Calling All Cars 34-06-13 ep029 Murder of a Soul

Summary

Podcast Summary: "Calling All Cars 34-06-13 ep029 Murder of a Soul"

Podcast: Harold's Old Time Radio
Date: October 31, 2025
Episode: #29 "Murder of a Soul"
Host: Harolds Old Time Radio

---

Overview

This episode of "Calling All Cars," titled "Murder of a Soul," dramatizes a real crime case from the early days of police fingerprinting. Set within an Italian immigrant family, the story explores themes of unrequited love, family loyalty, betrayal, and the psychological turmoil leading to crime. The narrative follows Marie Trentini, whose infatuation and heartbreak culminate in tragedy, and the subsequent investigation that uncovers the truth through early forensic techniques.

---

Key Discussion Points & Plot Breakdown

1. Opening and Setting the Scene (00:43–03:59)

• The show opens with a retrospective on early criminal identification methods, emphasizing the innovation of fingerprinting in law enforcement.
• The narrator introduces "Murder of a Soul," a case from law enforcement files, setting a serious and somber mood.

2. Family Dynamics and Emotional Undercurrents (03:59–08:12)

• Maria (Marie Trentini) interacts with her cousin Gaetano and learns about his brother Vincenzio’s arrival.
  • “He’s the coming to visit me. He’s coming today.” (B, 04:06)
• The family bonds over dinner, with hints of nostalgia and hope for a better future.
• Maria and Vincenzio converse, and an unexpected intimacy grows; Maria confides about her past and her longing for love.
  • “Inside, Vincenzio. Inside me is love. Love that all my life was waiting for something. Now I know it was for you.” (A, 07:53)

3. Romance and Disappointment (09:18–10:50)

• Marie becomes Vincenzio’s housekeeper, awaiting his divorce’s finalization with hope.
• When Vincenzio is free, he disillusions Marie by boasting about new women and rejecting the idea of marrying her.
  • “You thought I was going to marry you, eh? You must be crazy. I ain’t gonna marry a no one. I’m gonna have a good time for the rest of my life.” (B, 10:50)

4. Marie’s Breakdown and Pleas for Help (11:15–14:19)

• Heartbroken, Marie returns to Gaetano, pleading for intervention to make Vincenzio marry her.
• Gaetano rebuffs her, cruelly commenting on her age and looks.
  • “Vincenzio is a young fellow…Why should he marry you?” (B, 13:18)
• Marie’s desperation and humiliation become palpable as she protests her worth and love.

5. Descent into Violence (14:46–16:29)

• Marie’s emotional collapse triggers a decision to act. Lying awake in turmoil, she retrieves Gaetano’s shotgun and resolves to kill.
  • “You kill my soul. I kill your body.” (A, 15:25)
• The act is swift and grim.

6. The Crime Scene and Early Forensics (16:29–22:53)

• Police arrive, and Marie provides a false account, blaming the murder on a group of Americans and Japanese with a supposed vendetta.
  • "He had a flashlight and he say, keep quiet. And I say, what are you doing here? And he say, ‘You're too pretty to kill. You be quiet and no harm come to you.'” (A, 17:36)
• Investigators quickly uncover inconsistencies (e.g., the screen was torn from the inside, not outside).
• Fingerprinting eliminates the accused men and points to Marie.

7. Confrontation and Confession (22:53–24:16)

• Marie is questioned about her fingerprints on the murder weapon.
  • “How does it happen that your fingerprints appear on the shotgun that was used to kill your cousin?” (B, 23:24)
• She fabricates a story, but the forensic evidence is clear.

8. Marie’s Suicide Attempt and Final Confession (25:12–27:14)

• Upon realizing the truth is known, Marie attempts suicide but survives.
• From her hospital bed, Marie admits to killing Gaetano because she was refused the chance to marry Vincenzio.
  • “I killed Gaetano. I want to die now.” (A, 25:40)
  • “He no letting me marry his brother Vincenzio… I gave a Vincenzio to my soul. And they laughed at an oak… So I kill him.” (A, 25:48–26:19)

9. Resolution and Reflection (28:00–31:21)

• The narrator summarizes the aftermath. Marie died five days later, having lost the will to live.
• The closing moral reinforces that “crime does not pay.”

