Murder Clinic - Gulfstream Green

Summary

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Harold's Old Time Radio - Murder Clinic: Gulfstream Green

Date: June 9, 2026
Host: Harold's Old Time Radio
Featured:

• Deputy Police Chief Parr (Detective)
• Madame Leocardi (Opera Star)
• Madame Estrell (Dressmaker)
• Mr. Braxton (Lawyer)
• Wolfbane (Manager)
• Bertha Tremblay (Model)

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Episode Overview

This episode of "Murder Clinic" dramatizes Frederick Irving Anderson's "Gulfstream Green," featuring Deputy Parr, a detective famed for his "nose for murder." The story, set in the glamorous world of opera and haute couture in old New York, revolves around a chilling murder-by-mistaken-identity. Leocardi, a celebrated opera star, is stalked by an obsessive admirer and narrowly escapes death by swapping places (and dresses) with a model—an arrangement that leads to the model’s tragic murder. Deputy Parr must unravel a high-tech murder plot involving deadly devices, egotism, and a jealous manager.

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Key Discussion Points & Story Unfolding

1. Deputy Parr’s Theory on Murderers’ Egotism

• [00:34] Parr introduces the episode, emphasizing his belief that murderers' egotism often outs them:

  "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]

2. Leocardi’s Secret Visit and the "Gulfstream Green" Gown

• [02:07] Leocardi arrives at Estrell's dress shop, seeking someone who can wear her new signature stage gown—"Gulfstream Green."
• She asks Bertha, a shop model, to impersonate her by donning the gown and going to her hotel, seeking an hour’s privacy.
• The mood shifts as Leocardi reveals her vulnerability while maintaining a wry showbiz front:

  "Oh my. But it's good to be able to drop that phony accent." —Leocardi (drops pretense with Estrell) [03:14]
  "When you reach my room, you will lock yourself in and admit no one..." [04:08]

3. Suspense Mounts: The Deadly Mistake

• [10:39] Mr. Braxton arrives, bringing the shocking news: the public believes Leocardi is dead, as a woman in her gown (Bertha) has been killed by a fatal "accident" at the hotel—and her body, with Leocardi's dress and ring, is assumed to be the star herself.

  "Someone has been murdered in your apartment, madame." —Mr. Braxton [11:27]
  "Heaven forgive me. Bertha." —Madame Estrell [11:51]

4. Leocardi in Hiding & Revelation of Threats

• Leocardi goes into hiding at Estrell's, at Braxton’s urging, until Deputy Parr can be consulted.

  "You must remain here in hiding, madame." —Mr. Braxton [12:38]

• The group discusses anonymous letters and previous murder attempts, revealing Leocardi’s deep fear and manager Wolfbane's questionable loyalty.
• Who is Wolfbane? Leocardi is adamant:

  "Wolfbane? He'd be the last person I'd tell...he'd turn it into columns of publicity..." —Leocardi [09:11]

5. Parr and Braxton Investigate

• [13:49] Braxton consults with Parr, revealing Leocardi’s survival and the set-up.

  "So you're concealing with intent to defraud the live person of a murdered woman?" —Parr, dryly [15:04]

• The crucial clue: Wolfbane knew about the letters Leocardi never told anyone about—implicating him as the source and suspect.

  "How did Wolfbane know about them unless he sent them himself?" —Parr [16:18]

6. Showdown with Wolfbane in the Laboratory

• Parr, suspecting Wolfbane, agrees to visit his high-tech laboratory alone—but sets a trap of his own.
• Wolfbane's technological method revealed: He demonstrates a photo-electric cell that discriminates "Gulfstream Green," triggering a fatal mechanism—this, Parr deduces, was how the murder was committed.

  "You see, it discriminates...between different shades of color. Green. Let us say..." —Wolfbane [22:47]

• Parr tests Wolfbane’s ego and finally sets up the big reveal, having Leocardi appear, unnerving Wolfbane into panic.

7. Final Confrontation and Justice

• Parr baits Wolfbane into exposing himself; Wolfbane, cornered, triggers his own murder device (meant for others) and is killed by the "poetic justice" of his own mechanical trap.

