Adventures of PC49 1948-09-24 The Case of the Haunting Refrain

Summary

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Podcast Summary: "Adventures of PC49 – The Case of the Haunting Refrain"

Podcast: Harold's Old Time Radio
Episode: September 24, 1948 | Aired: October 24, 2025
Host: Harold's Old Time Radio
Description: Immersing listeners in a golden age crime drama—PC 49 investigates a mysterious death tied to music and betrayal.

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Episode Theme & Overview

The episode, “The Case of the Haunting Refrain,” centers around PC49 (Archibald Barclay Willoughby) as he investigates the suspicious death of a celebrated songwriter, Harry Castle. What at first appears to be a suicide or accidental overdose grows into a tangled mystery involving stolen music, old rivalries, and a haunting melody that unlocks the truth.

The atmospheric story combines music, humor, and intrigue, reflecting the flavor of post-war British radio drama and classic whodunit storytelling.

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Key Discussion Points & Plot Developments

1. Introduction of Characters & Setting (01:28–05:22)

• Joan Carr and her aunt are disturbed by the repetitive piano music coming from next door—Harry Castle, the famous songwriter, is struggling to complete a new piece.
• Harry Castle stops by to borrow cigarettes, meets PC49 (Archie), and charms the household despite his late-night noise.
• The group becomes the first audience to Castle’s new song, “A Kiss, a Sigh, When I’m High in a Moon Sky.”
• Memorable moment: Archie’s comedic lack of appreciation for sentimental music, contrasted with Joan’s delight.

“You like it? Do you really like it? You don't think it's too romantic, too... too sophisticated for the mob?”
— Harry Castle [07:35]

2. The Tragic Discovery (10:02–13:35)

• The following morning, Mrs. Bott, the housekeeper, finds Castle dead in his flat.
• Police—Inspector Wilson, Sergeant Wright, and PC49—arrive. Evidence suggests an overdose of barbiturates.
• Suspense rises when PC49’s careless joke about “taking an overdose” the previous night is scrutinized by the inspector.

“Funny sort of joke for a police officer to make, 49. Very dangerous statement indeed, Constable.”—Inspector Wilson [13:04]

3. Clues and Misgivings (14:08–16:11)

• PC49 quickly becomes suspicious, noticing that of the 20 cigarettes given to Castle, 19 ends are accounted for—a single cigarette is missing.
• The last, missing stub is found on the fire escape, and shows signs of being smoked by a “wet smoker,” unlike Castle’s style.
• A debate ensues: was it suicide, accident, or something more sinister?

“Now look at this one Sergeant Wright picked up on the fire escape. See this ragged end—it’s stained with nicotine. Castle was a dry smoker. The man who smoked this one was a wet smoker.”—PC49 [15:50]

4. The Haunting Refrain Appears (18:43–19:53)

• At the cinema, Joan suddenly recognizes Castle’s song being performed by the organist, Angus Reid—although only a few heard it before his death.
• Archie realizes someone must have entered Castle’s flat after their departure, learned the song, and passed it along.

5. Investigation at the Cinema (21:01–26:36)

• Archie and Joan probe the cinema, where Angus Reid plays.
• They set a trap by playing Castle’s unreleased recording on the cinema’s sound system as Reid practices.
• Reid, rattled by the music, confesses under stress, his guilt laid bare, leading to a tense confrontation.

“I killed him. I killed him myself.”—Angus Reid [26:02]

6. The Motive Revealed (27:10–28:47)

• Reid’s confession and statement: years ago, Castle stole one of Reid’s songs, ruined his career, and left with his wife, who ultimately died by suicide.
• Reid, unhinged after years of resentment, sabotaged Castle’s coffee with sleeping pills and stole the new song manuscript out of revenge.

“As soon as Castle got his royalties for the song, he skipped to America, taking Reid's young wife with him… Apparently, Castle ditched the girl in America and she committed suicide.”—Sergeant Wright [27:22]

7. Resolution and Closing Moments (28:53–29:45)

• Inspector Wilson chastises PC49 for his unorthodox but effective detective work.
• Archie (PC49) and Joan share a final, humorous domestic exchange, Archie vowing to avoid sentimental music henceforth.

