Black Museum-05-The Bloodstained Brick Bat

Summary

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Podcast Summary: Black Museum-05 - The Bloodstained Brick Bat

Podcast: Harold's Old Time Radio
Air Date: January 16, 2026
Host: Orson Welles (narrator)
Episode Theme:
This episode of "The Black Museum," hosted by Orson Welles, delves into a case from Scotland Yard's infamous collection—the bloodstained brick bat. Through evocative narration and dramatized scenes, the story explores jealousy, suspicion, betrayal, and murder within a seemingly ordinary household in suburban London.

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Main Theme and Purpose

The central focus of this episode is the story behind a brick stained with blood, now displayed in Scotland Yard’s Black Museum. What begins as a routine domestic hiring quickly escalates into tragedy. Orson Welles guides listeners through a layered mystery, illustrating how seemingly mundane objects become instruments—and evidence—of violent crime.

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Key Discussion Points and Story Breakdown

1. Introduction to the Black Museum

• [00:00-01:40] Orson Welles introduces the Black Museum, setting a grim and suspenseful tone, and presents the case of the bloodstained brick bat.
  • "Here lies death upon these tables. Within these cabinets, the files of death labeled with day and day and name a victim." — Orson Welles [01:40]

2. The Friskin Household and the Arrival of Dick Terry

• Ann Friskin places an ad for a handyman; Dick Terry, a young man with good references, is hired.
• [03:09] Establishment of family dynamics: Anne (younger wife), James (elderly husband), Alma (cousin), and the introduction of Dick.

3. Growing Tension: Suspicion and Scandal

• Dick performs well, but his rapport with Anne and frequent visits for cold drinks arouse Alma’s suspicions.

• [06:08] Alma warns Anne about appearances, citing potential gossip.

  • "People will talk about nothing, you know. And if James should hear from the wrong person..." — Alma [06:18]

• Alma later brings her concerns to James, who dismisses them.

  • "I'm fully capable of protecting my honor, as you doubtless would call it." — James [07:50]

4. Emotional Underpinnings: Confessions and Unrequited Feelings

• Dick, feeling overwhelmed by his feelings for Anne, gives notice. Anne presses him for the reason, and he confesses he’s enamored with her, unable to cope.
  • "It's you, Mum. I'm crazy. Seeing you day in and day out and having you nice to me. Just nice to me. And thinking of you with him and me not having the ghost of a chance. I can't stand it..." — Dick [09:12]

5. The Crime

• [10:07-10:35] On a stifling summer night, James is attacked in his bed with a heavy object—later revealed as a brick bat.
• Dr. Kinder is summoned and calls for an ambulance, highlighting James' critical condition.
  • "Friskin has a badly fractured skull. And with his heart condition he has about one chance in 100 to live." — Dr. Kinder [11:23]

6. Police Investigation

• Initial confusion: Dick is missing, fueling suspicion.

• Inspector Ralph questions Dick, who claims innocence but admits fleeing in fear.

  • "I guess I didn't want to be blamed for doing it. Who would blame you? Somebody. Anybody. Did you do it? No. I never touched him. Never." — Dick [13:03-13:45]

• Alma suggests to police that Dick’s affection for Anne made him a suspect but also cautions against easy answers.

7. The Search for Evidence: The Brick Bat

• Alma produces the bloody brick bat, found “in the little pile of leftover bricks.”
  • "It's the weapon. … I found was in the little pile of leftover bricks at the foot of the garden." — Alma [16:52]
• Inspector questions how Alma knows it's the weapon; she points to the blood stains.

8. Shift to Murder Investigation

• [18:01] James succumbs to his injuries, shifting the investigation from assault to murder.
• Anne visits Dick in custody; an emotionally fraught exchange lays bare their bleak circumstances:
  • "Here I'm stuck for it, but I didn't do it." — Dick [18:44]
  • "Now, I'll get you a lawyer. I have money now. I'll take care of you." — Anne [19:09]

9. Police Theories and Breakthrough

• Inspector and Sergeant discuss potential motives and relationships.
• Anne gives herself and Dick an alibi, leading to Dick’s release.

