Murder Clinic 42-09-29 (11) Death In The Dressing Room

Summary

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Harold's Old Time Radio – "Murder Clinic 42-09-29 (11): Death in the Dressing Room"

Episode Overview

This episode of "Harold's Old Time Radio" spotlights a vintage radio drama from the series Murder Clinic, specifically the story "Death in the Dressing Room." The main theme revolves around a murder mystery set in London's bustling Orient Club, blending blackmail, jealousy, mistaken identity, and detective work. The plot follows the imposing Sir Henry Merrivale, known as "HM," who investigates the backstage stabbing of star dancer Francine Rapport, unraveling the web of secrets among performers, club owners, and patrons.

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Key Discussion Points & Plot Breakdown

1. Setting the Scene: The Orient Club and Its Characters

• The Orient Club is at the height of its popularity, run by the suave Tony Kaplan and starring dancer Francine Rapport.
• Francine is rehearsing a new act, the "Japanese temple dance," with tensions running high between her and Tony over routines and oil-covered costumes.
  • [04:13] Francine: "Tony, it gets all over me when I finish. I feel like I’ve been in an oil well."

2. Backstage Drama: Rivalries and Schemes

• Francine is both Tony's main star and entangled in a fraught relationship with him.
• Paula, Francine's maid and aspiring dancer, has a flirtatious and manipulative relationship with Tony, suggesting promises of fame and wealth if she complies.
• Francine suspects infidelity and threatens Paula if she continues to interact with Tony.
• Sir Henry mentions Scotland Yard’s ongoing investigation of a clever pickpocketing racket at the club, where guest wallets are stealthily pilfered and returned, minus cash.
  • [09:23] Sir Henry: “The method is harmless and very nearly undetectable. But the takings each week must be enormous. Very ingenious.”

3. The Blackmail Plot with Monty Forsyth

• Francine is blackmailing Monty Forsyth, a young diplomat, threatening to release indiscreet letters unless he pays her £1,000.
  • [07:56] Francine: "Don’t be mad, Suga. It’s only a thousand pounds."
  • [08:03] Monty: "That’s impossible. I haven’t that much money."
• The payoff is to be delivered in a wallet to Tony Kaplan at the club, with a strategic phrase (“I beg your pardon, you dropped your wallet, Kaplan”) to ensure plausible deniability.

4. The Murder and the Investigation Begins

• During the club’s show, a woman in white is seen picking up and nervously pocketing a man’s wallet.
• Sir Henry notices the out-of-place action, follows her into the dressing room area, and together they discover Francine dead—stabbed with scissors.
  • [15:02] Sir Henry: “What’s this? She’s dead.”
• Initial suspicion falls on Paula, who vehemently denies involvement, and the club’s complex relationships are quickly laid bare.

5. Unraveling Alibis and the Twist of Identity

• Tony maintains his innocence, claiming he never left the orchestra platform during Francine’s fatal timeframe.
• The investigation reveals a piece of torn letter in Francine’s hand addressed from “Monty,” directly tying the blackmail side plot to the murder.
• Sir Henry suspects a substitution took place during the dance routine, hinting that someone besides Francine performed on stage during the time of the murder.
  • [25:10] Sir Henry: "How did she get [oil] there?... from the oil that was smeared on those jewels on her costume while she was on that floor dancing. Why was she out there dancing instead of Francine, Tony?"
• Paula is confronted about the oil on her arms – the telltale sign she was the dancer in the blue spotlight, not Francine.

6. The Confession and the Solution

• Pressured, Paula confesses Tony killed Francine with scissors; Paula just danced in her place to provide Tony with an alibi.
  • [26:09] Paula: “He kill her with scissors... He promised. Marry me. I do nothing. Nothing.”
• Sir Henry notes his suspicion was anchored on the fact that, despite appearances, the dancer during the temple dance was not Francine, who was much more talented.

