Murder By Experts 49-07-04 004 Two Coffins To Fill

Summary

Podcast Summary: "Murder By Experts 49-07-04 004 Two Coffins To Fill"

Released on June 11, 2025 by Harold's Old Time Radio

---

Introduction

In this gripping episode of "Murder By Experts," host John Dickson Carr presents a meticulously crafted mystery titled "Two Coffins To Fill." Selected by guest expert and renowned mystery novelist Kelly Roose, the story delves into themes of greed, betrayal, and the unforeseen consequences of one's actions. Set against the backdrop of the Golden Age of Radio, listeners are transported to a dimly lit roadhouse where a series of deceitful maneuvers leads to a chilling conclusion.

---

Plot Synopsis

Setting the Scene

The narrative unfolds at Nick's Place, a popular West Coast roadhouse. As evening descends, the once lively cocktail lounge is eerily empty except for the bartender and a couple secluded in a corner booth.

A Troubled Marriage and Gambling Debts

Roger Thornton, the protagonist, grapples with a strained marriage to his wife, Frida. Their relationship is marred by financial strains and unmet expectations. Roger's weakness for money leads him into a high-stakes poker game, where a single poor decision costs him $30,000 (Timestamp: [04:11]).

Confrontation with Nick and Al

Roger's inability to repay Nick, the roadhouse owner, brings him face-to-face with Nick's imposing bodyguard, Al. The tension escalates as Nick demands repayment, threatening dire consequences if Roger fails to deliver the money by the next day (Timestamp: [06:38]).

Plotting the Murder

Desperate to escape his predicament, Roger devises a plan to eliminate Al. He persuades Al to assist in making the crime appear as a robbery gone wrong, ensuring an airtight alibi for himself (Timestamp: [14:07]). The execution of the plan is fraught with tension, culminating in a confrontation where Roger successfully murders Al by disposing of his body down a bluff (Timestamp: [20:26]).

The Unexpected Twist

However, Roger's carefully laid plan begins to unravel when a mysterious woman named Della confronts him. Claiming to be Al's girlfriend, Della accuses Roger of murder and demands $9,000 to silence her (Timestamp: [25:35]). The situation spirals out of control as Roger's actions catch up with him, leading to a final, tragic revelation involving his wife, Frida.

The Climactic Conclusion

In a heart-wrenching climax, Frida reveals her own involvement, disclosing that Al had manipulated her into orchestrating the facade of Roger's guilt. Realizing the depth of their entanglement and driven by love and desperation, Frida confronts Roger, leading to a fatal resolution where both their lives are irrevocably changed (Timestamp: [28:43]).

---

Key Themes and Discussions

Greed and Its Consequences

At the heart of the episode lies the destructive power of greed. Roger's insatiable desire for money not only strains his marriage but also propels him into a web of deceit and murder. As Roger articulates his downfall, he reflects, "Perhaps that's why Nick's gun happy friend Al, was so insistent" (Timestamp: [04:11]). This admission underscores the theme of how financial desperation can lead individuals down morally reprehensible paths.

Betrayal and Manipulation

The intricate layers of betrayal are evident as both Roger and Frida find themselves entrapped by Nick and Al's manipulative schemes. Frida's revelation that she was unaware of Roger's true intentions adds complexity to their relationship, highlighting how betrayal can come from unexpected quarters. Frida poignantly states, "I'll tell you, but it's too late now, Roger. You've killed two people. And you'll hang if I let you" (Timestamp: [29:42]), emphasizing the irreversible nature of their choices.

Desperation and Moral Decay

Roger's gradual descent into moral decay is a testament to how desperation can erode one's ethical boundaries. His initial reluctance to leave his wife and his subsequent actions reflect a man driven by circumstances beyond his control, yet responsible for the havoc he wreaks.

---

Character Analysis

Roger Thornton

Roger is portrayed as a man torn between his responsibilities as a husband and his compulsions driven by financial desperation. His journey from a seemingly ordinary individual to a murderer exposes the fragile nature of morality when faced with dire circumstances. His internal conflict is palpable when he admits, "I was furious with myself for becoming so stupidly involved with him in that card game" (Timestamp: [08:08]).

Frida Thornton

Frida emerges as a multifaceted character whose motivations are initially obscured. Her actions, driven by love and perhaps her own form of desperation, reveal a tragic depth. Her confrontation with Roger serves as the catalyst for the story's resolution, highlighting themes of love tainted by greed and betrayal.

Nick and Al

Nick represents the antagonist whose authoritative presence imposes significant pressure on Roger. Al, Nick's bodyguard, embodies menace and pragmatism, enforcing Nick's demands with unwavering sternness. Their interactions with Roger escalate the tension, leading to the climactic events of the story.

Della

Della introduces an additional layer of complexity, serving as a bridge between Al and Roger's tumultuous relationship. Her confrontation with Roger adds to the mounting pressure and propels the narrative towards its tragic conclusion.