---

Notable Quotes & Memorable Moments

• On Maria’s longing and heartbreak:
  • “Inside, Vincenzio. Inside me is love. Love that all my life was waiting for something. Now I know it was for you.” (A, 07:53)
• Vincenzio’s rejection:
  • “You thought I was going to marry you, eh? You must be crazy. I ain’t gonna marry a no one. I’m gonna have a good time for the rest of my life.” (B, 10:50)
• Caetano’s cruelty:
  • “Vincenzio is a young fellow… Why should he marry you?” (B, 13:18)
• Marie’s breaking point:
  • “You kill my soul. I kill your body.” (A, 15:25)
• Marie’s confession:
  • “I killed Gaetano. I want to die now.” (A, 25:40)

---

Timeline of Important Segments

• 00:43 – Dispatch and introduction: Setting up the importance of fingerprinting in crime prevention
• 03:59 – Family dinner: Maria’s emotional state and Vincenzio’s arrival
• 07:53 – Maria confesses her love to Vincenzio
• 10:50 – Vincenzio rejects Maria, heartbreak ensues
• 13:18 – Gaetano’s mocking of Maria; she is shamed and desperate
• 15:25 – Marie resolves on violence: the murder
• 17:36 – Marie’s false account of the crime to police
• 21:51 – Police detect the break-in was staged from inside
• 23:24 – Marie is confronted with fingerprint evidence
• 25:12 – Marie’s suicide attempt
• 25:40–27:14 – Marie’s final confession in the hospital
• 28:00–31:21 – Epilogue and moral

---

Tone and Style

The episode maintains a somber, dramatic, and at times, intimate tone—true to the Golden Age of Radio. The actors’ performances emphasize Maria’s longing, psychological unraveling, and explosive emotions. The dialogue captures the period and the immigrant experience, with accents and mannerisms authentic to the era.

---

Summary

“Murder of a Soul” is a powerful audio drama built on love, betrayal, and tragic consequences, interlaced with early forensic detective work. The episode skillfully fuses suspense and human drama, culminating in a chilling lesson: despair, wounded pride, and rejected love can lead to shocking acts, but justice—through both science and procedural rigor—prevails. The case underscores the early impact of fingerprinting and the profound psychological forces behind criminal acts.

Transcript

[A]

Arizona State parks are the perfect place to enjoy the season. From hiking to kayaking, Arizona's state parks have it all. Take a cool weather hike in the Sonoran Desert. Learn all about Arizona's amazing history. If you want to catch waves, we've still got plenty of sunshine. Visit azstateparks.com and take a trip through Arizona's beauty and we'll see you in the parks.

[B]

Calling all cars. A copyrighted program transcribed and dedicated to the prevention of crime. Calling all cars. Attention all cars. Broadcast 29Amurder, suspects unknown. That is all. Gordon. Prior to the advent of fingerprinting in police work, various forms of identification were used. We read of the branding of criminals and slaves at a time when no other method of identification was known. Early in the 18th century, the better organized police departments of Europe employed men with good visual memories to mentally record the faces of criminals and the crimes committed by them. Today, your departments are applying modern methods to police procedure in endeavoring to give the citizens of your community the maximum protection to lives and property. And now a true story taken from the files of law enforcement agencies. THE MURDER OF A soul. Maria.

[A]

Maria. Yes? The cousin Gajano. What is it?

[B]

Oh, look, I got here a letter from my brother.

[A]

Your brother? Vincenzio.

[B]

He's the coming to visit me. He's coming today. Look, you must again cook a big dinner. Minestrone spaghetti and open it up with a special of wine under the cellar.

[A]

Ah, you love your brother, eh?

[B]

He's the one to find the guy. My brother Vinzencio, you know. Oh, but I forget. You never see him, huh, Maria?