“What of?—Roll Out the Blinking Barrel. I can’t stand these sentimental tunes.”—PC49 [29:05]

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Notable Quotes & Memorable Moments

• PC49 on artistic taste:
  “I don’t go for that mushy sort of stuff. I should have Roll Out the Barrel…” [07:50]
• On suspicion:
  “It’s a million to one that somebody was Angus Reid, the organist we heard tonight. I wonder if he’s a wet smoker.” — Archie [19:53]
• The confession:
  “I killed him myself.” — Angus Reid [26:02]

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Timestamps for Key Segments

• 01:28 – Introduction of the neighbors and Castle’s songwriting woes
• 06:28 – Castle debuts the haunting refrain
• 10:02 – Discovery of Castle’s body
• 14:08 – The cigarette clue surfaces
• 18:43 – Castle’s song unexpectedly turns up at the cinema
• 19:39 – Theorizing about the murderer’s access to the song
• 21:01 – Archie and Joan investigate the cinema and Angus Reid
• 26:02 – Reid’s breakdown and confession
• 27:22 – The motive: betrayal and tragedy revealed
• 29:05 – Archie’s comic aversion to sentimentality; end of the episode

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Tone & Style

The episode blends dry British wit with moody, noir-inflected suspense, oscillating between comic banter (especially between Archie and Joan) and tense dramatic turns. The music motif and period details immerse listeners in a 1940s London setting, highlighting both nostalgia and universal human motives like jealousy, betrayal, and remorse.

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Summary Takeaway

A masterfully crafted radio mystery, “The Case of the Haunting Refrain” exemplifies the era’s storytelling: ingenious plotting, sharp character work, and a resolution as satisfying as it is tragic. The interplay between music, memory, and motive drives the narrative to its haunting conclusion—leaving both PC49 and the listener pondering the true cost of creative theft and revenge.

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Transcript

[A]

What's that sound? That's the sound of Downy Unstoppable scent beads going into your washing machine and giving your clothes freshness that lasts all day long. There it is again. It's like music to your ears. Or more like music to your nose. That freshness is irresistible. Let's get a Downy Unstoppables bottle shake. And now a sniff solo.

[B]

Nice.

[A]

With Downy Unstoppables, you just toss wash wow. For all day freshness.

[C]

The Adventures of PC 49 by Alan Stranks. Being another incident in the career of police constable Archibald Barclay Willoughby. With Brian Reese, Joy Shelton and Leslie Perrins. This week's adventure, the Case of the Haunting Refresh.

[B]

What the dickens is going on in the next door flat this evening? Joan, Somebody's been playing that same bit over and over ever since I came in.

[D]

There's nothing, Auntie darling. He's been doing it off and on for the last few days. And more on than on.

[B]

Who's he?

[D]

My new neighbor, Harry Castle, the songwriter. Here's the tea. He wrote Purple Shadows, Lost in a Dream. How can I tell? Oh, a dozen other smash hit songs. Move that Ashley off the table, darling. Exactly.

[B]

Seem to have heard of him. But don't tell me he's turned the next door flat into a song factory.

[D]

It doesn't worry me. I think it's rather fun living next door for a celebrity.

[B]

It'll drive me potty. Now listen. Why didn't he get on with it? He's still playing the same bit over and over.

[D]

I met him in the lift this morning. He apologized for the noise and said he was trying to finish a song for a new film, but he can't get it right.

[B]

Well, I suppose it's an easier way of earning a living than pounding the beat, but a bit rough on the neighbors. Ah, he stopped. Oh, blimey's got me doing it now.

[D]

It sounds rather pretty.

[B]

What, my voice?

[D]

No, idiot. You sound like a corncrake.

[B]

The trouble with you is you have no appreciation.

[D]

Oh, wonderful. That can be.

[B]

See, the simplest way to find out is to open the door.

[D]

Clever little thing, aren't you? Oh, it's a castle. It's terrible.