---

Notable Quotes with Timestamps

• Roger Thornton: "Why is it that women can never break off without creating a scene?" (Timestamp: [03:51])
  Context: Highlighting his frustration and misunderstanding of his wife's desires.

• Frieda Thornton: "I have put myself in your place. Tonight. While I was waiting for you." (Timestamp: [09:20])
  Context: Revealing her awareness and proactive approach to addressing their marital issues.

• Al: "I don't like chiselers." (Timestamp: [11:38])
  Context: Expressing distrust towards Roger's attempts to bribe him.

• Roger Thornton: "I'll kill you, Al." (Timestamp: [21:02])
  Context: Demonstrating his desperation and willingness to resort to violence.

• Frida Thornton: "I love you. I'm going to miss you, Roger." (Timestamp: [29:03])
  Context: Conveying the tragic culmination of their strained relationship.

---

Conclusion

"Two Coffins To Fill" masterfully weaves a tale of suspense and tragedy, exploring the dark corridors of human desire and the catastrophic outcomes of moral compromise. Through its richly developed characters and intricate plot twists, the episode serves as a poignant reminder of the fragile balance between right and wrong. Host John Dickson Carr, alongside guest expert Kelly Roose, delivers a compelling narrative that captivates listeners, leaving them reflecting on the profound themes of greed, betrayal, and redemption.

For enthusiasts of classic radio dramas and intricate mysteries, this episode stands as a testament to the enduring allure of well-crafted storytelling from the Golden Age of Radio.

---

Produced and directed by Robert A. Arthur and David Cogan, "Murder By Experts" continues to enthrall audiences with its blend of suspense, drama, and masterful narration.

Transcript

[Richard Karn]

Hi, I'm Richard Karn and you may have seen me on TV talking about the world's number one expandable garden hose. Well, the brand new Pocket hose Copperhead with Pocket Pivot is here and it's a total game changer. Old fashioned hoses get kinks and creases at the spigot, but the Copperhead's pocket pivot swivels 360 degrees for full water flow and freedom to water with ease all around your home. When you're all done, this rust proof anti burst hose shrinks back down to pocket size for effortless handling and tidy storage. Plus your super light and ultra durable pocket hose Copperhead is backed with a 10 year warranty. What could be better than that? I'll tell you what an exciting radio exclusive offer just for you for a limited time you can get a free Pocket Pivot and their 10 pattern sprayer with the purchase of any size Copperhead hose. Just text water to 64,000. That's water to 64,000 for your two free gifts with purchase W A T E R to 64,000. By texting 64,000. You agree to receive recurring automated marketing messages from Pocket Hose. Message and data rates may apply. No purchase required. Terms apply. Available@pocket hose.com terms.

[John Dickson Carr]

Murder by experts.

[Nick]

The.

[John Dickson Carr]

Mutual Broadcasting System presents Murder by Experts with your Host and narrator, Mr. John Dickson Carr, world famous mystery novelist and author of the recently published bestseller the Life of Sir Arthur Conan Doyle.

[Kelly Roose]

This is John Dixon Carr. Each week at this time, Murder by Experts brings you a story of crime and mystery which has been chosen for your approval by one of the world's leading detective writers. Those experts who are themselves masters of the art of murder and can hold tensity at its highest. This time our guest expert is the noted mystery novelist Kelly Roose. From the innumerable thrillers he has read and enjoyed, Mr. Roose has chosen a story by Robert Foster. To quote Mr. Roose, the story is a fascinating study of an ambitious and corrupt man venturing into the unknown and being caught in a whirlpool of violence and death. And now we present Carl Webber in two coffins to fill the scene. Nick's Place, a popular roadhouse on the West Coast. It's early evening and the dimly lit cocktail lounge is empty, save for the bartender and a couple in a corner booth.

[Eve]

Roger, we can't go on like this.

[John Dickson Carr]

Why not, darling?

[Eve]

I'm tired of meeting you at discreet places, of seeing you only when you can get away from your wife.

[John Dickson Carr]

You just have to be patient. Eve Patient?

[Eve]

It's already a year. How long do you think I'll go on waiting for you?

[John Dickson Carr]

What would you have me do?

[Eve]

Leave her. Forget about the money. We can get along.

[John Dickson Carr]

On what? Oh, no, Eve.

[Eve]

What do you think you'll get from her?

[John Dickson Carr]

I have plans. It'll take time, but I'm very patient.

[Eve]

Well, I'm not. I can't go on waiting, Roger. I won't.

[John Dickson Carr]

I'm sorry. Eve. Another drink.

[Eve]

Nothing affects you, does it, Roger? War, famine or love? You're a man with only one weakness. Money.

[John Dickson Carr]

Why is it that women can never break off without creating a scene?

[Eve]

Why, you arrogant. What a fool I've been. All right, Roger. I'll break off without creating a scene. Goodbye, Roger.

[John Dickson Carr]

I'll have another, Steve. And put a dash of bitters in it.

[Al]

Hello, Thornton. Your friend left in a hurry.

[John Dickson Carr]

You're quite observant, Al.