10. The Real Culprit Revealed

• The Inspector points out inconsistencies in Alma’s story regarding the brick’s location.
  • "There is no pile of bricks at the garden. It happens to be in the rear yard, near the back door..." — Inspector Ralph [22:28]
• Under questioning, Alma confesses:
  • "She had everything. Even the boy with his sheep's eyes. I had nothing. I thought if I got rid of James, who was too dull to care, she'd be blamed. After her, I'm next of kin. I'd have everything." — Alma [22:59-23:32]

11. Conclusion and Aftermath

• Alma is convicted and removed; Dick disappears into London anonymity; Anne sells the house and leaves, haunted by her tragic history.
  • "And the memory of a mistake made through loneliness and mistaken kindness." — Orson Welles [23:45]

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Notable Quotes & Memorable Moments

• "If there's one thing that can upset normalcy, it's spilt blood." — Inspector [00:55]
• "Poor Dick. You've held this inside you all this time?" — Anne [09:27]
• "Anything you may say will be taken down in writing and may be used in evidence against you." — Inspector to Dick [19:12]
• "Why did you kill your cousin, Miss Galvin?" — Inspector Ralph [22:50]
• "She had everything. Even the boy with his sheep's eyes. I had nothing." — Alma Galpin [22:59]

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Important Timestamps

• [00:00-03:09]: Introduction, setup, and ad for handyman.
• [06:08]: Alma warns Anne about appearances.
• [09:12]: Dick's emotional confession to Anne.
• [10:35]: The attack on James and the discovery.
• [13:03]: Police question Dick about his absence.
• [16:52]: Alma presents the brick bat to the Inspector.
• [18:01]: James' death confirmed—case becomes murder.
• [22:28]: Inspector reveals hole in Alma's story.
• [22:59]: Alma's confession.

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Tone and Language

The episode’s tone is suspenseful and slightly melodramatic, characteristic of vintage radio drama. Orson Welles’ narration is rich, atmospheric, and deliberate, helping to shape the emotional backdrop and tension. The dialogue between characters maintains a sense of period authenticity, with subtle undercurrents of jealousy, loneliness, and British restraint.

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Summary For New Listeners

This episode is a gripping example of Golden Age radio storytelling. It takes listeners into the heart of a British domestic tragedy, shows how suspicion and loneliness can twist relationships, and culminates in a chilling confession. The allure of The Black Museum lies as much in its atmospheric crime reconstruction as in the dark psychology of its characters.

If you haven’t listened, here you’ll find betrayal, unrequited love, and a classic whodunit—all wrapped up in the evocative cadence of Orson Welles.

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Transcript

[A]

This is Orson Welles speaking from London. The Black Museum. Here in the grim stone structure on the Thames which houses Scotland Yard is a warehouse of homicide. A museum of everyday objects. Cigarette boxes, appointment books, a hat rack. All are touched by murder. Here's a brick van. Coarse grained, rough edged, familiar. Perhaps your own home is built of bricks exactly like this one. In this case, however, no home was built by such a brick. Rather, our home was destroyed by it. Destroyed forever.

[B]

It's still such a normal looking object, Inspector. Is it really? With that broken corner with the stains still on its edges? I suppose you're right, sir. If there's one thing that can upset normalcy, it's spilt blood.

[A]

And today that blood stained brick, Pat, can be seen here in the Black Museum.

[B]

From the annals of the criminal investigation department of the London Police, we bring you the dramatic stories of the crimes recorded by the objects in Scotland Yard's gallery of death.

[A]

The Black Museum. Well, here we are in the Black Museum. Scotland Yards Museum of Murder. Yes, here lies death upon these tables. Within these cabinets, the files of death labeled with day and day and name a victim. Here's a hat rack. Hard to find such a commonplace object here. Perhaps, but observe here where the wood curves from base to shaft. Three brownish stains. Blood dripped here from a weapon concealed within the lining of an overcoat. Three stains which placed a murderer at the scene of crime. Broken alibi, that's another story. Here's our brick bat. Of such bricks are garden walls built later. The ivy or some such creeping vine grows over them, hiding the sharp edges, softening the four square contours. This brick too was meant for such bucolic purposes. But as it happened, things didn't work out that way. We might say it all began when young Ann Friskin composed an advertisement and told her much older husband James about it.

[B]

So you're placing an advertisement wanted boy, about 18. References, handyman work, some such thing.

[C]

Exactly, dear.

[B]

Very good. Only don't let him get too close to Alma. It might not be good for him.

[A]

A simple domestic scene. Wife cooperating with husband. Or the other way around, if you prefer. Some small mention of the husband's cousin who stays with him, that's all. The advertisement appears in the usual help wanted columns. Several young men apply. One is Dick Terry.

