Murder Clinic - The Holloway Flat Tragedy

Summary

Podcast Summary: Harold's Old Time Radio
Episode: "Murder Clinic – The Holloway Flat Tragedy"
Date: June 9, 2026

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Episode Overview

This episode of "Harold’s Old Time Radio" features the classic radio drama "Murder Clinic," spotlighting the detective Max Carrados. The story, "The Holloway Flat Tragedy," is a suspenseful whodunit from radio's Golden Age, weaving together jealousy, a suspicious murder, and the unique perspective of a blind detective whose blindness becomes a surprising advantage. The drama unfolds as Carrados unravels the truth behind Albert Polish's death, challenging the “obvious” clues at every turn.

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Main Discussion Points & Insights

1. The Introduction of Max Carrados (00:06–01:30)

• The show introduces Max Carrados, a blind detective who doesn't see his lack of sight as a handicap. Instead, his reliance on other senses often gives him an edge over his sighted peers.
  • Notable Quote (Max Carrados, 01:21):
    "It prevents me from being deceived by the obvious. I must rely on my other senses, which are more reliable, I assure you."

2. A Mysterious Client Appears (02:31–08:20)

• Louis Carlyle, Carrados's friend, receives a strange letter from Albert Polish, who requests a private meeting, fearing for his life.
• Polish explains that an ex-boyfriend, Peter, tried to kill him after a romantic entanglement involving a woman named Margaret. Polish recounts an incident where he created a dummy in his bed, which was later stabbed.
  • Notable Quote (Albert Polish, 04:29): "Someone is trying to murder me."
  • Carrados and Parkinson (his attendant) eavesdrop on the meeting; Parkinson impressively notes tiny details about Polish, showcasing Carrados's unique investigative approach.

3. The Murder Occurs (10:09–13:02)

• Days later, Polish is found dead in his flat, his face slashed beyond recognition. Carrados questions whether the body is truly Polish's.
  • Notable Quote (Carrados, 13:42): "Are you sure the corpse is Polish?"
  • The investigators confirm Polish’s identity by his missing finger, but Carrados remains suspicious.

4. Crime Scene and Investigation (13:14–17:49)

• Inspector Beadle, his nephew George, and the team search Polish’s flat, finding the stabbed sheet and bolster Polish had described.
• Suspicious evidence is uncovered, including Italian newspaper fragments in the fireplace, seemingly implicating Peter, the supposed Italian ex-boyfriend.
  • Carrados subtly suggests that these clues are too convenient.
  • Notable Quote (Carrados, 16:04): "Unusual case, Inspector Beadle. This murderer seems to have gone out of his way to make things easy for you."

5. Pursuing Peter and Red Herrings (17:49–20:18)

• The investigation into Peter seemingly stalls, and the case goes cold for several weeks despite diligent follow-up by the police.

6. The Trap is Set (20:33–26:30)

• Carrados receives a tip that Mrs. Polish and her companion are meeting at the Pecos Club.
• Carrados devises a plan: he will confront the couple in person, with the police ready to cut the lights on his signal, giving him the advantage as a blind man.
  • Notable Quote (Carrados, 22:14): "Just one thing. Keep your eyes on me. When I unloosen my scarf, throw that master switch... Turn out every light in the place. It's important."
• Carrados confronts the man, revealing he knows the “Peter” story was a fabrication, and that Polish’s wife and her lover plotted the murder. As tension mounts, Mrs. Polish attempts to shoot her lover to silence him, but Carrados intervenes just in time.
  • Memorable Exchange (Carrados and Mrs. Polish, 26:12–26:30):
    • Carrados: "Mrs. Polish has just shot and killed her partner in crime... If I hadn't prevented it by catching her wrist, we'd have found the gun in his hand and the verdict might have been suicide... Resourceful young lady."
    • Mrs. Polish: "You devil, you. I could kill you."
    • Carrados: "No, no, my dear lady. You mean you would kill me. The two are not synonymous."

