Murder Clinic - A Scrap of Lace

Summary

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Murder Clinic – “A Scrap of Lace”

Podcast: Harold’s Old Time Radio
Episode Date: June 9, 2026

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Episode Overview

This episode of Harold’s Old Time Radio features an installment of the classic radio mystery series "Murder Clinic," specifically the episode titled “A Scrap of Lace.” The story is centered on a mysterious death at the Kruger family estate, which draws the famed (and rare) woman detective Madame Rosika Storey into an investigation brimming with jealousy, social intrigue, and deadly secrets. The episode explores themes of class, rivalry, ambition, and the danger hidden beneath genteel surfaces.

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Main Characters

• Madame Rosika Storey – The renowned woman detective, methodical and incisive.
• Theresa de Guillon – Powerful social secretary of the Kruger family.
• Mimi Kruger – The young, current Mrs. Kruger.
• Louise Mayfield – Theresa’s favored protégé and the victim.
• Jack Rowcliffe – Mimi’s handsome cousin, entangled romantically with Louise.
• Vera McPeek – Jack’s fiancée, wary and possessive.
• Suzanne – Maid at the Kruger estate.
• Mr. Gargan – The Kruger family chauffeur/bodyguard, would-be blackmailer.

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Key Discussion Points & Episode Breakdown

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1. Setting the Scene: Social Pressures at the Kruger Estate

[01:40 – 05:08]

• The story establishes the high financial and social stakes at the Kruger family estate in Westchester.
• Louise Mayfield is caught in a love triangle: object of Jack Rowcliffe’s affections, but viewed warily by both his fiancée, Vera, and her own mentor, Theresa.
• Notable Quote:
  • Theresa to Mimi: "You have certain responsibilities. Your mother-in-law, Mrs. Kruger III, she was a paragon of social virtues. She didn't mind being bored to death." – [03:22]
• Tension arises over Louise’s independent social life and supposed ambitions.

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2. Louise Mayfield’s Last Hours & The Fatal Handkerchief

[07:19 – 10:28]

• Suzanne, the maid, delivers a mysterious lace handkerchief to Louise as she dresses for an evening engagement. Louise believes it’s a gift from Mrs. Kruger.
• Memorable Moment: Louise douses the handkerchief with perfume just before her death—a key clue.
• Soon after, Louise is found dead under ambiguous circumstances.
• Quote:
  • Mimi, stricken: "With Louise, that beautiful child lying in there dead? But I must think of [appearances]." – [10:35]

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3. The Investigation Begins

[11:45 – 13:29]

• Madame Storey arrives; it's revealed Dr. Plummer refuses to sign a death certificate, hinting at foul play.
• Disagreement among the suspects about the possibility of murder vs. accident.
• Storey’s reputation for discretion is emphasized; the family is desperate to avoid a scandal.

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4. Dissecting Motives & Alibis

[15:18 – 17:46]

• Jack Rowcliffe confesses to having secretly returned to the estate the night Louise died. He found her dead but, fearing suspicion, fled.
• Quote:
  • Storey to Jack: "You loved Louise Mayfield very much, didn't you?" – [16:14]
  • Jack: "Yes. I loved her more than anything in life." – [16:17]

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5. The Missing Letter & the Chauffeur’s Demise

[18:11 – 21:02]

• Storey and her assistant receive a letter apparently meant for Louise, possibly from a lover identified only as “J.”
• Gargan, the chauffeur, attempts to extort $500 for revealing the letter’s sender.
• Memorable Moment: Gargan is shot dead through the window before he can reveal the truth—a clear warning.
• Quote:
  • Storey: "Why? To keep him from telling us who sent that letter to Louise." – [21:09]

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6. The Scientific Breakthrough: Handkerchief as Murder Weapon

[22:52 – 25:24]

• Laboratory report confirms the lace handkerchief was the murder weapon, impregnated with a poison that, when doused in alcohol (perfume), releases a lethal gas.
• Storey plots to reveal the murderer by distributing decoy handkerchiefs marked in secret.