[E]

Sorry to trouble him, Miss Clark. I wonder if I could presume to beg, borrow or steal a few cigarettes?

[D]

Oh, yes, of course. Do come in.

[E]

Just smoked me last night. Simply can't work without them. It's far too late to buy any.

[D]

Oh, I think we can help you. Archie, this is Mr. Harry Castle, the famous songwriter. Mr. Castle, meet Archibald Barclay Willoughby. He's a policeman.

[E]

Oh, how do you do? Sorry to intrude.

[B]

That's a white chap. Glad to know you.

[D]

Got any cigarettes, Archie?

[B]

Oh, I. I've got a new packet of 20 here. American blend. Present from a pal of mine who just came back from New York.

[D]

Martial aid, eh? Well, that's fine. Let Mr. Castle have them with you. I've got four or five in my case.

[B]

What, all of them?

[F]

I couldn't dream of depriving you.

[D]

Of course you'll have them, Mr. Castle. Yes, Archie, all of them. Come on. Me? Our little contribution to genius.

[E]

Oh, you flatter me, Miss Carl.

[B]

There you are, chum. I hope they'll stimulate your imagination.

[C]

Of course.

[F]

No, no, no, no, no.

[B]

Please don't pay for them. That'll be illegal.

[D]

Thanks.

[E]

Thanks very much, old chap.

[D]

You're a pal.

[E]

I think I'll have to dedicate this song to you, Miss Car. When it's finished. I won't intrude any longer. Simply must finish the tune tonight.

[D]

Good night.

[E]

Amen.

[D]

I'll come with you to the door.

[B]

Good night, Mr. Castle.

[E]

I do hope my playing doesn't trouble you, Ms.

[D]

Car. Oh, of course not. Do let us know how you get on with the song, won't you?

[E]

I promise you will be the first to hear.

[B]

Good night.

[E]

Thanks again.

[D]

Good night, Mr. Castle. It's a pleasure.

[G]

Lovely.

[D]

Now.

[G]

A kiss, a song that I'm mine Then I'm high in the moonlit.

[D]

Sky.

[E]

Now we're getting somewhere.

[G]

A kiss, a spy When I'm high in a moon sky.

[D]

With the world.

[B]

Good Lord, it's midnight time I was on my way. Joan, I'm on early turn.

[D]

I've got to be up early, too. Oh, you better go, darling.

[B]

Listen, Mr. Genius.

[E]

Still at it?

[B]

You won't have much chance to sleep.

[D]

That won't keep me awake. Come on, copper. I'll see you safely off the premises.

[B]

Good night, darling.

[D]

My favorite fat book.

[E]

Ms. Carr. Ms. Carr. I've got it.

[D]

I've got.

[E]

Oh, I'm so sorry.

[B]

Oh, go away.

[D]

It's all right, Mr. Castle. What were you saying?

[F]

I've got it.

[E]

At long last, I've got it.

[D]

You mean you finished the song?

[E]

To the last note? Oh, do come in while I play it over. I promised you they were the first to hear it.

[B]

What, at this time of night?

[D]

Oh, of course we'd love to hear it. Come on, Archie.

[E]

You've no idea how your cigarettes helped, old man.

[B]

You better cut me in on a percentage of the profits.

[E]

Hi, Adji, Here we are. Come along in now. Scar, sit yourself down over here near the piano. Find yourself chair, old man. Help yourself to a fag.

[B]

No, thanks. Mustn't rob you, old man. They're so hard to get.

[E]

Now then, it's a waltzman's car. May I call you Joe?

[D]

Of course. Fine.

[E]

I haven't done the verse yet. It's only refrain, but this is the way it goes.

[G]

A kiss, a star when I'm high in a moon sky with the world of fire Like a distant star Only heaven could send A passion so tender A sigh, a kiss and a moment of grace Bliss Then the world without end I gladly surrender to lost.

[D]

Peace.

[E]

What do you think of it?

[D]

Oh, beautiful. Absolutely wonderful.