[B]

Yes, ma'. Am. I've had some experience during the summer at my uncle's place in Dorset.

[C]

The money's all right?

[B]

Oh, quite generous, ma'. Am. What be the room over the garage and all.

[C]

Well, your references seem quite good. And a good school report, too.

[A]

The boy settled into his job and worked out well. The gravel driveway was soon in good condition. The lawns were well mowed. The bricks were ordered for the repair job on the garden wall. Yes, the bricks were ordered. And in the household all was well and quite normal.

[B]

One more hand, ladies, if you wish.

[D]

James.

[C]

Aren't you satisfied with beating us again, dear?

[B]

I suppose I should be. But it must be somewhat dull for you, Andy. Night after night with just Alma and.

[C]

Me.

[A]

In the household. As we've said, all was well and quite normal. Undercurrents if you look for them, perhaps. Otherwise, a retired, well to do gentleman in his suburban London home, living quite happily with his lovely young wife and his cousin Alma. Still, one never knows, does one?

[C]

Well, good morning, Dick.

[D]

Oh, you are?

[C]

Oh, the work is coming well, isn't it?

[B]

Yes. Lovely day, isn't it?

[C]

Nothing quite like the springs we get here, is there?

[B]

Awfully quiet there.

[C]

Yes, I suppose it is for someone your age.

[B]

Begging your pardon, Mum. It don't seem to me like he would be giving up just yet.

[C]

Thank you, Dick. It's nice of you to say so. Aren't you getting those bricks a trifle uneven, Dick?

[B]

Oh, that's on purpose, Mum. It's a trick I learned from my uncle. It gives the creepers and vines and such a better hold.

[C]

It's clever. You do know your work, don't you?

[B]

I hope so, Mum. Person likes to do his work where he's appreciated.

[C]

Well, you are. No fear about that. And just to prove it, come up to the house, Leighton. We'll see about finding you a nice cold drink on a warm day like this. A cold drink would.

[B]

No.

[A]

After all, it's quite natural, isn't it? You do as much for your help, wouldn't you? No one would think anything of it. No one did in the Friskin household either. Until these trips for the long, cool drinks became somewhat habitual. At which point Alma spoke to Anne.

[D]

Do you really think you're doing the proper thing, Anne? Of course, it's none of my business, I suppose, but.

[C]

What are you driving at? That boy, he's an excellent worker.

[D]

People will talk about what, pray? Oh, nothing. But people will talk about nothing, you know. And if James should hear from the wrong person.

[C]

Please be explicit, Alma. I don't happen to have a devious mind.

[D]

It's quite simple. James is past middle age. You're young, vital. The boy is undeniably attractive with that flaming hair and all. And he is up here at the house. Quite a good deal.

[C]

And you're suggesting.

[D]

No, of course not. I am merely pointing out to you how it can look to the neighbors.

[C]

Frankly, I don't care. Please don't bring the subject up again, Alma. I refuse to discuss it with you.

[A]

Alma did not bring up the subject again. Not with Anne, however. She waited for an opportunity, and then.

[B]

James. Yes, Elma?

[D]

I. I want to talk to you.

[B]

Aren't we rather formal today? Closed doors and all that sort of thing.

[D]

I'm not speaking behind anyone's back. I've already taken this up with Anne.

[B]

Oh, what's the trouble?

[D]

It's that boy, Dick. Terry.

[B]

Dick? Alma, don't tell me he's been making advances.

[D]

That's not funny, James.

[B]

Oh, sorry. What then?

[D]

Anne is letting him spend too much time at the house. His place is in the garden and the garage. People will talk.

[B]

Aren't you doing a bit of talking yourself, Alma?

[D]

I'm doing my duty as I see it.

[B]

Then you've mistaken your duty. I'm fully capable of protecting my honor, as you doubtless would call it. And I'll thank you, Alma, not to bring this up again. Although doubtless you have the best intentions in the world.

[D]

Very well, James. But if anything does occur, you'll thank me for warning you.

[A]

Yes. Alma waited her opportunity and spoke to James. That worthy and decent gentleman dismissed the incident from his mind. That should have been the end of it. Unfortunately, however, the whole matter was reopened. And in quite a different quarter.

[C]

Good morning. Big morning.

[B]

1.

[C]

Oh, the hedge does look nice.