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7. Denouement: Trap, Confession, and Tragedy

[25:25 – 28:08]

• In a tense, assembled confrontation, Storey notes that only one decoy handkerchief had been washed—Theresa’s.
• Storey confronts Theresa, who breaks down and, in despair, shoots herself.
• Quote:
  • Storey: "One of you feared so deeply that you dared risk murder to protect what you had. You feared loss of position, prestige, supplanting by a younger, more attractive girl. That one person alone knew what the fatal handkerchief contained." – [26:28]
  • Aftermath: "She was old. She…couldn't stand it. No, Mrs. Kruger, it wasn't your fault. It was better so. The end of a passing world…Exit an era." – [28:06]

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Notable Quotes & Memorable Moments

• Storey’s early challenge:

  • "You're surprised to see a woman detective, Mr. Knight... But you see, being a woman gives me one great advantage. My adversaries usually underestimate me." – [01:18]

• Social Motive:

  • "You all faced that fear as far as Louise Mayfield was concerned. But one of you feared so deeply that you dared risk murder to protect what you had." – [26:28]

• Turning Point:

  • "This handkerchief was the murder weapon, Bella." – [22:52]
  • "When moistened with alcohol, [the handkerchief] releases a lethal gas which is instantly fatal. Perfume is 90% alcohol." – [27:07]

• Tragic Closure:

  • "She couldn't stand it. It was better so. The end of a passing world…Exit an era." – [28:08]

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Important Timestamps

• 01:18–05:08 — Introduction to the Kruger family dynamics and Louise’s precarious position
• 07:19–10:28 — Delivery of the fatal handkerchief and Louise’s death
• 11:45–13:29 — Madame Storey’s arrival and initial investigation
• 16:02–17:46 — Jack Rowcliffe’s confession about the night’s events
• 18:11–21:02 — Discovery of the crucial letter and the chauffeur’s death
• 22:52–25:24 — Scientific revelation and Madame Storey’s sting operation
• 25:25–28:08 — The dramatic reveal, Theresa’s exposure, and her suicide

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Tone & Style

The episode is prim, arch, and attuned to the melodrama and class anxieties of the times, with Storey’s incisive intelligence and psychological insight cutting through posturing and pretense. The dialog is rich and period-appropriate, with a constant undercurrent of tension and unsparing social observation.

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Final Thoughts

“A Scrap of Lace” exemplifies classic radio mystery storytelling, blending social drama, psychological insight, and clever detection. The episode’s heart lies in how old structures (and their keepers) react to new threats and shifting power—a theme brought to a tragic end as desperation turns to murder. The episode concludes with Madame Storey’s cool professionalism restoring order, but not without a sense of the sadness that comes when one era supplants another.

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Transcript

[A]

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[B]

Murder clinic stories of the world's great detectives men against murder. Each week at this time, WOR 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, Madame Ruzika's story in the Scrap of Lace. Good evening, Madam Story. Your being at Murder Clinic is certainly a novelty.

[A]

You're surprised to see a woman detective, Mr. Knight.

[B]

That's right. And even more surprised to see a very beautiful detective. It's a queer business for a woman.

[A]

Most people think so, Mr. Knight. But you see, being a woman gives me one great advantage. My adversaries usually underestimate me.

[B]

Yes, I suppose they would. Now, what's the tale you're going to tell us, Madam? Story?

[A]

