A Life In Your Hands 49-06-07 Final Curtain Call

Summary

Podcast Summary: Harold's Old Time Radio – "A Life In Your Hands 49-06-07 Final Curtain Call"

Introduction

In this episode of Harold's Old Time Radio, titled "A Life In Your Hands 49-06-07 Final Curtain Call", listeners are immersed in a gripping murder mystery set against the backdrop of a bustling theater. Originally scripted by Earl Stanley Gardner, renowned for creating the iconic Perry Mason series, this episode showcases his masterful storytelling through the character of Jonathan Kegg, an amicus curiae dedicated to uncovering the truth.

Plot Overview

The episode centers around the high-profile trial of Peter Barnes, a celebrated stage actor accused of murdering his wife, Victoria Marley. As the courtroom drama unfolds, Jonathan Kegg, portrayed by Ned LeFever, steps into the case not as a prosecutor or defense attorney, but as a friend of the court (amicus curiae). His mission is to ensure that justice is served by meticulously examining the evidence and testimonies presented.

Key Characters

• Jonathan Kegg: An impartial lawyer committed to uncovering the truth.
• Peter Barnes: The accused husband and star of the theater production.
• Victoria Marley (also referred to as Lucy Devereaux): The victim and a dedicated actress.
• Cyrus Walters: The producer of the show with vested interests in the outcome.
• Tom Kalish: The new assistant stage manager who becomes a pivotal witness.

Detailed Summary

Courtroom Proceedings and Introduction of Jonathan Kegg ([01:19] - [03:24])

The episode opens with Myron Wallace introducing Jonathan Kegg as an amicus curiae. Kegg explains his role: “Amicus curiae simply means friend of the court. Refers to a lawyer or an expert who enters a case neither on behalf of the prosecution nor the defense. He acts impartially, seeking only the truth” ([02:26]). His approach hinges on the belief that cross-examination of witnesses is key to unveiling the truth ([02:42]).

Tension Behind the Scenes ([03:24] - [11:22])

The narrative shifts to backstage at the theater, where Victoria Marley expresses frustration over the production's technical issues and her concerns about being overshadowed by her understudy, Lucy Devereaux. The tension peaks when Victoria storms out, vowing, “Before that girl takes over my part, I'll go to my grave” ([06:51]).

Introduction of Cyrus Walters and Investigation Begins ([11:22] - [24:11])

As the trial progresses, Cyrus Walters approaches Kegg, insisting that Peter Barnes couldn't have committed the murder. He presents an alibi: Peter was on stage during most of the second act ([12:04]). However, discrepancies emerge when Kegg uncovers that the murder weapon, a letter opener, was identified as Peter's but Cyrus Walters later becomes a suspect himself. Under intense cross-examination, Walters' facade crumbles, revealing his obsessive love for Lucy Devereaux and his manipulative actions to secure her position in the theater ([25:34]).

Critical Testimonies ([19:22] - [26:19])

Tom Kalish, the assistant stage manager, provides vital testimony about overhearing a quarrel between Peter Barnes and Victoria Marley ([19:40]). He recounts, “Ms. Marley was sore as a boil, but she said, hello. What's this about not repainting the second act drop all at once in a big rush”. His observations cast doubt on the timeline of events, leading Kegg to question Cyrus Walters about his whereabouts and actions during the critical moments.

Revelation and Conclusion ([26:19] - [30:21])

The climax unfolds as Kegg methodically dismantles Walters' alibi, revealing that Walters had both the motive and opportunity to murder Victoria Marley. Walters' desperate attempts to maintain his innocence fall apart under Kegg's relentless questioning: “You felt sure that Mr. Kalish, being new to the cast, would place great emphasis on the quarrel which took place immediately before the first curtain” ([25:34]). Ultimately, Kegg exposes Walters as the true perpetrator, ensuring that justice prevails.

Notable Quotes

1. Jonathan Kegg on his role: “All we need is testimony from witnesses who remember what they hear. The basis of our system of justice is the ability of witnesses to relate accurately what they saw or heard” ([02:53]).
2. Victoria Marley expressing her desperation: “Before that girl takes over my part, I'll go to my grave” ([06:51]).
3. Cyrus Walters under pressure: “I didn't want bloodedly.” ([28:13]).
4. Kegg's Final Challenge: “I shall seek only to uncover the facts and fit them together in a logical pattern, no matter whom it may help or hurt” ([13:20]).