[Al]

I'm a student of human nature. Nick's having a game in the back tonight. Interested?

[John Dickson Carr]

A game?

[Al]

Poker?

[John Dickson Carr]

Yes. Since my dates walked out on me. I'll play a few hands. Tell Nick I'll be there. It's amazing how one small weakness can disrupt an otherwise orderly and well thought out plan. My wife, Frida's first husband, left her with a manufacturing plant and holdings amounting to something like 4 million. That's a comfortable sum of money. And I'm a man who likes comfort, or I wouldn't have married frida. She was 40 and tired and no bargain special in the marriage market. But I had plans. Plans that didn't include murder. Not then. I was a patient man. Patient until a weakness occurred and I spent the night playing cards in the back room at Nick's place. That night cost me $30,000, all on my signature. Perhaps that's why Nick's gun happy friend Al, was so insistent. A couple of weeks later, I was sitting at the bar in Nick's. Thorton? Yes?

[Al]

You busy?

[John Dickson Carr]

That depends.

[Al]

Nick wants to see you in his office.

[John Dickson Carr]

Wants to see me about what?

[Al]

I didn't ask him.

[John Dickson Carr]

Well, tell him I'll drop back after I finish this drink.

[Al]

Make it now.

[John Dickson Carr]

What?

[Al]

I said now, Thornton.

[John Dickson Carr]

All right, all right. Let's have it your way.

[Nick]

Hello, Roger.

[John Dickson Carr]

Good evening, Nick.

[Nick]

Sit down.

[John Dickson Carr]

Before I. Sit down, let's have an understanding. I don't like the idea of your man here pushing me around with a gun.

[Nick]

A gun?

[Al]

I kept it covered, Nick.

[Nick]

We don't want any trouble, Al.

[Al]

Nobody's seen me.

[Nick]

Don't mind Al, Roger. He takes his work seriously.

[John Dickson Carr]

Perhaps someone will take him Seriously. Someday.

[Nick]

Al's a good boy. For a price. Right, Al?

[Al]

That's right.

[John Dickson Carr]

I'm not interested in the merits of your bodyguard.

[Nick]

Sit down, Roger. You're getting red in the face. Al, mix us a drink, will you?

[Al]

Sure, Nick. Coming up.

[Nick]

Roger. What about that 30 grand you owe me?

[John Dickson Carr]

I'll pay you when I get it.

[Nick]

That's a poor bet, Roger. I've been checking on you.

[John Dickson Carr]

What do you mean, checking on me?

[Nick]

You're a punk. That wife of yours has got all the dough. You haven't got a dime.

[John Dickson Carr]

My personal affairs don't concern you, Nick.

[Nick]

I'm a right guy. I've never given a right guy a bum break yet. How about that, Al?

[Al]

That's right.

[Nick]

I'm a gambler, Roger. When I lose, I pay off. When I win, I aim to collect.

[John Dickson Carr]

Before you start laying down the law, Nick, that happens to be an uncollectible debt.

[Nick]

Yeah?

[John Dickson Carr]

Yeah.

[Nick]

I got a lawyer, too. When you say uncollectible, Roger, you want to figure all the angles.

[John Dickson Carr]

What angles, Al?

[Nick]

What do you figure this guy's worth?

[Al]

About 30 grand.

[Nick]

Which way?

[Al]

Either way.

[John Dickson Carr]

What are you talking about? What do you mean, either way?

[Nick]

Tell him, Al.

[Al]

Sitting up or lying down?

[John Dickson Carr]

Now, see. See here, Nick.

[Nick]

I can see Roger, and I want you to see me tomorrow with 30 grand.

[John Dickson Carr]

I said I'd pay you tomorrow. I don't know if I can get it that soon.

[Nick]

I don't like punks like you, Roger. You're crummy. With all that dough you're tied up to, you're still crummy.

[John Dickson Carr]

Well, I'll do the best I can.

[Nick]

When I said tomorrow, Roger, I wasn't kidding, was I, Al?

[Al]

You sure wasn't, Nick.

[John Dickson Carr]

I didn't like Nick calling me crummy. Whatever I was, I wasn't Nick's kind of tramp. I was furious with myself for becoming so stupidly involved with him in that card game. And Frieda. Frieda had me tied down as if I were a child, making me account for every nickel. If I'd had her then, I. I could have killed her. I'd have to have a talk with Frieda. When I got home, she was in the library.

[Frida]

You're late, Roger.

[John Dickson Carr]

I stopped for a drink.

[Frida]

Don't you have your cocktails here at home?

[John Dickson Carr]

You said you were going to the doctor's.

[Frida]

I did go.

[John Dickson Carr]

Well, I thought you'd be late.

[Frida]

Not this late.

[John Dickson Carr]

Is this going to be another session, Frida? No.

[Frida]

No, it's not going to be another session, Roger. We're growing Apart, aren't you?

[John Dickson Carr]

Oh, for heaven's sake. Now, please, Roger, you'd stop treating me like a child. You know what someone called me today? Do you, Frida?

[Frida]

No.