[B]

Thank you, Mum.

[C]

Is anything wrong, Dick?

[B]

Matter of fact, I'm giving notice.

[C]

Why, Dick? But why?

[B]

I'm giving notice.

[C]

But what's wrong? Have I done something, or is it about your money? Because if so. I'll speak to Mr. Friskin at once.

[B]

Don't bother, ma'. Am. I'm leaving. Call it wanderlust. Call it anything you like.

[C]

Dick. Dick, look at me. Oh, do stop clipping that hedge and look at me.

[B]

Yes, Mum.

[C]

I insist on knowing what's wrong. I thought you were happy here. I know. I've been happy to have you here.

[B]

I'd rather not. All right, Mum, but you asked for it.

[C]

I asked for what?

[B]

It's you, Mum. I'm crazy. Seeing you day in and day out and having you nice to me. Just nice to me. And thinking of you with him and me not having the ghost of a chance. I can't stand it, Mum, that's all. You'll have to let me go.

[C]

Poor Dick. You've held this Inside you all this time?

[B]

Yes.

[C]

Oh, Dick, I'm so sorry. So terribly sorry. Come here.

[A]

Fire in the garden. Flash fire and dry grass on a warm summer morning, perhaps. In any case, the boy stayed on his job and nothing further was said in the household. Everything was routine, quite normal. Even the bridge games in the evening. Three handed bridge. Of course, July moved on into August. Hot, muggy August nights.

[B]

Well, I'm going up to bed. Coming in?

[C]

Oh, not just yet, dear. I think I'll read a while. It's maybe cooler in the library. Good night, dear.

[B]

Good night then. Good night, Elma.

[D]

Good night.

[A]

A hot, muggy August night. Dark, no moon, barely a breath of air. James tossed restlessly, sleeplessly.

[B]

Anne? That you, Ann? Coming to bed, dear? Go, go, go, go.

[A]

Well, today that brickbat can be seen here in the Black Museum. It was Anne Scott which brought Alma and then some of the neighbors. James was not dead, but nearly so. The doctor, Dr. Kinder was his name, examined his patient and proceeded quite efficiently via the telephone.

[B]

That's right. The ambulance at once with oxygen equipment. I want the operating theater ready. Anaesthetist, nurses and my assistant Friskin has a badly fractured skull. And with his heart condition he has about one chance in 100 to live. Hurry. I'll wait for the ambulance.

[A]

Now the police.

[C]

Police.

[B]

Ladies. A man is attacked, half murdered in his bed with a heavy instrument of some kind. And you question my calling the police?

[D]

Oh, if only I'd gone upstairs with him. If only I'd gone upstairs. If you had.

[B]

Operator, ring through to the police, please. Hurry.

[D]

Oh, to walk in like that to find him there. The blood. Oh, his poor head breathing that awful gasping.

[B]

This is Dr. Kinder. Let me speak to the superintendent, please.

[C]

Dick. Where's Dick?

[D]

Yes, where's Dick?

[A]

No one had missed the boy until Anne thought of him. With all the excitement, all the horror. No one had realized he was missing. Dr. Kinder finished talking to the superintendent of police and turned back to the two women.

[B]

The superintendent is sending an inspector, Ralph. Very good man, he says. Cid cid, Criminal Investigation Division. Did I hear you mention someone named Dick?

[C]

Yes, Dick Terry. He's the hired man. Well, more of a boy than a man. He has a room over the garage.

[B]

And he isn't in the house. He hasn't been here?

[D]

No. The neighbors came, but not Dick.

[C]

Perhaps I'd better fetch him.

[B]

No, stay here. The police will find him.

[C]

The police will find him.

[A]

They did find him, but in his room over the garage.

[B]

Where was he, Sergeant? In the attic, Inspector. Hiding in A corner. All right, son, speak up. Why? I got scared. Hat's it. Scared? What of? I heard Anne. Mrs. Friskin screaming. And I ran over from the garage. And when I got up to the room where the lights were on, Ms. Galpin was carrying on and Mrs. Friskin was just standing there screaming. And he. He was on the bed and I. I just ran. You didn't offer to help? Why not? I couldn't think. Nothing. Why? I guess I didn't want to be blamed for doing it. Who would blame you? Somebody. Anybody. Did you do it? No. I never touched him. Never. All right, Sergeant, hold him in the kitchen. I'll talk to the Galpin woman. Now. What is she, a companion or something? Cousin of the victim, sir. Lives here. All right, send her in.