[A]

No, he's my cousin, but I never meet him. He was not born when I left the old country.

[B]

Yes, that's a ride. But you like him, Maria. He's the one who find a good looking fellow.

[A]

Good looking? Bueno, I make specially good spaghetti.

[B]

Oh, I don't know. I don't know what I'd do without you, Maria. Here I am all alone under this country with my good Rose so far away. And eat. If I know have you my little cousin, to keep the house for me, I not be so happy.

[A]

Well, if you had not taken me in when Giuseppe dies, the children and I would be. I don't know where we will be. Now look.

[B]

And now. Now when a Vincenzo gets here, us are going to be even better. We'll be a happy family. Big happy family. Hello, Maria. It's very funny to meet your cousin after you was when you grow up.

[A]

Oh, it's sometimes very nice. I'm A glad to know you, cousin Vincenzio.

[B]

And I'm a gladder to meet you, Mar. Yes, yes. Well, well, come on, come on, let's sit down and eat. Ah, Minister.

[A]

I made it myself, Vinio.

[B]

Then it will taste all the best is a glass of a wine. Vincenzo. Come, Maria, let's drink to your car.

[A]

To Vincenzio. Didn't you just come from the old country?

[B]

Me? No, no. I've been in California long time. In the north, in the winer country. Sure, Maria. Don't you know that? Why, Vin married to a swell of bambino, Ev.

[A]

Oh, married.

[B]

Not anymore.

[A]

Oh, what?

[B]

No, we split up. We get a divorce. Six months more and I'm all through with her. She wasn't no good. She was nice. Good looking at though, Ev. Sure, outside she was okay, but inside, no good. So it's all over, huh? See, See, I come down here to start something new. A little business. That's good. I could help you get a start. Good. And then I get myself a little house. And maybe I have Maria come and be my housekeeper. Oh, no, no, no, no. She stayed with me until my rose come from the ol country. You know, Maria, she's a cook of good spaghetti. I think I want.

[A]

Was so nice up here on the hill with the whole city below. Vincentio delights like jewels in the necklace of the Madonna.

[B]

You're pretty swell.

[A]

Oh, I like to be with you, Vincenzio. You've been nicer to me. It's new and strange. No one ever been nicer to me in the same way. Even the seventh before he died. It was different with him.

[B]

I lucky you, Marie. You are all right, Guy.

[A]

I may not be much to look at anymore, but you're swelling. Oh, no, I'm not, Vincentio. I'm getting old. Nearly 29. I was a beautiful one before the babies come.

[B]

And you still are.

[A]

Inside, Vincentio. Inside me is love. Love that all my life was waiting for something. Now I know it was for you. It was waiting. You said that your wife is beautiful outside, but bad inside. Vincenzio. Even if I am another.

[B]

Time is precious, and so are our pets. So time with our pets is extra precious. That's why we started Dutch. Dutch provides 24,7 access to licensed vets with unlimited virtual visits and follow ups for up to five pets. You can message a vet at any time and schedule a video visit the same day. Our vets can even prescribe medication for many ailments. And shipping is always free. With Dutch, you'll get more time with your Pets and year round peace of mind when it comes to their vet care.

[A]

Good outside I am a good inside in my heart. Yes. Maria Vincenzio, did you know that Catano's wife, that Rosa, she come from the old country this year? She does? Yeah.

[B]

Then you can come to me. Then you can come and be my house.

[A]

Do you want me?

[B]

Want to? Of course I do. Will you come with me?

[A]

Oh yes, Vincenzio, I will come.

[B]

And so Marie, her heart overflowing with love, goes to keep house for young Vincenzio to await the moment of his freedom from his first wife, so that she may become his second. The weeks go by, happy, joy filled weeks for the lonely Marie Trentini. Then at last comes the day when Vincenzio receives his final divorce papers. Jubilant, he leaves the house, leaves Marie goes out to celebrate. Faithfully Marie waits up for him. Waits through the long evening, through the still night for the return of her man.

[A]

Is that you, Vincenzio?

