Murder Clinic 42-10-18 Gulfstream Green

Summary

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Episode Overview

Podcast: Harold's Old Time Radio
Episode: Murder Clinic 42-10-18 "Gulf Stream Green"
Air Date: October 15, 2025
Main Theme:
A classic Golden Age radio mystery featuring Frederick Irving Anderson’s famed detective, Deputy Parr. This episode, “Gulf Stream Green,” spotlights vanity, obsession, and the deadly consequences of technological ingenuity when an opera diva’s attempt to elude a threatening stalker ends in murder—and exposes the perils of pride and misplaced trust.

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Key Discussion Points & Plot Breakdown

Introduction: Setting the Scene

[00:34-01:26]

• Host introduces Murder Clinic and Deputy Parr, described as “the man with a nose for murder.”
  • “Tonight he is Frederick Irving Anderson's famous detective police Deputy Parr...” (00:34)
• Parr frames the story as an illustration of “the egotism of murderers.”
  • “It illustrates rather perfectly, I think, a pet theory of mine that the egotism of murderers is enormous.” (01:26, Parr)

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Act I: A Dangerous Game of Deception

[01:26-07:16]

• Opera star Leocadi arrives at Estrell’s dress shop, shedding her theatrical accent in private. She asks for a girl, Bertha Tremblay, to wear her new Gulf Stream green gown and impersonate her.

  • “You will put on this dress, draw the mantilla over your face, go out to my car and drive to my hotel, the Normanduc...” (04:30, Leocadi)
  • Memorable comic moment: Bertha practices her “scream”—but meows instead.
    • “Meow. Meow, meow.” (05:04, Bertha)

• Leocadi gifts Bertha money and a jade ring and instructs her to make a convincing exit.

  • “Here, Bertha, you must take this money as a gift from me... This, this, this jade ring. Take it. It is yours.” (05:53, Leocadi)

• The scheme works: Bertha, now disguised, leaves. Leocadi confides to Estrell she fears for her life due to unknown pursuer’s threats.

  • “I have an anonymous pursuer. Do you know what that means to a woman in my position?... There have been two attempts on my life, seeming accidents.” (07:57, Leocadi)

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Act II: Tragedy Unfolds

[09:39-11:46]

• Estrell’s fiancé, lawyer Kyla Braxton, arrives with shocking news: Leocadi is believed dead at the Normanduc Hotel—crushed by a fallen cornice. All evidence at the murder scene identifies the victim as her (gown, ring, etc.), but the face is “crushed beyond recognition.”

  • “You're supposed to be dead.” (10:21, Braxton)
  • “The body has been identified as yours. Leocati. Your gown, your ring. But the face crushed beyond recognition.” (10:51, Braxton)

• Realization: It’s Bertha who has died in her place.

  • “Heaven forgive me. Bertha.” (10:36, Estrell)
  • “Bertha...I sent her to death just as surely as if I myself had pronounced sentence.” (10:53, Leocadi)

• Braxton advises Leocadi to stay hidden—“the murderer thinks you're dead.”

  • “The murderer thinks you're dead. You must still let him think so. Leocati.” (11:33, Braxton)

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Act III: Deputy Parr's Investigation

[12:49-15:18]

• Braxton briefs Deputy Parr on events and suspicions. Parr’s observational skills revealed: he doubted the “Leocadi” corpse, noting uncharacteristic possession of money and the new green gown.

  • “I happen to know Leocadi never carried money... that dress our corpse was wearing rattled a bit. Quite a characteristic color. Gulf Stream Green they call it.” (13:32, Parr)

• They suspect Leocadi’s manager, Wolfbane, after Parr learns Wolfbane knew about threatening letters only Leocadi had received:

  • “Wolfbane. He told me Leocadi had been receiving anonymous letters. If Leocadi told no one, how did Wolfbane know about them unless he sent them himself?” (15:18, Parr)

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Act IV: The Trap is Set

[15:43-24:39]

• Parr and Braxton arrange a meeting with Wolfbane, who inadvertently reveals detailed knowledge of a specialized laboratory and new technology:

  • “Would you like to see a really modern, well equipped laboratory, Mr. Parr? ... I frequently spend the night there. I shall do so tonight.” (18:05, Wolfbane)

• Parr hatches a risky plan: Leocadi will dress again in Gulf Stream green and, hidden, dramatically unmask the killer in Wolfbane's studio.