7. The Reveal: How Carrados Solved the Case (26:45–28:04)

• Carrados explains to his colleagues that his suspicions began with the “planted” evidence: the perfumed sheet and bolster taken from the wife's bed, not Polish's. His sense of smell, unavailable to his sighted companions, was key.
  • Notable Quote (Carrados, 27:14): "I got my first clue to the truth because I didn't trust my eyes. Having no eyes to trust."
    • He notes the fatal mistake: "They were perfumed, my friend. They had been taken from her bed, not his."

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Notable Quotes & Memorable Moments (with Timestamps)

• Max Carrados on the Advantage of Blindness (01:21):
  • "It prevents me from being deceived by the obvious. I must rely on my other senses, which are more reliable, I assure you."
• Albert Polish's Confession (04:29):
  • "Someone is trying to murder me."
• Carrados Questions the Obvious (13:42):
  • "Are you sure the corpse is Polish?"
• Carrados on the Too-Perfect Crime Scene (16:04):
  • "Unusual case, Inspector Beadle. This murderer seems to have gone out of his way to make things easy for you."
• Carrados's Risky Signal (22:14):
  • "Keep your eyes on me. When I unloosen my scarf, throw that master switch... Turn out every light in the place. It's important."
• Climactic Confrontation (26:12–26:30):
  • "Mrs. Polish has just shot and killed her partner in crime... If I hadn't prevented it by catching her wrist, we'd have found the gun in his hand..."
  • Mrs. Polish: "You devil, you. I could kill you."
  • Carrados: "No, no, my dear lady. You mean you would kill me. The two are not synonymous."
• Carrados on the Importance of Other Senses (27:14):
  • "I got my first clue to the truth because I didn't trust my eyes. Having no eyes to trust... They were perfumed, my friend. They had been taken from her bed, not his."

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Key Segment Timestamps

• 00:06–01:30: Introduction to Murder Clinic & Max Carrados’s character
• 02:31–08:20: Polish’s private plea to Carlyle; setup of the murder plot
• 10:09–13:02: Discovery of Polish’s body; Carrados’s doubts
• 13:14–17:49: Crime scene investigation; evidence and red herrings
• 20:33–22:14: The plot to catch the killers
• 22:14–26:30: The dramatic trap and Carrados’s intervention
• 26:45–28:04: Carrados’s solution and final reveal

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Tone & Style

The tone is rich with suspense, period-appropriate formalities, and a touch of dry wit, particularly from Carrados himself. Dialogue is sharp, and the interplay between characters brings the tension and deduction to life, reflecting the golden age of detective fiction.

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Summary:
This episode artfully showcases both the ingenuity required for classic detective work and the evocative storytelling style of the era. The unique perspective of Max Carrados — using his blindness as an advantage, not a hindrance — flips the detective genre on its head and makes for a compelling mystery that keeps listeners questioning evidence right up to the clever conclusion.

Transcript

[A]

Murder Clinic. Stories of the world's great detectives of fiction. Men against murder. Each week at this time, wor Mutual invites you to Murder Clinic, where you'll meet one member of this select band in his most interesting case. The curtains part. In our amphitheater of mystery, all is dark, save for one brilliant spotlight. And out of the shadows comes Max Karadoff. Oh, Mr. Carados. Look out. Look out, sir. There's a step down there.

[B]

May I help you?

[C]

No, no, no. I can get along perfectly. Don't bother, Mr. Knight. I can see in the dark.

[A]

Mr. Carados, I thought that you.

[C]

You. You thought I was blind. Well, you're right, I am. But I manage pretty well, thank you.

[A]

Yes, I see that you do. But tell me, don't you find your blindness an enormous handicap?

[C]

And your detective work, on the contrary, it prevents me from being deceived by the obvious. I must rely on my other senses, which are more reliable, I assure you.

[A]

But Mr. Carrados, I really don't.

[C]

Ah, you admit it. And yet you have eyes. Well, I shall try to convince your ears, my friend. Let me tell you the story of the Holloway flat tragedy in which those who had eyes saw nothing. You may recall Louis Carlyle, my very good friend and associate. He was a private inquiry agent and often did me the honor of asking my help in some of his more complex cases. One morning I dropped in at his office. Parkinson was with me, of course. He has been my personal attendant and my physical eyes for many years. Louis was a bit bewildered by a letter that had arrived in the morning mail.