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Notable Quotes & Memorable Moments

• [02:46] Francine challenges Tony on her routine:
  Francine: "Let’s cut it out, Tony, it’s too corny... waving your arms around like snakes that went out with the ark."
• [09:23] Sir Henry explains the pickpocket racket:
  Sir Henry: “A guest here with a good many drinks inside him seldom remembers exactly how much money he has in his wallet… Very ingenious.”
• [15:02] Discovery of the murder:
  Sir Henry: “What’s this? She’s dead.”
  Paula: “I didn’t do it. I swear I didn’t do it.”
• [25:10] Sir Henry deduces the substitution:
  Sir Henry: “She’s got oil on her hands and arms. Tony. How did she get it there?... It was from the oil that was smeared on those jewels on her costume while she was on that floor dancing… Why was she out there dancing instead of Francine?”
• [26:09] Paula’s confession:
  Paula: “He kill her with scissors. He promised. Marry me. I do nothing. Nothing.”
• [26:21] Sir Henry’s parting view on fairness:
  Miss Forsyth: "The clever ones of this world have it all their own way, haven’t they?"
  Sir Henry: "No, I think not, Miss Forsyth."

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Important Segment Timestamps

• [04:00-06:05] – Rehearsal tensions; Francine confronts Tony and Paula.
• [07:00-08:25] – Blackmail exchange between Francine and Monty Forsyth.
• [09:11-11:31] – Sir Henry explains the club pickpocketing racket.
• [12:48-15:02] – Sir Henry and Paula discover Francine’s body.
• [15:32-21:45] – Early investigation; suspects' alibis examined; blackmail subplot revealed.
• [23:11-26:09] – Sir Henry uncovers the identity deception; Paula confesses.
• [26:16-27:00] – Sir Henry’s final deduction and commentary.

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Tone and Language

“Murder Clinic: Death in the Dressing Room” is delivered in classic golden-age radio style, combining brisk dialogue, witty comebacks, and dramatic exchanges in accents fitting the setting. Sir Henry is gruff, dryly humorous, and perceptive; Francine is brassy, vulnerable, and sharp-tongued; Paula is earnest and desperate; Tony is suave but slippery.

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Summary Conclusion

This episode delivers a tightly woven backstage murder mystery, complete with a clever alibi, a switched performance, and crisp detective work. Sir Henry Merrivale’s methodical approach, aided by a sharp eye for both dance and motive, brings justice to Francine in a plot where jealousy, ambition, and greed collide behind the glamour of the Orient Club.

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Transcript

[A]

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[B]

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[A]

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[B]

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[A]

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[B]

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[A]

Murder Clinic. Stories of the world's great detectives. Men Against Murder. Each week at this time, WO Mutual turns the spotlight on one of the world's great detectives of fiction and invites you to listen to the story of his most exciting case. Tonight we meet Sir Henry Merrivale, known to his poster friends as HM in the story Death in the Dressing Room. Good evening. Hm. Tell me, you were with Scotland Yard for a long time before you retired, weren't you? I was indeed, Mr. Knight. And didn't I hear that you ran some sort of a secret department for them? Well, there was nothing secret about it. You see, it was called the Department of Queer Complaints. All the crackpots were sent in to me. As a matter of fact, that's how I happened to be on the spot when this nightclub murder took place. You see, I was there investigating one of our queer complaints that didn't seem to have anything to do with murder. And, well, suppose I begin at the beginning, eh? You know how sometimes a nightclub will catch the public's fancy place to see and be seen at? Well, at the time of this story, the Orient Club in London was having just such a season, flourishing like the proverbial Green Bay tree. Tony Kaplan, who ran it, was a smooth, slippery customer. Piccadilly, by the way, of Times Square and Monte Carlo. And he did have one big drawing card. The star of his show, by the way, Another Times Square product, Francine Raphort. She was a great dancer. On the afternoon of the day in question, Tony Kaplan was rehearsing. Francine. Francine, what's the matter with you? They're introducing this Japanese temple dance tonight. Come on, quit clowning and get with it, will you?

[B]

Oh, let's cut it out, Tony. It's too corny standing in the middle of the floor, waving your arms around like snakes that went out with the ark.

[A]

They'll eat it up. Listen, Francine, since when did you start masterminding your routine? You dance and leave the thinking to me.

[B]

Oh, yes, well, maybe I don't like the way you've been thinking lately, Tony. And Maybe I don't like the way you've been acting either. Where were you last night after the show?

[A]

Oh, nuts. Let's not go through that dialogue again. Put on another record.