  "He killed himself. Yes. Poetic justice. He was caught in his own trap." —Madame Estrell & Parr [27:44]
  "His own constructive cleverness has destroyed him." —Parr [28:03]

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Notable Quotes & Memorable Moments

• On the egotism of murderers:

  "The egotism of murderers is enormous. I've even had them call me up..." —Deputy Parr [01:26]

• On the madness of celebrity stalking:

  "It means that I am pursued by a madman. I never see him, but always I feel his maniac's eyes staring at me..." —Leocardi [09:17]

• Braxton on mistaken identity:

  "Because...you're supposed to be dead." —Mr. Braxton [11:22]

• On Wolfbane's technology:

  "You see, it discriminates between, for instance, different shades of color. Green, let us say..." —Wolfbane [22:47]

• On poetic justice:

  "He killed himself...His own constructive cleverness has destroyed him." —Deputy Parr [27:44, 28:03]

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Timestamps for Important Segments

• [00:34-01:26] Introduction & Deputy Parr’s philosophy
• [02:07-07:19] Leocardi’s risky plot at the dress shop
• [10:39-11:59] Bertha’s murder is discovered, Leocardi is presumed dead
• [13:49-16:18] Parr & Braxton discuss the case, Wolfbane becomes the chief suspect
• [17:21-20:57] Parr sets the trap for Wolfbane at the laboratory
• [21:25-27:55] Showdown: Wolfbane's demonstration leads to his poetic demise
• [28:03-28:28] Reflection on motive, method, and poetic justice

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Tone & Language

The episode relishes old-fashioned melodrama, technological cleverness, and the dry wit of Parr. The dialogue is brisk, slightly arch, with a pulpy, suspenseful atmosphere ("poetic justice," "a nose for murder"). Characters’ voices range from grand and vulnerable (Leocardi) to clipped and self-satisfied (Wolfbane), and the denouement is satisfyingly dramatic and moralistic.

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Summary Takeaway

"Gulfstream Green" is a stylishly plotted, quintessentially "Golden Age" murder mystery where identity, technology, and ego collide. Parr’s “nose for murder”—and the killer’s own arrogance—solve a case hinging on deadly science and a tragic case of mistaken identity, delivering a satisfying, poetic end fitting the era’s sense of irony and justice.

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Transcript

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[Narrator]

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 the story called Gulf Stream Green. Now, why have you chosen that particular story?

[Deputy Parr]

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 four o' clock of a late fall afternoon some years ago, the glamorous Leokardi, world famed opera star, descended from a limousine before the swagger dressmaking shop of Estrel Incorporated, just off fifth Avenue.

[Madame Estrell]

Madame Estrell. Look, it's Leocardi. I must go to the door and welcome her. Madame Leocadi, this is an honor. Girls, please. You must forgive their excitement, Madame. Ah, by now I am used to Estrel. You do not mind me coming here and making all this upset? How can you act? My good friends, they tell me stay away, for if I come, I bring this swarm of, how you say, locusts. Well, there's one way to get rid of them. Let's go into my private grave. Oui, that might be better. Now, Madame Mercady, what can I do for you? A stage gown, perhaps? No, no, Estrella, it's something else. Oh my. But it's good to be able to drop that phony accent. Why, Madame Lecarde, you had me fooled completely. It fools everybody. It is for the art. It's charming. But Madame, if it is not for a gown, why have you come to me? Can you lend me some girl who could wear my clothes? Oh, I see. Of course, to save you the bother of fitting. No, no, I want some girl who could wear this gown I have on now. I don't understand. It doesn't matter, it doesn't matter. Do you have such a girl? 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? In just a minute. She'll be here in a moment. Madame Riccardi. When did you want her to wear your gown? I want her to take my place now. I must have an hour alone, undisturbed. But this is all very bewildering, Madame. Quiet, I'll explain later. Here comes the girl now. Come in, Bertha. Come in and close the door, please. Yes, ma'. Am. But she is perfect. My child, you will accept this dress from Leocati. Your dress for me? You like is the new Gulf Stream green that today I introduce to the world. Tomorrow it will be famous. Ranel Freyia created it for me and now it is yours. But Madame. Come, Estrel, help me out of it. Yes, Madame. Be careful getting it over my. Ah, here, my dear, try it on. Why are you giving me this, Madame? In return you will do me a small favor, no? Oh, gladly. Yeah. 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? I don't know. Scream for me. Come on. Loud. Meow, meow, meow. Just yell. Buton if they try to get in, they will go away. They always do when I yell hard enough. Oh, 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. Voila. It is as good a way as any to exercise my high seas. But Madame Mercady, how long must I stay in your room? Do not worry, child, do not worry. 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. Well. All right. Good. Estrella, have you any money? Yes, of course. How much do you want, Madame? All of it. Here, Berta, you must take this money as a gift from me. Oh no, Madame, it's too much. It Is not enough. Here, this jade ring. Take it. It is yours. Madame, I could. Do not argue, child. Tell me, what is your full name? You live with your parents? Oh, a husband then? No, Madame. Not even a sweetheart? 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. I think I'd better escort her out, Madame. After all, that is what I would do for the greatness. Of course. And remember, Bertha, sweep through the crowd like a queen and scream like a fish. Wife. It worked. Bertha was sensational. You should have seen her fighting her way to your car. Good. And now I have two hours to be myself again.