Themes and Insights

This episode delves into themes of ambition, obsession, and the pursuit of truth. The character of Jonathan Kegg embodies the quest for justice, highlighting the importance of impartiality and meticulous investigation in the legal system. Cyrus Walters' downfall serves as a cautionary tale about the destructive power of unbridled ambition and personal vendettas.

Conclusion

"A Life In Your Hands 49-06-07 Final Curtain Call" masterfully weaves a complex narrative of intrigue and legal drama. Through sharp dialogues and strategic character development, the episode captivates listeners, offering a timeless exploration of justice and morality. Harold's Old Time Radio continues to preserve the essence of the Golden Age of Radio, providing engaging and thought-provoking content for its audience.

Transcript

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[Victoria Marley]

Every style, every home.

[Myron Wallace]

Rolly Cigarettes Present Earl Stanley Gardner's A life in your hand.

[Jonathan Kegg]

Did you hear him threaten her?

[Myron Wallace]

What was the position of the body? Was she still alive at 8:30? Listen while we place a life in your hand.

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[Jonathan Kegg]

Coupon on the back.

[Raleigh Cigarettes Announcer]

Raleigh cigarettes.

[Myron Wallace]

You never know when you step from the safety of your home when you may witness a violent death and be called upon to testify as to what you saw and heard and suddenly find yourself with a life in your hands. Murder is a dark enigma that strikes fear into the heart of man. Strange, baffling, mysterious. But the darkest crime one man can invent, another man can unravel. And such a man is Jonathan Kegg. Created by Earl Stanley Gardner, the world's most popular writer of mysteries. Mr. Gardner is also creator of the famous Perry Mason, Doug Selby and dozens of equally outstanding fictional characters. Jonathan Kegg is a lawyer, but of a very special sort. When he appears in court, Jonathan Kegg acts only in the capacity of amicus curii. And here is Mr. Kegg himself to tell you what that is.

[Jonathan Kegg]

Good evening, ladies and gentlemen. Mr. Kegg.

[Myron Wallace]

Just what is meant by amicus curiae?

[Jonathan Kegg]

Translated from the Latin, amicus curiae simply means friend of the court. Refers to a lawyer or an expert who enters a case neither on behalf of the prosecution nor the defense. He acts impartially, seeking only the truth.

[Myron Wallace]

How does an amicus curiae go about finding the truth?

[Jonathan Kegg]

It is my belief that by cross examination of witnesses, the truth can usually be learned.

[Myron Wallace]

And as amicus curiae, you conduct such cross examination in the hope of seeing justice done?

[Jonathan Kegg]

Exactly. All we need is testimony from witnesses who remember what they hear. The basis of our system of justice is the ability of witnesses to relate accurately what they saw or heard. You never know when a crime is going to be committed. Even now, somewhere in the city. There may be a crime in the making.

[Victoria Marley]

Hello?

[Cyrus Walters]

Hello?

[Victoria Marley]

Is anybody here? Actors, prop men, electricians.

[Tom Kalish]

I. I'm here, Ms. Marley. Ah, but I guess there's nobody else in the theater. It's only about 4 in the afternoon. Anything I can do for you?

[Victoria Marley]

Well, then, who might you be? No, you might be all sorts of people. You might even be another bartender.

[Tom Kalish]

I'm Tom Kalish, Ms. Marley, the new assistant stage manager. I just started today.

[Victoria Marley]

Fine, fine, fine. A career in the theater. I, I, Victoria Marley, have a career in the theater. You know that. Did you?

[Tom Kalish]

Well, of course, Ms. Marley.

[Victoria Marley]

I, Vicky Marley, am an actress. Worse, I'm married to an actor. The highly paid, thoroughly successful, extremely talented Mr. Peter Barnes is my husband and the star of the show. It's very good for Peter. Peter is starred. Victoria's featured. Do you know? Are you aware, Mr. Kalish? Mr. Kalish, are you aware of the subtle distinction between a star and a feature player?

