Haunting Hour 45-06-30 (10) Homicide House

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: Haunting Hour 45-06-30 (10) — "Homicide House"

Date: October 31, 2025
Host: Harold’s Old Time Radio

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Overview

In this chilling episode of Haunting Hour titled “Homicide House,” listeners are plunged into an atmospheric murder mystery set within the decaying walls of the Van Cleek mansion. The story combines gothic suspense, family curses, and a clever inheritance racket, capturing the essence of Golden Age radio drama. New York newspaper reporters Bill Foster and Maureen Davis are assigned to investigate the mysterious Van Cleek family’s violent history and the now-abandoned estate—only to walk straight into peril.

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Key Discussion Points & Story Highlights

1. The Van Cleek Curse & Assignment

[03:10–05:02]

• Setting: The New York Clarion newsroom.
• Characters: Chief Editor, Bill Foster, and Maureen Davis.
• The Assignment:
  • The Chief assigns Bill and Maureen to “dig up” the story of the Van Cleek family for the Sunday supplement, emphasizing their mysterious tradition of dying violently.
  • The mansion, long-abandoned and about to be destroyed, is a local legend.
• Quote:

  “Every Van Cleek from Hubertus right back to old Theodore… has died by violence. Not one ever died a natural death.” — Chief Editor [03:39]

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2. Arrival at the Van Cleek Mansion

[05:23–06:45]

• Bill and Maureen first view the mansion, commenting on its gloom and size.
• As they prepare to take photos, they hear a gunshot coming from inside—a sign that something is amiss.
• Quote:

  “Sounded like a shot.” — Maureen [06:02]

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3. Exploring the Mansion & Encounter with the "Ghosts"

[06:45–12:22]

• Wine Cellar Investigation:
  • The duo explores a cobweb-choked wine cellar, puzzled by the persistent smell of champagne decades old.
• Upstairs:
  • Drawn by strange music, they reach a lavish but unkempt drawing room and meet Hodgkins, the butler, and then, the supposed ghosts of Hector and Abigail Van Cleek—dressed as if 1898 never ended.
• Key Moments:

  “My name is Hodgkins. I’m the Van Cleek butler.” — Hodgkins [09:54]
  “You’re Abigail Van Cleek?... But you’re supposed to be dead.” — Maureen [11:06]

  • The duo are pressed to join the Van Cleeks for dinner and forced to adopt the charade that it’s still 1898.

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4. Out-of-Time Dinner & The Uneasy Night

[12:22–20:21]

• Dinner Table Conversation:
  • Abigail and Hector drop outdated references (Roosevelt and Dewey fighting the Spanish), revealing Abigail is mentally stuck in the 1890s.
  • The butler, Hodgkins, is exceptionally attentive.
• Snowstorm:
  • The Van Cleeks, under the guise of hospitality, insist Bill and Maureen stay the night.
• Quote:

  “Oh, what a pity. There’s a young tenor named Enrico Caruso… he sings so divinely…” — Abigail [18:15]

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5. Bill's Suspicions & Investigation

[20:54–22:22]

• Bill becomes increasingly suspicious, especially noticing Hodgkins’ out-of-place tan—a clue something is decidedly modern about him.
• Quote:

  “His wrist was tanned… where he had worn a wristwatch… in the middle of winter and with no exposure to the sun.” — Bill [21:14–21:22]

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6. Unmasking the Villains

[22:40–25:27]

• Discovery:
  • While trying to escape, Bill and Maureen find the body of Collins, a Miami police investigator, in a closet—he was chasing the Van Cleek case and was shot dead.
  • Hodgkins reveals himself as the murderer and takes the pair prisoner at gunpoint. Hector and Abigail quickly drop their disguise—revealed to be criminals Nixon and Margie.
• Confrontation:

  “So it was you who murdered Hubertus Van Cleek.” — Bill [23:25]
  “Pretty clever impersonations too.” — Bill, as the villains are revealed [23:38]

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7. Climax & Escape

[25:01–25:24]

• Bill uses his camera’s flash to blind Hodgkins temporarily, allowing Maureen to grab the gun. Bill holds the trio at bay, telling Maureen to fetch the police for “an exclusive on this first.”
• Memorable Exchange:

