that in a moment. But I don't understand. You're a port on Mrs. Bryce. What did she say? Well, she didn't say anything. But you said you located her. I did. At the morgue. Her bullet ridden body was found in a back alley. You'll be spellbound by the recorded magic of RCA Victor's new Victrola 45 table phonograph. This beautifully compact instrument brings you RCA Victor's amazing distortion free 45 system of recorded music. It brings you the magnificent and golden throat tone system famous for its clear, true to life fidelity. And it's all automatic. You can load up to 14 records on the big center spindle and at the Flick of a switch. Listen to over an hour of the music you want when you want it. Wonderful music on handy, non breakable 7 inch records. Yes, the Victora 45 table phonograph is everything you've ever wanted in recorded music. Make it your very own. Next chance you get, see and hear this remarkable way to play records. RCA Victor's exciting new Victrola 45 table phonograph. Alec and I were in New Orleans for the Mardi Gras. But for us, the celebration was turning out to be a murderous holiday. Sid Bryce was shot down by a killer dressed in the costume of Devil. Less than an hour later, Bryce's wife was found shot to death in a dark alley. And then there was Kitty Miller. Kitty was alive in my hotel room. Only by a stroke of luck. I knew that another attempt was made in her life. And I had to resort to rather drastic action. However, in this case, the action was a bit more drastic for Alec than for me. Really, Rex, must we go through with it? I'm afraid we must. But of all things, forcing me to wear this. This ridiculous costume. You make an enchanting Salome. It isn't a bit funny. Straighten your wig. No, I'm not going through with this. I'm. No. Now wait a minute. You're as anxious as I am to catch the killer. Of course I am. But why must I have to prove my anxiety in this dead up? Because it's our only chance of getting what we want. I'm not going to expose Kitty Mirror until we clear this case up. She's staying at the hotel. And you're taking Kitty's place. It's the only way. Well, all right. That's a spirit. Now, you got everything straight? Yes. I'm to ride in the Roman Chariot on the carousel. A man will come to me. He has the information on Sid Brice's murder. That's right. But the minute he gets a close look at me, you'll see that I'm not kidding. Don't worry about that. I don't expect him to give you the information once he gets within close range of you. Right now I am interested in finding out who the mysterious informer is. But how do you expect to do that? By following him after he leaves you. You better go ahead. I'll be close by and waiting. I watched Alec broad. The cab had a cell and I moved into a doorway across the street. I stood there and waited for something to happen. And something did happen for me. Got a light, mister? Certainly. Here you are. Keep your hands right where you got them now What? You ain't death. You do anything that don't appeal to me, you get a face full of holes. Turn around. What now? You got an appointment? With whom? Somebody who wants to have a talk with you about Sid Bryce. You'll find out. What did I decide? Not to keep the appointment. You keep it. I'm here to see that you do. All right. He's coming out of advance. Pick him up. Okay. Rocky, I don't like you on your feet. Well, I see by your papers you're a private dick, Saunders. I see something, too. Yeah, Your costume. That devil outfit leads me to believe that you're a killer. Is that right? I heard your friends here call you Rocky. I take it the last name is Connors. This guy's a regular quiz kid. Yeah. Let's see how he does on the exam. How do you fit in this, Saunders? I don't know what you're talking about, Vance. Right. This guy ain't as smart as I thought he was. All right. Show him the rod then. Sure. How does that look to you, Saunders? It looks as if it might be the same gun that killed Mr. And Mrs. Bryce. You're sort of positive I put Bryce away, aren't you? You had good reason to. Bryce was out to get you. You helped send him to prison. You had to stop him the only way you knew how. Kill him. Well, that adds up. I thought it would, but how are you going to prove it? That's a trade secret. What makes you think you're staying in the trade? Lance? Here, rookie.

[Rex Saunders (Detective)]

Call Al.

[Narrator/Announcer]

Tell him to get here as fast as as he can. Right. You look like you got something on your mind, Saunders. As a matter of fact, I have. A drink, huh? You mind? Oh, help yourself. Thanks. Now the soda. And this is for you, Rocky.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

What?