[Jonathan Kegg]

Huh?

[Victoria Marley]

Are you?

[Tom Kalish]

Well, yes, Miss Marley, but in this case.

[Victoria Marley]

All right, all right, I'm embarrassing you. But it's something you'll just have to get used to. Three, four days a week I come in like this. It's part of the plot. The lady drinks. But I have a way I get around it. I come here to the theater early and nap. I nap it off, and by curtain time, I'm as good as new. Very simple, don't you think, Ms. Marley?

[Tom Kalish]

I figure what other people do is their own business.

[Victoria Marley]

And you know something else? I've never missed a show or an entrance, or even a queue. Never got an understudy. Pretty little tramp. Lucy Devereaux. Peter. My Peter. Mr. Barnes, he thinks very highly of her as an actress, I tell myself. Yeah, but Lucy, my understudy, she's never had to go on for me. But never. Now, isn't that a shame for Peter? Isn't it?

[Tom Kalish]

Ms. Marley, I'm brand new at the show. I, I.

[Victoria Marley]

Okay, okay. I might. I'm sorry. I know. It's just talk, that's all. You know whether Charlie finished repainting the second act drop? He said he'd have it done in time for the show tonight.

[Tom Kalish]

The head stage manager, you mean?

[Myron Wallace]

Yeah.

[Tom Kalish]

Charlie wanted me to speak to you about that.

[Victoria Marley]

Don't tell me you forgot it again.

[Tom Kalish]

Well, he.

[Victoria Marley]

Oh, I told him. At least it doesn't. Have you seen the drop? I walk on a blonde. The drop is about three shades lighter than my hair. It makes me look terrible. It's like a golden wall behind me.

[Tom Kalish]

That's what? Charlie wanted me to tell you. He didn't forget, Ms. Marley. Mr. Barnes told him not to repaint it. And the producer, Mr. Walters, okayed that.

[Victoria Marley]

But they. What?

[Tom Kalish]

Charlie said he was all set to go ahead when Mr. Barnes called him.

[Victoria Marley]

Well, we'll just see about this thing once and for all. You got any change, Nichols?

[Tom Kalish]

Yeah, yeah, I think so. Here.

[Victoria Marley]

No, thanks. Oh, here. Keep it on.

[Tom Kalish]

Oh, no, no. Just for a couple of nickels. That's crazy, Ms. Marley.

[Victoria Marley]

I'll keep.

[Cyrus Walters]

Hello.

[Victoria Marley]

What's this about not repainting a singing egg drum? Don't now Victoria me. Why isn't it being repainted? You just try that. You just try putting me out of this show. You two big Casanova. I'll blow you and that cheap little French reputation to pieces. No, no. I won't be reasonable about anything of the kind. You're trying to make a big splash with her. Don't lie about it. Forget it, baby. Just plain forget it. Before that girl takes over my part, I'll go to my grave.

[Jonathan Kegg]

Smokers.

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[Myron Wallace]

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[Myron Wallace]

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[Raleigh Cigarettes Announcer]

Yes, it pays two ways to smoke Raleigh cigarettes. It pays with top quality smoking enjoyment. It pays with luxury premiums.

[Myron Wallace]

So get the pack with the premium coupon on the back. Raleigh cigarettes. And now back to the theater. The echoing emptiness of the stage is now electric with the tension that comes just before curtain time. Three minutes.

[Tom Kalish]

Three minutes. Curtain in three minutes, Mr. Barnes. Three minutes, Mr. Barnes. That's funny. He's not.

[Victoria Marley]

If you're looking for Mr. Barnes, he's in his wife's dressing room down the hall.

[Tom Kalish]

Oh, thanks, Ms. Devereaux. He's on in three minutes.

[Victoria Marley]

You better go and remind him then.

[Tom Kalish]

Yeah, I guess I had.

[Victoria Marley]

And don't let the sound and fury bother you. It's just Victoria giving him his nightly lecture.

[Tom Kalish]

Okay, three minutes. Curtain in three minutes. First out. Curtain going up in three minutes.