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Climax: Murder by Science—And Poetic Justice

[20:25-26:46]

• Parr explores Wolfbane’s lab, which features a photoelectric cell capable of triggering a device when someone wearing the precise shade of Gulf Stream Green passes by.

  • “Here, for instance, is a potential murderer. A photoelectric cell. ... Let me show you how it discriminates between, for instance, different shades of color. Green.” (21:29, Wolfbane)
  • “Perhaps when a woman wearing a dress of Gulf Stream green passed under it.” (22:45, Parr)

• Parr exposes Wolfbane’s elaborate scheme: only one unique gown existed in that color, and only Leocadi should have died—but Bertha was the unintended victim.

  • “But suppose Wolfbane. Hypothetically, of course, Leocadi had changed gowns with another woman. Suppose it wasn't Leocadi was wearing that Gulf Stream green this afternoon.” (25:52, Parr)

• Parr secretly signals Leocadi to appear; Wolfbane, panicked and cornered, triggers his own deadly trap and is killed by the mechanism intended for Leocadi.

  • “He killed himself.” (26:44, Estrell/Leocadi)
  • “It was poetic justice. His own constructive cleverness has destroyed him.” (27:03, Parr)

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Notable Quotes & Memorable Moments

• On the Vanity of Murderers:
  • “The egotism of murderers is enormous. I've even had them call me up. Lucky for us, it makes our work that much easier.”
    —Deputy Parr, [01:26]
• On Constructive Murder:
  • “You know, constructive murder is so much more interesting than emotional murder. The police are always baffled.”
    —Wolfbane, [23:08]
  • “Unless the murderer himself shows them how it was done, of course.”
    —Parr, [23:14]
• Comic Relief as Tension Builder:
  • “Meow. Meow, meow.”
    —Bertha’s attempt at a scream, [05:04]
• On Poetic Justice:
  • “It was poetic justice. His own constructive cleverness has destroyed him.”
    —Parr, [27:03]

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Timestamps for Important Segments

• 01:26 – Deputy Parr explains the "egotism of murderers”
• 04:30 – Leocadi details her plan for Bertha to impersonate her
• 10:21 – Braxton announces Leocadi’s “death”
• 13:32 – Parr deduces the body isn't Leocadi
• 15:18 – Parr suspects Wolfbane via knowledge of the letters
• 18:14 – Wolfbane invites Parr to his lab
• 21:29 – Demonstration of the photoelectric murder method
• 25:52 – Parr confronts Wolfbane, reveals gown-swap trick
• 26:44 – Wolfbane dies by his own trapped mechanism
• 27:03 – Parr reflects on poetic justice

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Episode Tone and Style

• Fast-paced and dialogue-rich, mixing melodrama, suspense, wit, and technical ingenuity.
• Characters are bold, with accents and theatricality lending atmosphere—classic radio noir style.
• High drama is balanced with moments of levity (Bertha’s botched scream).
• Frequent foreshadowing and clever deduction keep stakes and suspense high.

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Final Thoughts

“Gulf Stream Green” is a tightly woven murder mystery showcasing the cleverness—and hubris—of both criminals and detectives. Deputy Parr’s sharp insights and Wolfbane’s “constructive” villainy provide a textbook Golden Age radio drama, with a satisfying twist of poetic justice ensuring evil is undone by its own device.

Perfect for fans of classic detective stories and radio’s golden era, this episode demonstrates why these tales captivated—and still intrigue—generations.