[B]

Yes, it was. Hey, what do you do off? You ought to be in a bad.

[A]

Color the way for you, Vincenzio.

[B]

Well, I'm here. You go to bed.

[A]

Oh, did you have a good time?

[B]

Sure, have a good time.

[A]

Is it nice to be free again? Nice?

[B]

It's a swell free. I kind of believe it. So I could get out of a prison. You should see the dinner they give me at Louisville. What a party. And they've got a couple of new girl down there. Santa Maria, what a beauty. But Vincenzi, are you There was a one little Amelia, just 17 and what a figure luck of this. She lied to me. Tomorrow night she's coming for supper. I want you to cook up something special and. Hey, what's the matter? What do you cry for?

[A]

Nothing, nothing. Only I thought that you and.

[B]

Hey, hey, what do you get at? What's this? You begin to make a noise like a wife.

[A]

Wife? Yes, Vintage. I guess that's what I told you. Say, oh, Virginia, don't you see I love you.

[B]

And I thought it may matter than me. You thought I was going to marry you, eh? You must be crazy. I ain't gonna marry a no one. I'm gonna have a good time for the rest of my life.

[A]

Wake up. Come on, wake up. Guy, what's. Come on, there's somebody knock on the door. Get up and see who it is.

[B]

Somebody knock on the door. What time is it?

[A]

It's a 3:30.

[B]

3:30. Who? Who is it this time of the night?

[A]

Well, you better go and see.

[B]

Okay, okay. Wait till I get My pants is on. They got nerve after 12 o'.

[A]

Clock.

[B]

Okay, I'm coming here. Maria, what are you doing here? Something wrong with Vincenzo?

[A]

What's your mind? Cousin Gatano, can we come back? Can I come and live with you again?

[B]

Sure, sure. Come on in. Come on, all of you.

[A]

Come on now.

[B]

Talk to me. What's your mind?

[A]

I want to live with Vincenzio any longer. I. I hate him. Oh, no, I don't. Why?

[B]

What he do to you?

[A]

Nothing, I guess. Only I gave him everything of value I have in the world and he don't even know it. No, no.

[B]

You better go back to money. I don't know what you're talking about. And I don't think you'll do either. You go to bed tonight and we'll talk about it in the morning.

[A]

But you must listen, Gaetano. I love him. I love him like I never loved you, sir. Like I never can love another man.

[B]

Yes, but does he love you?

[A]

He did, Gaetano. He did at first. When we first met here, he loved me. He loved me. When I went to him to be his housekeeper, I thought it would never end, Gaetano. And then tonight he come back drunk. He boast of summer girl. He ordered me to cook a dinner for them.

[B]

Well, you in the house to keep her, ain't he?

[A]

Oh, Gaetano, don't you understand? I love him. Gaetano, you are his brother. You're older than him. You talk to him.

[B]

What should I say to him?

[A]

You must make him marry me. I marry him, Gaetano.

[B]

Make him marry you.

[A]

You.

[B]

Maria.

[A]

Why are you laughing?

[B]

Vincenzio is a young fellow. Good look. He could get any pretty bambino he wanted. Why should he marry you?

[A]

I love him, Gaetano.

[B]

Yeah, but look at you. Look on yourself under the mare. You get it to be all the. Maria, you're fat.

[A]

I was a pretty once.

[B]

But you ain't anymore. Why should Vinzenzio want you when he could get any girl he looks at?

[A]

I love him, Gaetano. It's not a fear. He made me love him. You gotta make him marry me, Gaetano.

[B]

Well, I won't. He'd be a big fool to marry you, Gaetano. Oh, now listen, Maria. Look, you want to get married, that's okay. Look, look, I got a friend now. He's a fine fellow. He's come over from Italy. He's got to want to bump in all his own. And he will be the poor wife. She'd die. You marry him in.

[A]

Marry somebody. I don't know. I don't Love? What do you think I am? You think I'm for anybody? I'm for Vincenzio. I belong to Vincenzio.

[B]

You, Maria. Oh, that's a good joke.