It's called the Scrap of Lace. I chose it because it seems to me so unusual a crime. A strange story of jealousy and death. Of course, you know the great family of Kruger, who ruled New York society for generations. When Mrs. Peter John Kruger III died, her mantle descended as a matter of course to Mrs. Peter John Kruger IV. This beautiful and charming young woman, Mimi by name, inherited not only her mother in law's scepter, but also Teresa de Guillon. Teresa de Guillon was the first and certainly the greatest of the social secretaries. The story begins one summer morning at Caris woods, the enormous and rather monstrous Kruger estate in Upper Westchester. Mimi and Teresa de Guillon were together in the breakfast room. Oh, Therese, must we go to that dull dinner at the Bransoms tonight? I think I'll call it off. Mimi, you simply can't do that. The dinner's being given for you. I was most insistent that I be consulted about the other guests. After all, my dear, you have certain responsibilities. Your mother in law, Mrs. Kruger III. Yes, I know. She was a paragon of the social virtues. She didn't mind being bored to death. Oh, Mimi, you are so lax. What would you do without me? You worry too much, Theresa. You're living in the Past your little assistant Louise Mayfield could possibly take over Very well. Louise? Louise Mayfield. That quite that child? My Dear Theresa, she's 21 and very competent. After all, you trained her. Yes, and I am very fond of Louise. She's like a daughter to me. But take my place. Why, surely you're joking, my dear. Oh yes, yes, of course. You know, Mimi, I'm a bit worried about Louise. She's been acting very odd lately. This party she's going to tonight. I have no idea where it is or who her hostess is to be. Well, wherever it is, she'll have a better time than I will. You know, Teresa, I shouldn't be surprised if Louise has been acting strangely because she's trying to keep away from my handsome cousin, Jack Rowcliffe. She doesn't seem very grateful to you, Theresa, for arranging to marry him off to Vera McPeek. Jack Rowcliffe and Vera McPeak are a splendid match. He has family position. Villa is young. She can be molded. She can be taught. Oh certainly, yes. And her father has 100 millions. But I don't blame Jack for straying from the fold. Louise is very lovely and I find Vera a very trying guest. In fact, I find it all very trying. Oh, there's Louise. Louise, we're in the breakfast room. Come in here, my dear. Good morning, Mrs. Krueger. Mrs. De Guillon. Did you want me this morning? No, Louise, I did. Teresa insists we go to this dinner tonight. Jack and Vera are going with us. We'll be leaving around 7. Tell Jack, won't you? Must I, Mrs. Krueger? Mrs. Krueger has asked you to deliver a message. Do so, my dear. Jack. I came only to tell you about the dinner. Louise, please. Must we go through all this again? Why don't you leave me alone?

[C]

Because I'm mad about you, Louise. Can't you understand? I'm in love with you. I want you to marry me.

[A]

You marry and support a wife? Don't be silly, Jack.

[C]

Does sound silly, doesn't it? But I'm changed, I tell you. You changed me. Louise, I love you. There's nothing I wouldn't do for you.

[A]

And what about Vera McPeek? No, Jack. I'm afraid you've been bought, paid for and delivered. Vera won't let you go so easily.

[C]

I'll tell her tonight that I'm through. Louise. I'll meet her at the dinner and tell her. And then I'll come back here to you.

[A]

Come back if you like, Jack. Good.

[C]

I'll be back at a box.

[A]

But I Won't be here.

[C]

Where are you going? Louise? Why don't you tell me? It's another man. I know it's another man. Who is it? Who is it?

[A]

Nonsense has gone far enough. What I do is my own business. Do you understand that, Jack?

[C]

No. It's my business. You're mine, Louise. Do you hear? You're mine. I'll have you or no one else will.

[A]

Jack, let go. My wrist.

[C]

Louise, tell me you're hurting me. Please, Louise, I want to know.

[A]

Let me go. Well, Jack, you're making passes at the servants, I see.

[C]

Perhaps it's just as well you saw. Might as well have this out now.

[A]

Shut up. I can handle this. It's pretty easy to see what Ms. Mayfield's little game is. She thinks she'll marry into the great Kruger clan. Well, let me tell you, Ms. Mayfield, Jack hasn't got a cent to his name and never will have.

[C]

Vera, please.

[A]

I understand perfectly, Ms. McPeet. I assure you I have no ambitions in Mr. Ralcliffe's direction. Quite the lady, aren't you, Miss Mayfield? Well, what's your step? Sure, I know what you all think of me. Vulgar, common. But let me tell you, we common Clay McPeeks from Pittsburgh know how to get what we want and we know how to keep it. Think that over, Ms. Mayfield. Think that over. Yes, Come in. Mademoiselle. Miss Louise. Madame Kruger has sent me to help you dress for your engagement. Come in.

[C]

Look.

