Nick Carter 43-09-27 (025) The Glass Coffin

Summary

Podcast Summary: Nick Carter (43-09-27) "The Glass Coffin"

Podcast: Harold’s Old Time Radio
Episode: Nick Carter 43-09-27 (025): The Glass Coffin
Original Air Date: September 27, 1943
Podcast Release Date: January 15, 2026
Host: Harold's Old Time Radio
Summary by: [Your Summarizer Name]

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Episode Overview

In this gripping episode from the Golden Age of Radio, detective Nick Carter and his loyal assistant Patsy are drawn to a deserted movie studio to investigate an attempted robbery, only to uncover a tangled case involving murder, missing jewels, a supposed voodoo curse, and a mysterious "glass coffin." Set in a locked-up film studio returning from Hollywood for a single production, the story soon spirals into a classic whodunit with a mix of Hollywood intrigue and classic Nick Carter brilliance.

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Key Discussion Points & Episode Progression

1. Arrival at the Studio and Initial Mystery

• [00:09] Nick and Patsy arrive at Joseph Stone’s shuttered movie studio, expecting to look into a robbery targeting actress Lulu Dore.
  • Patsy is initially skeptical: “This place looks like a stage set for the deserted village.” (B, 00:15)
• They learn from the gatekeeper (who's under police orders) that there's more at play—someone has been murdered, not just robbed.

2. The Murders & Strange Weapons

• [02:30] Discussion with studio owner Joseph Stone reveals that Boyd, an electrician, has been killed with a poisoned blowgun dart—strangely, a prop from Stone’s own old voodoo movie, "The Voodoo Curse."
  • Stone: “The blowgun and the arrow were mine... I tried to do a picture about a voodoo witch doctor...” (G, 02:43)
• Stone shares the studio’s troubled history with the voodoo picture, implying a curse.

3. Investigation of the Scene

• [03:46] Carter, Patsy, Lieutenant Riley, and Stone explore the murder site.
  • They find the victim placed oddly and footprints that provide a key clue—leather-soled shoes, not the rubber soles worn by technicians, implicating the killer.
  • Patsy: “Footprints in the dust. Golly, Nick, there goes your theory... Well, it was a cute theory while it lasted.” (B, 05:20)
  • Nick explains the significance of the shoes: “Those leather sole prints mean that it wasn't Boyd, but our friend the murderer who used the keys he took from Boyd to get in here.” (A, 05:56)

4. A Second Murder and the "Voodoo Curse"

• [06:29] The body of Bill Daly, the camera assistant, is discovered, stabbed with yet another prop weapon.
  • Stone: “That knife... it’s from that same voodoo picture.” (G, 07:32)
• Riley suspects Stone, noting his nervousness and the fact that all the murder weapons are from his film.
  • Riley: “My money's on Stones doing it.” (C, 08:01)

5. The Unfinished Film and a Key Voice

• [09:17] Stone screens the unfinished "Voodoo Curse" film for Nick and Patsy. They note the star, Lulu Dore, and a prominent leading man, Bart Tyson—whose voice Nick recognizes from somewhere recent.
  • Nick: "I've heard that voice very recently." (A, 10:12)
• Stone explains that Tyson was disfigured in an explosion during filming, ending his career and the movie itself.

6. Clues in Stage Nine

• [14:04] Nick and Patsy search Stage Nine, finding fresh makeup and a glass tank (the "glass coffin") with water that's far too fresh for an abandoned studio.
  • Patsy: “This panchromatic makeup wasn’t developed until Technicolor came in. … Somebody must have been here since.” (B, 14:47)
  • The jewels are cleverly hidden at the bottom of this tank.

7. Eavesdropping on the Thieves

• [16:05] Nick and Patsy overhear crooks discussing their boss's plan to recover the hidden jewels from the tank, and how murders were committed to protect the secret.
  • Crook: “He had Lippy planted up on that catwalk just in case somebody got an idea to go into that electrician’s storeroom...” (G, 16:42)

8. The Glass Coffin Trap

• [18:03] Nick and Patsy are discovered and locked inside the tank with water pouring in (the "glass coffin").
  • Crook: "We'll throw them in there. Then when they're good and drownded, we'll drain the tank and get them and the other stuff out at the same time." (I, 18:04)

9. The Final Showdown

• [20:18] On set, as filming resumes, a masked man (Tyson) stages a heist to steal Lulu Dore’s emeralds.
  • Tyson: "Surely I will. It's those emeralds I'm particularly interested in." (D, 21:41)
• Nick, having escaped, confronts Tyson, leading to a shootout and Tyson's attempt to escape across the catwalk—culminating in his capture after a fall.
  • "You say you want us to drop you at headquarters, Riley?" (A, 23:04)

10. The Wrap-Up: Motives and Methods Revealed

• [23:12] In the closing scene, Nick explains the mystery:
  • Tyson, the aged leading man, turned to crime after his career ended, using his skills with makeup to disguise himself as various criminals over the years and pilfer jewels.
  • Nick: “Tyson was a consummate actor, and he had complete knowledge of makeup. He disguised himself as a different character, I imagine, for each robbery.” (A, 25:16)
• The jewels stolen from Lulu Dore and others were hidden in the tank as "colored stones."
• Tyson's psychological trauma and opportunity (Stone, out of pity, made him caretaker) enabled the crime spree.