[D]

What do you make of this letter, Max? It's certainly out of the ordinary run of my correspondence.

[C]

Good. Bond paper. Letterhead engraved Albert Henry Polish. Written by hand. I see. Let's see what he has to say. Important. See you alone. Absolutely. Absolute Privacy. Will call 10 o' clock tomorrow morning. Sign. Ah, Polish.

[D]

Gad, Max, how do you do it? I've seen it a hundred times, but I still can't believe it.

[C]

My dear Louis, why are things you can't see so mysterious to you? You wouldn't be surprised to watch me reading braille, would you? Well, the ink on this paper is as clear as braille to me. But to get back to this letter, your mysterious Mr. Polish says he's coming this morning. Perhaps I'd better go.

[D]

I wish you wouldn't, Max.

[C]

But he says here absolute privacy.

[D]

Yes. Look, Max, I have an idea. Why don't you and Parkinson go into the next office and leave the door cracked just a bit so that you can Listen, in. This Polish affair might interest you. Yes, what is it?

[E]

Mr. Polish to see you, Mr. Carlyle.

[D]

Ah, send him in in one minute.

[E]

Yes, ma'.

[C]

Am.

[D]

He's here now. Please, Max.

[C]

All right, Louis, if you wish it. Come on, Parkinson, let's go.

[F]

Very well, sir.

[C]

Pull the door to, but not too close, Parkinson, will you?

[F]

Yes, sir.

[G]

Come in.

[C]

Ah, that must be our friend Polish now.

[G]

Mr. Carlyle?

[A]

Yes?

[G]

Are you alone?

[D]

Why, yes, Mr. Polish.

[G]

I. I don't think he saw me. Come here. I was careful.

[D]

Oh, come, come, Mr. Polish. Control yourself. What was it you wished to see

[G]

me about, Mr. Carlyle? Someone is trying to murder me.

[C]

Well, well, Parkinson. This promises to be interesting.

[D]

My dear Mr. Polish, surely you will.

[G]

I know it sounds impossible, but I tell you, it's true. He's made one attempt in my life already.

[C]

Who?

[G]

Peter.

[C]

Peter?

[G]

I don't know his last name. He's a foreigner. He used to be engaged to the girl.

[D]

The girl you wish to marry, Mr. Carlo?

[G]

No, nothing like that. I'm married already.

[D]

Oh, I see.

[G]

It's not what you're thinking. There's nothing between us, really. But you see, well, my wife, she's a highly nervous woman, Mr. Carlyle. Insomnia and that sort of thing. As a matter of fact, we've had separate rooms for over a year now.

[D]

Yeah, I understand.

[G]

Well, when Margaret, this girl, found out

[D]

I was married, there was a scene, I suppose.

[G]

Yes, most unpleasant. But nothing compared to what happened when she told her boyfriend Peter. He tried to murder me.

[D]

Are you quite sure of that, Mr. Bo?

[G]

Let me tell you what happened that night. After the row, I mean. I couldn't sleep. I was jumping. So I thought I'd go out for a bit and walk it off. So I got up, fixed a bolster and a pillow with my bathrobe over it in the bed, and then.

[D]

Excuse me. Why did you do that?

[G]

I told you, my wife's a highly nervous woman. Her insomnia.

[D]

Oh, yeah.

[G]

If she came in and throw my bed empty, she'd be likely to get hysterics or something.

[D]

I see.

[C]

Go on.

[G]

Well, I fixed up this dummy in my bed and went out. I walked around maybe half an hour. When I got back and was coming up the stairs. We live in a block of flats. I came face to face with a man coming out. It was Peter.

[D]

What did you do?

[G]

I didn't do anything. When he saw me, he crowded back against the wall and gasped. Looked as though he'd seen a ghost. Before I could say a word, he dashed Past me, down the stairs and out of the house like a shot. And when I got up to my room there with the bolster in the bathroom, I left in the bed, stabbed through and through with a knife. Somebody had driven a knife through what he thought was my body.