[Victoria Marley]

Don't give it to me. I can act rings around ever, drunk or sober.

[Jonathan Kegg]

The last time.

[Cyrus Walters]

Will you lower your voice?

[Victoria Marley]

No. No, I won't lower my voice. I'll talk as loud as I can.

[Cyrus Walters]

I swear, if you don't shut up.

[Tom Kalish]

Three minutes, Mr. Barnes. You're on in three minutes.

[Jonathan Kegg]

All right, Kalish. Thanks.

[Myron Wallace]

I'll be down in just a minute.

[Tom Kalish]

They go for him, don't they? The audience?

[Victoria Marley]

They ought to. He's wonderful.

[Tom Kalish]

You've been with the show long, Ms. Devereaux?

[Victoria Marley]

Since it opened last November. For all the acting experience it's given me, I might just as well have stayed in Des Moines.

[Tom Kalish]

Yeah, I know. Ms. Marley was telling me she's never missed a performance. It's sort of tough in a way, huh?

[Victoria Marley]

I don't mind too much, but I can't see why Peter puts up with it. She's terrible.

[Cyrus Walters]

Hello, Lucy.

[Tom Kalish]

Oh, Mr. Walters.

[Victoria Marley]

Hi. Where did you come from?

[Cyrus Walters]

Can a producer watch his own show? Ah, Lucy, you're beautiful.

[Jonathan Kegg]

I love it.

[Cyrus Walters]

Ivan, out front. How are things going back here, kalish? Just fine, Mr. Walters like the show?

[Tom Kalish]

I think it's great.

[Cyrus Walters]

And Peter Barnes, our star of stars.

[Tom Kalish]

Hey, he's got the stuff, all right.

[Cyrus Walters]

Yes, he has. Say, how's the house?

[Victoria Marley]

Not bad for a Monday.

[Tom Kalish]

The mezzanine's full up.

[Cyrus Walters]

Fine, fine. Kalis, you'd better give Miss Marley a call. She's on shortly.

[Myron Wallace]

All right, Mr. Wallace.

[Tom Kalish]

Oh, si.

[Victoria Marley]

Give me a break. Maybe she's asleep. I'm all ready to go on. Please, just this one.

[Cyrus Walters]

Darling, be reasonable.

[Jonathan Kegg]

I can't do that.

[Victoria Marley]

Please. Sigh.

[Cyrus Walters]

Now you know it's out of the question. Come on, be sweet. You'll get there on your own.

[Myron Wallace]

Lucy, don't bother with tricks.

[Victoria Marley]

Okay, I'll be sweet. You want me to call her?

[Cyrus Walters]

That's very sweet, yes.

[Victoria Marley]

You better appreciate me.

[Cyrus Walters]

I do, very much.

[Tom Kalish]

She's a cute kid.

[Cyrus Walters]

One of the cutest. One of the very cutest. Kalish.

[Tom Kalish]

That's Ms. Deborah.

[Cyrus Walters]

In the name of heaven.

[Tom Kalish]

Good Lord.

[Victoria Marley]

Come and see. She's in there, sitting in a chair. Ms. Marley. Somebody stabbed her. Ms. Marley, there's a knife in her throat. Oh, s. She's dead. She's dead.

[Cyrus Walters]

Mr. Keg, I should begin this discussion by telling you that I am absolutely certain Peter Barnes did not kill his wife.

[Jonathan Kegg]

Very interesting, Mr. Walters.

[Cyrus Walters]

As you know, they've brought an indictment against him, and the trial has been underway for a couple of days now. The prosecution is making a good case against him, but the charge is absolutely Baseless.

[Jonathan Kegg]

Just what exactly do you want me to do, Mr. Walters?

[Cyrus Walters]

I believe Vicky Marley committed suicide. But the police and the DA seem to have overlooked or at least discredited the possibility completely.

[Jonathan Kegg]

Did you suggest this theory to them?

[Cyrus Walters]

Yes. And? Well, they were very polite about it. But. Mr. Kegg, I would like you to volunteer your services to the court as amicus curiae. And by examining all the evidence, I believe you can prove it was almost a physical impossibility for Peter Barnes to kill his wife.