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Notable Quotes and Memorable Moments

• On the eerie atmosphere:
  “This place looks like a stage set for the deserted village.” – Patsy (00:15)
• On the mysterious murder weapon:
  “The blowgun and the arrow were mine... I tried to do a picture about a voodoo witch doctor...” – Stone (02:43)
• On finding key clues:
  “Those leather sole prints mean that it wasn't Boyd, but our friend the murderer...” – Nick (05:56)
• On the ruined star:
  “We had a bad explosion and his whole face was terribly scarred. That's why we could never finish this picture. He never could act in pictures again.” – Stone (11:47)
• On the killer’s skills:
  “Tyson was a consummate actor, and he had complete knowledge of makeup. He disguised himself as a different character...” – Nick (25:16)
• On Nick’s escape from the tank:
  “He cut a piece of that heavy glass with a diamond in his ring.” – Patsy (23:30)

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Important Timestamps

• 00:09 – Arrival at studio, initial mysteries
• 02:30 – Discovery of murder method (poisoned blowgun)
• 05:56 – Key clue: footprints & shoe sole deduction
• 06:29 – Second murder, suspicion shifts
• 09:17-11:11 – Viewing unfinished film, voice recognition
• 14:04 – Discovery of fresh makeup & tank
• 16:05 – Overhearing crooks; plot revelations
• 18:03 – Nick and Patsy locked in the tank
• 20:18-22:46 – Confrontation, Tyson's unmasking, shootout, and capture
• 23:12-25:53 – Explanations, how the mystery was solved

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Episode Tone and Language

The episode maintains a suspenseful, witty, and quick-paced atmosphere, full of classic detective banter, period slang ("camera punk," "doll," "Dick," etc.), and a blend of skepticism and bravado from all the central characters—especially Nick, Patsy, and Riley.

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Summary & Takeaways (for Non-Listeners)

• The Glass Coffin is a classic Nick Carter case brimming with old-Hollywood intrigue, voodoo legends, and intricate criminal disguises.
• The twist: The seemingly supernatural events and string of unsolved jewel robberies were all the work of disgraced actor Bart Tyson, using his makeup skills to evade capture for years.
• The "glass coffin" is both a literal tank used for underwater film shots (and near-murders) and a metaphor for Tyson's own inescapable downfall.
• In trademark style, Nick Carter unravels the entire plot with deductive reasoning, keen observation, and swift action—even escaping death by diamond ring!

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For Next Episode Tease

• Nick hints at a new adventure in Montana involving robbery, murder, and Scubby nearly losing his mind: “Yes, that was the first case that Scubby and I really worked out together. ... Nick just missed being buried alive.” (A, 26:52/27:02)

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A compelling tale of masks, hidden treasures, and dark secrets—Nick Carter’s “The Glass Coffin” is a vivid time capsule from the golden age of radio detectives.

Transcript

[A]

All right, Patsy, out you go. This is it.

[B]

This is what, Nick?

[A]

A studio of magnificent pictures, of which Joseph Stone is the owner and director.

[B]

Well, there goes another illusion. I thought movie studios were all bright lights and glamour. This place looks like a stage set for the deserted village.

[A]

Well, it's been locked up for the past ten years or so.

[C]

Oh.

[A]

That'S funny.

[B]

The gate's locked and that's our cue to turn around and go home again. You've got a nice, tasty jewel robbery waiting for you to solve back in town, and you should be working on that instead of being way out here at the end of nowhere, playing around a forgotten movie studio.

[A]

I guess I'll have to pick the lock.

[B]

Okay, if you must, patient Patsy will bear with your little games.

[A]

This is no game, Patsy.

[B]

Why, what do you mean?

[A]

The house of Lulu Dore, the star of Stone's new picture, was broken into last night while she was at a dance. She was wearing her jewels, including the famous emeralds. Fortunately, though, nothing was stolen. There. There we are. All right, Betsy, go ahead.

[B]

Seems funny there isn't a gatekeeper around.

[A]

It does, doesn't it? Well, I guess they haven't got a full staff with the studio considering they've moved back from Hollywood just to do this one show.

[B]

Why did they do that, Nick?

[A]

Oh, Dora hit her run of the pay contract for the show she's doing on Broadway and couldn't go west.

[D]

Hey, there. Where do you think you're going?

[A]

Oh, so there is a do. Gateman. I am looking for Mr. Stone's office.

