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

Summary

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

Podcast: Harold's Old Time Radio
Date: August 19, 2025
Episode: Calling All Cars 34-06-13 ep029 Murder of a Soul
Host/Announcer: [Unnamed - typical of 1930s scripted radio drama]

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Overview

This episode of "Calling All Cars" recounts a true crime drama from early 20th-century Los Angeles, reconstructing the tragic case of Marie Trentini, an Italian immigrant entwined in a web of love, betrayal, and murder. Against a backdrop of family, lost hope, and cultural expectations, the story explores how unrequited love and emotional desperation lead to an act of violence — and its painful consequences — while simultaneously illustrating the use of forensic science (fingerprinting) in crime-solving during the era.

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Key Discussion Points & Insights

1. Setting the Stage: The Trentini Family Drama

• Opening Narrative [03:59–07:39]
  • Marie lives with her cousin Gaetano and keeps house for him and his family.
  • Excitement buzzes as Gaetano's younger brother, Vincenzio, is coming to visit, setting the scene for a traditional, close-knit Italian family gathering.
  • Maria expresses her deep gratitude for being taken in after her husband's (Giuseppe) death.

2. Marie’s Hope: Love for Vincenzio

• A Growing Romance [07:10–09:33]
  • Vincenzio, recently divorced, becomes the object of Marie's affection.
  • There’s an open display of unfulfilled longing and vulnerability from Marie, who confides in Vincenzio about her feelings:
    • "Inside me is love. Love that all my life was waiting for something. Now I know it was for you. It was waiting." — Marie [07:43]

3. The Betrayal and Humiliation

• Dreams Shattered [10:02–11:07]
  • After Vincenzio gets his final divorce, he goes out celebrating but returns home boasting of his freedom and future with younger women.
  • Marie is devastated when Vincenzio cruelly rejects her:
    • "Thought I was going to marry you, eh? You must have been crazy. I ain't going to marry no one." — Vincenzio [11:07]

4. Emotional Collapse and Familial Scorn

• Marie’s Desperation [12:07–15:01]
  • Rejected and heartbroken, Marie appeals to Gaetano to convince Vincenzio to marry her, but Gaetano is brutally honest:
    • "Look on yourself under the mirror. You get it to be old. Maria, you're fat." — Gaetano [13:42]
  • Humiliated and rebuffed, Marie is left isolated and emotionally fractured.

5. The Crime: Murder of Gaetano

• The Breaking Point [15:01–16:40]
  • After weeks of psychological torment, Marie snaps. She kills Gaetano with his own shotgun and wounds Rosa by accident.
  • "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 have killed me. You've killed my soul. But Sikhat Hanno, my body is not yet dead. My body can still kill you, Gaetano." — Marie (internal monologue) [15:36]

6. Police Investigation & Forensic Methodology

• Initial Crime Scene and Suspect Round-up [17:33–21:49]
  • Police find Gaetano dead and Rosa wounded. Marie deflects suspicion by blaming four men, referencing an old feud involving theft allegations.
  • The investigation swiftly uses fingerprints to rule out the accused men.
    • "Well, Barlow, no similarity in the prints at all? Not the slightest." [22:19]
  • Critical forensic detail reveals the supposed break-in was staged from inside the house.

7. Truth Revealed: Marie’s Confession

• Confrontation and Admission [23:53–27:48]
  • When Marie’s fingerprints are matched to the murder weapon, Lt. Corsini gently confronts her.
  • She invents excuses but is eventually brought in:
    • "How does it happen that your fingerprints appear on the shotgun that was used to kill your cousin?" — Corsini [24:25]
  • Overcome by guilt and despair, Marie attempts suicide with a razor before she can be processed.
  • In the hospital, she fully confesses:
    • "I killed Gaetano. I want to die now... 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..." — Marie [26:40, 26:48]

8. Aftermath and Reflection

• Epilogue [29:00–end]
  • Marie remains delirious for days after her failed suicide attempt and eventually dies in hospital, “her soul killed” by her suffering and actions.
  • The police procedure is lauded for thoroughness (the use of fingerprints and elimination of innocent parties).
  • A moral reflection closes the episode, implying the heavy toll of crime and emotional devastation:
    • "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." [29:00]