[B]

Well, don't get any big ideas under that patent leather hair of yours. I got plenty on you, Tony. And I might use it if you make me see.

[A]

Yes, yes, I see, I see. Another thing I see is that I paid the orchestra to rehearse, not to referee a love match. Now, come on, let's try that ending again. Okay, fellas. Okay, there's Java number picking up eight bars from the finish.

[B]

Okay.

[A]

That's it, Fran. Now you've got it. A one and two and finish. Ah, swell, swell. See, I told you it'd be good.

[B]

Okay, but I still think it's right from the silo.

[A]

Now let's try it with that blue spotlight.

[B]

Blue spotlight? Are you nuts, Tony? You know what blue does to me.

[A]

Look, Fran, it's gotta be blue. This number's supposed to be mysterious. See? All the lights out and just that blue. Baby, spot on you don't forget you're covered from head to foot with those jewels.

[B]

You mean I'm covered from head to foot with that stinking oil?

[A]

All right.

[B]

I tell you, Tony, it gets all over me when I finish. I feel like I've been in an oil well.

[A]

Don't watch. You can wash it off after the number. Well, it's the only thing that'll make those cheap sparklers gleam. Now quit beefing, Fran. This number will knock em dead.

[B]

Well, I hope you know what you're doing.

[A]

I always do, baby. Okay, boys, from the beginning now, please.

[B]

Tony, can I speak to you for a minute?

[A]

Why, Paula, you can do more than that to me. Beautiful. Come over here. What's on your mind, sugar?

[B]

It's that costume of Ms. Francine. You know, it's just net. And with all those phony jewels on it. Tony, I won't be able to get her into it fast.

[A]

Ah, forget the costume, baby. Concentrate on yours truly for a change. You know, honey, you do things to me.

[B]

Mr. Tony, please, not here. Someone will see you. Ms. Francine, she's looking.

[A]

I'll let her look. I'm crazy about you, baby. You know that, don't you?

[B]

But Tony and his Francine.

[A]

Leave that to me, baby. Little Tony will fix everything. Everything. See?

[B]

You will make Paula the great dancer.

[A]

No, I'll do more than that. You'll have cars, jewels, furs, the works.

[B]

Careful, Tony, she's coming. Stop that music. Stop the music. Say, what's going on here between you two? Paula, I told you to stay in the dressing room and finish my costume, didn't I?

[A]

Yes, ma'. Am.

[B]

It was just that I wanted to ask Mr. Kaplan a question about it. Oh, yes? Well, ask me from now on. You've been asking Mr. Kaplan a lot of questions lately. And he's been giving you an awful lot of answers.

[A]

Oh, come on, Fran. Can't a guy be polite to a nice man?

[B]

Little girl, not when he works so hard at it. You lay off, do you hear? Next time I catch her hanging around you, little Paula won't live here anymore.

[A]

All right, all right. If you'll take my advice, you'll put your other expression back on. And the kind of. You got company. Don't look now. I think the white hope of the Forsyth fortune is headed this way. The kid himself, the heir to the foresight. Just about ready for the squeeze play. What do you think, Fran? Will the fish bite?

[B]

If he won't, I will. Why, Monty, how sweet of you to drop in.

[A]

Francine, I've got to see you now. I've got to talk to you.

[B]

Why, of course, monty. I'm sure Mr. Kaplan can hold up the rehearsal for a few minutes.

[A]

Oh, why, certainly, certainly. Boys, suppose we run over that hole Enough.

[B]

Let's go to my dressing room. Ms. Colby are there. Well, Monty, suppose you've come to talk to me about those letters again.

[A]

But, Francine, you don't understand. Those letters are very important to me.

[B]

But, sugar, they're very important to me, too. They're so sweet. I've never had such letters before.

[A]

That's just it, Francine. You see, I'm in the diplomatic service. If those letters ever get out. Well, I mean, they aren't very discreet. It would mean the end of my career almost before I started.

[B]

Yes, I see. It wouldn't be so good if anybody else saw them. Well, I guess you can have them back.

[A]

Oh, Francine, you're wonderful. I knew you'd understand. I knew you'd give them back to me.