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Transcript

[A]

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[B]

Murder Clinic Stories of the world's great detectives of fiction. Men against Murder. Each week at this time, WOR Mutual turns the spotlight on one of these great hunters of men and brings you the story of his most exciting case. Tonight he is Frederick Irving Anderson's famous detective police Deputy Parr, that visitor from a Vermont farm often called the man with a nose for murder. Good evening, Deputy Parr. You're going to tell us a story called Gulf Stream Green. Now, why have you chosen that particular story?

[C]

Well, it illustrates rather perfectly, I think, a pet theory of mine that the egotism of murderers is enormous. I've even had them call me up. Lucky for us, it makes our work that much easier. Let me be more specific. About. About 4 o' clock of a late fall afternoon some years ago, the glamorous Leocati, world famed opera star, descended from a limousine before the Swagger dressmaking shop of Estrell Incorporated just off Fifth Avenue.

[D]

Madame Estrell. Look, it's Leocati. I must go to the door and welcome her. Madame Leocadi. Girls, please. You must forgive their excitement, Madame.

[E]

Ah, by now I am used to Estrell. You do not mind me coming here and making all this upset?

[D]

How can you act?

[E]

Oh, my good friends, they tell me stay away, for if I come, I bring this swarm of, how you say, locusts.

[D]

Well, there's one way to get rid of them. Let's go into my private suite.

[E]

Oui, that might be better.

[D]

Now, Madame Mercadi, what can I do for you? A stage gown, perhaps?

[E]

No, no, Estrell, it's something else. Oh my, but it's good to be able to drop that phony accent.

[D]

Why, Madame Ricardi, you had me fooled completely.

[E]

It fools everybody.

[D]

Eat these.

[E]

P for the art.

[D]

It's charming. But Madame, if it is not for a gown, why have you come to me?

[E]

Can you lend me some girl who could wear my clothes?

[D]

Oh, I see. Of course, to save you the bother of fitting.

[E]

No, no, I want some girl who could wear this gown I have on now.

[D]

I don't understand.

[E]

It doesn't Matter? It doesn't matter. Do you have such a girl?

[D]

Why, yes, probably. Will you stand up a minute, please? Yes, I. I think I have the very girl. Just a minute. Bertha. Yes, ma'? Am? Will you come in here, please? Just a minute. She'll be here in a moment. Madame Lercati. When did you want her to wear your gown?

[E]

I want her to take my place. Now. Now I must have an hour alone, undisturbed.

[D]

This is all very bewildering within.

[E]

Quiet. I'll explain later. Here comes the girl now.

[D]

Come in, Bertha. Come in and close the door, please. Yes, ma'. Am.

[E]

Lord, she is perfect. My child, you will accept this dress from Leocati.

[D]

Your dress? For me?

[E]

You like it? It is the new Gulf Stream green that today I introduce to the world. Tomorrow it will be famous. Ranel Frere created it for me. And now it is yours.

[D]

But Madame.

[E]

Come, Estrell, help me out of it.

[D]

Yes, Madame. Be careful getting it over my hair. Ah, here, my dear.

[E]

Try it on.

[D]

Why are you giving me this, Madame?

[E]

In return, you will do me a small favor, no?

[D]

Oh, gladly.

[E]

Bien. You will put on this dress, draw the mantilla over your face, go out to my car and drive to my hotel, the Normanduc. There you will go directly to my room. No one will dream of stopping you. They will take you for Leocadie. The green dress will be your passport. When you reach my room, you will lock yourself in and admit no one. If they try to get in, you will scream. Can you scream?

[D]

I don't know.

[E]

Scream for me.

[D]

Come on.

[F]

Loud.

[D]

Meow. Meow, meow.

[E]

Just yell, Vaton. If they try to get in, they will go away. They always do when I yell hard enough.

[C]

Oh.

[E]

You see, Estrella, it is the only way. I end your life by scaring them. So when they hem me in, I scream my way out.

[D]

Voila.

[E]

It is as good a way as any to exercise my high seas.