[E]

You like it? Do you really like it? You don't think it's too romantic, too. Too sophisticated for the mob?

[D]

I think it's divine. Completely perfect.

[E]

Oh, then you belong. You're not really typical of the common herd. Let's see what he thinks.

[B]

Who, me? I don't go for that mushy sort of stuff. I should have roll out of the battle. How's that going? Barrel out the barrel, we'll have a belly.

[D]

Have you no appreciation of the finer things? Do play it again, Mr. Castle.

[E]

You mean that you really want to hear it?

[D]

I'd adore to. All right.

[E]

Just a minute. I got a home recording equipment here. It's a special attachment to my radiogram.

[D]

Oh, but how wonderful. Do you really mean to say you can make a record of your voice now?

[E]

I certainly do. See, I like to make recordings of myself singing the songs and then I sit back and listen.

[B]

I'll bet you do.

[E]

I get a better perspective on my new works. Anyway, it's always simple. See, you put on a disc here and you reverse this lever and there it is, all ready to make a faithful recording of my work.

[B]

Now, isn't that just too ducky?

[E]

Just press this button for me, old man, while I start, will you?

[B]

Okay, Mr. Crosby. I mean, Mr. Castle.

[E]

Here we go.

[B]

Here we go again.

[G]

A kiss, a sigh that I'm high in a moon sky with the world apart Like a distant star Only heaven.

[E]

Can stand.

[B]

One blinking clock I've been listening to that sloppy songwriter serenade for over an hour 28 times. He played it, I counted. I thought we'd never get away.

[D]

Now, Archie, it was thrilling, actually, to be present at the birth of a song that the whole world will soon be singing.

[B]

Baloney. I thought you had to get up early in the morning.

[D]

So I do. Good Night again, darling.

[B]

Oh, my Sunday helmet. There he goes again. Get out of this block of flats before I go mad.

[D]

He said he was going to take a sleeping draft and go straight to bed.

[B]

I hope he takes an overdose.

[D]

Archie, how can you say such a thing? He's a very charming and brilliant man.

[B]

He's a menace, that's what he is. Well, I need some sleep. You don't. I'm on early turn. See you tomorrow night.

[D]

Bless you, darling. Oh, darn. Oh, it's 8:00 clock already. Oh, just another five minutes. Oh. Who's that? You're gone. You're gone. Who is it? Quick, helping us. It's me.

[E]

This is dark.

[D]

Oh. Oh, Mrs. Bass. Just a moment while I slip something on. And I shan't get sick. You're very early this morning. Oh, Miss Carr. Miss Carr. What on earth's wrong, Mrs. Bott? Oh, dear. Something awful's happened. Pull yourself together, dear. What is it? I just went into Mr. Castle's flat to see if he was ready for me to do for him. But I think he's been done for already. What are you talking about, Mrs. Bart? Come and see for yourself, Ms. Carr. He's lying half in and half out of bed. But the color of him. I think he's. I think he's. I didn't dare touch him. Perhaps he's ill. We'd better see. I'll stay here. There he is. Look at him. Mr. Castle. Mr. Castle, are you all right? Wake up. You see, Mrs. Bot. Go and get the porter at once. Mr. Castle's dead. I knew Archie was on your seat, Inspector, so I ran straight out and found him.

[B]

As soon as I saw the way things were, sir, I phoned headquarters and waited here till you and Sergeant Wright arrived.

[H]

Oh, well, he's past help now. What do you think caused his death, Doctor?

[E]

An overdose of drug 1 of the barbituric group, I should say. This bottle's empty. And there's traces of a white powder.

[F]

In the bottom of the coffee cup.

[E]

All the visible symptoms are here.

[H]

Self administered, do you think?

[E]

That's for you to find out, Inspector.

[F]

The ambulance men are here, sir.

[I]

Good.

[H]

They can move him straight to the mortuary. Right. Do you mind if we step into your flat for a moment, Ms. Carr? I'd like to ask you and 49 a few further questions about last night.

[D]

Oh, of course, inspector.

[H]

Come on, 49, you too.