[D]

Well, you can't see him.

[A]

I'm afraid you don't understand. I'm Nicholas Carter. Mr. Stone's expecting me.

[D]

I'm taking my orders from Lieutenant Riley of the Metropolitan Police. He says to admit no.

[A]

1. Riley? What's he doing here?

[D]

Investigating the murder.

[B]

Murder? I thought you said robbery, Nick.

[A]

What murder?

[D]

Come on, get out of here. I got my orders.

[A]

Come on, Patsy, let's find Riley or Joe Stone.

[E]

He.

[D]

You can't do that.

[C]

Come back here.

[F]

It's all right.

[D]

I'll explain to the police.

[A]

Hurry. That's it.

[B]

What is this, Nick?

[A]

I plan to find out right now. Then I take it this fellow Boyd, who's been killed, is a fairly unimportant champ, eh, Mr. Stone?

[G]

Well, yes, he. He was just a darn good electrician.

[A]

Doesn't seem to be any connection between his murder and the attempted robbery of Ms. Doray.

[G]

No, there doesn't.

[A]

Is Lieutenant Riley here now?

[G]

Yes. Yes, he is, over on Stage five. It's that building over there. Do you want me to come with you?

[A]

Yes, I wish you would, Mr. Stone. There may be points I'd like to ask you about.

[G]

I'd be glad to help. Of course, if I can help.

[A]

There's one thing I don't understand, Mr. Stone. You say Boyd was shot in the back with a poisoned arrow From a blowgun. It's an odd weapon. Should be fairly easy to trace.

[G]

You don't have to trace it very far, Mr. Carter. The blowgun and the arrow were mine.

[B]

Yours?

[A]

Yes.

[G]

You see, 11 years ago, I tried to do a picture about a voodoo witch doctor who used the blowgun in it. I don't suppose you remember the picture, Mr. Carter. It was called the Voodoo Curse.

[A]

Oh, yes. Yes, I do. You had a bit of trouble over it, I believe.

[G]

A bit of trouble? It practically drove me into bankruptcy. I'd imported a real voodoo witch doctor from Haiti and he put a curse on the whole studio.

[A]

Oh, come now, Stone. You don't really believe that.

[G]

I don't know what I believe anymore. Eleven years ago, we had fires, we had explosions, we had mysterious thefts, we had just about everything. Got so that everybody was scared to work here. I had to close the studio. And now we have a murder.

[B]

Why should the witch doctor put a hex on you?

[G]

Oh, I had an argue with him, though. Salary of some sort. He swore he'd break me and he almost did. Now, here, this is stage five here.

[C]

Well, well. Nicholas Carter.

[A]

Hi, Riley.

[C]

And Patsy.

[F]

Hello.

[C]

Well, what might you be doing here?

[B]

He's come to help you, Lieutenant.

[C]

That's very obliging of him, I'm sure. Say, was that a crack?

[B]

Why, of course not.

[A]

Well, let's get to work. Riley, where was the body found?

[C]

Right over there by that door, Nick, where the chalk marks are.

[A]

I wonder what he was doing way over here.

[G]

He was setting up the stage, as I told you.

[A]

But all his equipment's over there, clear across the set. Riley, how was he pacing when he died?

[C]

He was lying on his face with his head towards that door, nick.

[A]

Shot in the back, wasn't he?

[C]

Yep. We figured from the angle of the arrow that the blow gun fella must have been sitting up there on the catwalk when he killed him.

[A]

Mr. Stone, what's behind that door that Boyd was heading for?

[G]

Well, special electrical equipment, I believe, for special effects.

[A]

Would Boyd have known that? Yes, of course.

[G]

He worked on this stage years ago. He probably would have remembered.

[A]

That's it, then. He was going into that room to see if he could find some special equipment he needed. Ladder counts for his being way over here.

[C]

And you think there was something in there the killer didn't want him to see, Nick.

[A]

Right, Raleigh, let's go in.

[B]

There's Larknick.

[A]

Oh, Stone, give me your keys, will you?

[H]

Keys?

[G]

I have no keys for these rooms.

[A]

Did Boyd have any?

[G]

Well, I believe he had borrowed the caretaker set.

[A]

Riley, did you search the corpse?

[C]

Of course I did, Nick.

[A]

No keys.

[C]

No keys.

[G]

I. I can get a locksmith out from the village.

[A]

What, you have no duplicates?

[G]

The place has been locked up so long, I. I never expected to come back here. Was trying to sell it, as a matter of fact.

[B]

Pick the lock, Nick. This seems to be your day for doing that.

[A]

Just what I'm going to do, Betsy.

[G]

I'll get you more light.

[B]

Oh, he doesn't need light. He can see in the dark practically.

[A]

Now you don't have to see to pick a lock. There, there and there. That's it.

[B]

Now we'll get a look at what your killer didn't want Boyd to see. Here. Here's a light switch.