[John Dickson Carr]

Crummy. He called me Crummy. Because I'm. Well, because I'm tied to your apron.

[Frida]

Oh, no.

[John Dickson Carr]

How do you think I felt? Vice president? I signed my name to half a dozen letters and that makes me a vice president? I'm sick of it.

[Frida]

I'm sorry.

[John Dickson Carr]

You're sorry? Did you marry me so you could push a button and have me come running?

[Frida]

Now, don't be absurd, Roger.

[John Dickson Carr]

Why am I. Put yourself in my place.

[Frida]

I have put myself in your place. Tonight. While I was waiting for you.

[John Dickson Carr]

What do you mean, Frieda?

[Frida]

Well, I thought it'd be nice if we could spend the weekend at the lodge.

[John Dickson Carr]

The mountain?

[Frida]

Yes, Roger.

[John Dickson Carr]

Why?

[Frida]

We could talk things over.

[John Dickson Carr]

Why can't we talk it over now?

[Frida]

A weekend vacation together would be nice.

[John Dickson Carr]

Well, then you didn't have anything to talk over. It's only a ruse to get me up to the lodge.

[Frida]

No, no, no. It wasn't a ruse. You've been wanting to handle the advertising for the plant. I wanted to surprise you.

[John Dickson Carr]

You mean, you're. You're turning the advertising over to me?

[Frida]

Yes.

[John Dickson Carr]

I'll control the whole department. Everything.

[Frida]

Everything?

[John Dickson Carr]

Why. Why, that's wonderful, darling. Of course it's a surprise. A charming surprise.

[Frida]

Does it make you happy, Ronnie?

[John Dickson Carr]

Of course it does. Now I have something to do. Something I can sink my teeth into.

[Frida]

Then will you go up to the lodge for the weekend?

[John Dickson Carr]

Well, why don't you run up by yourself this time, Frida? You need the rest, you know. And I have something important to tend to.

[Frida]

I wanted you to go.

[John Dickson Carr]

Of course you did, dear. But next time, Frida. Next time, I promise you. Frida's act was more considerate than she realized. Having access to some funds I could pay Nick, write it off to advertising. For a moment, I felt almost kindly toward Frida. But then, as I stared at her long and hard, wondering if I could care for her even remotely, my thoughts were revolted. I hated her for condescending to place me in charge of the advertising department. I knew I could no longer tolerate her standing in the way of everything I was waiting for. Not until the next day did I conceive the plan. I was ready when Nick's bodyguard, Al, came into my office.

[Al]

Nick sent me over.

[John Dickson Carr]

I didn't think it was a social call.

[Al]

I don't like jokes.

[John Dickson Carr]

You're very businesslike, aren't you, Al.

[Al]

I work for a living.

[John Dickson Carr]

When you work, you work hard. And when you play, you. You play hard. Is that right, Al?

[Al]

That's right.

[John Dickson Carr]

Could you use, say, 5,000 to play with?

[Al]

I don't like chiselers.

[John Dickson Carr]

Chiselers?

[Al]

You heard me.

[John Dickson Carr]

Oh, you think I'm trying to buy you off because of the money I owe Nick?

[Al]

What am I supposed to think?

[John Dickson Carr]

I see. Well, here's a check for Nick. What do you think now?

[Al]

30 grand? How do I know this is good?

[John Dickson Carr]

You're smarter than that, Al.

[Al]

Okay. Okay. What's on?

[John Dickson Carr]

What's 5,000 worth to you, Al?

[Al]

Could be worth anything. Maybe. Maybe Nick doesn't come in on this.

[John Dickson Carr]

No, no, no. This is just between us.

[Al]

How hard is it?

[John Dickson Carr]

It may be a bit difficult.

[Al]

For ten grand, I might see you. Ten thousand, is it yes, or is it no?

[John Dickson Carr]

Well, I. I don't know yet, Al. I. I'll give you a ring tomorrow at Nick's. I. I have to make some arrangements. Frieda.

[Frida]

Yes, Roger?

[John Dickson Carr]

You're still planning to go to the mountains for the weekend?

[Frida]

No, not without you.

[John Dickson Carr]

Well, I've been thinking. You do need a rest, you know.

[Frida]

Oh, I can rest just as well right here.

[John Dickson Carr]

Yes, yes, I realize that. But I thought I might come up to the lodge with you.

[Frida]

Oh, Roger, do you really mean it?

[John Dickson Carr]

Of course, dear.

[Frida]

Oh, I'm so glad you decided to go with me.

[John Dickson Carr]

Oh, there's just one. Just one thing, Frida.

[Frida]

Yes?

[John Dickson Carr]

I won't be able to come up until later Saturday evening.

[Frida]

Oh, I don't mind driving up late.

[John Dickson Carr]

You don't understand, Frida. I. I expect you to drive up early.

[Frida]

Why, Roger?

[John Dickson Carr]

Well, you can check over the repair work that needs to be done on the lodge.

[Frida]

Repair work?