[D]

Here we are.

[H]

After you, Miss Carr.

[D]

Close the door, archie.

[H]

Now then, Ms. Carr. When did you last see Castle alive?

[D]

Just before one o' clock this morning, Inspector. As a matter of fact, five minutes later, we heard him still playing the piano. Archie and I were just saying good night. At my door.

[H]

Did he say anything about taking any drug?

[D]

He did say he was going to take a sleeping draft. I remember that distinctly because Archie said he was a menace and that he hoped he'd take an overdose.

[B]

He said what joke, sir. Only a joke.

[H]

Funny sort of joke for a police officer to make. 49. Very dangerous statement indeed, Constable.

[B]

Good gracious. I couldn't foresee that he'd poisoned himself.

[H]

Who said he poisoned himself?

[B]

Blindsake. Don't think I did it.

[H]

When a man meets his death under suspicious circumstances, all possibilities must be considered.

[D]

But, Inspector, Archie couldn't have done it. He never met Mr. Castle until last night. There's no reason why.

[H]

Let this be a lesson to you, young fellow. Never make a foolish or careless statement which might be misconstrued in the light of ensuing events.

[B]

Bet your superannuation I won't, sir. Scared the wits out of me.

[H]

They're not out of the wood yet, young man.

[F]

All right, sir. They've removed the body. There doesn't seem to be much doubt that it's suicide.

[H]

You're probably right. Still, we'll go back to Castle's flat and have another look. You two had better come along.

[B]

Yes, sir. Coming, sir.

[H]

All right, 49. There's nothing more we can do here. Go back to headquarters and make a full report. I. I hardly think it's necessary to include your somewhat rash statement regarding the overdose of. Are you listening to me, 49? What are you doing with that ashtray?

[B]

Look, sir, there's something funny here.

[H]

Here we go again. Right. A nice, straightforward case of suicide. And 49's going to get it all tangled up.

[F]

What is it, constable?

[B]

These cigarettes, sir. There are four left in the packet.

[H]

Yes, American. I saw them. What of it?

[B]

I gave Castle those cigarettes last night. It was an unbroken packet of 20. There are four cigarettes left in the packet.

[H]

I can count. Go on.

[B]

And there are 15American stubs in this ashtray. Now, four and 15 are 19.

[H]

Remarkable. He can add. Go on.

[B]

Where's the 20th cigarette?

[H]

Well, you tell me.

[B]

While you've been talking, sir, I've searched everywhere, including the dustbin. There's no trace of it anywhere.

[H]

There's a dozen ways a man could dispose of a cigarette, but 49 and leave no trace. The sink, the bathroom, the window, sir.

[B]

But it's funny. All the rest of them are here.

[H]

I don't think there's Anything to this? Right, but you never know. Check up outside the window.

[F]

Okay, sir.

[H]

Are you sure you didn't take one of these cigarettes yourself, for instance, as you were leaving?

[B]

Positive, sir.

[D]

I'm pretty certain he didn't, Inspector.

[F]

It's all right, sir. The missing piece of evidence is here. Obviously Castle shot it out of the window lying on the landing of the fire escape. There you are.

[H]

All right, 49, there's your 20th cigarette. Lock up here, then get back and make out your report. Good morning, Miss Cobb. Come on, Roger.

[F]

Morning, Miss Cobb.

[D]

So long, Sergeant. Bye bye, Inspector. I'll have to get going myself, Archie. Heaven knows what they'll say at the office.

[B]

Joan, there's something very funny here.

[D]

Funny? I think it's all horrible. Fool. Mr. Castle was so cheerful last night when he finished the song. He must have taken those tablets by accident. I'm sure it wasn't suicide.

[B]

I've got a hunch it was neither suicide nor accident.

[D]

Oh, Archie, leave it be.

[B]

No, no, wait a minute. Look at these fag ends. The 15 that I found in the ashtray are all perfectly dry, not stained or wet where they've been smoked, see?

[D]

Well, what about it?

[B]

Now look at this one Sergeant Wright picked up on the fire escape. See this ragged end stained with nicotine. Castle was a dry smoker. The man who smoked this one was a wet smoker.