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[Mr. Braxton]

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[Mr. Braxton]

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[Deputy Parr]

I'm here on the job site with Dale, who's a framing contractor.

[Mr. Braxton]

Hey, good morning.

[Deputy Parr]

Dale traded up to Geico Commercial Auto

[Madame Estrell]

Insurance for all his business vehicles.

[Deputy Parr]

We're here where he needs us most.

[Mr. Braxton]

Yep, they sure are.

[Madame Estrell]

We make it easy for him to

[Mr. Braxton]

save on all his insurance needs.

[Deputy Parr]

All in one place. Place with coverage that fits his business and bottom line. Oh, I shouldn't have looked down. It's all right. We're so far up here.

[Mr. Braxton]

Look at me.

[Deputy Parr]

Take a deep breath. Oh, I'm good. So good.

[Mr. Braxton]

Get a commercial auto insurance quote [e-mail] and see how much you could save. It feels good. To Geico.

[Madame Estrell]

Oh, a breathing spell. Estrell, I've come to you for help. Yes, Madame. I'm in danger. Oh, my 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? Why, yes, but how did you know? 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. You you're not angry? Estranged. You will help me? Of course, my dear. And so will Carla. He says you're the greatest singer in the world. I suspect he thinks the most beautiful. But what can he do? Listen, Estrella, I have an anonymous pursuer. Do you know what that means to a woman in my position? Why, no, I. 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. And that's not all. Already there have been two attempts on my life. Seeming accident. But the police. No, no, never that. It would be a scandal. A Roman holiday for the crowd. Then what about your manager, Mr. Wolfbane? He must be used to this persecution of celebrities. Surely he could protect you. Wolfbane? 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. I still don't see why you came to us. Because, my dear, I've sung to you both night after night. You recognized us in the opera? 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. 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. Oh, good heavens. Come on, Estrell. Display your genius. I must look my best for you. Mr. Braxton. Coming. Oh, Galadak.

[Narrator]

Hello, dear.

[Madame Estrell]

Have the most wonderful surprise for you.

[Mr. Braxton]

A surprise? Well, what is it?

[Madame Estrell]

Look over there in that big chair. It's Leocaghti.

[Mr. Braxton]

No, no, it can't be.

[Madame Estrell]

Well, really, Carlo. I know Leochari's the most beautiful woman in the world, but seeing her oughtn't to knock you speechless.

[Mr. Braxton]

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

[Madame Estrell]

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

[Mr. Braxton]

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

[Madame Estrell]

Accident? What is it? Carla?

[Mr. Braxton]

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

[Madame Estrell]

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

[Mr. Braxton]

It's difficult to tell you. It's almost impossible. Unbelievable. Your name is on everyone's Lips, the

[Deputy Parr]

whole town's alive with it.

[Madame Estrell]

So. But why?

[Mr. Braxton]

Because. Because you're supposed to be dead.

[Deputy Parr]

Murdered.

[Madame Estrell]

Carlo, what are you talking about?

[Mr. Braxton]

I tell you, Estrella, the streets in front of the Normandute Leocati's hotel are blocked with people. I just came from there. Someone has been murdered in your apartment, madame.

[Madame Estrell]

Heaven forgive me. Bertha.