[A]

How thoughtful of Mrs. Kruger to send you. Suzanne. Have they gone? But we Zeekashi left long ago. Montjoie, we're not happy. Monsieur Jacques, he say nothing. And Mademoiselle, his fiance, the ugly one, she. Oh, you say she very angry. Even madame, she want not to go. Well, let's not think of them, Suzanne. I'm happy and I'm going to have a wonderful time. Mademoiselle. Estreit charmant. Very lovely. It is a thrift you go to, n' est ces. It is for your young man that your eyes shine so. Maybe you're too smart, Suzanne. But how do you think my young man will like me? How do I look? Oh, Ravishant. Mademoiselle. He'll eat you up. You are so lovely, Suzanne. You are a darling. Yes, yes, we did.

[D]

A letter from Ms. Mayfield.

[A]

Oh, thank you. It is a letter for you, mademoiselle. For me? It's a thick one, isn't it? Oh, how lovely. What an exquisite handkerchief. Why, who could have sent it to me? Madame Kruger must have sent it. It is one of the six she bought in Paris. It is perfect, mademoiselle, for your costume, n' est ce pas? Oh, it's lovely. What a darling Mrs. Kruger is. Oui, she is Mergeneress. You're a caribbest. No? Of course. Shall I put the scent? Ze perfume, Annette Mamzel? No, thank you. I'll do it myself. Suzanne. Oh, just put that bottle of gardenia perfume on my dressing table, please. Oui, ma'. Enzel. Now you can go, Suzanne. I won't need you anymore. Merci, ma'. Amsell. Good night, Suzanne. Thank you. DISH has been connecting communities like yours for the last 45 years, providing the TV you love at a price you can trust. Watch live sports news and the latest movies, plus your favorite streaming apps, all in one place. Switch to Dish today and lock in the lowest price in satellite TV, starting at $89.99 a month with our two year price guarantee. Call 888-D Dish or visit dish.com today From Geico Subconscious News, I'm Tammy Racing thoughts broadcasting from your brain. Tonight's top worry. If something happens to your apartment and you need to, like, stay in a hotel and pay for it. That would be crazy, right? Art Palpitations has more.

[C]

That would be crazy, Tammy.

[A]

But you got surprisingly affordable renters insurance through geico.

[C]

That so it could be covered, giving

[A]

you peace of mind. Aw. I love a story that ends well. Next up, love stories.

[C]

Are they all they're cracked up to be?

[A]

It feels good to worry less. It feels good to Geico. Oh, it's so lovely. One more drop. Suzanne. Suzanne.

[C]

Help.

[A]

Suzanne.

[C]

Help.

[A]

John. John. In all my years of experience, Mimi, I have never had to cope with anything so. So sordid. Teresa, how. How can you think of appearances with Louise, that beautiful child lying in there dead? But I must think of them. After all, Dr. Plummer refuses to sign a death certificate. That old fossil with his hints of foul play.

[C]

Maybe he's right, Vera.

[A]

What do you mean, Jack? What do you know of Louise Mayfield's death? Stop wrangling, you two. Dr. Plummer was kind enough to give us 36 hours. He's risking a great deal going as far as that. Oh, why doesn't Madam Story get here? Are you sure you acted wisely in calling her in, Mimi? Well, it was either she or the police. You said she had a reputation for discretion. Come in. Yes.

[D]

Madame Rodriguez Story and Ms. Bella Brickley.

[A]

Thank heaven you're here. Madam Story, this is a terrible situation. Terrible. Oh, but let me introduce you. I am Theresa De Guillon, this is Mrs. Peter John Kruger III. How do you do, Ms. McPeek? Hello, Mr. Rowcliffe. How do you do? It was good of you to come so quickly, Madam Story. This unfortunate accident is likely to create a dressing scandal for Mr. Kruger. Accident? Mr. Guillaume? From what you told me over the phone, I gathered Louise Mayfield had been murdered. Nonsense. We don't know that, Madam Storey. Nobody does. We only know Louise is dead. Poor child. We found her when we returned last night from our dinner party. It is nonsense, Teresa, and you know it. Madame Story is perfectly right. It would be very foolish to ask her help and not not give her all the facts. What facts, Mimi? Just because that old fossil of a Dr. Plummer won't give a death certificate? If you ask me, it's a nice little scheme to get you to hire this Story woman and split whatever she can manage to get out of you, Vera. That's an interesting idea, Miss McPeek. Though I must confess that so simple and clever a scheme would never have occurred to me. But surely Dr. Plummer offered some other reason for refusing a death certificate? Yes. He says. Oh, it's impossible. But he says Louise was asphyxiated. No, fool. There isn't a gas outlet in the house. How helpful of you to know that, Ms. McPeek. You won't mind, will you, if I check for myself? I don't mind what you do.