  “That flashbulb in my camera just went off and blinded him.” — Bill [25:17]
  “Now, if you’ll hurry out for the police, I’ll keep these characters entertained. Don’t forget to phone the chief. An exclusive on this first.” — Bill [25:18]

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Notable Quotes & Moments (with Timestamps)

• The Family Curse:
  “Every Van Cleek… has died by violence.” — Chief Editor [03:39]
• Atmosphere:
  “Nice place for murder, huh?” — Bill [06:38]
• Gothic Mood:
  “Terribly big… these awful statues… they ought to open this place up as a museum.” — Maureen & Bill [08:02–08:13]
• Impersonation Unveiled:
  “You really were the Van Cleek butler… As the faithful family retainer, you could positively identify these two phonies…” — Bill [24:29]
• Triumphant Cleverness:
  “I’ve shot plenty of people with this camera of mine, but this is the first time I’ve ever been on the receiving end…” — Bill [24:49]

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Important Timestamps

• [01:31] – Story Introduction
• [03:10] – Newspaper Assignment & Family Curse
• [05:23] – Arrival at the Mansion
• [06:02] – Gunshot Heard
• [09:54] – Hodgkins the Butler Introduced
• [11:06] – Meeting Hector and Abigail
• [18:15] – Abigail’s Confused Dialogue
• [21:14] – Bill Finds the Key Clue: Hodgkins’ Tan
• [22:40] – Discovery of Collins’ Body
• [23:20] – Hodgkins Takes the Lead; Villains Revealed
• [25:01] – Bill and Maureen’s Daring Escape

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Tone & Style

The episode encapsulates the suspenseful and mysterious mood characteristic of 1940s radio drama:

• Rich on atmosphere, dark humor, and wisecracking between leads.
• The dialogue alternates between gothic dread and light banter.
• Villainy is revealed with clever deduction, action, and quick wit.

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Conclusion

“Homicide House” provides a vintage blend of suspense, hidden secrets, and clever plotting—true to the Golden Age of Radio. Listeners join Bill and Maureen as they unravel a murderous inheritance scheme masquerading as a haunted family legend, with memorable one-liners, period references, and a classic twist ending.

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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.

[B]

No, no.

[C]

Stay where you are. Do not break the stillness of this moment, for this is a time of mystery. A time when imagination is free and moves forward swiftly, silently. This is the haunting hour.

[B]

Homicide House.

[C]

Our story begins late at night in one of the rooms of an exclusive Florida hotel.

[B]

Hello? Hello?

[D]

Mr. Hubertus Van Cleek?

[B]

Yes.

[E]

Yes.

[D]

This is Special Investigator Collins of the Miami Police.

[E]

Indeed. Well, what the devil is the idea of waking a man in the middle of the night?

[D]

I'm sorry, Mr. Van Cleek, but we have reason to believe that your life is in danger.

[E]

My life in danger? Nonsense. Who would want to do away with me?

[D]

I don't know, sir, but this is a warning. Be sure your door is locked and your windows, too. You've been followed by.

[E]

I know that I've been followed by a pack of idiots who want to sell me everything from insurance to yachts. I'm used to that, and I know how to deal with these parasites. Now, good night, Mr. Collins and Mr. Van Cleek. Good night, sir. A fool, ringing me up at this time of night. Tell me that my.

[B]

Who's there? Who's at the Wind?

[D]

Hanson, managing editor. Oh, it's you, Senator. No, sir, the New York Clarion will not retract that statement. This is an independent newspaper.

[B]

What?

[D]

You'll take us to court?

[B]

Go ahead.

[D]

We've got all the facts on that waterways project and we can prove them by affidavit. Sorry, Senator, I haven't time to argue with you. I'm a busy man.

[B]

All right, Chief, what's going.

[D]

Sit down, you two. I've got an assignment I want you to handle together.

[B]

Say, Chief, if it's about that phony waterways deal, why, that's just my.

[D]

No, Bill, it isn't. The Waterways Project. Oh, you remember the Hubertus Van Cleek murder case down in Florida a couple of weeks ago?