[John Dickson Carr]

Yes. I ran into an old friend of mine today, Frida. Carpenter Al Graves. He's. Well, he's a bit down on his luck, and, you know, the lodge could stand some work.

[Frida]

That's perfectly all right with me, Roger, but must I go up early?

[John Dickson Carr]

Well, we don't want him hanging around, do we?

[Frida]

No, no, of course not.

[John Dickson Carr]

Good. Good. Then I'll write up with Al. Now. When we get there, we can discuss the repairs. He'll look things over, and then he'll drive on back in his own car.

[Frida]

And you want me to go up early so I can make a list of the things to be done?

[John Dickson Carr]

Yes. Yes, that's it. Do you mind about the carpenter?

[Frida]

Of course I don't mind, Roger. I'm just so happy that you want to go.

[Al]

Thanks for the drink, Dalton. You.

[John Dickson Carr]

You haven't answered my question, Al.

[Al]

I'm thinking.

[John Dickson Carr]

Thinking what?

[Al]

Murder's quite a rap.

[John Dickson Carr]

You had your proposition. If you want to forget it.

[Al]

I didn't say that.

[John Dickson Carr]

Then you'll do it.

[Al]

When's the payoff?

[John Dickson Carr]

Thousand now. Nine thousand Saturday night.

[Al]

You want it done about 9:00.

[John Dickson Carr]

Just so it happens before I get.

[Al]

There, I get a ride back with you. Yes, yes, maybe you try to pull something, like the cops.

[John Dickson Carr]

I couldn't risk bringing the police in. You're smart enough to know that.

[Al]

Smarter than you think, Thornton.

[John Dickson Carr]

All right. Now, it has to look like a struggle and robbery.

[Al]

Leave that to me. Is everything okay with the wife for me to ride her up there?

[John Dickson Carr]

It will be Saturday morning.

[Nick]

The Thornton residence.

[John Dickson Carr]

Oh, Charles. This is Mr. Thornton.

[Nick]

Oh, good morning, sir.

[John Dickson Carr]

May I speak to Mrs. Thornton? Very well, sir. She's right here, sir.

[Eve]

Roger.

[John Dickson Carr]

Oh, I was afraid you might have left for the lodge already.

[Frida]

No, no, not for an hour yet.

[John Dickson Carr]

Frida, I wonder if you'd mind doing something.

[Frida]

What is it?

[John Dickson Carr]

Al Graves, the carpenter who is going to drive me up.

[Frida]

Yes.

[John Dickson Carr]

His car has broken down. It's in the garage. Would you mind terribly taking Al up with you?

[Frida]

Oh, and Roger really are.

[John Dickson Carr]

He could look over the repairs himself that way.

[Frida]

Well, when will you come up?

[John Dickson Carr]

As soon as I'm finished working at the office. I'm. I'm working on the new advertising program.

[Frida]

Well, I suppose I. I could have Richard take Al and myself up in the sedan.

[John Dickson Carr]

Oh, you. You don't have to bother Richard. Why not take your convertible?

[Frida]

Oh, couldn't we have that carpenter come up some other time?

[John Dickson Carr]

All right, all right. Let's just forget the whole thing. Peter. If you wish, you can go on up alone. Now, Roger, you know that things must always go your way.

[Frida]

Well, will you drive up in your car?

[John Dickson Carr]

Yes. Al can use it to return to town in.

[Frida]

Well, all right. Where'll I pick him up?

[John Dickson Carr]

On the corner of Hawthorne and Orange.

[Frida]

Hawthorne and Orange?

[John Dickson Carr]

Yes. I'll tell them to watch for the convertible.

[Frida]

All right, Roger. I'll see you at the lodge tonight, darling.

[John Dickson Carr]

Things for the past few days had moved so amazingly fast and remarkably well that I had little time to reflect upon my emotions. Frida's surprising agreement to my wishes, I knew, was merely a new tack in her attempt to draw me closer to her. And yet, as I drove through the lane to the lodge in the evening, I had an unaccountable fear. The wind whined through the trees and the eerie sound disturbed me I parked the car and sat for a few moments watching the lights in the lodge. It was 10 o' clock. Al should have been finished long ago. I got out of the car, walked to the veranda and opened the door.

[Al]

You finally got here. Yes.

[Richard Karn]

Hi, I'm Richard Karn and you may have seen me on TV talking about the world's number one expandable garden hose. Well, the brand new pocket hose Copperhead with pocket Pivot is here and it's a total game changer. Old fashioned hoses get kinks and creases at the spigot, but the Copperhead's pocket pivot swivels 360 degrees for full water flow and freedom to water with ease all around your home. When you're all done, this rust proof anti burst hose shrinks back down to pocket size for effortless handling and tidy storage. Plus your super light and ultra durable pocket hose Copperhead is backed with a 10 year warranty. What could be better than that? I'll tell you what. An exciting radio exclusive offer just for you for a limited time. You can get a free pocket pivot and their 10 pattern sprayer with the purchase of any size Copperhead hose. Just text water to 64,000. That's water to to 64,000 for your two free gifts with purchase w a t e r to 64,000. By texting 64,000, you agree to receive recurring automated marketing messages from Pocket host. Message and data rates may apply. No purchase required. Terms apply. [e-mail] Terms Use of Flavored tobacco by.