[Jonathan Kegg]

Have you evidence to support that?

[Cyrus Walters]

Yes. Peter is on stage during most of the show, especially the first and second acts. Vicki's body was discovered during the second act while Peter was in plain sight of the audience.

[Jonathan Kegg]

Have you considered that he might have killed her between the first and second?

[Cyrus Walters]

No. According to her maid, she was still alive when the second act curtain went up.

[Jonathan Kegg]

Have you considered that someone else may have killed her? Ms. Devereaux, perhaps?

[Cyrus Walters]

Yes. Yes, I have. But it doesn't add up. Lucy could have killed Victoria, but I can't think why she had replaced Victoria, at least as an actress in Peter's estimation, as well as my own.

[Jonathan Kegg]

I'll admit it presents a fascinating challenge, Mr. Walters.

[Cyrus Walters]

And you may name your own fee, Mr. King.

[Jonathan Kegg]

No, no, Mr. Walters. The micus curiae will never accept a fee. I am particularly fortunate in that I am financially secure. Therefore, I'm able to serve in that capacity and to indulge my passion for helping to see justice done.

[Cyrus Walters]

Then you will do so in this case.

[Jonathan Kegg]

Remember, if I do offer my services to the court as amicus curiae tomorrow morning, my object will not be to prove that Peter Barnes didn't kill his wife. I shall seek only to uncover the facts and fit them together in a logical pattern, no matter whom it may help or hurt. Your Honor, it is my belief that the testimony as so far presented does not form a true picture of the facts. I respectfully request the court's permission to serve as amicus curiae and in that capacity, to cross examine some of the witnesses. Very well, Mr. Keg. Permission is granted. Mr. Barnes, you say the last time you saw your wife alive was when you left your dressing room a minute or so before the first act began. That's right. It has been conclusively established that Ms. Marley was still alive when the second act curtain went up. Would you mind telling me, Mr. Barnes, just how long you were on the stage during the second act prior to that point at which Ms. Marley makes her entrance? I go off just once. I'm supposed to make an exit onto a veranda, and then I reappear a few minutes later through a French door in the back wall of the stage. How much time would you say elapses during that period? As I say, a few minutes. I've never given it much thought. I see this letter opener with which your wife was stabbed. Do you recognize him? Yes, it's mine. When was the last time you saw it? I don't really remember.

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A few days ago.

[Jonathan Kegg]

In my dressing room, I think. In your dressing room?

[Cyrus Walters]

I think so.

[Jonathan Kegg]

Thank you, Mr. Barnes. That'll be all. Your honor, I believe there are additional facts which have not been brought to light in the testimony so far. I understand that the entire cast and the people sitting in the front row of the audience have been subpoenaed and are here in court. I would like to talk with one of those people. We will call to the stand any person you desire, Mr. Kegg, and that person must testify. Thank you, your honor.

[Myron Wallace]

Ladies and gentlemen, Few of us ever consider that we might at any moment be witness to a crime. The crimes of violence and passion that you read about in your newspapers are not committed in a vacuum. Much of the evidence which could solve them is frequently witnessed by many people. If you should be the one called upon to testify, as our next witness is about to do, you would surely have a life in your hands.

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[Myron Wallace]

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[Myron Wallace]

And remember, Raleigh premiums are made possible by reduced advertising expenditures and by accepting a smaller profit than the usual rate for the cigarette industry. Thus, the Raleigh premium plan is a profit sharing plan. Raleigh premiums are a bonus to the Raleigh smoker.

[Raleigh Cigarettes Announcer]

That's why it pays two ways to smoke Raleigh cigarettes. It pays with top quality smoking enjoyment. It pays with luxury premiums.

[Myron Wallace]

Smoke Raleigh cigarettes. The pack with the premium coupon on the back. We return now to the courtroom where the well known stage star, Peter Barnes is on trial for the murder of his wife, Victoria Marley. Jonathan Kegg, serving as amicus curiae. A friend of the court is about to call his next witness. From those members of the cast and theater audience who have been subpoenaed as witnesses. If you were this witness, you would have a life in your hands.

[Jonathan Kegg]

I would like to have Tom Kalish, the assistant stage manager, take the stand.