[B]

Yeah. He was shot in some hotel room by a murderer.

[F]

Murder is unknown.

[D]

That's right. Well, as you know, old Hubertis was the last of his line. One of the oldest and wealthiest society Families in New York.

[B]

Yeah, the Van Cleeks had plenty in his sock, all right.

[F]

And there wasn't even a will.

[D]

Yes, now here's the angle. Every Van Cleek from Hubertus right back to old Theodore, the original settler, has died by violence. For some reason, not one ever died a natural death. Remember Claudius Van Cleek?

[B]

Yeah, I've heard about him. He was a little before my time. A Wall street speculator, wasn't he?

[D]

Yes. Well, he ruined thousands of people in the market, and one of them finally stuck a knife into it.

[G]

Ah.

[D]

That left two sons and one daughter. Hubertus, Hector and Abigail.

[F]

Well, we know what happened to Hubertus. But what about Hector and Abigail?

[D]

Back in 1898, they took a boat called the Portland for Europe to escape the disgrace of what their father done. But the Portland went down in a storm off Cape Cod, and so did Hector and Abigail.

[B]

Yeah, well, all that's very interesting, Chief, but it's all stuff. What's the story?

[D]

Now, wait a minute. I'm coming to that. I just got a tip that a syndicate in town is going to tear down the old Van Cleek mansion overlooking the east river and build a new skyscraper on the property.

[F]

That's just as well. That old mausoleum's an eyesore. It's been boarded up for years.

[B]

I still don't see.

[D]

I want the whole Van Cleek story, from soup to finger bowls for our Sunday supplement. Hit this mysterious tradition of sudden death in the Van Cleek family hard. Give me plenty of color and the flavor of the past. Go down with Maureen here and take a good look at the old Van Cleek mansion so that you can write about it intelligently. And we'll want pictures.

[B]

That doesn't sound very exciting. Look, Chief, if you'd give us that water.

[D]

Your assignment, Mr. Foster, is the Van Cleek story. Now get out and don't slam the door.

[B]

I knew I should have been a radio commentator. Come on, Maure. Okay, driver, here you are.

[F]

Well, this is the Venom Cleek house, Bill.

[B]

Yeah, just a nice, big, gloomy sandstone tomb.

[F]

Wonder if those boards on the windows are just to keep the light out or the ghosts in.

[B]

I guess this is the kind of place they call a Victorian monstrosity, huh? Terribly big. Yeah, I'll bet that syndicate Hanson was talking about will have to pay plenty for this property.

[F]

Well, they can have it, Bill. No wonder Hubertus Van Cleek closed and boarded it up back in the 90s. I don't see how anyone could live in there.

[B]

Hey, it's beginning to snow. Honey. Come on, let's walk up this driveway.

[F]

We're not going in, are we?

[B]

No, there's no way to get in. We'll just take a couple of pictures front and back and then scram. I got the flashbulb setting up. What was that?

[F]

Sounded like a shot.

[B]

Yeah, and it came from inside the house.

[F]

Inside? Bill, no one's been inside that house for almost 50 years.

[B]

There's someone in there now.

[F]

Then it must be a ghost.

[B]

If it is, he's up to no good. Come on, Maureen, we're going to get in and have a look around. Bill, where are we? Well, in the cellar, obviously. But more than that, in the wine cellar. You smell the champagne?

[F]

Yes.

[B]

It's funny how the odor of wine would still be here after 50 years.

[F]

Bill, is it safe to use your flashlight in here?

[B]

Well, in view of that shot we heard. No, we've got to see where we're going. Nice place for murder, huh?

[F]

Look at all those spider webs. Why, the place is practically covered with them.

[B]

Never mind the spider webs. Look at those bottles on the shelves. Champagne. Imported 1876. 1879. 18. Why, the place is loaded with vintages.

[F]

Yes, but why should we be able to smell the wine?

[B]

I don't know. We better try to find a way upstairs that shut. Bill? Yeah. Footsteps.

[F]

Someone's upstairs.

[B]

No doubt about it.

[F]

Bill, maybe we better get out and call the police.

[B]

What, and ruin a good story? Hey, Maureen, you carry my camera. I want my hands free just in case. All right.