[A]

Alma Galpin knew nothing except the discovery of her cousin in the bedroom. But the Inspector was curious.

[B]

The hired boy says he was scared. Have you any idea why?

[D]

Well, he's been making sheep's eyes at my cousin's wife. People were talking. He's a good looking boy. She's so much younger than poor James. You know how an ignorant mind works sometimes.

[A]

The inspector knew also. He was a considerate man. He implied as much to Anne Friskin.

[B]

I know you've had a terrible shock tonight, Mrs. Friskin, but I have to ask you a few questions.

[C]

Of course, Inspector. I'll try to answer.

[B]

Did your husband have any enemies? Anyone who might want him out of the way?

[C]

Oh, no, no one. Everyone like James.

[B]

Even the boy, Dick Terry.

[C]

Dick? Oh. Oh, no, no. You don't think that Dick.

[B]

I don't know yet. But we'll have to hold him, Mrs. Friskin. He seems to have something of a motive, at least. There seems to have been some talk.

[A]

They held Dick Terry on an open charge, pending developments at the hospital.

[B]

They?

[A]

There. James Friskin hung on the fringe of death, barely breathing, completely unconscious. At the house, Alma faced Anne.

[D]

The police. What do they know?

[C]

I don't understand.

[D]

They're holding the boy. They're not even looking for the weapon. And meanwhile, whoever did it could be miles away.

[C]

Then you don't think Dick did it?

[D]

It's too pat. Of course not. Why would he? Even. Even. You never gave him any encouragement, did you, Elma?

[C]

Did you? You're hysterical.

[D]

I know exactly what I'm saying. And I don't believe that boy raised a finger against James.

[C]

Then why did he hide?

[D]

Wouldn't you, in his position? The police arrest the most obvious person. That's all they know. Someone Ought to teach them their business. Obviously they don't.

[A]

There are those who would like to teach the police their business. Quite a few people would. Elmer Galpin set out to try. And it was with that idea in mind that she appeared in Inspector Ralph's office at the local station house.

[B]

Well, Ms. Galvin. Sit down, won't you?

[D]

Thank you.

[B]

What can I do for you?

[D]

How far have you got in this case, Inspector?

[B]

We're still holding the boy. The only charge at the moment is assault. If your cousin dies. Well, that'll be another matter.

[D]

Then you've done nothing?

[B]

For the moment.

[D]

I see. I brought you this.

[B]

No.

[D]

Why don't you open it?

[B]

As you wish. I see a brick bat with stains on it.

[D]

Don't you want to have it checked for fingerprints?

[B]

Rough surfaces like this don't hold prints. Why?

[D]

It's the weapon.

[B]

Oh? How do you know?

[D]

I found was in the little pile of leftover bricks at the foot of the garden.

[B]

James.

[D]

James was going to ask the boy to build a barbecue pit with them.

[B]

I see. How do you know so surely this is the weapon.

[D]

That's blood on it, isn't it?

[B]

It might be.

[D]

Aren't you going to have it tested?

[B]

Probably. Ms. Galpin, do you realize that this brick might be the piece of evidence to hang that boy?

[D]

It might be. It might hang someone else, too.

[B]

Is this a charge, Ms. Galvin?

[D]

Who stands to gain most? Who would have her freedom? Who would get Dame's money? Have you thought of that, Inspector? Who wanted the brick wall repaired? Who spent altogether too much time in the garden? Have you given any thought to these questions, Inspector?

[A]

Perhaps the Inspector had others. Had, that was certain. And suddenly, with one sentence, Dr. Kinder changed the entire complexion of the case.

[B]

I'm sorry to have to tell you, Mrs. Friskin, but your husband passed away about 10 minutes ago without ever regaining consciousness.

[A]

Now it was murder. And Anne Friskin, the young widow, came to the station house to see Dick Terry and his sister.

[B]

You have 10 minutes.

[C]

Yes. Thank you.

[B]

I'll be back in 10 minutes.

[C]

Oh, Dick.

[B]

Oh, Dick, I didn't do it. Here I'm stuck for it, but I didn't do it.

[C]

Oh, Dick.

[D]

You don't think for one minute I.

[C]

Believe you did do it?

[B]

How should I know what you believe?

[C]

Well, you know me better than that. I want to help you.

[B]

I know you better. Do I? Do I know any more about you than you know about me?