[Cyrus Walters]

Tom Kalish appeared before you entered the case, Mr. Kegg. He's already been sworn. Come forward, Tom Kalisp.

[Jonathan Kegg]

Mr. Kalish, the court record shows that when you testified before, you told briefly about a quarrel you overheard between Mr. Barnes and Ms. Marley. What were they quarreling about?

[Tom Kalish]

Well, First I heard Ms. Marley yelling, don't give me that. I can act rings around Devereaux, drunk or sober. And then Mr. Barnes said something about lowering her voice. She said she wouldn't lower her voice. And then he said, I swear, if you don't shut up. And by then I was knocking on the door to give him his call. I didn't hear the end of what he said.

[Jonathan Kegg]

Did Mr. Barnes come to the door?

[Tom Kalish]

Yes, he did. And he said he'd be right down.

[Jonathan Kegg]

You saw him? Yes. Now, Mr. Kalish, I want you to consider this next question very carefully before answering it. How long was Mr. Barnes off the stage during the second act?

[Tom Kalish]

I'd say at least four minutes.

[Jonathan Kegg]

That's a very accurate estimate. Actually, Mr. Barnes, or rather the person who is now playing his part, he's off the stage for 4 minutes and 35 seconds. I clocked it at last night's performance. Mr. Kalish, Ms. Devereaux has testified that she was the first to discover Ms. Marley's body. In your own words, will you please tell the court exactly what you remember as taking place just before that discovery.

[Tom Kalish]

Well, Ms. Devereaux and I were watching the show from the wings when Mr. Walters came in.

[Jonathan Kegg]

From where?

[Tom Kalish]

From out front. And he asked how things were going backstage and did I like the show.

[Jonathan Kegg]

Uh, Mr. Kalish, will you try to tell the court as nearly as you can. The conversation that you and Ms. Devereaux and Mr. Walters had at that time?

[Tom Kalish]

I'll try, Mr. Kagan.

[Jonathan Kegg]

Please do, Mr. Barnes. Fate may depend on how well you remember it.

[Tom Kalish]

Let's see. Ms. Devereaux and I both said hello to Mr. Walters. Then he said, sort of kidding, Lucy, you're beautiful. And then he said to me, I've been out front. How are things going back here? And I answered that it was going all right.

[Jonathan Kegg]

Yes. Go on.

[Tom Kalish]

And then Mr. Walters asked, how's the house? And Ms. Devereaux and I both jumped in to answer that it was pretty full for Monday. And then Mr. Wallers asked me to give Ms. Marley a call because she was on pretty soon. And Ms. Devereaux said, oh, give me a break. Sigh. Maybe she's sleeping. I'm all ready to go on. But Mr. Walters wouldn't go for that.

[Jonathan Kegg]

How do you mean, Mr. Kalish?

[Tom Kalish]

Well, he talked her out of it. Something about Ms. Devereaux getting there on her own and not having to bother with tricks. So Ms. Devereaux offered to call Ms. Marley herself. Then a few seconds after she's gone, we heard her scream. She came running back crying and told us Ms. Marley was dead.

[Jonathan Kegg]

I see. Earlier in your testimony, Mr. Kalish, you stated that Ms. Marley made a phone call in your presence. Will you tell us about that?

[Tom Kalish]

Well, that afternoon when she came to the theater, she'd had a few drinks, like I said, and was kind of talkative. And after we'd got acquainted, she asked me if Charlie, he's a head stage manager. If he'd had a certain piece of scenery repainted that she wanted done. When I told her that Mr. Barnes had told Charlie not to repaint it, she blew up and called him on the telephone.

[Jonathan Kegg]

She called Mr. Barnes?

[Tom Kalish]

Yeah. Yeah, I think it was him.

[Jonathan Kegg]

Did she address him by name?

[Tom Kalish]

No, but she bawled him out something awful.

[Jonathan Kegg]

Did you. Did you hear her place the call?

[Tom Kalish]

Yeah, I heard her dial a number.

[Jonathan Kegg]

Do you know what number she dialed?

[Tom Kalish]

No, sir. I had no way of knowing.