[D]

Well, Mr. Boris, that's plain evidence of attempted murder. This is a police matter.

[C]

Oh, no, no.

[G]

That's just one I can't have. Think what it would mean. Visits, inquiries, cross examinations, explanations. The whole thing would come out. My home would be broken up, my whole life ruined.

[D]

But what Can I do, Mr. Polish? What do you want?

[G]

I can tell you what I don't want, Mr. Carlyle. I don't want to be murdered. And I don't want my wife to get wind of this affair.

[D]

Well, Mr. Polish, I should advise your going away for a while.

[G]

It's impossible just now. My business.

[D]

Well, then, until you can, I should advise new locks on all your doors and your windows.

[G]

That means locksmiths and more questions. More my wife's nerves.

[D]

Surely, Mr. Polish, that's carrying consideration a bit far. How did you account for the cut linen? The bolster?

[G]

Oh, I've hidden them away in a drawer until I can buy another sheet and cover. I managed to sew up the bolster.

[D]

Well, Mr. Polish, it's a unique problem. I don't see at the moment just how I can advise you.

[C]

Come, Parkinson. This interview is practically over. Let's get out into the anteroom. I should like to see this foolhardy but devoted husband.

[G]

Good day, Carlisle. It's been a great relief to me, telling you about. I see there's. There's someone in the anteroom. Isn't there another way out? I don't want to be seen.

[D]

He's quite all right, Mr. Polish. Mr. Carados. He's blind. I'd like you to meet him.

[G]

Blind, you say?

[A]

Well, all right.

[D]

Oh, Max, I'd like you to meet Mr. Polish.

[C]

How do you do, Mr. Polish?

[G]

Oh, yes, yes. Pardon my glove, won't you? You see, I'm missing part of the finger in my right hand, and I'm sensitive about.

[C]

You needn't be, Mr. Polish. I found physical infirmities have their compensations.

[G]

Oh, yes, I can see that. I mean, I Must be going, Mr. Carlyle. I'll get in touch with you if anything further develops.

[C]

Goodbye, Mr. Polish.

[D]

Goodbye, Mr. Polish.

[F]

Goodbye.

[C]

All right, Parkinson, you can come out from behind that screen. He's gone.

[D]

Oh, come, come, Max. Why this elaborate? Surely I could have told you what the fellow looks Like.

[C]

All right, Louis, tell me, what does Mr. Polish look like?

[D]

Why, Max, he's medium height, average weight. He's got sort of brownish hair and.

[C]

I see, Louis. Medium average. A perfect picture. And what would you say, Parkinson?

[F]

Mr. Polish is 5 foot 9, sir. He weighs in the neighborhood of 11 stone 6. His hair is light brown, several shades lighter than his brows. He has a small mole beneath the left eye. Clothing of good material, but not custom made. Glove on right hand. Only calf skin, I should say.

[D]

Help. Enough. Partisan enough. Incidentally, you know, he's quite the most nervous chap I've ever met.

[C]

Yes, sir. Mr. Polish seems absurd. Obsessed with nerves. Very interesting. You must let me know how the secret to this morning's prologue turns out. Now what I really came here to see you about, Louis. There's an auction of old Roman coins at Endicott's next Monday. How about joining me for lunch at the club and going on to it afterwards? You.

[D]

You couldn't resist that, Max, could you? Well, neither can I. All right, I'll be on hand. Next Monday it is. See you. A fine lunch, Max. I hope this auction will be better.

[C]

Listen, Louis. Flat murder. Holloway Flats. Isn't that the address of your remarkable

[D]

caller last Thursday by job, Matt, it is. What was the fellow's name?

[H]

Polish.

[I]

I want.

[D]

Here, boy. Boy Me a paper, please.

[I]

Thank you, sir.

[D]

You're right, Max. It is Polish. Why, the poor devil found dead in his bed this morning. The room charwoman's gruesome discovery early this morning they shocking injury. Hey, gabby, gabby. Scotland Yard.