[Phil Tonkin]

Teens is a crisis. Tobacco companies use flavors like cotton candy, watermelon ice and cool mint to hook kids like me. They seem harmless, but they are. Addiction to nicotine sets us up for a lifetime of health problems. Oregon legislators can do something about it. Passing Senate Bill 702A will keep flavored tobacco away from kids. But there are just a few short weeks left for lawmakers to act. Take action to protect kids like me@ flavorshookorgonkids.org paid for by the Campaign for.

[Frida]

Tobacco Free Kids Action Fund.

[Al]

Well, how does it look? You satisfied?

[John Dickson Carr]

I said to make it look like a struggle.

[Al]

Don't it?

[John Dickson Carr]

I guess it's all right.

[Al]

Have you got the dough?

[John Dickson Carr]

Where is she?

[Al]

In the bedroom. Go in. Take a look. Turn on the light.

[John Dickson Carr]

No, no. I can see.

[Al]

Satisfied? Thornton?

[John Dickson Carr]

She's. She's partly under the bed.

[Al]

Yeah, she got scared. She tried to hide. I had to follow.

[John Dickson Carr]

Shut the door. I said to shut the door.

[Al]

You're a funny guy.

[John Dickson Carr]

Why?

[Al]

You figure all this out and can't stomach your own stuff.

[John Dickson Carr]

Let's sit down, have a drink. Sure.

[Al]

You got the dough?

[John Dickson Carr]

Yes, yes, sure, I. Oh, there should be some glasses here, some on that shelf. Oh, yes, I see. I'll fix the drinks.

[Al]

When I get that drink, we're gonna blow.

[John Dickson Carr]

Where's her car?

[Al]

Garage. Wanna see it?

[John Dickson Carr]

No. Here you are.

[Al]

You need it worse than I do, Thoton.

[John Dickson Carr]

Where'll you go from here, Al?

[Al]

A trip, maybe.

[John Dickson Carr]

Al, you have nothing to worry about for me.

[Al]

That I know. Thornton.

[John Dickson Carr]

How was it? How was it done?

[Al]

Done.

[John Dickson Carr]

Did you leave it?

[Al]

I'll get rid of it.

[John Dickson Carr]

Well, here's to you, Al. Yeah.

[Al]

All right, Thornton. Now let's have the dough.

[John Dickson Carr]

Certainly, certainly. I've got it right here.

[Al]

You know, I've been thinking about you, Thornton. I think Nick's right. You're crummy.

[John Dickson Carr]

Oh, now, you shouldn't feel that way, Al.

[Al]

I had to do it over again. You won't say I'm sick. What'd you put in that, Drake?

[John Dickson Carr]

Why, nothing, Al. You.

[Al]

You double crossing.

[John Dickson Carr]

I'll kill you, Al. Will you, Al? I poured some of the liquor on Al and dipped the bottle over. Then I carried him out of the lodge, across the carpet of pine needles to the bluff a hundred yards away. I placed one of Frida's expensive bracelets in his pocket, along with some money and articles of lesser value. I dropped him over the bluff and heard his body strike the Rocky Stream bed 300ft below. I went quickly to my car and drove away. I drove rapidly for an hour till I passed an all night diner. I wheeled the car around in the highway, pointing it back in the direction I'd come. Then I ran the car into a ditch, hard. The front fender crumpled against the wheel and the tire blew out. I couldn't have wished anything better. This was it, my alibi. I walked a mile up the road to the diner. As I opened the door, a car pulled up. When I entered the cafe, a girl got out of the car and followed me in. Where'll it be, folks?

[Eve]

Coffee, please.

[Al]

And you, Mr. Coffee.

[John Dickson Carr]

Say, is there a tow truck around?

[Al]

Tow truck?

[John Dickson Carr]

I blew out a tire and went into the ditch about a mile down the road.

[Al]

And Jim Parson has a tow truck. Him and the missus went into la. Won't be back till Monday. Here you are, miss.

[John Dickson Carr]

Monday. Wreck your car bad, Smash the wheel. I don't have a spare.

[Al]

Oh, that's too bad. Going far?

[John Dickson Carr]

My lodge, about 50 miles up the Thornton place. Roger Thornton. Maybe you know It Thornton?

[Al]

No, can't say I do.

[John Dickson Carr]

My wife's there, but I'm sure she's all right.

[Al]

You don't stand much of a chance of getting a ride going that way this time of night.

[John Dickson Carr]

I suppose not.

[Al]

You can use a phone there, reverse the charges.

[John Dickson Carr]

No, no, the phone's disconnected up at the lodge.

[Al]

You might be able to hitch to LA once in a while. There's a car going that way.

[John Dickson Carr]

That's an idea.

[Al]

Anything else for you, miss?

[Eve]

No, thanks. How much?