[D]

But Madame Mercady, how long must I stay in your room? Do not worry, child, do not worry.

[E]

Only until 5:30. Then you must bundle yourself up again and burst out of the room in a terrible temper. If anyone tries to stop you, scream again, then return here to me. Come, Bertha, it is very simple. Say you will do it.

[D]

Well. All right.

[E]

Good. Estrella, have you any money?

[D]

Yes, of course. How much do you want, Madame?

[E]

All of it. Here, Bertha, you must take this money as a gift from me.

[D]

Oh, no, Madame, it is too much.

[E]

It is not enough.

[D]

Here.

[E]

This, this, this jade ring. Take it. It is yours. Madame.

[D]

I could.

[E]

Do not argue, child. Tell me, what is your full name?

[D]

Bertha Tremblay, Madame.

[E]

You live with your parents?

[D]

They are dead, madame. Oh, a.

[E]

A husband, then?

[D]

No, Madame. Not even a sweetheart.

[E]

Oh, that is sad. But at least you have no one to tell you what you can do and what you cannot do every second of the day. I envy you that. And who knows, if all goes well this afternoon, maybe you can scream for me again someday. No, no, no. Run along.

[D]

I think I'd better escort her out, madame. After all, that is what I would do for the great Leoti.

[E]

Of course. And remember, Bertha, sweep through the crowd like a queen and scream like a fish.

[D]

It worked. Bertha was sensational. You should have seen her fighting her.

[E]

Way to your car.

[D]

Good.

[E]

And now I have two hours to be myself again. Our breathing spell. Estrell. I've come to you for help.

[D]

Yes, Madame.

[E]

I'm in danger. Deadly danger. I am in fear of death, madame. Look, Estrell, that tea table over there is set for two. You're expecting your fiance, Kyla Braxton, aren't you?

[D]

Why, yes. But how did you know?

[E]

I made it my business to find out. I know his reputation as a brilliant lawyer. I had to get his help privately so that no one would know. That's why I came here to see him.

[D]

You.

[E]

You're not angry? Estrella, you will help me?

[D]

Of course, my dear. And so will Carla. He says you're the greatest singer in the world, and I suspect he thinks the most beautiful. But what can he do?

[E]

Listen, Estrella, I have an anonymous pursuer. Do you know what that means to a woman in my position?

[D]

Why, no, I.

[E]

It means that I am pursued by a madman. I never see him, but always I feel his maniac's eyes staring at me. I'm always in public, on display, at his mercy. Every moment is a threat. He sends you letters every day, every hour, almost.

[D]

And that's not all.

[E]

Already there have been two attempts on my life, seeming accidents.

[D]

But the police?

[E]

No, no, never that. It would be a scandal. A Roman holiday for the crowd.

[D]

Then what about your manager, Mr. Wolfbane? He must be used to this persecution of celebrities. Surely he could protect you, Wolfbane?

[E]

He'd be the last person I'd tell this to. Why, he'd turn it into columns of publicity for the newspapers. If a sensation arises, turn it into dollars, advertise it to the world. That's Wolfbane, the bear trainer. No, no. Anyone but him.

[D]

I still don't see why you came to us.

[E]

Because, my dear, I've Sung to you both, night after night.

[D]

You recognized us in the opera?

[E]

Yes, always. You never miss one of my performances. They say there's something in my voice for lovers. You both make it true. And I hoped you might help me.

[D]

We will, both of us. Carlo will be here soon. I know he can help. But in the meantime, you need my help even more. I must get you something to put on.

[E]

Oh, good heavens. Come on, Estrell, display your genius. I must look my best for you. Mr. Braxton. Coming.

[D]

Oh, Carla.

[C]

Daddy.

[B]

Hello, dear.

[D]

Have the most wonderful surprise for you.

[F]

A surprise? Well, what is it?

[D]

Look over there in that big chair. Hippie Leucardi.

[F]

No, no, it can't be.