[B]

Give them back? Well, it amounts to that, I guess. But there's a favor I've got to ask of you in return, Monty.

[A]

Of course, Francine. Anything.

[B]

Well, you see, I'm afraid I've been a bit extravagant lately. And I'm terribly hard up.

[A]

I see. Yes, I see perfectly. How much?

[B]

Now, don't be mad, Suga. It's only a thousand pounds.

[A]

A thousand pounds? But that's impossible. I haven't that much money. I wouldn't know where to get it?

[B]

That's your business, Mr. Diplomat. Why, I'm giving you a bargain. That's because I like you so much. Why, just think what the Daily Comet would pay me for the.

[A]

All right, you win. But I've got to have time.

[B]

Why, of course, sugar. You can have plenty of time. Shall we say tonight?

[A]

Tonight?

[B]

Yes, tonight. After my first show. The dough is to be in an unmarked wallet. And whoever brings it walks up to Tony Kaplan and says, I beg your pardon, you dropped your wallet, Kaplan.

[A]

So he's in on it too. I might have known. A pretty little game.

[B]

Yes, we thought so too. But now I'm tired of playing. So don't you forget. Bring that thousand pounds tonight or else make it after my first show here at the Orient Club.

[A]

I am sorry, sir, there are no tables. What would I say, Armand? Sorry, sir, we are entirely full.

[B]

Armand, please.

[A]

Sorry, madame, but you see. Oh, good evening, Sir Henry. Well, Armand, you have my regular table, of course. But of course, monsieur. I find where Sir Henry Mirabelle bears all always the table. Right this way to please. Ah, you see, there you are, Matthews. Simple when you know how, isn't it? Yes, come along. I do, chief. I don't see how you do it. Don't you? Personality, my boy, personality only. Then. Here you are, Sir Henry. Table 16 as usual. Ah, very good, Armand. Thank you. Oh, here. Thank you. Very nice. Well, I got you a message to meet you here. Hm. I must admit I don't know why we're here, sir. Are we slumming? Why not exactly. We are here, Matthews, because this club, the Orient, is run by two of the slickest crooks I've ever had the pleasure of knowing. Really? Tony Kaplan and Francine Rapport. And because Scotland Yard has complaints about a new and highly ingenious racket, they are presumably working pocket picking in the futurist manner. What? I'm afraid I don't understand, sir. Let me explain. You see, a guest here with a good many drinks inside him seldom remembers exactly how much money he has in his wallet. Now, if that wallet is lifted and deftly returned, minus three pound sale of fiverr, he simply assumes he must have spent five. The method is harmless and very nearly undetectable. But the takings each week must be enormous. Very ingenious. Yes, isn't it? I say, here's an interesting looking girl. That one in white at the next table. What? Why a chair? Eh? Oh, no, no. I don't mean aesthetically. In this case, I mean professional. She's just dropped a man Sized wallet on the floor. She seemed very nervous when she picked it up again. I wonder. Woman's wallet. What would she be doing with a man's wallet? I'm sure I don't know, but I mean to find out.

[B]

Thank you.

[A]

Thank you. Thank you, ladies and gentlemen. Ah, the floor show's about to start. Good night. Tonight, Francine, office for your approval for the first time. And you dance the Japanese temple dance. I say, Jim, here, look. That girl in white we were just talking about. She's leaving her table. She's going into the bar, follow a man. Find out where she's going and report to me. Right. Say, bartender, did a lady in white just come in here? Yes, she went in there, sir. Oh, thank you. Sorry, you can't go there, sir. I think I can. Here. I'm a police officer. Oh. Oh, police. Yes. Where does that door lead to? To the dressing room, sir. I see. But the girl did go in there. Oh, yes, sir. All right. Out of my way, please.

[B]

Yes, sir. Let me buy, please.

[A]

Wait a minute. Not so fast, young lady. Would you mind telling me what you did with that wallet you put in your handbag a minute ago?

[B]

Wallet? Really? What wallet?

[A]

Although I'm a police officer, I see.

[B]

One of those persons who have a good time here and then arrest the management for selling drinks after hours.

[A]

No, I have nothing to do with that. But would you mind explaining what you were doing with that wallet?

[B]

I suppose I'll have to. I picked it up off the snow.