[Jonathan Kegg]

I understand. Now, is this phone she used payphone?

[Tom Kalish]

Yes, it is. And she didn't have any change. She borrowed from me.

[Jonathan Kegg]

I see. She had to borrow a nickel from you to make the call?

[Tom Kalish]

Yeah, except it was two nickels she borrowed.

[Jonathan Kegg]

Two nickels. Did you make a second phone call at this time?

[Tom Kalish]

No, sir. She used both nickels on the same call.

[Jonathan Kegg]

You mean that before she dialed the number, she dropped two nickels into the payphone?

[Tom Kalish]

Yes, sir. I figured it was because she wasn't quite herself, you know.

[Jonathan Kegg]

I see. Can you remember what she said when the party at the other end of the line answered?

[Tom Kalish]

Well, like I say, she was sore as a boil, but she said, hello. What's this about not repainting the second act drop all at once in a big rush. And she said something about his being a two bit Casanova and trying to put her out of the show. Oh yeah, and she wound up by saying, before that girl takes over my part, I'll go to my grave. Then she hung up and walked down to her dressing room.

[Jonathan Kegg]

I want you to think carefully, Mr. Kalish. At any time during Ms. Marley's phone conversation, did she ever explicitly address the person to whom she was talking as Peter or Mr. Barnes?

[Tom Kalish]

No. No, she didn't.

[Jonathan Kegg]

Thank you very much, Mr. Kalish. That'll be all. Your Honor, I would like to recall Mr. Cyrus Walters to the stand. Very well, Mr. Kegg. Mr. Walters will take the stand. Mr. Walters, would you mind telling the court why you asked me to intercede in this case?

[Cyrus Walters]

I ask you to offer your services to the court because in my opinion, Ms. Marley had not been murdered. I thought she committed suicide.

[Jonathan Kegg]

You thought she did. Don't you still think so?

[Cyrus Walters]

I. I honestly don't know.

[Jonathan Kegg]

When you originally appealed to me to appear in court as amicus curiae, you stated that apart from your personal conviction of Peter Barnes innocence, there was factual proof of it. Would you mind telling the court of what you felt that proof consisted?

[Cyrus Walters]

Not at all. Mr. King. I told you that I regarded Peter's murdering Vicki as physically impossible. She was alive when the second act curtain went up. I thought Peter was on stage for all but a few moments of the second act. And I couldn't see how he could possibly have committed the crime. But now, in view of what evidence you've uncovered, I. I'm not so sure.

[Jonathan Kegg]

I am, Mr. Walters. I'm absolutely certain that Peter Barnes did not murder his wife. Order. Order in the cart or I'll clear it at once. Mr. Walters, this is one little drama you bungled very badly.

[Cyrus Walters]

I don't know what you're talking about.

[Jonathan Kegg]

It's now a matter of court record that you by your own testimony, requested me to determine whether or not Peter Barnes had sufficient time to murder his wife. But because you must have known through.

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Your long association with the show.

[Jonathan Kegg]

That he did have sufficient time to commit the crime, I can only assume that your intention was to ensure that point being brought out strongly in the court. Thus strengthen the case against him. But that wasn't all you were asking.

[Cyrus Walters]

Now listen here, King.

[Jonathan Kegg]

You felt sure that Mr. Kalish, being new to the cast, would place great emphasis on the quarrel which took place immediately before the first curtain.

[Cyrus Walters]

Well, I.

[Jonathan Kegg]

But you did not expect him to know about the telephone call Ms. Marley made during the afternoon. Because you didn't know he was at the theater early when Victoria Marley arrived.

[Cyrus Walters]

You're crazy.

[Jonathan Kegg]

Furthermore, Mr. Kalish remembered quite a few things you said to him and Ms. Devereaux.

[Cyrus Walters]

I said nothing of any consequence.

[Jonathan Kegg]

Do you disagree with Mr. Kalish's account of the conversation that took place in the wings between you, Ms. Devereaux and himself?

[Cyrus Walters]

Why, I.

[Jonathan Kegg]

Don't perjure yourself, Mr. Walters. Remember, Ms. Debereau was there too.