[C]

What's the use of all this? We've nothing to tell. All of us were at a dinner party 20 miles from here together. When we got home after 11, we found Louise that is Ms. Mayfield dead.

[A]

I see. Mr. Guyon, when you phoned me, you said something about some missing object. Yes. Suzanne the maid insists a lace handkerchief came in the mail for Louise as she was dressing to leave. When we found her, the handkerchief had disappeared. Very interesting. Suppose I start then by questioning this maid, Suzanne. Maybe she can tell me more about this missing handkerchief. Good morning, Bella. Good morning, Madam. Story. Typing last night's notes, I see. Yes. Say, you look worried. What is it? Oh, how can one look out at that peaceful garden and realize that in this house there's someone carrying the mark of Cain on their soul? And you believe Louise Mayfield's death was not a natural one? That she was murdered? No doubt of it, Bella. That girl was asphyxiated. Oh, how horrible. So young and so full of life. Yes, isn't it? And it's our job to find out who killed her. Have you finished typing those notes you took at our interminable interviews last night? Not quite. I'm almost finished. Then I think I'll step out in the terrace. Maybe the fresh air will help me think. Something is bothering you. Yes. Bella, what happened to that lace handkerchief Louise Mayfield received in the mail? I'm sure that was the thing that killed her. I must find it. Will you call. You call me when you're through with those notes, please.

[C]

Ah, Madam Story. You come out and shame the flowers and dim the sunlight.

[A]

Do you always make such pretty speeches? Even so early in the morning, Mr. Rowcliffe.

[C]

Ah, beautiful lady. You remember my name?

[A]

Yours would be a difficult name to forget, Mr. Rowcliffe, thanks to the rhotic of you and the picture magazines.

[C]

Oh, that. You know, I had no hope of ever meeting you. I can't aspire to your circle. Much too clever.

[A]

It all depends. I should say that you were quite clever enough for your own purposes, Mr. Rowcliffe.

[C]

I'm just a lightweight.

[A]

I wonder. I see you're standing out under her window. That is Ms. Mayfield's room up there, isn't it?

[C]

Yes. Well, that was her room.

[A]

Ivy clad walls. Old English ivy. Sturdy and strong, too. I wonder why the vines are so torn and broken.

[C]

Oh, are they? I hadn't noticed.

[A]

You loved Louise Mayfield very much, didn't you?

[C]

Yes. I loved her more than anything in life.

[A]

And she.

[C]

Why should she care for me? What am I? Nothing but a wastrel? She was in love with someone else. I know it. I could tell. But if I'd known who it was, I.

[A]

Why didn't you tell me, Mr. Rowcliffe? You'd left your dinner party and came back here last night.

[C]

How did you know that I did?

[A]

I didn't. You've just told me. Thank you.

[C]

There, you see? I told you. You're too clever for me.

[A]

What time was it when you got here?

[C]

Well, I don't know. It was about 9.30, I think.

[A]

I see. You came around back here in the garden. You saw a light in her window, called her, got no answer. And you climbed that ivy up to her window, didn't you?

[C]

Well, who saw me?

[A]

Nobody, as far as I know. That broken ivy tells its own story, but not all of it. Tell me, what did you do when you got up there?

[C]

I suppose you're thinking that I killed her. I wouldn't blame you if you did. I don't care much if you do. I've got nothing.

[A]

Please. Please, Mr. Oakland.

[C]

I'm sorry. Well, I. I went in and found her lying there on the floor, dead. Then, like the coward I am, I got Scared. How could I explain my being there? So I climbed down again the way I went up and drove back to Quaker Ridge. I suppose you don't believe me.

[A]

Suppose I say I reserve judgment. Now, will you give me the handkerchief that you took from Louise Mayfield's hand?

[C]

You're a wizard. How did you know that?