[E]

Where?

[F]

Where are we going now?

[B]

There's only one place to go upstair. This must be the door leading to the first floor, huh? It's open, too. Come on.

[F]

That door makes enough noise to wake the dead.

[B]

I'm not worried about the dead. It's that life ghost somewhere in this big Victorian barn that I'm worried about.

[F]

What kind of a place is this? It's tremendous.

[B]

Looks like the Grand Ballroom.

[F]

Shade to the gay nighties. So this is where the 400 played in the mauve decade.

[B]

Yeah, gaslight fixtures.

[F]

And all those awful statues and statuettes.

[B]

They're horrible. Yeah, they had to open this place up as a museum. Hey, here's a neat little piece. I can carry it in one hand, too.

[F]

Why?

[B]

We're chasing a ghost here, remember? And he's got a gun. We have it. This little stone figure might come in handy. See what I mean?

[F]

He's up there now on the second floor.

[B]

Yeah, and sooner or later we'll catch up to him. Now, this seems to be the main second floor corridor.

[F]

Bill, do you notice something?

[B]

What?

[F]

Seems clean here, though. Someone lived here on the second floor.

[B]

Yeah, you're right. It's warmer too. There's no musty smell, no spider webs. Wonder what that means, Bill. Well, seems that our friend the ghost not only likes to shoot off guns, but he likes to tickle the ivories too.

[F]

Maybe he heard us.

[B]

Come on, Maureen, this is it. You stay behind me. I'll go first just in case.

[F]

All right, Bill, but be careful.

[B]

Yeah, Come on.

[F]

This is the room. I think I can even make out the piano.

[B]

Yeah, but there doesn't seem to be anyone here, Bill.

[E]

I shouldn't move if I were you. You see, it might be quite unhealthy.

[F]

Bill, there's a man lighting a candle. Yeah, look. Why, he's got mutton chop whiskers and he's dressed in old fashioned formal clothes.

[B]

Who are you?

[E]

My name is Hodgkins. I'm the Van Cleek butler.

[F]

The Van Cleek butler? Well, that can't be. All the Van Cleeks are dead.

[E]

I must differ with you, madam. I was just entertaining the Van Cleeks with a piano selection when you interrupted Maurini's nuts. Who are you and why are you prowling about the premises?

[B]

Oh, we're from the New York Clarion.

[F]

Yes, it's the truth. See the name of our papers printed on the side of this camera.

[B]

We heard a shot.

[E]

I'm sorry, sir, but you heard no shot.

[B]

Now, there wasn't that.

[E]

Only a door slamming shut. This is a large establishment with considerable air currents and drafts. That is no doubt what you heard when you forced entry.

[F]

Oh, yes, Bill, it must have been a door slamming.

[E]

And now I must ask you to leave the premises at once.

[H]

Hutchins, who is it?

[G]

We have callers. Eh?

[E]

Undesirable callers, Mr. Van Cleek.

[F]

Bill. Look how they're dressed. The styles are 50 years ago.

[H]

We haven't had callers in the longest time.

[G]

No. Abigail.

[H]

Oh, come, come, Hector, Ask our guest. Sit down. Hodgkins, set the table for four.

[B]

Four?

[E]

But, madam.

[H]

Four place settings. Hodgkins, please.

[E]

Yes, madam?

[B]

Are you. Do I understand that you're Abigail Van Cleek?

[H]

Oh, yes, and this is my brother, Hector.

[F]

But. But you're supposed to be dead. You drowned back in 1898 when a ship went down.

[G]

There must be some mistake. As you see, we're very much alive. We haven't had the pleasure however.

[B]

Oh, I'm Bill. Mr. William Foster. This is Ms. Maureen Davis. The New York Daily Clarion.

[H]

The Clarion?

[B]

Uh huh.

[H]

I've never heard of it. Of course, we read only the Tribune. Is it a new paper?

[B]

No, I wouldn't exactly say so, Miss Van Cleek. It was started back in 1903.

[H]

Strange. Very strange. This is 1898, isn't it, Hector?

[G]

Why of course, my dear. I'm afraid these lovely people are a little confused. Everyone knows it's 1898.