[Deputy Parr]

Bertha.

[Madame Estrell]

Bertha.

[Mr. Braxton]

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.

[Madame Estrell]

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

[Mr. Braxton]

Who. Who is this Bertha?

[Madame Estrell]

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.

[Wolfbane]

With me?

[Mr. Braxton]

What do you want of me, Madame?

[Madame Estrell]

Help which I no longer need. I feared for my life. And now. Now it's Bertha who's been killed in my place. But why do we talk? I must go to her at once.

[Mr. Braxton]

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?

[Madame Estrell]

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

[Mr. Braxton]

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

[Madame Estrell]

For how long, Mr. Braxton?

[Mr. Braxton]

I don't know. I'll have to see Parr. He'll tell us what to do.

[Madame Estrell]

Parr? Who is this Par?

[Mr. Braxton]

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.

[Madame Estrell]

He thinks Carla's wonderful.

[Mr. Braxton]

Estrell, please.

[Madame Estrell]

But Mr. Braxton and I cannot stay here.

[Deputy Parr]

No, you can't.

[Mr. Braxton]

But for the present, until Parr tells you what to do, you'd better remain here.

[Madame Estrell]

If it would help catch Bertha's murderer, madame, then for her sake you owe her that. Yes, yes, that's true. I do owe her that. Very well, Mr. Braxton. I'll give you 24 hours. Tomorrow night, Leocari sings Manon. And Leocati has never missed a performance.

[Mr. Braxton]

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

[Deputy Parr]

Hello, Parr.

[Mr. Braxton]

It's a good thing I found you here.

[Deputy Parr]

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

[Mr. Braxton]

Oh, I just followed my nose. Parr, you may have a nose for murder, but I have a nose for bloodhounds.

[Deputy Parr]

Well, Tyler, what's on your mind?

[Mr. Braxton]

Well, I've been retained by Leocotti.

[Deputy Parr]

Oh, she was your client then?

[Mr. Braxton]

She is my client.

[Deputy Parr]

Is.

[Mr. Braxton]

She has retained me in the matter of her murder.

[Deputy Parr]

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

[Mr. Braxton]

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.

[Deputy Parr]

She was presumably lying dead here at 4:35. I myself saw the body a few minutes later.

[Mr. Braxton]

There seems to have been some doubt in your mind about her identity.

[Deputy Parr]

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. A maid told me. It's history. Still, I wasn't convinced.

[Mr. Braxton]

That was shrew 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.

[Deputy Parr]

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

[Mr. Braxton]

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

[Deputy Parr]

Keep her there.

[Mr. Braxton]

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.

[Deputy Parr]

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

[Mr. Braxton]

But she'll only give us 24 hours.

[Deputy Parr]

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

[Mr. Braxton]

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.

[Deputy Parr]

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

[Mr. Braxton]

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

[Deputy Parr]

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

[Mr. Braxton]

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

[Deputy Parr]

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

[Mr. Braxton]

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

[Deputy Parr]

Good, good. Now. Now we've got him. 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. Yep, 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.

[Wolfbane]

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

[Deputy Parr]

Wolf Pain, I want you to meet Mr. Braxton, an old friend of mine. Braxton used to be assistant District Attorney. He's over to help.

[Wolfbane]

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

[Mr. Braxton]

Thank you.

[Deputy Parr]

I was telling Braxton here about those anonymous letters you told me your card has been getting. How long has this been going on, Wolvine?

[Wolfbane]

For the past six weeks or so I believe.

[Deputy Parr]

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

[Wolfbane]

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

[Deputy Parr]

How were they delivered? By mail?

[Mr. Braxton]

No.

[Wolfbane]

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

[Deputy Parr]

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

[Wolfbane]

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

[Deputy Parr]

Oh, you still say, do you Wolfpenn, that Bill Cotti was murdered?

[Wolfbane]

I haven't the slightest doubt of it.

[Deputy Parr]

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

[Wolfbane]

It was meant to look so.

[Deputy Parr]

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?

[Wolfbane]

Perhaps the murderer was clever.

[Deputy Parr]

My dear Parr, murderers are never clever.

[Wolfbane]

So the police have soothed their vanity for centuries.