[A]

Oh, picked it up.

[B]

Yes, it's quite true. Not being able to appreciate the charms of Ms. Francine Rapport, which evidently stagger you men. So I went to the bar during her dance. On the way, I picked up the wallet. Naturally, when the lights went up, I wanted to find the proper owner.

[A]

And why didn't you?

[B]

What do you think I'm doing here?

[A]

Ms.

[B]

Rapport, I understand, is part owner here. I'm sorry if the proper procedure is to stand on the table and shout that you found a wallet. I thought of taking it to Ms. Rapport.

[A]

I see. And did you give it to her?

[B]

No, she. She isn't here. Evidently she didn't come back here after her dance. Perhaps you'll be good enough to let me pass so I can take the wallet to Mr. Captain.

[A]

Now, just a minute, please.

[B]

Oh, right. You can come with me.

[A]

No, let's say you come with me. We are going back to Francine's dressing room.

[B]

No, I won't.

[A]

Come with me, I said. Is this Ms. Raffert's dressing room?

[B]

Yes.

[A]

Well, then you'll soon find out if she's here or not.

[B]

You see, I told her she wasn't here.

[A]

Yes, so you did. But if you don't mind, I think I'll just make sure.

[B]

Wait. You can't go in there.

[A]

Huh? For you. Oh. Then open the door. I'm a police officer and I want to see her. Come along.

[B]

Very well.

[A]

What's this? She's dead.

[B]

I didn't do it. I swear I didn't do it.

[A]

Murdered. Stabbed in the back of the pair of citizens.

[B]

Let me out of here. Let me out of here.

[A]

Stay where you are, both of you. And now both the better. You're casting hits beginning with the favorite of yesterday and today. Winfrey, close that door, please. Right now. You told me your name is Paula, Miss Rafford's maid.

[B]

Yes, sir.

[A]

Were you here when Miss Rafford came back from her dance a few minutes ago?

[B]

No. No, I was not. I can prove I was not. She met me at the end of the passageway, gave me a message to take through Mr. Kaplan to come back and see her. I went and told him I was out there. Mr. Kaplan can tell you that.

[A]

All right now. All right. Steady, Paula. Do you know where table 16 is?

[B]

Yes, sir.

[A]

All right. At table 16, you'll find a big, heavyset man with a sandy, ruddy complexion. His name is Sir Henry Merrivale. Ask him if he'll come in here right away, will you? But don't say a word about this to anyone else. Have you got that?

[B]

Yes, sir. Can't I go now? Geez, I can't stand looking at her.

[A]

There. I'm sorry. I'm afraid I'll have to ask you to remain where you are. This is my hand. Gap of paper evidently left, and the murderer snatched the rest of it from her grasp. Got to see you, ever your adoring, Monty.

[B]

Monty?

[A]

Oh, you know him?

[B]

No, I. No, I don't.

[A]

But you knew she was dead. Why didn't you tell me? You must have known. I saw you come out of this room.

[B]

You think I'm insane. You only have thought what you're thinking now. That I didn't kill her. I came in here and I found her dead. All I wanted to do was to get away. I don't expect you to believe that. I probably wouldn't believe it myself if I were in your place.

[A]

Then what about that wallet?

[B]

It's Tony Kaplan's wallet. You might as well know now.

[A]

Oh, you stole it.

[B]

No, I didn't steal it. He Dropped it.

[A]

He dropped.

[B]

He dropped it, I tell you.

[A]

You still got the wallet?

[B]

Well, I.

[A]

You better let me have it.

[B]

Here it is.

[A]

Thank you. Thousand pounds. What's going on here? Who are you? Steady, Captain. Don't touch anything. She's dead. Francine. Yes, Captain. We just. They got her. She was all I had. Who did it? Tell me who did it. I'll kill him. Who's that girl? What's she doing here? Oh, she told me she'd found your wallet.

[B]

Yes, that's right. Now, Mr. Matthew, you can clear up one thing. I mean, about that wallet. Mr. Captain can clear it up. I saw him drop it. He can tell you who I am, too. He can vouch for me.

[A]

All right, Captain. Is this your wallet? What wallet? Where? What are you talking about? Does this wallet belong to you? Certainly not.