[B]

Oh, sure, sure, of course. Well, we better be going.

[F]

Going?

[H]

Oh no. I've already given Hodgkins his instructions. You're staying for dinner.

[B]

Oh, why we.

[F]

I'm afraid we couldn't.

[H]

Oh please. We're so lonely. We haven't had any guests in the longest time.

[B]

Well, I.

[G]

We'd be delighted to have you say you'll stay.

[F]

Well, of course. Thank you very much. We'll be glad to.

[B]

Yeah. Thanks very much.

[H]

Oh, good. Oh, you people are so kind. I must talk to Hodgkins about the dinner at once.

[G]

I'll go with you, my dear. You'll pardon me, won't you?

[F]

Oh, sure, Bill. I just can't believe it.

[B]

Neither can I.

[F]

What do you mean?

[B]

I'm still not sure that loud report we heard was a door slamming. It still sounded like a shot to me.

[I]

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[C]

Bill Foster and Maureen Davis, New York reporters have entered the old Van Creek mansion closed and boarded up for 50 years. As far as they know, all the Van Creeks are dead. The last of the line, Hubertus having been killed in Florida. But now they meet two apparitions apparently out of the past and living in the old Victorian house. These are Hector and Abigail Van Creek, who believe they are living in the year 1898. And look at it. Hector wears mutton chop whiskers, high button shoes and Chesterfield coat. Abigail is dressed in crinoline and old lace. Both might have stepped out of tintypes cast in the Gaslight era. Abigail Van Cleek has gone with Hector to make arrangements for dinner. Now Hector returns to Bill and Maureen.

[G]

You're probably wondering about my sister and me, Mr. Foster.

[B]

Wondering isn't the word for it.

[F]

We were sure all the Van Cleeks were dead.

[G]

As far as the world has known, they are. But now I'm afraid we can't keep our secret any longer. You see, we were on the Portland when it went down back in 98. But we didn't drown as everyone thought. Abigail and I were on a raft and we made the shore.

[F]

Well, then why?

[G]

You wonder why we didn't reveal our identity? Well, our father, Claudius, disgraced us in the stock market, Ms. Davis. We were, well, ashamed. We wanted to hide from the world. And so I conceived the idea of coming back here to the old house after Hubertus had closed it and living our lives out, away from the accusing eyes of the world.

[B]

I see. And you've lived here for 50 years?

[G]

Yes, Abigail. I and Hodgkins. Hodgkins, our family's faithful retainer, had volunteered to stay with us till the end. It's he who buys the food and other necessities. Going out only at night. It was he who brought us the news of our brother Hubertus untimely death.

[F]

You mean you and your sister haven't even left this house for 50 years?

[G]

That's correct, Ms. Davis. And we hope that here we shall die a peaceful and natural death, contrary to the tradition of our family. Oh, there's something further I must explain.

[B]

Yes, Mr. Van Clee?

[G]

My sister Abigail, she. Well, when the ship went down, she lost her mind. What that is, it stopped in terms of time. She actually thinks she's still living in the 90s.

[B]

I see.

[F]

But you. You know all about the present.

[G]

Yes, of course. But you see, I've always been very devoted to Abigail. That's why I've lived with her all these years. Humored her. That's why I wear these ancient Clothes fashionable in the 90s, but strange to the present eyes.

[F]

Strange isn't the word for it. We thought we'd seen a couple of ghosts.

[G]

Of course, I understand. I ask only one thing.

[B]

Yes, Mr. Van Clee?

[G]

Please humor my sister along. Live with her in the past, even though you know it's ridiculous. I. I'd appreciate it deeply.

[F]

Of course, Mr. Van Cleef.

[B]

Yes, you can depend on us.

[D]

Thank you.

[G]

Thank you very much.

[H]

There you are. I'm so sorry I was delayed. The curry, you know, is such an exacting ent. And, of course, the champagne. Hodgkins and I always differ on the champagne. Have you been to the opera lately, Ms. Davis?

[F]

Why, no.

[H]

Oh, what a pity. There's a young tenor named Enrico Caruso. Just a young man, a mere boy, but he sings so divinely. I haven't been so thrilled since I heard Jenny Lind sing. Of course, that must be 15 years ago.