[Narrator/Announcer]

Right in your face. I kept the Sodus Bay cascading in his face. You know. I didn't have the rest of the soda, but this time I didn't trouble to siphon it from the bottle. He dropped the floor in a heap. I rushed across the room to the wall next to the door. I made it just in time. The door opened and the one called Vince steps in. Rocky. Again I served up the siphon bottle. Rocky. What? The second obstacle to my liberty was removed. Temporally, at least. I hurried into the next room and across it to the door. I pulled back a heavy iron bolt and opened the door. Then, for the first time, I knew where I was. A cabin deep in the woods. I started down the dirt path and then I saw it. An auto parked a few yards from the cabin. I opened the car door, the keys were in the ignition. Jumped in, motor turned over, and I got out of there as fast as the car could. Make it, Turn onto the main road and breathe easily for the first time. You make a turn at the next crossing, a right turn. That's a.38 you feel on the back of your neck. Where did you come from? I should saw you make it out of the shack back there. I jumped in. I came along for the ride. You're taking me to Kitty Miller. Kitty? Kitty Miller. You know where she is? You mind if I ask what Kitty Miller is to you? A friend. A good friend. So good that if anything has happened to her, you're going to end up with a couple of lead slugs in you. Yes. What is. Rex, what on earth happened to you? I've been waiting here for over two hours. Sorry, Alec. I was unavoidably detained. I'll explain later. He didn't show up at the carousel, by the way. That makes an unfruitful session for both of us. No, my mission was quite fruitful. What are you talking about? A key. What? A key to a public locker in the railroad station. A small boy delivered it to me while I was on the carousel. The boy told me that the man who paid him to deliver the key said it would give us the information we were looking for. You opened the locker? Yes. There was a gun in there. The gun was wrapped in a handkerchief. I dropped it off at police headquarters on my way back here to the hotel. I trust I did the proper thing. You did. Inspector Davis of Homicide said he'd phone just as soon as he had a detailed report on the weapon. Fine. Oh, by the way, why are we standing here in the doorway like this? Well, for my part, Alec has a very good reason. He means me. Oh. Well, where did you come from? He was with me all the time. Alec, this is Eddie Ferris, Rocky's present partner. What does he want? Ferris is interested in the welfare of Kitty Miller. That's why he's here. He has a strange notion that I'm in league with Rocky to do away with. With Ms. Miller. What? You harm Ms. Miller? Why? Well, you've taken every precaution to protect her. Well, that's what I tried to explain to Ferris. I'll believe it when I hear it from Kitty's own mouth. All right, Alec, ask her to come in. What? Miss Miller. Tell her to come in from the other room.

[Rex Saunders (Detective)]

But.

[Narrator/Announcer]

Well, go ahead. We mustn't keep Mr. Ferret waiting. Ms. Miller isn't here. Where is she? The desk clerk said that a phone message came in for Ms. Miller to go to the Delta Club. The Delta Club? That's Rocky Connor's place. I know. Did the desk clerk say who called in the message? Yes, he did. He said you called. Back to our story in just a moment. At the beach, in the woods, at a lake, in the mountain, anywhere under the sun, you'll have fun with your RCA Victor portable radio. An RCA Victor portable is so light, so compact, you can take it with you anywhere. And it gives you really strong reception on battery operations. You'll enjoy an RCA Victor portable at home too. There's always enough tone and volume to fill up a large room or a terrace or a sun porch. Always. Unbelievably fine performance all the time. And every one of RCA Victor's portable radios sets a new standard in style and beauty. For the June bride, it makes a wonderful lasting gift. So remember, for the gift that keeps on giving, make your choice from a wide selection of RCA Victor portable radios. And wherever you are, indoors or out, take a world of entertainment right along with you. You take an RCA Victor portable radio. All right, Saunders, pick it up. And remember, hold the receiver so we both can listen to what's going on. Hello? Rex Saunders? Yes. Well, this is Inspector Davis, homicide. Oh, yes, Inspector. Oh, I got the report on the gun Alec turned over to us. It clears up the Bryce murders. Really? Uh huh. Ballistic says it's the gun that killed Sid Brice and his wife. And that wraps up our case against Rocky. What do you mean? Well, a check through our weapons permit file shows that the automatic was owned by Rocky Connors. I sent out a squad of my boys to round him up.

[Rex Saunders (Detective)]

We'll take it from here.

[Narrator/Announcer]

Thanks for your help, Saunders. Another door, Inspector. The gun you found in the locker was the murder weapon after all, Alec. Rocky Connors owned it. All right, Saunders, get over there with him. What now, Ferris? I'm going out that door. You try to follow me and I'll let you have it. You're going after Rocky, aren't you? You got it. Well, don't be a fool. You heard what Inspector Davis said. The police will take care of Rocky. After I get him, the cops can have what's left. Eddie. Hello, Kitty.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

How about you never get here? What about Rocky?

[Narrator/Announcer]

The cops are out for him again. Yeah, everything went like clockwork. They fell for it up and down the line. Rocky is finished. Here's where I take Over Eddie, you're a smart one. That's right, Eddie Ferris thinks of everything. Covers all the angles. Bryce skipped the jug just in time for me to put a perfect frame on Conus. Everything works smooth except one thing.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

What's that?