[D]

Well, really, Carla. I know Leopard is the most beautiful woman in the world, but seeing her oughtn't to knock you speechless.

[F]

That isn't the point. You must forgive me for a moment I couldn't believe my eyes.

[E]

I don't mind. It's a pretty compliment.

[F]

Now wait, Madame. I have something to tell you. There has been an accident.

[D]

Accident? What is it, Kyla?

[F]

Do you mean to say that you haven't heard what has just happened?

[D]

No. We've been in this room for the past hour, madame.

[F]

It's difficult to tell you. It's almost impossible. Unbelievable. Your name is on everyone's lips. The whole town's alive with it.

[D]

So.

[E]

But why?

[F]

Because. Because you're supposed to be dead.

[C]

Murdered.

[D]

Carlo, what are you talking about?

[F]

I tell you, Estrell, the street's in front of the Normandut. Leah Cotti's hotel. Oh, are blocked with people. I just came from there. Someone has been murdered in your apartment, madame.

[D]

Heaven forgive me. Bertha.

[F]

Bertha. Bertha. But I tell you, the body has been identified as yours. Leocati. Your gown, your ring. But the face crushed beyond recognition. The whole cornice over the door fell just as she entered your room.

[D]

Bertha. Poor child.

[E]

I sent her to death just as surely as if I myself had pronounced sentence.

[D]

Who?

[F]

Who is this Bertha?

[D]

Oh, Carla. She was one of my girls. She wore Leocati's gown. She took Leocati's place so that she could have a little time here with you.

[G]

With me?

[F]

What do you want of me, Madame?

[E]

Help which I no longer need. I feared for my life. And now.

[D]

Now it's Bertha who's been killed in my place.

[E]

But why do we talk? I must go to her at once.

[F]

No, now wait, Madame. You say your life was threatened. Well, now the murderer thinks you're dead. You must still let him think so. Leocati. Does anyone beside Estrell know you're here?

[D]

No, Carla. Everyone saw Madame Leocati leave. Or so they believed.

[F]

Good. Then you must remain here in hiding, Madame.

[E]

For how long, Mr. Braxton?

[B]

I don't know.

[F]

I'll have to see Parr. He'll tell us what to do.

[D]

Parr?

[E]

Who is this Parr?

[F]

He's Deputy chief of the Homicide Bureau. He was there at the Norman Duke when I left. It's all right. He's a very good friend of mine.

[D]

He thinks Carla is wonderful.

[F]

Estrell, please.

[E]

But Mr. Braxton, I cannot stay here.

[F]

No, you can't. But for the present, until Parr tells you what to do, you'd better remain here.

[D]

If it would help catch Bertha's murderer, Madame. Then for her sake you owe her that.

[E]

Yes, yes, that's true. I do owe her that. Very well, Mr. Braxton. I'll give you 24 hours. Tomorrow night. Leokari SINGS Manon and Leo Cotti has never missed a performance.

[F]

All right, it's a deal. Now tell me everything you know, everything. And then I'll go and see.

[C]

Hello, Parr.

[F]

It's a good thing I found you here.

[C]

Hello, Carlet. How'd you know I was here?

[F]

Oh, I just followed my nose, Par. You may have a nose for murder but I have a nose for bloodhounds.

[C]

Well, Tyler, what's on your mind?

[F]

Well, I've been retained by Leocotti.

[C]

Oh, she was your client then?

[F]

She is my client Is. She has retained me in the matter of her murder.

[C]

So you too know it was murder, eh? Did she retain you before or after?

[F]

Both, in a manner of speaking. She came to me secretly at 4:30. Well, unfortunately I wasn't there. It wasn't until 5:30 that we finally met.

[C]

She was presumably lying dead here at 4:35. I myself saw the body a few minutes later. There seems to have been some doubt.

[F]

In your mind about her identity.