[A]

Very funny. You're going to be sorry. You see, you don't know how tight you gonna be.

[B]

For weeks.

[A]

Distort.

[B]

Marie Trentini broods over the fickleness of Vincenzio and the brutal frankness of Caetano. For weeks, behind her impassive, saddened face, her brain is in a turmoil, trying to adjust herself to the wrong she feels has been done her. And then finally, on August 7th, as Marie lies tossing sleeplessly in her bed, something in her brain snaps. The turmoil of thought and counter thought lines up into one straight, clear path of action. Marie slips from her bed, tiptoes into the front room, takes Kaitano's shotgun from the closet and silently walks toward the bedroom in which her cousin and his wife are sleeping.

[A]

You could make him marry me. Who would make him a good wife? You could have done this for me. But you wouldn't, Catano. You laugh at me and you told me I was old and fat, but I had a soul. I had feelings. You don't know about that. You don't know that you're feeling. Heal my soul. But see, Gaetano, my body is not yet dead. My body can still kill you, Gaetano. Yes. You kill my soul. I kill your body. You see how my body still lives, cousin Gaetano? How it lifts his gun to my shoulder, how it puts my finger on the trigger, how it.

[B]

Hey, he is coming to police. Maybe so. He might arrest somebody. They arrest for you, Charlie, you get in the way. Oh, I go, I go.

[A]

Look at this.

[B]

All right, where's the trouble? Right in here.

[A]

It's a murder.

[B]

Okay, come on. Stand back there. Come on, boys. Hey, I'm assure you the way. Yeah, I can find it all right. Well, where are the bodies? In here, in the bedroom. Well, he's dead all right. Buckshot. Hey, but this woman is still alive. Hickey. That's right. Call the ambulance. This woman is still breathing. Okay, now, anyone here know anything about this? Sure. All right. All right, now don't all talk at once. Who lives here?

[A]

I live here.

[B]

What's your name?

[A]

Mary Trentini.

[B]

Who is this man here?

[A]

He's my cousin, Garcia Cantini. I live with him and his wife, Rosa.

[B]

Is this his wife who's wounded here?

[A]

Yes.

[B]

Well, what do you know about it?

[A]

A few minutes ago, I awake and see a man standing over my bed. He had a flashlight and he say, keep quiet. And I say, what are you doing here? And he say, you're too pretty to kill. You be quiet and no harm come to you. He think I'm pretty?

[B]

All right, all right. I got that part. Now go ahead.

[A]

While he stood by the door of my room, three other men go into the middle room and pull things out of the desert. And then I hear a gun go off and a man run out. And I go into Gaetano's room and I find it.

[B]

Get us some water, somebody. Here, let me get it. I will. This is what he was killed with, Frank. Well, 12 gauge shotgun. Both shells discharged. Whose gun is this?

[A]

Marine Kaitano. Long time ago. Four men come see my cousin. Two Japanese, two Americans. They say. Guys seen it from them. That kind of. He say, no. And Americans say, you bring back stuff by tomorrow night or we kill you. I think these same people coming here tonight, same voice. I think they murdered that.

[B]

Okay, we'll run that down. Hickey. That's right. Call the photographer and have him take two or three shots of the body. And then call the wagon and take it to the morgue. Corsini.

[A]

Yes, sir.

[B]

Now, you speak Italian. Get these people out of here and tell them if anyone touches anything in this house, he'll be tried for murder. Howard Barlow, the fingerprint expert, goes over the murder house for prints while other officers round up the American and Japanese accused by Marie. Condeper and Corsini discuss the crime as they wait the arrival of the suspect. Well, Corsini, what does it look like to you? The story sounds straight enough. You know how these racket murders go. Somebody hijacks somebody else, the next day they find a body along a lonely road. Yeah, that's true enough. Now look here, Costini, you understand these Italians a lot better than I do. Do you think Marie is telling us everything? Well, as a matter of fact, I had the feeling that she was holding something back. They're funny people, my countrymen. I suspect everyone but their own kind. That's what I figured. Now I want you to talk to her. Maybe you can get more out of her than any of the rest of us. I won't promise anything, but I try. I got these suspects outside, Frank. Bring them in.