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Notable Quotes & Memorable Moments

• Marie’s Longing for Acceptance:

  • "Even if I am an art of love." — Marie [08:12]
  • "Inside me is love...Now I know it was for you." — Marie [07:43]

• Vincenzio’s Cruel Rejection:

  • "Thought I was going to marry you, eh? You must have been crazy." [11:07]

• Gaetano's Brutal Honesty:

  • "You get it to be old. Maria, you're fat...Why should Vinzencio want you..." [13:42]

• Marie's Inner Turmoil:

  • "You don't know that you have killed me. You've killed my soul. But...my body is not yet dead. My body can still kill you…” — Marie [15:36]

• Police Deduction:

  • "This screen was ripped open from the inside...whoever did it was in the house and wanted to make it look as if the house was entered." [22:19]

• Final Confession:

  • "I killed Gaetano. I want to die now...I gave a Vincenzio my assault and they laughed at Danok." — Marie [26:40]

• Epilogue Reflection:

  • "She had said that her soul had been killed. She apparently did not care for her body to live." [29:00]

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Timestamps for Key Segments

• Trentini family scenes begin: [03:59]
• Marie’s confession of love: [07:39]
• Vincenzio’s rejection: [11:07]
• Marie’s plea and Gaetano’s scorn: [12:07–14:42]
• The murder (Marie’s internal monologue): [15:36]
• Police investigation: [17:33–19:35]
• Fingerprint discovery: [21:49–22:19]
• Confrontation and confession: [24:25–27:48]
• Marie’s suicide attempt and hospital confession: [26:00–27:48]
• Epilogue/closing reflection: [29:00]

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Tone & Effect

The dramatization is typical of Golden Age radio true crime:

• Compassionate toward the emotional suffering of Marie
• Stark in its depiction of social/familial pressures
• Underlines the procedural competence of law enforcement
• Ultimately, it is tragic and moralistic, underscoring the destructive power of grief and obsession.

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This retelling is absorbing for fans of classic radio, true crime, and those interested in the societal and forensic aspects of early 20th-century investigations.

Transcript

[A]

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[C]

Wayfair every style. 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 and property. And now a true story taken from the files of law enforcement agencies. THE MURDER OF a soul. Maria. Maria.

[B]

Yes?

[C]

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

[B]

Your brother? Vincenzio.

[C]

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 wine under the cellar.

[B]

Oh, you love your brother Egg.

[C]

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

[B]

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

[C]

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

[B]

Good looking? Bueno. I make specially good spaghetti.

[C]

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

[B]

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.

[C]

Now look. 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.

[B]

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

[C]

And I'm a gladder to me you cousin Mar. Yes, yes. Well, well. Come on, come on, let's sit down and eat.

[B]

Oh, Minister, I made it myself. Intensio.

[C]

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

[B]

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

[C]

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

[B]

Oh, married?

[C]

Not anymore.

[B]

Oh, what?

[C]

No, we split up. We get a divorce. Six months more and I'm we through with it. She wasn't no good. She was nice. Good looking though, Ev. Sure, outside she was okay, but inside, nice. So it's all over, huh? See? See, I'm coming down here to start something new. A little business. Lots of 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 house. Oh, no, no, no. She stayed with me until my roars come from the ol Country. You know Maria, she's a coca good spaghetti. I think I want.

[B]

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

[C]

You're pretty swell.

[B]

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

[C]

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

[B]

I may not be much to look at anymore.

[C]

Well, you're swelling.

[B]

Oh, no, I'm an art, Vincenzio. I'm getting old. Nearly 29. I was a beautiful one before the babies come. And you still are 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 an art of love.

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[B]

I am a good inside. Into my heart.

[C]

Get some of you.

[B]

Vincenzio, didn't you know that Catano's wife, that Rosa, she come from the old country this week.

[C]

She does?

[B]

Yeah.

[C]

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

[B]

Do you want me?