[F]

I do go to the theater occasionally.

[H]

Oh, theatre, theatre. I do love it. Oh, those lovely young creatures. Lily Langtree and Lillian Russell and Edwin Booth. Oh, poor fellow. Died five years ago. Oh, what a tragedy. What an actor.

[G]

Dinner is served.

[H]

Oh, thank you, hodgkins.

[G]

More wine, Ms. Davis?

[F]

Oh, no, thank you, Mr. Van Cleek, Mr. Foster.

[E]

Thanks.

[B]

I couldn't touch another drop.

[H]

You may remove the wine, Hodgkins.

[E]

Yes, madam.

[F]

It's been a wonderful dinner, Miss Van Cleek. I haven't had food like that since the war.

[H]

Oh, yes, the war. Isn't it terrible? Still, we're fortunate in having men like Roosevelt and Dewey to lead us against the Spaniards.

[F]

Roosevelt and Dewey against the Spaniards.

[B]

Yes, yes, Abigail's right.

[G]

Admiral Dewey's victory in Manila Bay and, of course, Teddy Roosevelt's gallant charge at San Juan Hill.

[E]

Will there be anything else, madam?

[H]

No hutchkins? I don't think so. Oh, yes. You might tell me what the weather is like outside.

[E]

It's snowing very hard, madam.

[F]

Oh.

[H]

Then I'm afraid it will be very difficult for Ms. Davis and Mr. Foster to get a hansom cab now.

[B]

Yes.

[E]

Mad.

[H]

Well, I'd suggest that they stay overnight here as our guest sector. Don't you think that's a splendid idea?

[G]

They certainly do, Abigail.

[F]

Oh, Miss Van Cleek, we couldn't.

[B]

We don't want to put you out.

[H]

Oh, no, we'd be delighted to have you.

[G]

Yes, we insist.

[B]

Well, I'm sorry, but we.

[F]

Please.

[G]

It would make Ms. Van Cleek and myself very happy.

[F]

Well, thank you, Mr. And Ms. Van Cleek, we'll stay.

[H]

Oh, that's wonderful. Hodgkins.

[E]

Yes, madam?

[H]

Prepare two rooms for our guests.

[E]

Yes, madam. At once.

[F]

It's incredible, Bill. Those two charming people living the life of 50 years ago in this dismal house.

[B]

Yeah.

[F]

When we get back to the chief with this story, you'll never believe it.

[B]

I'm not sure that I do.

[F]

What do you mean?

[B]

All may not be as Victorian as it looks, Bill.

[F]

I don't understand. You mean there's something fishy about all this?

[B]

Well, it could be, but we've been.

[F]

With them all the time. We've seen everything with our own eyes.

[B]

Yeah, and a little extra.

[F]

Bill Foster, what are you driving at?

[B]

Did you notice the butler's wrist when he served us our soup?

[F]

Hodgkin's?

[B]

No, what about it? Well, his wrist was tanned. I could tell because the white skin showed where he had worn a wristwatch.

[F]

Oh, what are you talking about? Suppose he did have a coat of tan.

[B]

Look, from what we heard, this big butler, Hodgkin's hasn't been anywhere but in this gloomy mausoleum or else out at night to do the shopping. Is that right?

[F]

That's right.

[B]

Yet he has a coat of tan in the middle of winter and with no exposure to the sun.

[F]

Yeah, that does seem funny.

[B]

Don't you get it? Where's the only place Hodgkin's might get a tan in the middle of winter?

[F]

What, in the south?

[B]

Florida, maybe, Bill.

[H]

Florida?

[F]

Why, that's where.

[B]

Yes, that's where Hubertus Van Cleek was murdered.

[F]

Then you think Hodgkins might have had something to do with it?

[B]

I don't know. Personally, I don't like him. There's something about his eyes. You know what we ought to do? What? Get out of here in a hurry. This thing is beginning to come together like a jigsaw puzzle.

[E]

And it isn't nice.

[B]

Here, I'll carry the camera.

[F]

Bill. What?