[Narrator/Announcer]

That knife you got Kitty. That's the only thing I've missed.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

What do you mean?

[Narrator/Announcer]

That knife was supposed to put you out of the pitching. That's the only thing I messed up on.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

And it wasn't Rocky. It wasn't wise that I was in with you. He only said that to get me here.

[Narrator/Announcer]

And I got you here. This time I'm not mistaken, Kitty.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

You're kidding.

[Narrator/Announcer]

I can't trust you, Kitty. You came to me from Rocky too easy. I can't trust a dame that shifts that easy. She might pull a twist on me someday just like she pulled on Rocky Khan.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

I wouldn't do anything like that to you. Honest I wouldn't.

[Narrator/Announcer]

That's what she wants, Eddie.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Wait.

[Narrator/Announcer]

Wait. You got him, Rex. I'm still dumb. Get up, fellas.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

She was going to kill me.

[Narrator/Announcer]

She's a liar. I was just bringing her in.

[Female Character (e.g., Helen Carmel, Kitty Miller)]

Don't listen to him. He's the one you're after.

[Narrator/Announcer]

You can stop it, both of you. We heard everything. What? By the way, fellas, this should be of special interest to you. It's about the handkerchief that you so carefully wrapped the murder weapon in. When you deposited it in the railroad station locker. You were particularly cautious about wiping your fingerprints off the gun. But that handkerchief gave you away. The police have a neat test for suspicious fabrics. They merely dip them in a solution of silver nitrate. And the result? A clear photographic print of all fingerprints on the cloth. Needless to say, yours showed up as big as life. But Rex, what about the costume? Oh, yes. This should be of little comfort to you fellas. We found the devil's disguise in your apartment. What the well dressed murderer should wear. And now, Alec. There's nothing left for him to hide behind. As usual, it only takes the bare fact to rip off the mask of murder. In a moment, Rex Harrison will return to tell you about next week's stories. First, an invitation from RCA Victor. Next chance you get, drop into your dealers and look over the wide variety of RCA Victor home instruments designed to bring you the very finest in home entertainment. We know you'll find just the right instrument for family fun at a price that will fit your family budget. Fine instruments with world famous RCA Victor quality built into every feature and detail. See them tomorrow at your RCA Victor dealer. And now, here is Rex Harrison, internationally famous star of stage and screen, to tell you about next week's adventure transcribed from the private files of Rex Thunders. Next week, it's concerning wealth. Concerning wealth. Money can cure many ills. However, it makes one susceptible to the most malignant of diseases, namely murder. You have been listening to another intriguing adventure transcribed from the private files of Rex Saunders, written by Ed Adamson in the cast relay on Janney as Alec. And the entire production was under the direction of Hyman Brown. This is Kenneth Bangart speaking for RCA Victoria. At this time when it is most important that America promote the concept of democracy in the world, it is essential that we here at home provide other nations with an example of truly democratic living. This means that we must deal effectively with the difficult problem of religious and racial prejudice. In recent public opinion polls, a significant number of Americans indicated that they might actively support drives to discriminate against Catholics, Jews, Negroes or Protestants. An even larger percentage indicated that they were undecided. This is serious. A divided America with Protestants set against Catholic, Christian against Jew, or white against Negro could only play into the hands of those who seek to discredit us. Group prejudice here in America might also break the back of our vital production drive. At a time when we need the active cooperation of all working men and technicians of all groups and religions, we need to keep America strong and united. Speak up against race and religious prejudice. This is NBC, the National Broadcasting Company.

[Podcast Host]

We just heard Rex Harrison in the Private Files of Rex Saunders. That will do it for this week's show. Thanks so much for joining me. I hope you'll be back next week as we hear from another Oscar winning radio detective star. In the meantime, you can check out Stars on Suspense, my other Old Time Radio podcast. New episodes of that show are out on Thursday. If you like what you're hearing, don't be a stranger. You can rate and review the show in Apple podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meanstsotr I'll be back next week with more Old Time Radio detectives. But until then, good night and happy listening.

[Narrator/Announcer]

Sam. Now here is our star, Vincent Price. Ladies and gentlemen. In a prejudice filled America, no one would be secure in his job, his

[Rex Saunders (Detective)]

business, his church or his home.

[Narrator/Announcer]

Yet racial and religious antagonisms are exploited daily by quacks and adventurers whose followers make up the irresponsible lunatic fringe of American life, refuse to listen to, to or spread rumors against any race or religion help to stamp out prejudice in our country. Let's judge our neighbors by the character of their lives alone and not on the basis of their religion or origin.