[D]

Don't be silly, Archie. He's been lying out there on the fire escape all night.

[B]

The porter downstairs swore that nobody came in last night after I went out. But anybody could have carved that fire escape without him knowing. And if the intruder went out the same way, he may have dropped the cigarette.

[D]

Dream on, Sherlock. I've got an appointment with some work. See you this evening.

[I]

Died from an overdose of sodium phenobarbital. As there is no definite evidence to show whether it was self administered or taken by accident, or any evidence to indicate that it was administered by another party, I must leave the matter open. I find that Henry Castle's death was due to poisoning caused by one of the barbituric group of drugs. There is no evidence to prove how or by whom the drug was administered.

[H]

These open verdicts. If he'd made it suicide, we could have tied up the file and forgotten it.

[F]

Oh, well, that's the way it is, sir. Another unfinished case for the records. Still, we've no reason to suspect anybody.

[H]

It was either suicide or accident. Come on, bring these papers and let's.

[I]

Get back to headquarters.

[B]

It may have been suicide, Joan.

[D]

I still believed it was an accident.

[B]

And I've got a hunch it was murder. I can't get over that fag end. I don't like these open verdicts, and neither does Inspector Wilson.

[D]

I wish you'd let me forget it. It's all too horrible. I tell you what, let's go to the pictures. It'll help me get my mind off it.

[B]

Okay, angel, do we go? Oh, there's a smashing. Who done it at the Rialto? Music for murder.

[D]

How about that? What a morbid mind you've got. No, we'll go and see Forgotten Melody at the Palace.

[B]

Okay, you're the boss.

[D]

What a lovely picture.

[B]

What a proper stinker. Sentimental tosh. Oi, oi. Here comes the organist. Let's get out of here. I can't stand cinnamon organs.

[D]

I'm rather partial to Sandy McPherson myself.

[B]

This guy's not Sandy. Look. Angus Reid, the wizard of the console.

[D]

Quick.

[B]

I couldn't bear it.

[D]

Okay, lead on, Victor.

[B]

Excuse me. Excuse me.

[D]

Excuse me.

[B]

Sorry, madam.

[D]

She's so sweet of you.

[B]

I couldn't help it. Come on, let's get out of here. This door.

[D]

Archer. Archie, listen. Listen to that organ.

[B]

It's just what I don't want to do. Come on.

[D]

No. Listen to what he's playing.

[H]

Oh, well, those terrible pop songs.

[B]

Come on, out you come.

[D]

Archie, wait.

[B]

Lost on your life. Come on, coffee. Dance for us. I could do with a cuppa.

[D]

Listen, you fathead. What was that song the organist was playing?

[B]

Well, how do I know? Dee dum dee dee da larica.

[D]

Try and remember the words.

[B]

Oh, anything to oblige. Something about a kiss. Oh, yes.

[D]

Hi. You fool. Your bottom of the class. That was Harry Castle's last song. For heaven's sake, sit down and stop walking around. You're wearing out my carpets.

[B]

It's pa. Positively certain that nobody could have heard that song in its completed state before we did.

[D]

And that means that somebody heard it after we did.

[B]

Which proves that somebody did come to Harrycastle's flat after we left him that night.

[D]

And that somebody must have come up the fire escape, just as you said. I apologize about that cigarette, but it's.

[B]

A million to one that somebody was Angus Reed, the organist we heard tonight. I wonder if he's a wet smoker.

[D]

Well, it may not have been Reid. It could have been somebody else who passed the tune on to him.

[B]

It could be Joan, you remember that gramophone record Castle made on the night he died?

[D]

Yes. It was still on the radiogram next morning.

[B]

Have they moved Castle's things out of the next door flat yet?

[D]

No, they only got permission from the police today. The carrier's coming tomorrow.

[B]

I wonder if I've got any chance of getting the key of that flat.

[D]

Unlawful entry.

[B]

I know it all in a lawful cause.