[C]

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

[B]

Oh yes, Vincenzio, I will come.

[C]

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 men.

[B]

Is that you, Vincenzio?

[C]

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

[B]

I was a wait for you.

[C]

Vincenzio, while I'm here, you go to bed.

[B]

Oh, did you have a good time?

[C]

Sure I have a good time.

[B]

Is it nice to be free again?

[C]

Nice? It's a swell free. I kind of believe it. Like to get out of a prison. You should see the dinner they give me at Luigi. What a party. And they've got a couple of new girls down there. Santa Maria, what a beauty. But Vincenzo, there was a one little Amelia, just 17 and what a figure. Lucky this she like 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?

[B]

Nothing, nothing. Only I thought of that. You and.

[C]

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

[B]

Wife? Yes, I guess that's what I told you. Say. Oh, don't you see? I love you and I talk about you.

[C]

Thought I was going to marry you, eh? You must have been crazy. I ain't going to marry no one. Me, I'm going to have a good time for the rest of my life.

[B]

Guy, wake up. Come on. Wake up, guy.

[C]

Come on.

[B]

There's somebody knock on the door. Get up and see who it is.

[C]

Somebody knock on the door. What time is it?

[B]

It's 3:30.

[C]

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

[B]

Well, you better go and see.

[C]

Okay, okay. Where's? Like you know, my pants is on. I got a nervous 12 o'. Clock. Okay, I'm a commoner. But Maria, what are you doing here? Something wrong with Vincenzo?

[B]

What's the matter, Cousin Gatano? Can we come back? Can I come and live with you again?

[C]

Sure, sure. Come on in. Come on, all of you. Come on now I'm talking to me. What's your mind?

[B]

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

[C]

Why? What he do to you?

[B]

Oh, nothing, I guess. Only I gave him everything of value I have in the world and he don't even know it.

[C]

No, no. You better go to bed. The 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.

[B]

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

[C]

Yes, but does he love you?

[B]

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 girls. He ordered me to cook a dinner for them.

[C]

Well, you is a house to keep princes.

[B]

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

[C]

What should I say to him?

[B]

You must make him marry me. I love him.

[C]

G. Make him marry you. You. Maria.

[B]

Why are you laughing?

[C]

Vincenzio is a young fellow, good look. And he could get any pretty bombino he wanted. Why should he marry you?

[B]

I love him, Gaetano.

[C]

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

[B]

I was a pretty one.

[C]

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

[B]

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

[C]

Well, I won't. He'd be a big fool to marry you.

[B]

Tangled.

[C]

Oh, now listen. I'm out of here. Look, if you Want to get married? That's okay. Look, look. I got a friend n a fine fellow. He's to come over from Italy. He's got to want to bum in all his own. And he will be the poor wife she died.

[B]

You marry him and 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.

[C]

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

[B]

Very funny. Sky tunnel. You're going to be sorry. You see, you don't know how sorry you got to be.

[C]

For weeks distort Marie Frantini broods over the fickleness of Vincenzio and the brutal frankness of Gaetano. 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.

[B]

I love. You could make him marry me. Who would make him a good wife? You could have done this for me. What? You wound Caitano. 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 have killed me. You've killed my soul. But Sikhat Hanno, 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 lift its gun to my shoulder? How it puts my finger on the trigger. How it.

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[C]

Maybe so. He might arrest somebody. Arrest for you. Charlie, you get in the way. Oh, I go, I go. All right, where's the trouble? Right in here.

[B]

It's a murder.

[C]

Okay, come on. Stand back there. Come on, boy. 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. See? 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. Sir, who lives here?

[B]

I live here.

[C]

What's your name?

[B]

Mary Trentini.

[C]

Who is this man here?

[B]

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

[C]

Is this his wife who's wounded here? Yes. Well, what do you know about it?

[B]

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 thinks I'm pretty?

[C]

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

[B]

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

[C]

Oh, get us some water, somebody. Here, I'm a getter. Very well. This is what he was killed with, Frank. Well, 12 gauge shotguns. Both shells discharged. Whose gun is this?