[Al]

10 cents. Thank you. Good night.

[Eve]

Good night.

[Al]

I reckon the young lady didn't want a passenger.

[John Dickson Carr]

So it seems. Say, I think I will use your phone, help self. Have you got that straight, Charles? Yes, sir. I'm to call the auto club, have them pick up your car. It's quite a way to the lodge, so I'm going to try to get a ride back to town.

[Al]

Were you hurt, sir?

[John Dickson Carr]

I'm perfectly all right. It may be rather late before I get in, so leave a light in the library. Very well, sir. Good night, Charles.

[Al]

Is.

[John Dickson Carr]

Is that all, sir? Bye. Yes. Yes, that's all very well, sir. Thank you for the use of the phone.

[Al]

Oh, that's okay, mister.

[John Dickson Carr]

Could you use a drink?

[Al]

I ain't never been known to turn one down.

[John Dickson Carr]

I got a bottle in my car.

[Al]

Well, that's quite a war.

[John Dickson Carr]

It's nice out and I could use a drink myself.

[Al]

Suit yourself.

[John Dickson Carr]

You don't mind if I sit around after I get back? Maybe I can pick up a ride.

[Al]

Glad to have you. I'm open all night.

[John Dickson Carr]

Good. Good. I'll be right back.

[Nick]

Mister?

[John Dickson Carr]

Yes?

[Eve]

Did you say you wanted a ride to la?

[John Dickson Carr]

Why, yes. Yes. If you're going that way, hop in. Well, thank you very much.

[Eve]

I would have asked you in there, but I didn't want to give the counterman the wrong idea. Mr. Thornton.

[John Dickson Carr]

How did you know my name?

[Eve]

He told the counterman.

[John Dickson Carr]

Oh. Oh, of course. I was just going to get a bottle out of my car.

[Eve]

I already got it.

[John Dickson Carr]

You got it?

[Eve]

Sure. Nice car. Thirsty girl? I had a hunch.

[John Dickson Carr]

How long were you at the car?

[Eve]

Long enough to find the bottle and see your name on the steering post.

[John Dickson Carr]

I thought you heard me tell the counterman.

[Eve]

I did. So then I knew you as a gentleman.

[John Dickson Carr]

Have you drunk much of that bottle?

[Eve]

Enough.

[John Dickson Carr]

Hey, you shouldn't be driving if you've been drinking too much. Scared? Oh, no, no. It's for your own good.

[Eve]

I'm celebrating.

[John Dickson Carr]

You might have waited till you got in Los Angeles.

[Eve]

Mr. Thornton?

[John Dickson Carr]

Yes?

[Eve]

Why'd you turn your car around and run it into that ditch.

[John Dickson Carr]

What?

[Eve]

I know all about you, Mr. Thornton.

[John Dickson Carr]

Who are you? What's your name?

[Eve]

Della.

[John Dickson Carr]

Della what?

[Eve]

Just Della.

[Kelly Roose]

Look out.

[John Dickson Carr]

You nearly turn us over. Either stop this car and let me drive, or.

[Eve]

Or what, Mr. Thornton? Stop this car when we get to Nix.

[John Dickson Carr]

Did you. Did you say Nix?

[Eve]

I'm Al's girlfriend.

[Al]

No.

[Eve]

Didn't you think Al could have a girlfriend?

[John Dickson Carr]

Why did you pick me up?

[Eve]

Because I'm not half as tight as you think I am.

[John Dickson Carr]

Then what do you want?

[Eve]

Al was a punk. A nice punk, but punks come cheap. Mr. Thornton. I want that $9,000.

[John Dickson Carr]

You think I'd carry that kind of money around?

[Eve]

And did you think Al was stupid enough not to have somebody cover him at the lodge?

[Kelly Roose]

You were there.

[John Dickson Carr]

You saw it.

[Eve]

Yes, I was there. And I saw.

[John Dickson Carr]

You're a very brave girl, Della. Threatening me.

[Eve]

I don't scare easy. I know you're kind.

[John Dickson Carr]

Do you?

[Eve]

This is a gun, Mr. Thornton. I'm not afraid to use it.

[John Dickson Carr]

You're a very stupid child.

[Eve]

If you try anything, I'll wreck this car.

[John Dickson Carr]

Watch that curve. I'll take that.

[Al]

Go.

[Eve]

Let go.

[John Dickson Carr]

Now. Stop that car or I'll kill you.

[Eve]

No, you won't.

[John Dickson Carr]

I'll hold that wheel.

[Eve]

Let go.

[Nick]

Let go.

[Eve]

Me?

[John Dickson Carr]

Let go. We're stopping right here. All right, all right. Now get out of the car. Get out.

[Eve]

I'm unwilling to talk to you.

[John Dickson Carr]

Get out.

[Eve]

I'm.

[John Dickson Carr]

This ravine.

[Eve]

I was only kidding. I wanted to scare you. I didn't mean it.

[John Dickson Carr]

Must I force you?

[Eve]

I won't tell nobody.