[C]

Queer you should ask that. As a matter of fact there was. I happen to know Leocado never carried money. She made a pose of abhorring it. No money was found in her stocking. Quite a considerable sum. However, that dress our corpse was wearing rattled a bit. Quite a characteristic color. Gulf Stream Green they call it. Her mates told me. It's history. Still, I wasn't convinced.

[F]

That was shrewd to you, Parr. I don't wonder. They say you have a nose for murder. You were right. Leocati's very much alive. She's up at Estrell's now.

[C]

So you're concealing with intent to defraud. The live person of a murdered woman?

[F]

Something like that. Well, what shall I do with her?

[C]

Keep her there.

[F]

That won't be easy. She's above discipline. I told her that great as she is, we're concerned with something greater. Catching a man capable of such a crime. If necessary, I'd have kept her there by force.

[C]

As an essential witness to her own murder. If you like.

[F]

But she'll only give us 24 hours.

[C]

Doesn't the little fool realize she's still in danger if she lets the murderer find out who's cheating the wrong woman? Incidentally, who was the wrong woman?

[F]

Oh, a model of Estrell's named Bertha Tremblay. Leocati sent her here. In her place. There's nothing she won't do to avenge that poor girl.

[C]

I see, I see. By the way, what did Leocati come to see you about?

[F]

She said she was in fear of losing her life. She told me she'd been receiving anonymous threatening letters.

[C]

She has, has she? Has she told anyone about them?

[F]

Not a soul. She swore she'd mention them to no one till she told us. That's astral on me.

[C]

You're sure? Didn't she even tell Wolfbane? Her manager?

[F]

Him least of all. She said he'd only use them for publicity purposes. Turn them into dollars. That was her expression.

[C]

Good, good. Now. Now we've got him. Got who? Wolfbane. He told me Leocati had been receiving anonymous letters. If Leocati told no one, how did Wolfbane know about him unless he sent them himself? But wait, you'll see for yourself. I'll call the desk. Where's that dreaded telephone? Hello? Give me Mr. Wolfbane's apartment.

[D]

Yep?

[C]

Wolfbane, this is Pa. Could you run up here a minute? All at once, if you don't mind. You can? Good, good. He's coming right up. Kyla, when he comes in, I want you to notice his self satisfied smirk. I played the fool for him. And how he swallowed the bait. What was it Kipling said? The bleating of the kid annoys the tiger. Well, watch me bleed. Come in.

[G]

Ah, dear Pa, prompt as usual. That's theatrical training for. Oh, I beg your pardon. You're not alone.

[C]

Wolfgang, I want you to meet Mr. Braxton, an old friend of mine. Braxton, used to be assistant district attorney. He's over to help.

[G]

I see. Very pleased to make your acquaintance, sir.

[C]

Thank you. I was telling Braxton here about those anonymous letters you told me a card has been getting. How long's this been going on, Wolverine?

[G]

For the Past six weeks or so, I believe.

[C]

Did you personally see any of these letters, Wolfgang? No.

[G]

Riot told me about them. She was greatly upset by them, poor child.

[C]

How were they delivered? By mail?

[G]

No. I had the impression they were deposited in places where presumably no one but she herself would find them.

[C]

Good. Good inside job, eh? That fits in. But you're smiling, Wo Fang. Don't you agree?

[G]

Was I smiling? Ah, it was a smile of admiration for your cleverness.

[C]

My dear Pa. You still say, do you, Wolfpain, that Bill Cotti was murdered?

[G]

I haven't the slightest doubt of it.

[C]

Well, I don't know now. Looks pretty much like an accident to me. Huh.

[G]

It was meant to look so.

[C]

What beats me is if it was murder, why didn't that cornice fall on one of those maids or someone? Why did it wait to fall till Leocati herself came in? Don't that look like an accident?

[G]

Perhaps the murderer was clever.

[C]

My dear Parr, murderers are never clever.

[G]

So the police have soothed their vanity for centuries.

[C]

But look here, we've grown over this place with a fine toothed comb. We didn't find hide nor hair of a weapon or any of those fancy gadgets you were spouting about. Not a trace. We have our laboratories, you know.