[B]

Marie Caetano. Long time ago, four men come here. My cousin, two Japanese, two Americans. They say guys steal 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 murder that.

[C]

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. Yes, sir. 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. Condafer and Corsini discuss the crime as they await 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. They 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 it. I won't promise anything, but I try. I got these suspects outside. Frank, bring him in. Okay. How are you guys? All right, don't shove. You men know Guy Trentini? Yeah, we know him. Did you know he was murdered tonight? What?

[B]

Oh, how come?

[C]

He's been a murder. The police. That's what we want to find out from you. Oh, come on. Telling you nothing, we know nothing about a murder. Where were you guys tonight? We were down at Blackie's joint. We can prove it. Oh, yes, sir, there is a proverb. 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? No. He 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?

[B]

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

[C]

What did I tell you, Captain? We weren't there.

[B]

But here's a voice that sound like the same one.

[C]

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?

[B]

No. As I say, I couldn't see his face, his flashlight blindly.

[C]

Okay, Hickey, take these men over to Barlow's office and have them fingerprinted. Oh, now look here, Captain. You ain't got anything on earth. What's the idea of fingerprint just for elimination? If you're innocent, naturally we don't want to hold you any longer than is 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, Barlow, no similarity in the prints at all? Not the slightest. Not the slightest. I don't believe these men have anything to do with the crime. Well, we better hold them 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 this? Yes, I already have, but 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. Sure. Look here. Look through this magnifying glass. The wires have been 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. Yeah. 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. 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, Condafford dispatches Lt. Corsini to arrest the Italian woman for murder. Corsini, wise in the psychology of his countrymen, goes about making the arrest in his own fashion. Hello, Marie. How are you today?

[B]

Oh, I'm all right, I guess.

[C]

Anything troubling you? You look all upset.

[B]

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

[C]

Of course.

[B]

And poor Rosa. How is she? Cortini, have you heard from the hospital?

[C]

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

[B]

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

[C]

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

[B]

Wondering about something what?

[C]

I want to ask you a question, Marie.

[B]

Yes?

[C]

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

[B]

My fingerprint?

[C]

Yeah.

[B]

Will I explain that?

[C]

I wish you would.

[B]

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

[C]

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.

[B]

Well, I picked up like that.

[C]

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, try 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. All right. Come on, Marie. Put on your hat. Let's go to the station. You can tell the captain you sorry.

[B]

All right. You get my children. They play in the yard. You put them into the car. Who want to wash my feet? Please.

[C]

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

[B]

Where are we going, Cor?

[C]

Down to the police station for a while.

[B]

We going to ride in the police car?

[C]

Yep.

[B]

J let's go.

[C]

Just as soon as your mother comes.

[B]

Out, will you blow the siren all the way?

[C]

Sure.

[B]

And can we listen to the police radio?

[C]

Yep.

[B]

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

[C]

Yes. I guest wonder what's keeping your mother. Tony. Yes. I better go see.

[B]

I'll come along with you.

[C]

Marie. Marie. See, that's funny. Where's the bathroom?

[B]

Tony, Put that door over there.

[C]

Good Lord.

[B]

Mama. Mama.

[C]

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, Corsini and Condor are admitted to her room. Marie. Marie, why did you do this?

[B]

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

[C]

But why did you give him a leave?

[B]

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 the gentio. I gave a Vincenzio my assault and they laughed at Danok. He couldn't make him marry me, but he laughed. So I kill him.

[C]

Did you intend to kill Rosa too?

[B]

No, that was a accident. Rosa. Is she a good woman? She's innocent.

[C]

But why did you cut your throat?

[B]

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

[C]

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

[B]

I am ashamed about that. I did not want to tell that I did it because of my bad penis. They never. But I guess maybe Rosa care for them all right. Only Costini.

[C]

Yes.

[B]

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

[C]

Do for you? Well, what's that? Marie?

[B]

I want you feel wind. Send the old Trentini for me. Kill him for me.

[C]

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.

[B]

Sam.

[D]

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[C]

Com.

[D]

Zip.