[Deputy Parr]

Yeah, but look here. We've grown over this place with a fine trick dome. 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.

[Wolfbane]

Wu Bang laboratories, huh? Would you like to see a really modern, well equipped laboratory, Mr. Parr?

[Deputy Parr]

Why sure.

[Wolfbane]

Then you should visit mine sometime.

[Deputy Parr]

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

[Wolfbane]

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

[Deputy Parr]

Great, great. Shall we say 9 o'? Clock?

[Wolfbane]

It will be a pleasure. You will come alone?

[Deputy Parr]

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

[Wolfbane]

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

[Deputy Parr]

Well, Tyler, what did you make of me?

[Mr. Braxton]

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

[Deputy Parr]

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.

[Mr. Braxton]

Parr, have you gone out of your mind?

[Deputy Parr]

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. And that's important. When you get there, have the superintendent let you in the flat above old Baines. And then you and Leah Carty 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? Wolfbane. I want her to come out and walk slowly into the room. Is that clear?

[Mr. Braxton]

Yes, perfectly clear.

[Deputy Parr]

Ah, good, good. Now off with you. And remember, Wolfbank Studio tonight at.

[Madame Estrell]

Sam.

[Wolfbane]

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

[Deputy Parr]

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

[Wolfbane]

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.

[Deputy Parr]

Chemistry?

[Wolfbane]

No, physics and mechanics.

[Deputy Parr]

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

[Wolfbane]

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

[Deputy Parr]

Yeah, but this wasn't stupid. It waited for its victim. There was no one in hand to touch it off. We've satisfied ourselves as to that.

[Wolfbane]

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.

[Deputy Parr]

By average intelligence I suppose you mean the police.

[Wolfbane]

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?

[Deputy Parr]

By all means.

[Wolfbane]

You see, it discriminates.

[Deputy Parr]

As to what?

[Wolfbane]

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. Now, when I run the cards through the beam, a number registers, so J. Now, this one, emerald. And these, Nile chartreuse, olive, moss. Always the same number registers for the same shade. You follow?

[Deputy Parr]

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

[Wolfbane]

Yes, it could be connected as well to a stone crusher, a trip hammer

[Deputy Parr]

or a mill wheel, or a trigger that touched off a cross.

[Wolfbane]

You get the idea, parr.

[Deputy Parr]

Perhaps when a woman wearing a dress of gulf stream green passed under it.

[Wolfbane]

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.

[Deputy Parr]

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

[Wolfbane]

Exactly.

[Deputy Parr]

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

[Wolfbane]

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

[Deputy Parr]

I don't agree.

[Wolfbane]

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'd laughed into scorn. Conceivably, such a man, however brilliant of mind, might be moved emotionally to murder.

[Deputy Parr]

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

[Wolfbane]

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

[Deputy Parr]

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

[Wolfbane]

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

[Deputy Parr]

What then? What if the wrong woman wearing gulf stream green?

[Wolfbane]

Impossible. Gulf stream green was A unique shade. It had only just been blended. Renel Frere 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.

[Deputy Parr]

Why not?

[Wolfbane]

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.

[Deputy Parr]

Most ingenious.

[Wolfbane]

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

[Deputy Parr]

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

[Wolfbane]

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

[Deputy Parr]

color and Leo Carti was wearing that one. Wasn't she, Wolfbane?

[Wolfbane]

Yes, she was.

[Deputy Parr]

But suppose Wolfbane. Hypothetically, of course, Leo Carti had changed gowns with another woman. Suppose it wasn't Leocardi who was wearing that ghost ring Green this afternoon?

[Wolfbane]

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

[Deputy Parr]

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

[Wolfbane]

What did you mean, Par? About Leo Catty on that dress?

[Deputy Parr]

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

[Wolfbane]

You're crazy.

[Deputy Parr]

Am I, Wolfbane? Suppose you look behind you, Caddy. No, no. Either Leocotti or a ghost. Wolfayne.

[Wolfbane]

Get away from me.

[Deputy Parr]

Get away from me.

[Madame Estrell]

He killed himself.

[Deputy Parr]

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

[Madame Estrell]

And I thought he'd love me, but instead, how he must have hated me. Oh, I wish I'd known.

[Deputy Parr]

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.

[Narrator]

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 St. 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.