[G]

Wolfgang Laboratories. Would you like to see a really modern, well equipped laboratory, Mr. Parr?

[C]

Why sure.

[G]

Then you should visit mine sometime.

[C]

Gosh, gosh, I'd like to. Where is it?

[G]

On 10th Avenue. I frequently spend the night there. I shall do so tonight.

[B]

Great, great.

[C]

Shall we say 9 o'? Clock?

[G]

It will be a pleasure. You will come alone?

[C]

Oh, I reckon so. The rest of the boys wouldn't understand what was going on.

[G]

Exactly till 9 tonight then, Mr. Parr. Oh, pleasure of meeting you, Mr. Braxton.

[C]

Well, Tyler, what did you make of it?

[F]

A dangerous megalomaniac, Parr. I wouldn't go there alone if I were you.

[C]

Don't worry, Carla, I won't be alone. The janitor of that building and the other attendants will be my men. You can count on that. Now listen carefully. I've got a job for you. I want you to bring Leo Carty to Wolfbane's studio tonight.

[F]

Parr, have you gone out of your mind?

[C]

Now don't argue with me. Listen, I want her dressed in a green dress, as near in color and design as the one she wore this afternoon. Estrella can manage it somehow. That's important. When you get there, have the superintendent let you in the flat above Old Baynes and then you and Leocate come down the Fire escape. Have Leah Carty hide in shadows and I'll get Wolfbane to put out most of the lights. When she hears me say, don't you feel there's someone else in this room? Wolf Bane. I want her to come out and walk slowly into the room. Is that clear?

[F]

Yes, perfectly clear.

[C]

Ah, good, good. Now, off with you. And remember, Wolf Paint studio tonight at.

[D]

SAM.

[G]

Ah, Mr. Parr. Right on time, I see.

[C]

Good evening, Wolvang. You have quite an establishment here. Would it trouble you if there was a little less light? It hurts my eyes.

[G]

But of course, Mr. Parr. Well, as you can see, at heart I'm a man of science. I spend 20,000 a year in my laboratory here.

[C]

Chemistry?

[G]

No, physics and mechanics.

[C]

And perhaps you can give me some idea as to the mechanism employed by the murder of Leocati.

[G]

Merely a trigger of some sort. Even a stupid murderer could devise that.

[C]

Yeah, but this wasn't stupid. It waited for its victim. There was no one at hand to touch it off with. Satisfied ourselves as to that.

[G]

It's fortunate for you police that scientists as a class don't major in murder. They have so many facilities at hand, utterly incomprehensible to the average intelligence.

[C]

By average intelligence, I suppose you mean the police.

[G]

I do. Here, for instance, is a potential murderer. A photoelectric cell. Every man of science is tremendously interested in its possibilities. Shall I show you how it works?

[C]

By all means.

[G]

You see, it discriminates.

[C]

As to what?

[G]

Anything you choose. Let me show you how it discriminates between, for instance, different shades of color. Green. Let us say I have here a number of cards, each a distinct shade of green. When I run the cards through the beam, a number registers. Sol, Jade. Now this one, Emerald. And these, Nile, chartreuse, olive, moss. Always the same number registers for the same shade. You follow?

[C]

Yes, I see. It connected electrically with those crowding machines. Yes.

[G]

It could be connected as well to a stone crusher, a trip hammer or.

[C]

A mill wheel or a trigger that touched off a cornice.

[G]

You get the idea, Parr?

[C]

Perhaps when a woman wearing a dress of Gulf Stream green passed under it.

[G]

Exactly. Mind you, I don't say that is what happened. But it might. And you see how helpless the police would be pitted against a really learned murderer. The resulting crash would completely obliterate the device. Destroy the evidence by its very operation. You know, constructive murder is so much more interesting than emotional murder. The police are always baffled.

[C]

Unless the murderer himself shows them how it was done, of course.