[A]

It's obvious. I suppose, that you took it as a remembrance of her.

[C]

Yes, I did. It was the last thing she had touched. Here it is.

[A]

Madam Story. Madam Story. Could you come into the office a moment? Certainly, Bella. We'll continue this talk later. Mr. Rowcliffe, will you excuse me now, please? So this letter was pushed under the door. Did you open it, Bella? No. I saw it was addressed to Louise Mayfield, so I called you. I see. Postmark Briarcliffe. Here's a notation on the envelope in pencil. Not a very literate correspondent. Bella, if you want to buy any more info about this letter, we can make a deal. I'll drop around at 11. Well, we have long to wait. Now, let's read the letter. Darling, I can hardly wait till Tuesday night when I'll see you again. I'm moving heaven and earth to arrange things so we'll be together for always. All my love, dear. It's signed J. J? That must be Jack Rowcliffe. In the light of what we know of their relationship, does it sound like Jack Rowcliffe? No, that's stupid of me. But the initial. It could be the J stands for John Peter. Peter. John Kruger. This must be our mysterious correspondent now. Come in.

[D]

Well, ladies. There I am, Johnny. On the spot, like I says. No, we do business.

[A]

You're the Kruger chauffeur, aren't you? Mr. Gargan's the name.

[D]

Chauffeur and bodyguard.

[A]

I'm sure you're efficient in both departments, Mr. Gargant. But why the bodyguard?

[D]

Well, it's like this. The Krugers are important people, see? They're likely to be bothered by cranks and other undesirable citizens. Get it? They need protection, and I'm the guy that can protect them.

[A]

Yes, I can see that, Gargan. But now, about this letter.

[D]

Yeah, that's right. Well, do I sing or don't I?

[A]

That depends on your song, Gargan. First, tell me, how did you manage to get hold of this letter?

[D]

Well, it's like this. I always get the mail, see? And I always deliver it. But yesterday, Mrs. Kruger and the old dame are with me. I go in and get the mail and I look through it to see if it's something for me. And I See this letter? When I come out to the car, Mrs. Krueger says, Give me the mail. I hands it to her, and when I get it back. This letter ain't with the others. Well, I don't think much about it till last night when his Mayfield name is bumped off. Then I begin to smell a rat. And this morning I does a little mooching around. And here it is.

[A]

Very graphic, Gargan.

[D]

How's that?

[A]

Oh, skip it. Now, what further information have you to give us, Gargan?

[D]

I can tell you who sent that letter to the Mayfield dame.

[A]

So how much? Half a G. $500. That's an expensive song, Gargan.

[D]

Ah, nuts. You can put it on the expense account.

[A]

You're right. Nuts it is. The $500 is yours.

[C]

Thanks.

[A]

Here you are. Now, who sent this letter to Louise Mayfield?

[D]

Well, it was the one

[A]

Gargan, Madam Story. Is he dead? Yes. The shot came through that window. Why? To keep him from telling us who sent that letter to Louise. Help me put him in that closet over there. Frazika. I won't let you. You can't. You've got to report it. If I report it now, the police would interfere with all my plans. I need 24 hours. You're risking your reputation. We've taken risks because this is concealing a murder. Why do you need 24 hours to learn the secret of this, Bella? Why? Why, that's one of Mrs. Krueger's handkerchiefs. No, Bella. It's the handkerchief. The one Rowcliffe found on Louise Mayfield's body. I'm staking my reputation on this little scrap of lace. Madam Story Potter is back. Oh, that's good, Bella. Did he bring back the handkerchief from the laboratory report? Yes. Here they are. Just as I thought. Oh, what a horrible use for such a lovely thing. This handkerchief was the murder weapon, Bella. But how could it have been? Because our murderer knew that Louise Mayfield used Gardenia toilet water. But can we find out who sent it? I rather think we can. Bella, get those four lace handkerchiefs that Suzanne got for me for Mrs. Kruger. What are you going to do now? Now, my dear Bella, I'm going out to present a noose to a murderer. Mr. Rowcliffe, I wanted to return this handkerchief to you for safekeeping. I'll want it back tomorrow morning. I don't know how at present, but I feel this handkerchief will be the means of proving who killed Louise Mayfield. So guard it carefully.