[C]

Good afternoon, Inspector Beadle.

[H]

Ah, Mr. Carados. This is my nephew, George. Just promoted to the detective division.

[C]

I see.

[I]

I'm very glad to know you, Mr. Carados. My uncle, Inspector Beadle here has been telling me a lot about you.

[C]

Really?

[I]

But now, uncle, hadn't we better be getting along to Holloway Flats?

[D]

Oh, so you're on the Polish case? Beetle. Splendid. I think you'll be interested in what I have to tell you about this case. We'll take a cab and I'll give you the information as we drive along. And that's the yarn Polish told me not four days ago.

[H]

Well, a bit of luck, I should say, Mr. Carlyle. Looks as if we got our murderer before we even start. Polish didn't happen to give you the name and address of this young lady, did he?

[D]

No, no, Beadle. He left something for you to find out.

[I]

Well, that oughtn't to be hard, Uncle. Shop girl kept company with a foreigner, name of Peter.

[H]

Right. Well, here's The Polish flat. Now. Pull over, driver. I'm Inspector Bido, Sergeant. Is this the Polish house?

[F]

Yes, sir.

[H]

I'll take over now. Is this Mrs. Polish?

[E]

Yes.

[H]

I'm Inspector Bido, Mrs. Polish.

[E]

Oh, won't you come in?

[H]

These men are my associates. We'd like to see the body of your husband.

[E]

Oh, it's unbelievable. Who could have done this terrible thing? My poor Albert. He was so good and so kind. When I got the wire, Torquay. I rushed right back.

[H]

He wasn't at home when this happened, Mrs. Paulus?

[E]

Oh, no, no. Albert had insisted I go down to Torquay, to my sister's for the weekend. Why did I go? If I'd only stayed, this never would have happened.

[H]

No, ma', am, you mustn't disturb yourself. You just leave everything to us.

[E]

Oh, but I must be with him, My Albert.

[B]

Stop her, Inspector.

[D]

Don't let us see him.

[G]

He's in a horrible state.

[H]

Mrs. Polish, you'd better.

[E]

Oh, Albert.

[H]

Oh, confound it. Sergeant, get her out of here.

[B]

Come on, Mrs. Polish.

[I]

Lummy. He is a nasty sight. I've seen dead ones before, but this. His face is slashed like a fancy loaf.

[H]

Looks like there's been a wild beast at work.

[D]

Audible well, Inspector Beetle, it fits him with what we know. What he told me himself. Revenge and rage and sheer bloodthirstiness.

[C]

Inspector.

[H]

Yes, Mr. Carrados?

[C]

Are you sure the corpse is Polish?

[H]

Why, I might have it for granted, Mr. Carrados. Why do you ask?

[C]

I'm always suspicious of these murders where the victim's face is bashed beyond recognition, that's all.

[D]

You're right, Max. He's fairly unrecognizable.

[C]

Wait.

[D]

Yes, yes, it's Polish, all right. See here, A finger missing on the right hand. Remember, Max? He told us about that when he shook hands with you the other day in the office.

[C]

Yes, I remember that very well. Nevertheless, Inspector, I'd compare our victim's fingerprints with those of Mr. Polish's if I were you.

[H]

But, Mr. Caradas, we haven't Polish's fingerprints on fire.

[C]

My dear man, there must be literally hundreds of them around this room. Everything he touched must be covered with them.

[H]

Of course they are. Stupid of me. George, attend to that.

[I]

Yes, sir.

[H]

Oh, by the way, George, did you get the doctor's report?

[I]

Yes, I did, Uncle. He says it must have happened sometime between Saturday midnight and early Sunday morning. The neighbors saw him come home after taking Mr. Mrs. Polish to the station Saturday afternoon, and they saw the Sunday papers and milk bottle outside his door. Sunday? He wasn't found till Mrs. Jones, the charwoman, came to clean up this morning.

[C]

Where was this Mrs. Jones? Saturday, George.

[I]

She says Mrs. Polish let her go early Saturday, Mr. Caridos. What with her going away to Torquay for the weekend.

[C]

I see.