[B]

I suppose you'll say that you don't know why I'm here either.

[A]

Madam, I don't know what you're talking about. I only know that Francine is dead. Dead. Do you understand? I love Francine. I come in here to find a set with a pair of scissors and all you people could do is babble about a wallet. A wallet. Oh, I don't know who you are. I never saw you before in my life. Did you kill her? Did you?

[B]

Did you?

[A]

I've done a lot of things in my life. Judged by the number of police in my club tonight, they think I've done a lot more. But I couldn't have killed Francine. I never left that orchestra platform from the time Francine was dancing till just a moment ago. 50 people will testify to that. Once in my life, I'm in the clear. When dirty work's been done this kind of dirty work. This kind. What kind of dirty work, Tony?

[B]

Who are you?

[A]

Sir? Henry. Oh, boy, Chief, am I glad to see you. Why, thank you, Jim. Hello, copper. Come to run us all in? No, Francine's maid told me. I've telephoned Divisional headquarters about our unfortunate homicide here. They'll take charge. No, I really came to break up your newest and I think, most ingenious racket. I don't get you. This is a test for the air raid warning protection. This is a test. There is no air raid at this time. The First Fighter Command, New York requests that all radio broadcast stations receiving this test transmit time when signal was received by Telegraph to 1st Fighter Command, New York. These tests will continue at certain intervals. If it is ever necessary to close broadcast stations due to enemy air raid attacks, your station will make a short Announcement of the fact when it goes off the air. This is only a test. Thank you. This wallet contains the blackmail money that Kaplan and Miss Rapport wanted from your brother for his letters to Miss Rapport, isn't it?

[B]

No, no.

[A]

Crazy. You were instructed to hand the money to Kaplan in public, in the presence of witnesses, in a wallet with a little speech. This is your wallet, isn't it?

[B]

It's not your wallet.

[A]

You can't get away with it. We give it to him by the orchestra platform. But at the last minute you lost your nerve, didn't you?

[B]

No, I didn't.

[A]

So you followed Francine in here and tried to fling it at her instead.

[B]

You're trying to trick me.

[A]

That's another one of their little games. Nice safe blackmail they used to pull that one in Paris. You're going a little fast, aren't you, copper? You could get into trouble, you know, talking like that, making accusations you can't prove out of nothing. Not exactly nothing, Anthony. Monty Forsyth telephoned us, but then he lost his nerve and refused to set a trap. There was nothing else we could do about it.

[B]

Well, what else could I do? I had to get back those letters Monty wrote her. He won't help himself. And I.

[A]

Look here, Miss Forsyth, I seem to have made a fool of myself. I'm sorry.

[B]

That's all right, Mr. Matthews. You may not have caught a pickpocket, but how do you know you haven't caught a murderess? Look there at that piece of paper in Francine's hand. That's torn off one of my brother's letters. And our wonderful Mr. Catlin knows it as well as I do.

[A]

I don't know what Francine was up to about letters. That is, she wanted to sell some letters. That was her business. But if there were letters, where are they now? Well, here's part of one, at any rate. You know. Strange. What, Frankie? By the way, Miss Forsyth, did you get the letters?

[B]

No, no, no. I told you, she was dead when I got here. I was only here half a minute. Anyway, I haven't got any letters. Well, you can search me if you like. Kaplan had the letters. He probably still has.

[A]

I never had any letters. Maybe your brother got him. Didn't this copper say he's here tonight? What's his alibi?

[B]

You know, you really are a nasty bit of work.

[A]

That may be. We're none of us perfect, not even you. But you see, Miss, so and so, you're in a jam. A bad jam. Now, I'm not in a jam at All. I didn't kill that poor kid. I couldn't have killed her. The coppers themselves will tell you. I never left that orchestra platform at any time.

[B]

Is that true?

[A]

Yes, it's quite true. See?

[B]

No, I don't see. All I know is that it cost Monty and me nearly everything we've got to scrape that money together. There must be lots of poor fools like us. The clever ones of this world have it all their own way, haven't they?

[A]

No, I think not, Miss Forsyth.

[B]

No.

[A]

Come in. Oh, it's you, Paula. Come in and close that door, please. Paula. Paula. Haven't I seen you somewhere before?