[C]

Well, I'll do that. You can depend on me, madam story.

[A]

Thank you, Mr. Rowcliffe. Miss McPeek, the greatest proof that I'm not against you is that I'm going to ask you to keep this handkerchief for me. The most important piece of evidence I have. I have no assurance the murderer would not kill me to get it back. But it would never be supposed that I'd given it to you to guard. Will you keep it for me until tomorrow morning? No, don't worry. I'll keep it safe. Thank you, Ms. McPeek. Misses Kruger. What? I came to Seeker. Why, no, it's not. It's the handkerchief. It's the one that was sent to Louise Mayfield. Where'd you get it? Well, I can't tell you that now, but I'm afraid it was the cause of her death. Oh, how horrible. What I'm going to ask you to do is to hold it for me just until tomorrow morning. But Mr. Guillon, you can help. What is the real situation, Madam Story? Oh, I wish I knew. I suspect, but I have no proof. I can go no further without the assistance from the chemists. Whom do you suspect? Oh, you know. I'm afraid I do. Well, what I want you to do is to keep this dreadful handkerchief for me until tomorrow morning. Misses Kruger, I have asked you, Mr. Guillon, Ms. McPeek and Mr. Rowcliffe to meet me here this morning in order that we may determine who murdered Louise Mayfield.

[C]

What do you mean?

[A]

You know, Madam Story. You. You know who killed her? I believe I do, Mrs. Kruger, but I hope to prove it. I know that lace handkerchief was sent to her through the mail. Was the murder weapon. Perhaps that can tell us something. May I have the handkerchief, please? Why, certainly. Sure, my dear.

[C]

Oh, here you are.

[A]

Why, I thought. I don't understand what I say, what is this? So. A trick? That's right, Ms. McPeek, a trick. But one only a guilty person need fear. But really, Madam Story, I don't understand. Yes, Madam Story. Please take the handkerchiefs one at a time. Mark each in pencil with the initials of the person from whom you receive it. May I have the handkerchiefs, please? One at a time. All right. Now, Bella, spread them out on your desk with the initials turned face down. As you probably surmise, none of you had the original handkerchief? That has never left my possession. Here it is. But I don't understand. This handkerchief in my hand is impregnated with a deadly poison. When moistened with alcohol, it releases a lethal gas which is instantly fatal. May I remind you that perfume is 90% alcohol. And a young girl about to go out on a romantic tryst would inevitably Moisten it with perfume. How horrible. Yes, Mr. Guillon, I agree with you. But surely you don't suspect any of us. Why not? Ms. McPeek? I found that a murderer is usually actuated by fear. Fear of what the victim might do to them. All of you faced that fear as far as Louise Mayfield was concerned. But one of you feared so deeply that you dared risk murder to protect what you had. You feared loss of position, prestige, supplanting by a younger, more attractive girl. Loss of all that had made life worth living. That one person alone knew what the fatal handkerchief contained. I gave each one of you what you thought was that handkerchief. I was curious to see what disposition you would make of the evidence. Bella. Yes? Please examine those four handkerchiefs carefully. And when you've done that, tell me if any of them are changed since they left our hands last evening. Yes. This one has been washed. Washed? Well, I don't understand. Read the initials on it. T, D, E, G. Theresa.

[C]

Teresa.

[A]

Keep away from there. Keep away from me, I say. Keep away from me.

[C]

I'll shoot. Why did you. She shot herself.

[A]

Oh, it's all my fault. Poor Teresa. Poor thing.

[C]

She.

[A]

She was old. She. She couldn't stand it. She. She just couldn't stand it. No, Mrs. Kruger, it wasn't your fault. It was better so. The end of a passing world Exit an era.

[B]

You have been listening to Murder Clinic. Murder Clinic, the WO 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 Sir Henry Merrivale, known to his host of admirers as HM In Death in the Dressing Room, this famous detective finds a brilliantly clever pickpocket and discovers an even more clever murderer. Tonight's detective was Madame Rosika's story, played by Elizabeth Morgan. 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 adaptations 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.

[A]

Sam.