[D]

Well. Oh, now the case is over, I think Joe the porter might stretch a point and loan me the key. He's a good friend of mine.

[B]

Then what are we waiting for?

[D]

I'd better go and fix this. You wait for me.

[B]

This is the record.

[D]

What are you going to do with it?

[B]

I'm going to take a chance and bop it. If this is murder, maybe we can bait the trap with this piece of cheese.

[D]

Cheese? How dare you. It's a very beautiful song. He was going to dedicate it to me, poor chap.

[B]

Nevertheless, I got a hunch that this little thread of melody is going to develop into a rope around somebody's neck.

[J]

I was here for the grand opening of the Dear Palace Cinema, Constable. I was a cleaner first. Then I was promoted to commissionaire. I've been out front here for almost 14 years now. I still do a bit of cleaning at night. Brings in a spot of extra beer money.

[B]

And this organist, Angus Reed, has he been here long?

[J]

Oh no, he's new. He come about three weeks ago. Says he's just returned from Australia. Been playing in some Sydney cinema. He's a funny sort of co, though. He's good, mind you.

[B]

Funny how?

[J]

Well, he always stops after the last.

[B]

Show at night to practice.

[J]

Plays till 2 or 3 o' clock in the morning sometimes.

[B]

That's unusual. You like organ music? I can't stand it. Yes, rather. Absolutely dote on it when it's well played.

[D]

Right.

[B]

I say, I suppose that when I'm on night duty I couldn't pop in and listen to him practicing.

[J]

Take the weight off your plates for a bit, eh?

[B]

That's the idea.

[J]

Well, I don't see why not. I could sneak into the stalls or up in the circle.

[B]

Oh gosh, that'd be great. What about tomorrow night?

[J]

Okay, mate. Only don't make it before midnight, will you? I'll tell you what. I'll leave the stage door open.

[D]

Good.

[J]

Let yourself in quiet like, then come and find me. I'll be up here in the front of the house at that time doing the foyer at the manager's office.

[B]

That's a bet. Tomorrow night.

[D]

I can't hear what you hope to gain by it, Archie.

[B]

Listen, Joan, every cinema has got what they call a non sync apparatus.

[D]

Non sync? What's that?

[B]

Oh, it's a sort of gramophone turntable in the projection box.

[D]

Oh, that's where they show the films from, isn't it?

[B]

Yeah. And that turntable is connected with a loudspeaker behind the screen.

[D]

Oh, so that's how they put on those records during the interval.

[B]

Correct. Now, you know the record that Harry Castle made the night he died?

[D]

Well.

[B]

Well, tonight I'm going to take that record.

[D]

Yeah. So different from when there's a show on. Can't I come with you?

[B]

No, you must stay.

[D]

Let's see.

[B]

You stay here at the back of the stalls. Now, let me see. Yes, that's the best view out there. I can get upstairs through there. The projection room's behind the circle. Now, remember, if Reed comes in, don't make a sound.

[D]

Oh, don't worry. I'll be paralyzed.

[B]

Right. Goodbye now.

[D]

Oh, dear. The things I do for PC 49.

[F]

Hi.

[B]

Hi.

[F]

You and the vestibule there.

[J]

Where is that? Oh, it's you, Mr. Reed.

[D]

Yes.

[F]

Open up, will you? It'll save me walking around to the stage door. It's teeming out here.

[J]

Right you are, sir. Just a minute.

[D]

Now.

[J]

Watch your fingers in this gate now. There you are, Mr. Reed.

[D]

Ah, thanks.

[J]

You going to do some practice?

[E]

Yes, I've got a broadcast next week. I'll be rehearsing most nights from now on.

[J]

Okay. I won't clean out the front stalls until you're finished then.

[E]

All right. Thanks.

[F]

Thanks very much.

[H]

Hello.

[E]

Who are you?

[D]

Oh, I didn't hear you coming.

[E]

Oh, it's a pretty thick carpet, this. What are you doing here?

[D]

Oh, I. I'm one of the usherettes. I was just chillering from the rain.