[A]

Okay.

[B]

How are you guys? I don't. You men know Guy Trentini? Yeah, we know him. Did you know he was murdered tonight? What?

[A]

Oh, how come?

[B]

He's been a murderer to please. That's what we want to find out from you. Oh, Colonel, telling you nothing. We know nothing about the murder. Where were you guys tonight? We were down at Blackie's joint. We can prove it. Oh, yes, very easy. Prove her. When did you see Guy Trentini last? Oh, a long time ago. Last March, I think. What does he go to see him about? We thought he'd hijacked some stuff from Togo here. Didn't you threaten to kill him then?

[A]

No.

[B]

Found out that he hadn't done it, so we left him alone. We ain't seen him since. Bring in the Trentini woman. Okay. Come in, please. Now, Marie, are any of these men the ones you saw in your house tonight?

[A]

I don't know for sure. The man, he held a flashlight in my face. I couldn't see what he looked like.

[B]

Hey, what did I tell you, Captain? We weren't there, but here's a voice.

[A]

That sound like the same one.

[B]

Excuse Br. Lady is mistaken. You will find we were at Abraki. Well, that isn't a very good identification, Marie. Now, aren't you any more sure than that? No.

[A]

As I say, I couldn't see his face, his flashlight blinded.

[B]

Okay, Hickey, take these men over to Barrow's office and have them fingerprinted. Oh, now, look here, Captain. You ain't got anything on us. What's the idea of fingerprint just for elimination? If you're innocent, naturally we don't want to hold you any longer than necessary. The suspected American and Japanese are fingerprinted, and Barlow works over their prints and the prints found at the scene of the crime. After several hours, he reports to Acting Captain Conduffer. Well, Baro, no similarity in the prints at all? Not the slightest. Not the slightest. I don't believe these men had anything to do with the crime. Well, we better hold him anyway until we're sure. And then you and I can go out there right away and tear up some more things. Now, according to Marie, these men came in through this rare screen door here. Did you examine it? Yes, I already have it. I'll do it over again. Say, Frank, did she tell you the men broke in here? Why, sure. You can see where they pushed in the screen to get at the hook. Yeah. Well, this screen was ripped open from the inside.

[A]

Sure.

[B]

Look here. Look through this magnifying glass. The wires are bent toward the outside. See, if the screens had been pushed in, they'd bend toward the inside. Yes, you're right. So the screen was pushed out from inside, and then the flap bent in to look like an outside job.

[A]

Yeah.

[B]

And whoever did it was in the house and wanted to make it look as if the house was entered. That's what I'd say. By the way, who was in the house? Why, Marie Trentini. But, Howard, she wouldn't have. How can you tell? Where is she now? A couple of doors down the street, staying with some friends. Okay. Come on. We're going to fingerprint her. Just for elimination, of course. And so Marie Trentini is fingerprinted. And Barlow retires to his office to compare her prints with those on the murder weapon. Does not take him long to realize that the prints are identical. And with this positive identification, Conda dispatches Lt. Corfini to arrest the Italian woman for murder. Graffini, wise in the psychology of his countrymen, goes about making the arrest in his own fashion. Hello, Marie. How are you today?

[A]

Oh, I'm all right, I guess.

[B]

Anything troubling you? You look all upset.

[A]

No, nothing. Nothing's the matter. Except you're gonna think how I feel with my cousin getting killed like that.

[B]

Of course.

[A]

And poor Rosa. How is she? Corsini? Have you heard from the hospital? She's better.

[B]

She get well all right. Buckshot just wounded her on the head.

[A]

Madre Gadir. My cousin and his wife. I love them very much.

[B]

Yes, that's what I thought. That's why I've been wondering about something.

[A]

Wondering about something what?

[B]

I want to ask you a question, Marie.

[A]

Yes?

[B]

How does it happen that your fingerprints appear on the shotgun that was used to kill your cousin?