[D]

Poor chap. If only he'd taken my advice about changing those locks. I say, Max, what are you doing there?

[C]

I'm looking for that sheet and bolster he said he'd put in the bureau drawer after that first attempt on his life.

[H]

That's a good point, Mr. Carados. Here, let George help you.

[C]

Socks, shirts and pull over. Let's try the next drawer. Ah, here we are.

[I]

This looks like them, all crumpled up in the corner.

[D]

Good. He said he'd hidden them. Yes.

[C]

Here's the knife cut, Mr. Carlyle.

[H]

Very interesting, but no more than we expected. Let's get on. Coming, Mr. Carados?

[C]

You go ahead. I'll join you in a moment in the living room. I'll just fold up this linen so it's tidy.

[I]

Can you beat it? A blind man wanting things tidy as though he could see. I say, uncle, take a look at this. Here's where that Peter fellow must have come in. Here's marks on the windowsill.

[H]

You're right, George. Easy as ring of roses. There's the balcony and the stairway window not a yard away.

[C]

Unusual case, Inspector Beadle. This murderer seems to have gone out of his way to make things easy for you.

[D]

It fits, Max, it fits. Blind jealous rage and didn't have the wit to cover his tracks. Too bad Polish didn't take my advice about changing the locks on his door and windows, I mean.

[H]

Yes, what is it, Constable?

[F]

Sorry to disturb your Inspector, but there's a chap out here with tools. Says he came to put in new locks.

[H]

That's locking the stable door. All right, let's have him in.

[B]

All right.

[F]

You there. The inspector wants to see you.

[B]

Oh, how are you, Mr. Inspector? Blimey, what's this?

[H]

Never mind that, my lad. You're a locksmith, eh?

[B]

Right, governor. Me name? Joseph Biggs. We've a shop at Maidstone Crossing.

[H]

Mr. Pauley's asked you to come here and do some work for him.

[B]

That's right. Come in. Friday he did. Polite as you please. Asked me if I worked Saturdays. Not as a rule, I says. Told me he needed his locks fixed. Never you mind. Saturday closing, he says. Monday will do. And now here I comes. One hour in the bus from my shop. It's hard lines, that's what it is. It's hard lines.

[H]

That'll do That'll do. We'll just get along with you now.

[G]

Blimey.

[H]

I'm called to do a job and

[B]

then get bounced out of it.

[H]

Oh, that's that. Just one more thing, Sergeant. Did you ask Mrs. Jones whether there'd been a fire in this grate recently?

[F]

Yes, sir.

[B]

Said there hadn't been one for weeks.

[H]

I see. Then these ashes may be significant. Here, have a look, George.

[I]

It looks like some paper's been burned. Not much left. Hey, what's this? Look, it's a bit of newspaper. Goodbye. Let's have a kind of printing.

[H]

Why, it's Italian. Just one more sign pointing in the same direction.

[A]

Peter.

[C]

Yes, isn't it? Inspector Beadle, did anyone happen to notice if he had written C. Pala Italiano in red on the wall over the bed?

[I]

Why, no, Mr. Carados.

[C]

I'll go look.

[D]

Oh, no, George, don't bother. When you know Mr. Carados as well as I do you. You will understand that although there's always something in what he says, it's not always what you think it is.

[H]

That's right, Mr. Caridos. Just why do you think the murderer might have written Italian spoken on the bed?

[C]

Obviously, Inspector, to make sure you wouldn't miss it.

[H]

You're right, Mr. Caridas. This Peter has been pretty helpful. Nothing to the case. Just a simple routine job of finding this shop girl and her Italian boy.

[C]

Bulldog you are, Inspector. But I wonder, while you're pursuing this simple, routine job, would you do a favor for me?

[H]

Why, of course, Mr. Caritas. Anything you like. If you think it'll help find the murderer.

[D]

Bank.

[C]

Since. Stick to that. Now, this is what I want you to do. Yes? This is Max Carados. Oh, George. Any news?

[B]

Well, sir, we followed our party as you ordered.