[G]

Exactly.

[C]

You speak Wolfbane of constructive murder. And emotional murder. Wouldn't a man capable of this clever, constructive murder be incapable of an emotional crime?

[G]

Oh, no, my dear Pa, you're confusing method with motive. Obviously, his motive might be emotional.

[C]

I don't agree.

[G]

Well, take a purely hypothetical case. Imagine a man of superior intelligence who found a girl singing in a cheap burlesque show, an orchid in an ash can, so to speak. Suppose he'd taken her out of all that, given her tutors, trained her voice, sent her abroad, given her a completely new personality, and then. Then brought her back to fame and fortune again. Hypothetically, let us suppose this modern Pygmalion had offered his Galateer the final gift himself and she laughed in the scorn. Conceivably, such a man, however brilliant of mind, might be moved emotionally to murder.

[C]

Yes, yes, yes, I suppose that's possible.

[G]

But the point I'm making is that the method would be constructive and quite undetectable. Or, if detectable, quite incapable of proof.

[C]

There's something in what you say, Wolfbane. But coming back to you, this device, this electric eye, it could never go wrong.

[G]

How could it? You've seen how it discriminates, even between shades of one color.

[C]

Whoop. Then what if the wrong woman were wearing Gulf Stream Green?

[G]

Impossible. Gulf Stream Green was a unique shade. It had only just been blended. Renelle Frer had only received one bolt of the material. Oddly enough, I have an enormous color card here in this drawer of that very shade. I'm sorry, I can't show it to you.

[C]

Why not?

[G]

Because, my dear Mr. Parr, if I open this drawer, an electric eye between these two arms on the desk will fire. That revolver, you see, fastened up there in the ventilator.

[C]

Most ingenious.

[G]

See, Mr. Parr, I didn't care to have you interfering with my affairs.

[C]

But you still don't answer that last question of mine. Suppose the wrong woman was wearing that Gulf Stream green.

[G]

I've told you it would be impossible. There was only one gown of that.

[C]

Color and Leo Carty was wearing that one, wasn't she, Wolfburn?

[G]

Yes, she was.

[C]

But suppose Wolfbane. Hypothetically, of course, Leo Carty had changed gowns with another woman. Suppose it wasn't Leo Carty was wearing that ghost ring green this afternoon.

[G]

She wasn't. Ah, you think to trick me, me Wolfbane, with these childish games.

[C]

Hey, you're nervous, Wolfbane. If you are, I'd advise you to take your hand off that dangerous drawer. You might pull it out. A reflex, you know.

[G]

What did you mean, Par? About Leo Caddy? On that dress.

[C]

Don't you feel there's someone else in this room?

[G]

You're crazy.

[C]

Am I? Wolfbane. Suppose you look behind you.

[E]

Cotty.

[C]

No.

[D]

No.

[C]

Either me, a Cotti or a ghost will burn.

[G]

Keep away from me.

[C]

Get away from me, you gotti down.

[D]

He killed himself.

[C]

Yes. Poetic justice. He was caught in his own trap. The card in that drawer was Gulf Stream green.

[E]

And I thought he loved me. But instead, how he must have hated me.

[D]

Oh, I wish I'd known.

[C]

It's better this way. We'd had a hard time proving his guilt. It was poetic justice. His own constructive cleverness has destroyed him.

[B]

You have been listening to Murder Clinic. Murder Clinic, 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 we're especially privileged to bring you G.K. chesterton's monumental creation, the great detective priest, Father Brown. The story he'll tell is that world famous masterpiece, the Oracle of the Dog, in which Father Brown reveals that, like Sir Francis, he also understands the unspoken language of all God's creatures. Tonight's detective was Police Deputy Parr, Frederick Irving Anderson's famous detective, played by Mark Smith. This program was an international exchange feature over the Coast to coast network of the Canadian Broadcasting Corporation. Original music was composed by Ralph Barnhart and conducted by Bob Stanley. 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 Mutual.