[B]

Maybe you have. I was at the Tin Hat Club two, three years.

[A]

No, no, I've never been at the Tin Hat Club. No? No. Haven't I seen you more recently than that?

[B]

I don't know.

[A]

Very well, we'll skip that. How many dressing rooms are there here?

[B]

Two.

[A]

Besides this, any other principals aside from Miss Rapport?

[B]

No.

[A]

The chorus girls, did they change in these rooms? I'll answer any of your questions. I'm talking to Paula now.

[B]

No, on the other side. Miss Rapport not let them.

[A]

When did you last see Miss Rapport alive?

[B]

I passed here. When she came back off the floor, she gave me message for Mr. Kaplan.

[A]

Ah, so you have an alibi too, eh, Tony? You're a good dance director, aren't you? Yes, I guess so. What's that got to do with it? Do you suppose you could teach Paula here to do that temple dance now that Francine won't be able to dance it any longer? Oh, I suppose it's. Look here. Hm? What are you getting at? In fact, you've already taught her, haven't you, Tony? Oh, certainly not. Did you notice the damps finished three measures too soon tonight, Tony. Didn't that worry you? Have you gone up your ruck? I think not. Let me have a look at your hands, Paula. My hands? Yes, both of them. If you're saying Paula had anything to do with killing Francine, you're wrong. She was out on the dance floor with me the whole time. 50 witnesses can prove it, no doubt. And if you're saying she's a pickpocket, you must be completely off your nut. What do you think you'll find in her hand, anyway? Beeswax? No, not at all. No, only oil. Oil? You're quite right. She was out on that dance floor the entire time. She's got oil on her hands and arms. Tony. How did she get it there?

[B]

Let me alone.

[A]

How should I? I'LL tell you from the oil that was smeared on those jewels on her costume while she was on that floor dancing. Why was she out there dancing instead of Francine, Tony? Or shall I tell you that, too? Because Francine was in here dead, wasn't she, Tony? No. No. You killed Francine before the dance.

[B]

No.

[A]

Then you went out to the bandstand and Paula took Francine's place. You were sure no one would recognize her in that dark blue light with her Japanese headdress on.

[B]

No one.

[A]

Keep your trap shut. Everybody assumed it was Francine, would swear they saw her alive. And everybody would swear they saw you out there all the time. A pretty alibi, Tony. Yeah, that's right. I got a swell out of my carpet. Try and break it down. Well, Paula, who is it to be? You or him?

[B]

No, I didn't kill her.

[A]

He'll rap on you, Paula. You know that, don't you? Yes, I'll tell Why you black about a double truck. We did our capital. You'll get hurt.

[B]

He kill her with scissors.

[A]

He pay.

[B]

You dance. Nothing happens. He promised. Marry me. I do nothing. Nothing.

[A]

All right, Constable. Yes, Constable, take them away. A nasty customer, Jim. Right? They both are. It was lucky for you Paula didn't have time to wash that oil off her arms. You might never have got her. Yes. Yes, that helped. But it was plain from the first that there'd been a substitution of identities. First Sir Henry. Yes. Well, I don't see how. Well, Jim, as you know, I have an eye for a pretty girl. But that's not all. Whatever you might say about Francine Rapport, she was a magnificent dancer. I didn't know who it was dancing out there tonight, but I knew it wasn't Francine. You have been listening to Murder Clinic, Foreign. The wor mutual series which brings you each week one exciting case. One member from the select band of the world's great detectives. Next week, Murder Clinic will bring you one of the best known and best beloved figures in all crime fiction. Agatha Christie's Hercule Poirot. The man with the Little Gray Cells. The story is the tragedy at Marsden Manor in which Poirot double crosses a double crosser. Tonight's detective was H.M. merrivale, played by Roland Winters. Original music was composed by Ralph Barnhart and conducted by Bob Stanley. This program was an international exchange feature over the coast to coast network of the Canadian Broadcasting Corporation. Tales told on Murder Clinic are adapted by authors Lee Wright and John A. Bassett. Murder Clinic is produced under the direction of Alvin Flanagan. Frank Knight speaking This is the Mutual Broadcasting System.