[A]

My fingerprints? Yeah. Will I explain to that?

[B]

I wish you would.

[A]

It's easy to explain. Just after it it happened, I. I scream, the neighbors are coming. I pick up the gun. I show how Guy Tan will get the kids.

[B]

Show me, will you, Marie? Show me how you picked up the gun. Here, take this, bro. Pretend it's the gun and pick it up the same way you picked up the gun.

[A]

Well, I. I picked up like that.

[B]

Yeah, but, Marie, your fingerprints are on the stock of the gun and on the trigger. Now, look as if you held it like this. Oh, now, now, Marie, trying to calm yourself. I'm just asking you questions so I can get to the bottom of this thing. I'm not accusing you. If you didn't do it, you got nothing to worry about.

[A]

All right.

[B]

Come on, Marie. Put on your hat. Let's go to the station. You can tell the captain your story.

[A]

All right. You get my children. They're playing the art. You put them into the car. I want to wash my face first.

[B]

Okay, but hurry. Hey, Tony. Come on. Get your sister. We're going for a ride.

[A]

Where are we going Cortini down to.

[B]

The police station for a while.

[A]

We gonna ride in the police car?

[B]

Yep.

[A]

Gee, let's go.

[B]

Just as soon as your mother comes.

[A]

Out, will you blow the siren all the way?

[B]

Sure.

[A]

And can we listen to the police radio?

[B]

Yep.

[A]

Please? That'll be swell. Hey, will you go down the street this way so all the kids can see me? Yes.

[B]

Yes, I guess so. Wonder what people. And your mother. Tony. Yes. I better go see.

[A]

I'll come along with you.

[B]

Marie. Marie. See that? Funny. Where's the bathroom, Tony?

[A]

That door over there.

[B]

Good Lord.

[A]

Mama. Mama.

[B]

She cut her throat. Fifteen minutes later, Marie Trentini is in the Georgia Street Receiving Hospital, and doctors are working feverishly to close the wicked wound she has inflicted on herself with a razor. As soon as they have finished their work, Cassini and Condor are admitted to her room.

[A]

Marie.

[B]

Marie, why did you do this?

[A]

It wasn't better that way. I killed Gaetano. I want to die now.

[B]

But why did you kill him, Marie?

[A]

He no letting me marry his brother Vincenzio. I beg of Vincenzio marry me. But he says no. So I go to Caetano. I tell him he must make his brother marry me. And Caetano, he laugh and say I'm not good enough for Vincenzio. I gave a Vincenzio to my soul. And they laughed at an oak. He couldn't make him marry me, but he laughed. So I kill him.

[B]

Did you intend to kill Rosa too?

[A]

No, that was an accident. Rosa is a good woman. She's innocent.

[B]

But why did you cut your throat?

[A]

It was the best thing to do. My fingers on the gun. Everybody know I kill a guy. Daniel.

[B]

Well, then why did you try to throw the blame on those four men who came to see Guy last spring?

[A]

I am ashamed about that. I did not want to tell that I did it because of my damn penis. They need me. But I guess maybe Rosa care for them all right. Only Costini.

[B]

Yes.

[A]

There is one thing I want you to do for me.

[B]

Do for you? Well, what's that?

[A]

Marie? I want you, Vincenzio Trentini. For me. Kill him for me.

[B]

In just a moment, you will hear what happened to Marie Trentini. The woman referred to in tonight's dramatization as Marie Trentini was delirious for five days and showed no desire to get better. She had said that her soul had been killed. She apparently did not care for her body to live. In the middle of the night, on August 12, he died in her sleep. From the point of police procedure, the department did its work. In eliminating falsely accused persons and by means of fingerprints, discovered the actual criminal and obtained a confession. Whether Marie was doubly guilty in taking her own life after taking that of another is a problem for a higher judge than there is on earth to decide. Nevertheless, it proves that crime does not pay. Calling all cars. Attention, all cars. Cancellation broadcast 29. Suspect has committed suicide. That is all.

[A]

Sam.