[A]

Oh, wait, wait, wait. Don't crowd in like that. Uh huh. Look.

[C]

Footprints.

[B]

Footprints in the dust. Golly, Nick, there goes your theory. Boyd was here before he was killed and took out whatever it was he wanted. Well, it was a cute theory while it lasted.

[A]

Maybe it's still a cute theory as you call it.

[C]

All we have to do now, Nick, is to measure the prints and see if they're boids or not.

[A]

They're not.

[B]

How do you know?

[C]

Yeah, you haven't even cc in the body.

[A]

These prints were made by leather soled shoes, right, Riley?

[C]

Well, yeah, you're right, but.

[A]

And Boyd was wearing rubber soles.

[B]

How do you know he was, Nick?

[A]

Correct me if I'm wrong. Stone, don't all technicians on the soundstage wear rubber soled shoes to kill any noise that the soundtracks might pick up.

[G]

Well, you're right, Carter, they do.

[A]

Those leather sole prints mean that it wasn't Boyd, but our friend the murderer who used the keys he took from Boyd to get in here.

[B]

You lead to that crate, let's see what's in it.

[A]

Don't walk on the footprints. We need them as evidence. I'll wager you'll find the crate empty. The murderer didn't just walk over to it, look in and walk out again. Oh no. He took away everything he didn't want Boyd or anyone else to find.

[B]

You're right, Nick. The crate is empty.

[C]

Shall we search the room, Nick?

[A]

What's the point in that? There was anything here. It's gone by now. Murder has seen to that. I wonder what was in this crate. I wonder if.

[C]

Help.

[B]

Oh, Nick, the poor kid.

[G]

What is it, Carter?

[A]

Another murder?

[D]

Another?

[A]

Good Lord. Can you identify him, Stone?

[G]

Why, it's Bill Daly, our camera punk.

[B]

Camera punk? What's that?

[G]

Oh, it's studio slang for assistant to the camera.

[C]

You people all run too fast for me. Hey, what's up?

[A]

Here, see for yourself, Riley.

[C]

Well, good gosh. Another murder. And it looks from his position as if he was just coming out of that door over there.

[B]

That's funny. Both he and boy.

[A]

Any idea what he was doing around here, Stone?

[G]

Yes, I. I sent him over here myself about an hour ago to look in that warehouse. See if there was any of that old photographic equipment we could remodel and use. Priorities, you know. Daley was very clever at that sort of thing.

[C]

That's a mean looking knife he's got sticking in his throat, Nick.

[G]

Knife?

[A]

Good Lord.

[B]

What is it, Mr. Stone?

[A]

That knife.

[G]

It's from that same voodoo picture.

[A]

There seem to be a few too many of those old props hanging around. Are there any more?

[G]

Yes, there's a complete stock of weapons. Everything we used in that confounded picture.

[B]

The voodoo curse.

[A]

Yes. I rather think I'd like to see that film, Stone. Is there a copy of it around here any place?

[G]

Well, as much as we have a shot of it, it was never finished, you know.

[A]

Could you run it off for me?

[G]

Certainly, I will. I'll go arrange it now. Thanks, Nick.

[C]

What do you think?

[A]

I'm not sure. Any opinions yourself?

[C]

Yes. My money's on Stones doing it.

[B]

Stone? Why in the world would he do it?

[C]

Well, I don't know. I haven't figured out the reason for it yet. But he acts kind of funny. Nervous, sort of. And he keeps talking about the place maybe being haunted.

[B]

Oh, good heavens, Riley. Who wouldn't be nervous with all this murder going around? I know I am.

[C]

Take the weapons, Nick. They all belong to him.

[A]

But other people could have access to them, Riley. After all, Stone hasn't been here for over 10 years. And there's something more important you've overlooked, Raleigh.

[C]

What's that, Nick?

[A]

How did Stone manage to throw that knife at Daly while he was with us?

[C]

How do I know? We were all so busy looking at that star room on the set. He could have sneaked up. By golly, I'll bet that's how he did do it.

[A]

Oh, that's Stone beckoning to us. You Want to go to see the movies rally?

[C]

I got better things to do, Nick. I'm going to search this joint.

[A]

How about you, Betsy?

[B]

Sure thing. Why do you want to see it?

[A]

I'm not sure, Patsy, but I've got sort of a hunch that the answer to all our questions lie hidden in that old picture.

[B]

Did all movie projectors make this racket 10 years ago?

[A]

Most of them, Patsy. Now, listen, you don't believe in our voodoo magic, eh? Well, if you'd been here long enough to see some of the things I've seen.

[B]

Really, Ross, there's something uncanny about these natives. Call a coincidence if you like. Who's the woman? Gosh, she's got.

[A]

That's Lula Dora, the star of the picture Stone shooting here now.

[B]

Their voices sound funny and tinny.

[A]

Yeah, they certainly do.