[I]

He left the house in the afternoon, took a bus to Kensington. Stayed there in the park two hours taking a walk, then went right back and hasn't stirred since.

[C]

Didn't talk to anybody, make any phone calls?

[I]

No, sir. Nothing.

[C]

I see. Any other news?

[I]

Just that we checked the fingerprints. It was Polish, all right.

[C]

And Peter?

[I]

No, sir. No report on Peter yet, but we are hopeful.

[C]

Good chap. We'll keep on with it, George.

[I]

Nothing, sir. No sign of Peter?

[D]

Nothing.

[I]

Except one thing. There are three locksmiths in the vicinity.

[C]

Excellent. But don't get discouraged, George. Keep at it.

[I]

No, sir, nothing. It's been three weeks now, Mr. Carados. Shall we keep at it?

[C]

By all means, George. It's absolutely vital. Absolutely. Hello, Mr. Carados.

[I]

Yes, you are right, sir. Absolutely right. They're together now at the Pecos Club. I'm phoning from a booth in the anteroom.

[C]

Don't let them out of your sight.

[I]

No, sir, I won't.

[C]

Be sure to stay there.

[I]

Right, sir. I'll do that.

[C]

Parkinson. Parkinson.

[F]

Yes, sir.

[C]

Parkinson, phone Mr. Carlisle and Inspector Beadle. Tell them to meet us in half an hour, then call a cab.

[F]

Yes, sir, but. Pardon me, sir, but just where shall I tell them to meet us?

[C]

Of course, Parkinson. Good man. I must be more excited than I thought. Tell them to meet us in the lobby of the Pecos Club. And tell them to be sure to wait in the lobby for me. Ah, Louis, you got here before me.

[D]

Hello, Max.

[C]

And Inspector Beadle.

[H]

Mr. Carados.

[I]

Mr. Carados. You called it to a turn. How you ever guessed it?

[C]

No time for that now, George. That inside?

[I]

Yes, sir. At that table there, sir. Well, I'm pointing, see?

[C]

Oh.

[I]

Oh, I'm sorry, sir.

[C]

I clean forgot that I'm blind. Never mind, George. That's the finest compliment you could have paid me. Now, what's happened so far?

[I]

Well, as soon as we had them spotted, I talked to the manager. There was a little trouble, but uncle fixed that as soon as he got here. One of our own men took over the waiter's job at their table. They seemed careful when he was around. Just one thing he caught, though. When our man came up, she was saying something about there might even be a raid here to look for Peter the Italian. And then they both laughed.

[C]

Yes, they would. I'm going in there alone.

[H]

We can't hear of that, Mr. Carados. It's too big a risk. The man has a gun on him. We spotted that. These people are desperate. Dangerous it would be.

[C]

Don't worry, Inspector. Believe me, I'll be safe. Just one thing. Keep your eyes on me. When I unloosen my scarf, throw that master switch in the fuse box. Turn out every light in the place. It's important.

[H]

But Mr. Caradas. I won't hear of it.

[G]

I I.

[H]

Blast it, he's in there already.

[E]

We'd better get to the theater. We'll be late. Do finish your.

[H]

There's no hurry.

[G]

We've plenty of time.

[E]

Oh, do finish your coffee, Dick. I'm nervous. Here I stood. I still think it was a crazy stunt.

[G]

Don't worry. It's over a month now and nothing.

[C]

Why, good evening. Good evening. How pleasant to meet you again, Mr. Polish.

[G]

Why, what do you mean?

[C]

But of course, how stupid of me. I couldn't expect you to remember me, Mr. Polish. After all, we met only once.

[G]

There must be some mistake.

[C]

I never. Surely, Mr. Polish, you recall your visit to Mr. Carlyle's office? As you were leaving, I was sitting in the ante room.

[G]

I've told you, there must be some mistake. My name is not Polish.

[C]

But of course. How stupid of me. Oh, you must forgive me. You couldn't be Polish, could you? I remember now. I read somewhere the poor fellow was murdered, wasn't he?

[G]

Was he?