[Cyrus Walters]

All right. Kalish's account of what was said is, well, substantially true.

[Jonathan Kegg]

Really? And would you Please tell me, Mr. Waters, why, after having announced to Ms. Devereaux and Mr. Kalish that you had, and I'm quoting you come in from out front? Why, a few moments later you asked, how's the house? Meaning the size of the audience.

[Cyrus Walters]

Why, I often ask.

[Jonathan Kegg]

If you had been out front as you stated, you would have certainly known the answer to that question. Was it because while everyone else was watching the second act from backstage, you crossed behind the darkened set, entered Ms. Marley's dressing room and stabbed her to death?

[Cyrus Walters]

Of course not. You're crazy, Kate. I had no motive for killing her.

[Jonathan Kegg]

Oh, yes, Mr. Waters. Yes, you did. A twisted, futile motive, perhaps, but motive enough for you. It was Lucy.

[Cyrus Walters]

Shut up.

[Jonathan Kegg]

Lucy Devereaux. The one girl you couldn't.

[Cyrus Walters]

Will you shut up?

[Jonathan Kegg]

The one girl you didn't want is a hand me down from Peter Barnes. And it was the phone call Victoria Marley made to you in the afternoon. That first put the idea in your head. It wasn't Peter she called, was it, Mr. Walters? Not with two nickels. His phone number carries a local exchange. So it must have been a toll call to a suburban home, to a house like the one you own in Floral Heights. It was that phone call that decided you so. You conceived an elaborate plan for getting Lucy the role you'd promised her. And eliminating Peter in the same stroke by seeing him Convicted of his wife's murder.

[Cyrus Walters]

Keg I I.

[Jonathan Kegg]

Did Ms. Devereaux know you were in love with her?

[Cyrus Walters]

I I. All right. Yes. Yes, she did. I'd ask her to marry me a number of times, but it was always Peter. Peter. I like you a lot. Sigh. And maybe if it weren't for Peter. Everything he is, everything he says, every clever mannerism he has, I gave them to him. It drove me crazy that she was so blind to it that she couldn't see that he was nothing but a puppet.

[Jonathan Kegg]

And Victoria Marley, Is she another one of your puppets, Mr.

[Cyrus Walters]

Waters?

[Victoria Marley]

No.

[Cyrus Walters]

No, I, that was different. I, I didn't want to kill Vicki.

[Jonathan Kegg]

But you couldn't think of an easier way? One that would end things so tidily and with all your characters just where you'd planned. So you fell back on an old stage trick. You killed one of them off.

[Cyrus Walters]

But I didn't want bloodedly.

[Jonathan Kegg]

As you'd snip the st springs of a marionette, you walked into Victoria Marley's dressing room and murdered her.

[Cyrus Walters]

It was all I could think to do.

[Jonathan Kegg]

Yes, I guess it must have been, Mr. Walters. But certainly if you had foreseen how the play would end, I doubt that you would have included that situation.

[Myron Wallace]

Thank you, Jonathan. Cag, May I ask you now to tell us something about next week's show?

[Jonathan Kegg]

In as much as no man can predict the future, Mr. Wallace, I honestly can't tell you just where we'll find ourselves next week. Whether it be in the criminal court, coroner's inquest or judge's chambers. I shall again offer my services as amicus curiae.

[Myron Wallace]

Friends, here's a cordial invitation for each of you to be with us next Tuesday when you will again hear Jonathan Kegg, created by Earl Stanley Gardner, author of the internationally famous Perry Mason stories and many others. Smokers, send for your free copy of the Raleigh Premium catalog. More than 50 luxury premiums are pictured in full color. Just write Raleigh's Hollywood, California pipe.

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[Myron Wallace]

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[Jonathan Kegg]

Cool, clean.

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[Myron Wallace]

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[Myron Wallace]

A life in your Hands is created by Earl Stanley Gardner with script by John Kelly. The program is produced by Jack Simpson, directed by Homer Heck. Jonathan Kegg is played by Ned LeFever. This is Myron Wallace inviting you to be with us again next week when Raleigh cigarettes. The pack with the coupon on the back will again place a life in your. This is NBC, the National Broadcasting Company.