[G]

Easy enough to scoff when you've just come down from the States. But it is magic.

[A]

There's no other way to explain some of the things that happened.

[D]

Magic Mumbo jumbo, you mean. You'll never convince me it's anything else. I suppose this is another of those wild dances.

[B]

Now, there's a really good voice. Who is he?

[A]

Don't tell me you don't remember him, Patsy. Name was Bart Tyson, great leading man 10 years back.

[B]

Oh, I remember his name.

[D]

Of course, this is rather better than most of the dimes that I've seen, Patsy.

[A]

I've heard that voice very recently.

[B]

Preaching must be almost over now, Nick. Have you discovered anything?

[A]

I'm not sure yet.

[B]

Gosh, they had some pretty fancy photography in those days. I. I thought all that underwater swimming stuff was comparatively new.

[A]

Oh, no. Stone was the first person to use it.

[B]

How did they do it? Look at that man swimming. It couldn't be faked.

[A]

It isn't just taken through some sort of a glass tank.

[D]

That native has been underwater for 20 minutes. No human can hold his breath that long.

[A]

That's what I've been telling you, Ross.

[F]

They're magic, these natives. Magic.

[D]

Maybe you're right.

[A]

Maybe you're right.

[B]

That voice. I've heard it somewhere before myself. I never heard dice and act people. Hey, don't we see the ending?

[A]

No, that's all they made, Patsy. The picture wasn't finished.

[B]

Did you find out what you wanted to?

[A]

I'm not quite sure.

[G]

Well, Mr. Carter, did you like the picture?

[A]

Oh, a very interesting Stone.

[B]

Oh, that Lula Dory certainly is beautiful. Isn't she, Mr. Stone? I've never seen her in pictures before. Has she done anything else?

[G]

No, nothing until now that she's starring in my new show on Broadway.

[A]

That's funny. Think with her looks and her voice, she'd be a sensation.

[G]

That's what I've always claimed.

[A]

But.

[G]

Well, she got scared off after all these things happened during the filming of this one. And she stuck to Broadway ever since. And when Tyson, her leading man, was hurt, she rather felt.

[A]

I was wondering what happened to Tyson. From what I could gather from this show, he should have been a natural for talkies.

[G]

Oh, he was. But we had a bad explosion and his whole face was terribly scarred. That's why we could never finish this picture. He never could act in pictures again.

[B]

Oh, what a shame.

[A]

Well, Stone, thanks for showing us the film. Mind if we scout around after Riley?

[G]

Oh, no, not at all. If you need me, I'll be on stage three. We're going to start shooting soon.

[H]

Good.

[B]

It's funny about Dorae. She seems to be cropping up in our lives all over the place.

[A]

Yes, she does, doesn't she? Betsy, if you find a telephone, get hold of Scubby. Find out what you can about Bart Tyson and what's happened to him since the accident.

[B]

Okay. Nick, where you be?

[A]

If I don't see you before, I'll meet you at Stone's office at noon.

[B]

Right.

[C]

Oh, Nick. Nick Carter.

[A]

Oh, Riley. Just looking for you. You found anything yet?

[C]

We found all the weapons from that voodoo movie. All except the ones we'd already found, that is.

[A]

How'd you know you found them all?

[C]

Stone had an inventory. We checked on it.

[A]

Well, if your theory about Stone's correct, Riley, he could have falsified that inventory.

[C]

Why should he?

[A]

Well, perhaps he had a couple of weapons hidden somewhere and doesn't want us to know anything about them.

[C]

Nick, the more I think about it, the less I like that guy.

[A]

Find anything else?

[C]

No, no, not a blessed thing.

[A]

Search the whole lot of you.

[C]

All but stage nine over there. That's locked up tighter than a drum. I can't pick locks the way the great Carter does.

[A]

Okay, I'll take care of those. Riley, why don't you go on down to stage three? They're going to start shooting the picture pretty soon. And I'd feel a lot more comfortable if someone were on guard there. We've had enough murders for one day.

[B]

I suppose you think this is a gag, having us get all dressed up like merry villagers or something.

[A]

It's not a gag, Patsy. It's insurance.

[B]

What do you mean?

[A]

Just what I said. When we're dressed up in our regular clothes, everybody in the lot knows who we are. But anyone seeing us dressed up like this will think we're actors and never look at us twice.

[B]

I never thought I'd live to see the day when people wouldn't stare at Nick Carter, master detective, all dressed up in knee pants.

[A]

Quiet. Did you check with Scubby?

[B]

Yep. But just as Stone said, Tyson was hurt in that explosion and then just sort of vanished. Hasn't been heard of since.

[A]

That takes care of that. Well, here's Stage nine. The only place that hasn't been searched either by Riley or me.

[B]

What do you expect to find?

[A]

I don't know.

[B]

It's funny. This door isn't locked. Everything else on the lot has been.