[C]

Yes. Terrible thing. But what an embarrassing mistake. You know, it's only the second time in my life it's happened to me. Mistaking a voice, I mean. You see, I'm blind. Oh, yes, Miss. Quite blind. And I've always prided myself on never forgetting a voice. And now here I am forgetting the first.

[G]

You've made your second mistake. So if you'll excuse me.

[C]

Yes, it's all coming back to me now. How could I have forgotten? Why, only the other day Mr. Carlisle was telling me about that dreadful murder case. The police let him in on the little game they're playing.

[G]

What little game? What do you mean?

[C]

Well, I shouldn't tell you. It's in the strictest confidence, of course. But you've been so kind.

[G]

Yes, yes. What little game?

[C]

Why, this Peter. The Peter after the laughter. The Italian.

[G]

You mean they found him?

[C]

Found him? That's just it. The police know there's no such person.

[G]

Ridiculous. Why, all the evidence in the newspapers.

[C]

Planted every bit of it. Imagine that. Why, they even know who did do it. You see, the police have discovered that the man who called on Carlisle that day wasn't Mr. Polish at all. He was the wife's lover. Mrs. Polish, I mean.

[G]

That's very interesting.

[C]

Yes, isn't it? You see, Polish's wife and her lover had planned to murder Polish all along. So he, the lover, I mean, went to Carlisle's as Polish and spun a yarn about some non existent Italian who'd already tried to kill him. Wasn't that clever of them to supply the police with a murderer they never could find?

[G]

Why are you telling me all this?

[C]

Well, I thought since I mistook you for Polish and all that you might be interested. But if I'm boring you.

[G]

Go on.

[C]

Of course, it must have been the wife who planned the whole thing. She wanted the lover and her husband's money both. The police know that. But they can't do a thing about it. That is, till they find the lover. Of course, if they once find him, it's simple. They'll both hang. Unless the lover turns King's Evidence that'll save his life.

[G]

Of course it would. Are you sure of that?

[C]

Oh, absolutely.

[E]

Dick, what are you thinking?

[C]

But on the other hand, if they never find him, she's safe. Phew. Bye. It's warm in here, isn't it?

[D]

Yeah.

[C]

I must loosen this scarf.

[B]

Jimmy, what are you. Lord, life.

[D]

Look there.

[H]

One side.

[G]

There.

[A]

Max.

[D]

Max. Max, are you all right?

[H]

Mr. Kenidos, what happened?

[C]

As you see, Inspector, Mrs. Polish has just shot and killed her partner in crime. You know, dead men tell no tales. If I hadn't prevented it by catching her wrist, we'd have found the gun in his hand and the verdict might have been suicide. Resourceful young lady. Or Mrs. Polis.

[E]

You devil, you. I could kill you.

[C]

No, no, my dear lady. You mean you would kill me. The two are not synonymous.

[A]

Well, Mr. Carados, that was a very pretty trap. A bit elaborate, perhaps, but.

[C]

Pretty elaborate?

[A]

Yes, rather. Weren't you taking a chance personally and turning out the lights that way?

[C]

Oh, you forget, Mr. Knight in the dark, it is I who can see. I who have the advantage. Without lights, they were playing in my backyard.

[A]

Yes, I can see how your blindness helped you there. But tell me this. How did you get onto them in the first place?

[C]

I got my first clue to the truth because I didn't trust my eyes. Having no eyes to trust. You remember when we found that sheet and bolster case so beautifully hidden for us to find? With the knife thrust in just the right place to bear out the story Louis heard?

[A]

Yes, yes. But Beedle and Carlisle and George, they saw them too.

[C]

Exactly. They saw them. But I. I smelled them. They were perfumed, my friend. They had been taken from her bed, not his. A small mistake, but a fatal.

[A]

You have been listening to Murder Clinic. Wor mutual series which brings you each week one exciting case. One member from the select band of the world's great detectives. Tonight's detective was Mr. Max Carados and was played by Alfred Shirley. Louis Carlisle was played by Horace Braham. Original music was composed by Ralph Barnhart and conducted by Bob Stanley. The 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. This is Frank Knight speaking. This is the mutual broadcasting system.

[E]

It.