[E]

Looks like it set in. You better stick around for a while. Come down to the front and keep me company. I got some rehearsing to do.

[B]

Well, I. Oh, come on.

[E]

Nothing to be frightened of. There you are. Now, then, you just sit down in the front row while I switch the organ on.

[B]

Ah, that's it.

[E]

Now then, what do you fancy?

[D]

Oh, well, what was that thing you were playing the night before last in the interval? It was a waltz, I think.

[C]

Waltz?

[B]

This one?

[D]

Oh, yes, that's the one. A sigh, a kiss. Oh.

[E]

Oh, it's a new song of mine. I only finished it a few days ago. We'll see what you think of it. I can't sing you the words. I'm no vocalist.

[D]

What's that?

[G]

So tender.

[D]

That can't be.

[E]

I killed him. I killed him myself.

[D]

Stop him.

[E]

Stop him. You heard me say that, didn't You. You heard me say I.

[D]

No, I didn't hear anything. You said I was listening to the music.

[E]

Oh, yes, you did.

[F]

You heard me.

[E]

You've got something to do with this. It's a trick.

[D]

A trick to trap me. No. No. Keep away.

[E]

Don't touch me. Thought you were clever, didn't you, you she devil. But you're not clever enough. How did you know the title of that song, eh? No one knew the words but me and Castle. No, no, you know too much. I'm going to kill you the same.

[B]

As you killed Harry Castle.

[D]

Who's that? Thank goodness.

[B]

I'm a police constable and I.

[H]

Good work, 49. Very good work indeed. But, as usual, completely unorthodox and in flagrant contravention of every known rule of the service.

[B]

Yes, sir. Face it.

[H]

Ah, come in.

[D]

Right.

[F]

Morning, Ms. CO. Hello there, 49.

[D]

Good morning, Sergeant.

[H]

Well, what's the news, Wright?

[F]

Reid signed his statement, sir. It appears that Ian Castle were a piano act on the Halls.

[E]

Years ago.

[F]

Reid wrote a particularly fine song. Castle stole the manuscript and sold it to a publisher, swearing he'd written it himself. Reid couldn't prove his right to the property. As soon as Castle got his royalties for the song, he skipped to America, taking Reid's young wife with him. He spent some years there, then came back to England, having heard that Reid was in Australia. But Reid had been watching his movements for years. He'd become unbalanced due to Castle's treatment of the loss of his wife. Apparently, Castle ditched the girl in America and she committed suicide.

[H]

Sounds a proper blackguard.

[F]

He was, sir.

[B]

I said that guy was a menace.

[H]

Go on, Sergeant.

[F]

Well, on the night of Castle's death, Reid came up the fire escape to his flat. After Ms. Carl and 49 left, he threatened to kill Castle, but Castle talked him round. He promised to give Reed money, a share in his royalties, anything, if only Reed would let him go. Well, Reed pretended to fall for it. Castle had some strong black coffee on a side table and Reid contrived to put the full contents of the bottle of Sleeping Draught into it. He took the manuscript of the song Castle had been working on from the piano and left his ex partner there to die. I'm pretty certain he'd be a Broadmoor case, poor devil.

[H]

Nothing more. Right.

[F]

Yes. One thing more, sir. He did take one of those American cigarettes and he is a wet smoker. 49.

[B]

Yes, Serge. Thank you, Serge. May we go now, sir? It's my day off.

[H]

Yes, off you go, 49. And for Pete's sake, try and keep your nose out of crime for 24 hours.

[B]

Yes, sir. Certainly, sir. Come along, Joan.

[D]

Morning, inspector. Bye bye, Sergeant Wright.

[B]

Morning. Morning, Mr. Come on, darling.

[D]

What's the hurry? Archie, where are we going?

[B]

To buy a gramophone record.

[D]

Gramophone record?

[B]

What of Roll out the Blinking Barrel. I can't stand these sentimental tunes.

[C]

That concludes the case of the Haunting refrain, another incident in this series of Adventures of PC 49 written by Alan Stranks. This program was originally broadcast to home.

[B]

Listeners of the BBC.