[A]

Yes, Riley distinctly said it was locked when he tried it. Now, keep your eyes open. There may be a reason for it being open now.

[B]

Golly, it's dark inside.

[A]

Here, you take this flashlight. Okay, I've got another.

[B]

Hey, Nick, look. There's an old makeup table. I wonder what kind of makeup they used in those days.

[A]

Patsy, we haven't time to stop for you to look at makeup.

[B]

Look here. This makeup isn't old at all.

[A]

What's that?

[B]

No, this is the very latest type of movie makeup, and it's all new stuff.

[A]

Well, good for you, Patsy. Yes, there's something funny about this.

[B]

Definitely, Nick. Well, this panchromatic makeup wasn't developed until Technicolor came in. They didn't use this type of makeup back in the days when this studio was in use. Somebody must have been here since. And none of the actors are making up way over here.

[A]

Right, Betsy? I'll make a detective out of you yet. Now, let's see if we can find anything else.

[B]

Oh, I'm getting creeps, Nick. I don't like it here.

[A]

Patsy, I think we're getting warm. This is one of the first real clues with. Hey, recognize that?

[B]

Wait. Well, that must be the glass tank they used to take that swimming sequence in the voodoo movie.

[A]

Right you are. I wonder why they left it half full of water this way.

[B]

When they finished taking that scene, they probably just walked off and left it here.

[A]

Maybe.

[B]

Don't forget, they closed this place in a hurry.

[A]

What are you doing, Patsy? This water is fresh.

[B]

What?

[A]

It'd be stale if it'd been here 10 years. Stale and smelly.

[B]

Say, I'm beginning to think maybe Stone's right and there is a hex on this place.

[A]

Too bad that voodoo picture wasn't in Technicolor. Those colored stones at the bottom of the tank would have Showed up beautifully.

[B]

They are beautiful, aren't they?

[A]

Yes, you Betsy. Hey, Patsy.

[B]

What?

[A]

Look here. Those aren't just colored stones, they're. Douse your lights, Patsy, quick, we've got callers. Tuck back here behind this crate on.

[G]

The clink this morning with this snooping.

[E]

Why the boss always swipes such important rocks? Why didn't he settle for just a small fraud?

[G]

It's big time, that's why. You've got enough though, to pay all the bills until that stuff cools off. And when it's safe to handle it, he'll smuggle it out of the country and sell it for plenty.

[E]

What's he leave it lying around here for, hidden in the old equipment?

[A]

Now we know why anybody'd ever come back here.

[E]

Gosh, when that punk went into that storehouse, I bet he saw the works.

[G]

He did. A boss spotted him, Gordon, and just had time enough to get that knife.

[A]

And come back and nail him.

[G]

And the kid was dashing back the stone to spill the beans.

[D]

She.

[E]

The boss is sure lucky.

[G]

He ain't lucky, he's smart. He had Lippy planted up on that catwalk just in case somebody got an idea to go into that electrician's storeroom and somebody did that Takes brains to know that.

[E]

Well, we better get going, huh, Jake?

[G]

Yeah. You start drilling the tank so we.

[A]

Can get the rocks. I'll get the makeup stuff.

[E]

Why is he moving everything out now?

[G]

Hey, figures it'll cooled off by now. And with the stuff he's going to lift from that Dorad game this afternoon.

[A]

Who's that?

[E]

Hey, look over there. Jake. Two guys only.

[G]

Come here.

[D]

Run for it.

[E]

Faster.

[C]

Let go of me. Let her go, you lousy rat.

[A]

Get away.

[C]

Let her go.

[A]

Let her go.

[C]

I'll handle it.

[A]

I can't handle that.

[C]

I gotta get rough. Hey, what's the matter?

[E]

Guess that'll hold him. Gosh, it took three of us to knock him cold. He a fighter or something? Hey, hey, I know him.

[A]

It's Nicota the Dick Nicota.

[E]

Hey, and a good looking doll.

[I]

Well, it's a good thing you called me in time. Now what are we gonna do with them now that we got them, huh? We can't just leave them lying around. Somebody's bound to notice them.

[C]

Hey, the fish tank.

[A]

Yeah, that's right.

[I]

We'll throw them in there. Then when they're good and drownded, we'll drain the tank and get them and the other stuff out at the same time.

[E]

Good idea, Lippy.

[A]

Okay.

[E]

Here, Pete, you lift the lid. You Shove the girl in, Lippy. All right, Jake and I will dump that Carter guy in.

[G]

It'll be a real pleasure to do something like this to a copper.

[E]

Yeah.

[A]

Come on.

[G]

Ready?

[C]

Go ahead.

[D]

Put Carter in first.

[I]

Okay, here he goes.

[C]

Happy swimming, Carter.

[E]

Now dump the dam in Jake.

[A]

In you go, lady.

[I]

Ah, that's okay.

[A]

Hey, listen, guys.