[B]

No time to talk now. We've got to leave fast if we're going to leave at all. Come on, Maureen, let's try the back way. The last time I saw our pal Hodgkins, he was prowling around in the front of the.

[F]

This seems to be the servants quarters.

[B]

Yeah. I'll try this door. Maybe it'll lead down into the cellar and then we can make our getaway the same way we came in. No, it's no good. It's locked tight.

[F]

Here's another door.

[B]

I'll try it. Yeah, it's a buddy. We're standing up in that closet. And when you open the door, it fell out. Keep your chin up, baby. Don't lose your grip. I'm gonna take a look. Uh huh. Bullet hole right through the heart.

[F]

Then that must have been the shot we heard.

[B]

There's no doubt about it. That door slam alibi was a phone. Wait a minute. Devil's got identification papers. Well, I'll be.

[F]

What is it, Del?

[B]

This guy's name was Collins. He was a special police investigator for the Miami Police.

[F]

Then he must have followed Hodgkins up here on the Hubertus Van cleek murder.

[E]

Precisely, Ms. Davis. And of course I had to do away with him.

[F]

Hodgkins.

[E]

Yes. Now don't move, Mr. Foster. This gun works very well, I assure you.

[B]

So it was you who murdered Hubertus Van Cleek.

[E]

You're a very clever Young man, Mr. Foster.

[D]

Did you nail him, Hutkins?

[E]

Got him cold, Nixon.

[H]

I guess it's all settled about what we'll do with him.

[B]

It's all settled.

[E]

Margie.

[F]

Nixon. Margie.

[B]

In other words, Hector and Abigail. Pretty clever impersonations too.

[H]

Thank you, Mr. Foster.

[D]

Looks like we'll have to give these.

[G]

Two nosy newspaper characters the same business.

[D]

We gave that cop Collins.

[E]

Yeah, Nixon.

[B]

Looks like. I'm afraid they've got us, Maureen. I've got to hand it to you crooks. The neatest inheritance racket I've ever heard about.

[F]

Inheritance racket?

[B]

Yeah, this little trio knocked off Hubertus, last of the Van Cleeks. That means that there weren't any existing relatives to claim the Van Cleek fortune until very recently.

[F]

That is, until Nixon and Margie here brought Hector and Abigail out of a watery grave.

[B]

That's right.

[H]

Pretty clever, aren't you, Mr. Foster?

[G]

Yeah. Too smart for his own good, eh, Hutchins?

[E]

That's right, Nixon.

[F]

But Bill, how could they prove that they were Hector and Abigail Van Cleek?

[B]

They fooled us, didn't they, baby? Was a beautiful act and a very nice little story. Besides, there was always Hodgkin's here to add the final clincher.

[E]

Oh, you know that too, Mr. Foster?

[B]

Yeah, I took the trouble to read a few old clippings down at the Clarion morgue. You really were the Van Cleek butler. As the faithful family retainer, you could positively identify these two phonies here as Hector and Abigail Van Cleek. Then ring yourself in on a nice three way split on the doe. No use wasting any more time, Hodgkins. Let them have it.

[H]

Yeah, we'll have our work cut out to bury them in the cellar.

[F]

Bill.

[B]

Eddie, baby, I've shot plenty of people with this camera of mine, but this is the first time I've ever been on the receiving end of a. Put that camera down, quick.

[G]

Let him have it.

[H]

You're down on the floor.

[F]

Maureen, it's got.

[H]

I've got the gun, Bill.

[B]

Okay, let me have it. Well, isn't this fun?

[H]

Hodgkin, you fool.

[B]

You really couldn't help it, Abigail. Or rather, Margie. That flashbulb in my camera just went off and blinded him.

[F]

Bill, you're wonderful.

[B]

Thanks, baby. Now, if you'll hurry out for the police, I'll keep these characters entertained. Don't forget to phone the chief. An exclusive on this first.

[F]

I won't. Are you sure you'll be all right, Bill?

[B]

Oh, I'll be all right. But if any of these lovely people try anything, they'll die a real Van Cleek. Death by violence. Premeditated.

[C]

From shadows and stillness, mystery weaves a spell of strangest fascination, charging the mind with doubts and fears. For mystery is a strange companion, a living memory in the haunting hours.