[John Dickson Carr]

You're my only witness. My only witness.

[Eve]

Please, let me tell you. Let me talk to you.

[John Dickson Carr]

This will do.

[Frida]

Wait.

[Eve]

You've gotta let me explain it.

[John Dickson Carr]

When the girl told me she'd seen me kill Al, I went out of my head. I didn't know what I was doing. I shouldn't have killed her. I'm stupid, but I couldn't help it. I couldn't stop. I drove the girl's car into town and left it on a side street. I dropped the gun down a sewer, caught a bus home. It was almost daylight. I was tired and sick, but it was all over.

[Nick]

It was all over.

[John Dickson Carr]

I unlocked the front door, quietly entered the house. My house. I was too keyed up for sleep. What I needed was a bracer. I went into the library.

[Frida]

Good morning, Roger. Who did you expect?

[John Dickson Carr]

Rita, what are you doing here?

[Frida]

I've been waiting since you telephoned.

[John Dickson Carr]

Charles, I. I killed him. I killed them both. You you killed him, Alan. The girl. And you're here. You're right here. Stop it.

[Frida]

Stop it, Roger.

[John Dickson Carr]

Roger, stop it.

[Frida]

Oh, I'm so sorry for you.

[John Dickson Carr]

I had it all figured out. I did. I had.

[Frida]

That man, Al, the carpenter. He told me everything. Rochester. I had to pay him.

[John Dickson Carr]

You pay him? You. And it was the girl I saw. She was in the bedroom pretending to be you. Pretending to be dead. Al framed the whole thing as a shakedown. He never intended to kill you.

[Frida]

Oh, I'm so sorry for you.

[John Dickson Carr]

You said that. You said that. Who are you to feel sorry for me?

[Frida]

I love you. I'm going to miss you, Roger.

[John Dickson Carr]

Love? Then why did you do something? Why didn't you tell me?

[Frida]

I didn't know. I stayed home hoping you'd come here and we could talk things over before you did anything rash.

[John Dickson Carr]

Rash? You call it rash? Do you know what I've done?

[Frida]

That's why I'm so sorry for you.

[John Dickson Carr]

You say that once more. Once more. Frida.

[Frida]

It was greed, wasn't it, Roger? Greed for my money.

[John Dickson Carr]

I hate you, Frida.

[Frida]

I know. And I love you. Isn't it strange, Roger?

[John Dickson Carr]

It.

[Frida]

It's pathetic, what I wanted to tell you at the lodge, Roger. Or if I'd only told you sooner.

[John Dickson Carr]

What do you mean, Frida? What do you mean?

[Frida]

I'll tell you, but it's too late now, Roger. You've killed two people. And you'll hang if I let you.

[John Dickson Carr]

What are you doing with that gun?

[Frida]

I haven't any money, Roger. I've been wiped out. That's what I wanted to tell you. You needn't have killed them.

[John Dickson Carr]

No, Frieda. No.

[Frida]

But I still love you.

[John Dickson Carr]

No. No.

[Frida]

And I won't let you hang. Goodbye, Rol.

[Kelly Roose]

And so the curtain falls on Two Coffins to Fill, which was chosen by guest expert Kelly Roose, whose latest mystery is Murder in Any Language. Next week at this time, Murder by Experts brings you a story of intrigue and surprise of a beautiful Hollywood actress and of a man who died twice. Selected for your approval by the famous mystery novelist Ms. Helen McCloy. Until then, this is your host, John Dixon Carr, hoping you'll be with us next week at this time.

[John Dickson Carr]

In the cast of Two Coffins to Fill, which was written by Robert Foster, were Carl Weber, Eleanor Phelps, Jimmy Stevens, Miriam Wolfe and Maurice Tarplin. Music was under the direction of Emerson Buckley and was Composed by Richard DuPage. Murder by experts is produced and directed by Robert A. Arthur and David Cogan. All characters in our story were fictitious and any resemblance to the names of actual persons was purely coincidental. This is Phil Tonkin speaking. This is the Mutual Broadcasting System.

[Phil Tonkin]

Use of flavored tobacco by teens is a crisis. Tobacco companies use flavors like cotton candy, watermelon ice and cool mint to hook kids like me. They seem harmless, but they aren't. Addiction to nicotine sets us up for a lifetime of health problems. Organ legislators can do something about it. Passing Senate Bill 702A will keep flavored tobacco away from kids. But there are just a few short weeks left for lawmakers to add Take action to protect kids like me. @ flavorshookorgankids.org paid for by the Campaign.

[John Dickson Carr]

For Tobacco Free Kids Action Fund, we interrupt this program to bring you an important Wayfair message. Wayfair's got style tips for every home. This is Stiles MacKenzie helping you make those rooms sing. Today's Style Tip when it comes to making a statement, treat bold patterns like neutrals. Go wild like an untamed animal. Print area rug under a rustic farmhouse table.

[Frida]

From wayfair.com fierce this has been your Wayfair style tip to keep those interiors superior.

[John Dickson Carr]

Wayfair Every style, Every home.