[I]

Suppose they get out?

[G]

We'll see that they don't get out.

[E]

Stokey, huh?

[G]

Put the lid down on the tank.

[E]

Okay, Jake.

[G]

And I'll put this padlock on and they're as safe as if they was in jail.

[C]

That's good work.

[I]

Hey, look, boys, they're coming too.

[E]

So what? Who cares now?

[A]

Yeah, who cares, Lippy, huh?

[G]

Turn on the water.

[I]

Okay, here she comes.

[H]

Jake.

[G]

Get those two baby spots set.

[D]

Up there, will you?

[C]

Is this what you want?

[A]

Now?

[G]

That's better. Now open number two a little more.

[A]

Okay, this is the tape. Ready?

[C]

Ready.

[A]

Lights.

[E]

Camera.

[F]

Right.

[A]

Action.

[G]

Ms. Dory.

[B]

It was when I first opened your letter that I knew at last. As I open the envelope.

[G]

No, no, no, no, no. Lula, darling, mean what you say. Remember, your lover has returned. Now, this is your big moment. Now relax. Take it easy. Now. Now, come on.

[A]

Once more. Right. Action.

[B]

Come on. It was when I first opened your letter that I knew at last. As I opened the envelope, even before I read the words that you'd written there, I realized that what I'd hoped for so long had at last.

[C]

What's the matter with those lights? Why aren't they. Turn on those lights. I' charge here. There'll be no complaint. Everybody quiet. A masked man.

[D]

Who are you to tell me I'm the. This is a hold up.

[C]

A hold up? Look here, you. You can't pull a hoard up.

[B]

Quiet.

[D]

I said quiet if you don't want a bullet in your teeth.

[G]

Quiet, Quiet.

[C]

Quiet.

[E]

The man's man.

[A]

That's better.

[D]

Now, nobody will get hurt if you just keep quiet and do as you're told. Turn on that spotlight.

[C]

Okay, boss.

[A]

That's it.

[D]

Now, all of you line up against the wall there. Come on, get moving. I don't want to shoot, but I will if you make me and shut up.

[C]

You can't tell me to shut.

[D]

That owl includes you, too, Riley. Now, don't forget that although you can't see me with this spotlight shining in your eyes, I can see you very clearly. Now, each one of you in turn, will step forward and put your valuables on that table and center stage. And don't try to hold out on me or it'll be bad for you.

[A]

All right.

[D]

We'll start with a star performer. Miss Lulu Dore. Please, Ms. Dory. If you think I can't see you trying to hide behind the drapes over there, you're wrong. You're in this, too. Your jewels, please.

[B]

No, no. Not my emeralds.

[C]

Surely you won't.

[D]

Surely I will. It's those emeralds I'm particularly interested in. You don't think I care for the little wristwatches and pocketbooks I'm going to get from the rest of these people, do you?

[B]

But you can't mean to take my.

[D]

One more word out of you and I'll come after them myself. And if I do it and where.

[A]

You are, Tyson, I've got you covered.

[C]

Praise be. Is that you? Come and get Mc Carter.

[D]

Watch him, Al, if you can.

[A]

Turn the lights on, Patsy.

[B]

Right, Nick.

[C]

Here they are. There he goes, Nick. I missed him. Darn it. Did you see where he went, Nick?

[D]

There he goes, Mr. Carter.

[G]

Climbing up the.

[B]

Climb up the catwalk.

[C]

Tyson.

[A]

Come down from there or I'll shoot.

[C]

You haven't got a gun, Nicota.

[D]

Yours is too wet to shoot after your little swim. But I've got my gun here.

[A]

You missed me, Tyson. But I won't miss you. You may not know it, but my guns are absolutely waterproof.

[C]

Nice work, Carter.

[D]

You shot the gun right out of his hand.

[A]

And now your gun's gone. Tyson, come on down.

[C]

Yeah, come up here and get me.

[D]

You haven't caught me yet.

[B]

Look at him run. He should make a misstep or lose his balance up there. He'd fall off and get.

[C]

Tyson. Tyson, stop. Stop. Look out, you don't slip there, Nick.

[B]

He lost his belt.

[A]

You say you want us to drop you at headquarters, Riley?

[C]

If you will, Nick.

[A]

Okay. You men got the rest of Tyson's gang all right?

[H]

They did.

[C]

They're coming right behind us.

[B]

Was Tyson badly hurt from his fall?

[C]

No, not much. Just a broken ankle. He'll be all right. All right? That is, until he gets to the electric chair.

[B]

Oh, Nick, when I think of how close we came to drowning, I'm scared all over again.

[C]

How did you say you got out of that tank, Nick?

[B]

Believe it or not, Lieutenant, he cut a piece of that heavy glass with a diamond in his ring.

[C]

What do you know? But look, if it was as easy as all that. Well, what took you so long doing it, Nick?