[C]

Oh, Dick, don't talk like that. Please. Please let me help you.

[B]

With what? A hex or blade.

[C]

Now, I'll get you a lawyer. I have money now. I'll take care of you.

[B]

Sure, sure, you've got money now. You've got it all now. And I've got a murder charge. Anything you may say will be taken down in writing and may be used in evidence against you.

[C]

After what you've told me in the garden?

[B]

Oh, forget it. Maybe that never happened. Maybe I was really crazy. Maybe you figured more than I meant. Well, what's the difference? He's dead and you've got everything.

[C]

You keep saying that I've got everything.

[B]

Well, haven't you? Isn't it what you wanted?

[C]

Oh, you think. You think I did it?

[B]

Oh, do I? All I know is I didn't. But I'm stuck in this rotten jail. I won't peach on you, if that's what you're worried about. Not unless my own neck can't be saved any other way. Oh, maybe you did, maybe you didn't.

[A]

Not a very pleasant scene. Not a very pleasant circumstance. The young woman, the boy, the sadly tender phrases of a summer morning shattered between them. However, in the offices on the floor above Dicteri's cell, Inspector Ralph and Sergeant Hopkins were more interested in facts than in phrases.

[B]

So, pathology reports. It's Friskin's blood type on that brick. It's the weapon, all right, but who used it? The boy had a crush on the wife. Badly enough to kill for her? I doubt it. There aren't any alibi, sir. That's the trouble. He says he went to bed as usual. No one saw him anywhere that night. The Galpin woman says she went to bed. The widow says she read for a while, went upstairs and found her husband. Could. Could all three have been in it together, sir? How do you figure that, sergeant? Well, Mrs. Fiskin could have promised Galpin money, and Mrs. Fiskin would have had the boy. They might have planned to have the boy actually do it. Come in.

[C]

I'm. I'm sorry, Inspector.

[B]

Not at all, Mrs. Friskin. Come in. Sit down. I believe you know Sergeant Hopkins.

[C]

Yes. I have very little to say. Might be easier standing.

[B]

As you wish, ma'. Am.

[C]

I. I just saw Dick downstairs.

[B]

Too bad about him. He seemed a nice lady.

[C]

Yes. Inspector, this. This is not the easiest thing for a woman.

[B]

I understand you have an alibi for the boy and yourself.

[C]

Yes. Yes, I do.

[A]

The Inspector was an understanding gentleman. He offered no comment. He merely recorded a fact and let Anne Friskin leave his office with her own thoughts for company later that same day. He arrived with Sergeant Hopkins in tow. At the Friskin house, ladies, we've done.

[B]

Some further checking and investigation. We thought we'd apprise you of the situation.

[C]

I see.

[D]

Thank you for that.

[B]

At least we're letting the boy go. He's in the clear.

[D]

I knew that all along. I told you so.

[B]

Yes, you. You did. I remember the day you brought me the brickbat.

[C]

Where did you find it?

[D]

In the pile at the foot of the garden.

[B]

I see that. You know, Mrs. Friskin, there is no pile of bricks at the garden. It happens to be in the rear yard, near the back door. Close to the foot of the back stairs. The stairs which reach the second floor. Quite close to the door of your room, Miss Galpin. Now, Sergeant, if you'll stay quite close to Miss Galpin and take down what she has to say.

[C]

Taken down and may be used as evidence?

[B]

Yes, the usual warning. Well, Miss Galvin, why did you kill your cousin? Miss Galvin?

[D]

She had everything. Even the boy with his sheep's eyes. I had nothing. I thought if I got rid of James, who was too dull to care, she'd be blamed. After her, I'm next of kin. I'd have everything. I saw the little pile of bricks. I meant to put them in the garden later. The brick is heavy. It hits hard.

[A]

Today the brick, Pat, can be seen here in the Black Museum.

[B]

Orson Welles will be back with you in just a moment.

[A]

They put Alma Galpin safely away, where she could harm neither others nor herself. Dick Terry left that pleasant suburb of London and dropped into the anonymity one can find only in a great city. Anne Friskin sold the house and went far from London to start over. Perhaps, but to carry with her always the memory of tragedy on a hot, muggy night. And the memory of a mistake made through loneliness and mistaken kindness. Now, until we meet next time in this same place for another story about the Black Museum, I remain, as always, obediently, your.

[B]

Sam.