[A]

I had to wait until the thugs got out of the room. Then I just cut a nice little circle out of the glass right beside where the padlock was reached out and picked the lock. All very simple.

[C]

Simple for you, maybe, not for me. And yes, here. You found the jewels Tyson had stolen in the bottom of the tank, eh?

[A]

Yes, Raleigh. What Patsy and I thought were pretty colored stones turned out to be all the jewels Tyson had stolen during the last 10 years. All unmounted and dumped in with the pebbles in the tank.

[B]

What made you first suspect Tyson, Nick?

[A]

Well, Patsy, it was his voice first. Remember I told you after we saw him in the movie that I knew I'd heard his voice somewhere very recently.

[B]

Oh, so that's why that voice sounded so familiar.

[C]

Can you imagine that? The movie's tire turned crooked.

[A]

Then there was the fact that Tyson had faded so completely out of sight after his accident. That looked fishy to me. No great star would have let his career be ruined without bringing a suit of some kind unless he had some plans of his own.

[B]

And from what I learned from Scoffy, we realized he never had brought suit.

[A]

Yes, and a suit like that would have made all the tabloids.

[B]

But how did you know Tyson and the watchman were the same?

[A]

I didn't, Patsy, until you found that makeup kit. That panchromatic makeup is often used to cover scars. And then I remembered the scarred gateman. It fitted. So did his voice. And the fact that he had the only remaining set of keys to the lot. And, of course, he had all the opportunity in the world.

[B]

But I bet you didn't realize that the murders were tied up with the robberies. Not until we heard those crooks talking.

[A]

I mean, the makeup kid told me that, too. Remember, Patsy, how you always claimed that all those robberies were done by individuals, not a gang?

[B]

Yes, but I still don't.

[A]

Well, Tyson was a consummate actor, and he had complete knowledge of makeup. He disguised himself as a different character, I imagine, for each robbery. Evidently, he played his role expertly, since he succeeded in giving the impression that different people were committing the various thefts.

[C]

But, say, if that makeup was so good, why couldn't he have gone back to the movies instead of turning thief?

[A]

Well, Riley, it was good enough for dim lights, but not for the sharp eyes of the camera.

[C]

Oh, I see.

[B]

Poor fellow. What an end for a great star.

[A]

Yes, the explosion probably injured his mind, too.

[B]

One more thing, Nick. How did he get to be caretaker?

[A]

Oh, I asked Stoneland. He said he felt sorry for the man and had given him the job out of kindness. Oh, well, that's all over now.

[B]

Except that from now on, I'm allergic to water anywhere except in drinking glasses.

[F]

This was another strange experience of Nick Carter, master detective called the glass coffin, or Nick Carter and the mystery of the voodoo curse. Another of the curious adventures of Nick Carter which are brought to you regularly at the same time by WOR Mutual. And now, Nick, will you tell us something about your story for next week?

[A]

Well, next week we leave this part of the country and are going out west to the mining districts of Montana.

[F]

Did you go too, Patsy?

[B]

Yes, I went along, but Nick and Scobby did most of the work and had most of the excitement. I just stayed in the hotel and waited.

[A]

Yes, that was the first case that Scubby and I really worked out together.

[B]

And before they were through with it, Scubby very nearly went crazy, literally. And Nick just missed being buried alive.

[A]

You see, it started out to be a case of robbery, but it ended up with at least two murders and more excitement than I've had in a long time.

[F]

Well, I hope it's as good as it sounds.

[A]

It's better, but more of that next week. So long.

[B]

So long, folks. We'll be seeing you.

[F]

And so long to you, Nick and Patsy. In the strange adventure you've just heard, Nick Carter was impersonated by Lon Clark, Patsy by Helen Choate. The story was written for Nick Carter by Nancy and Gene Webb. Original music was played by Lee White. The entire production was under the direction of Jock McGregor. Next week at the same time, another curious experience of Nick Carter entitled the.

[A]

Flying Duck murders or Nick Carter and the mysterious coal thieves.

[F]

This story is a copyrighted feature of street and Smith Publications Incorporated.

[H]

My name is Humphrey Davis. I've been playing the part of lieutenant Riley in tonight's show. Just now, though, I'm speaking as myself. Actors, you know, appear at many war bond rallies. We like to know that what we can do may help in selling more bonds. But after all, selling more war bonds is everyone's business. You can talk to your friends about the third war loan campaign, just as any speaker might. You know the reasons why we must buy extra bonds. You know how purchases of extra war bonds back the attack. You know that they're a great investment. And you know that giving up something you were planning to buy for yourself and buying war bonds instead isn't really any sacrifice. And as you think of these things, how about doing more in this third war loan yourself? Because you can't do too much for the men who are fighting for us every minute somewhere in the world.

[F]

The return of Nick Carter is produced in the studios of WOR and is broadcast over most of these stations every Monday evening at 9:30 Eastern. War time. This is mutual.