Nick Carter 43-10-18 (028) State's Prison Evidence

Summary

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Podcast Summary:

Harold's Old Time Radio – "Nick Carter 43-10-18 (028) State's Prison Evidence"
Aired: August 26, 2025
Episode Duration: ~29 min

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Overview

This episode presents a classic episode of "Nick Carter, Master Detective," originally aired in 1943. Titled "State's Prison Evidence (or Nick Carter and the Mystery of the Midnight Robbery)," the story plunges Nick Carter into a twist-filled case involving a supposed suicide, a forged will, a prison break, and a cunning identity switch—all set in the atmospheric world of Golden Age radio mysteries.

The case begins with the murder of Enos Jarbeau, a wealthy man found dead in his library, and quickly balloons into a complex conspiracy involving impostors, family secrets, and a daring undercover operation in State’s Prison.

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Key Discussion Points & Episode Highlights

1. Discovery of the Crime

• [00:36–03:35]
  • Nick Carter encounters Ella Jarbeau, distressed in the night, claiming her uncle has been murdered.
  • The scene is set in a large mansion, with the body found in the library.
  • Suspicious elements:
    • The gun is found next to the body.
    • A suicide note is left, addressed to a mysterious woman, Mrs. Sarah Jarbeau.
    • Ella insists her uncle didn't take his own life:

      "He wouldn't do a thing like that. I know it." (Ella, [03:33])

    • Ella claims her uncle never used the type of pen with which the note was written.

2. Questionable Evidence – The Will and the Widow

• [03:41–05:25]
  • The suicide note leads to a will leaving everything to Mrs. Sarah Jarbeau.
  • Ella insists the note is not in Enos's typical handwriting and couldn't have been written by him for several reasons.

3. The Search for Mrs. Jarbeau – Identity Mysteries

• [05:53–07:09]
  • Nick and his assistant Patsy track down a "Mrs. Sarah Jarbo," who confirms her brief, tragic marriage to Enos.
  • She claims she was abandoned immediately after their wedding based on false accusations, sparking sympathy:

    "If he believed it, I would never seek to persuade him otherwise. I've worked as a governess ever since." (Mrs. Jarbo, [06:46])

4. Unusual Encounters and Suspicious Strangers

• [07:31–08:18]
  • Nick realizes a man who asked him for a light is the same one he saw outside the murder scene, linking him further to the unfolding drama.
  • This man is later identified as Barney McCoy, an escapee from State's Prison.

5. The Undercover Operation

• [09:59–17:20]
  • Nick pulls strings to go undercover into State's Prison as "Max Herbert," seeking to get close to McCoy.
  • Inside, Nick discovers McCoy had help escaping from a guard and hears about the complicated connections between the women involved (Addie and Sarah—sisters who look alike).
  • McCoy and Nick plot another escape to uncover evidence.

6. Unmasking the Plot

• [17:20–19:22]
  • On return, Nick learns from Ella that the supposed widow (Mrs. Jarbeau) is actually "Mrs. Martin," a housekeeper who substituted during the real housekeeper’s absence.
  • This impersonation allowed her to stage the will’s forgery:

    "She could have found out about the will, taken it out, had a new one forged, and then returned it the night your uncle was murdered…" (Nick, [18:22])

7. Final Confrontation and Trap

• [24:19–26:21]
  • Nick and his team set up a wiretap with a recording device to catch the conspirators in the act.
  • Through the conversation:

    “If I can't [handle Ella], we'll give her what we gave the old man.” (Addie, [24:53])

  • Police move in, culminating in the arrests of Addie (impersonating the widow), Barney McCoy, and the corrupt guard, Mike.
  • The plot and evidence are laid out:

    "The conversation in this room between you three crooks has been recorded in full for the past 20 minutes. And if that isn't practically a confession and good legal evidence in any court, my name isn't Nick Carter." (Nick, [26:19])

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Notable Quotes & Memorable Moments

• On Determination and Evidence

  “You're quite a convincing detective, Ms. Ella. And if you're right, this can't be suicide. In spite of the other evidence.”
  — Nick Carter, [05:25]

• On Sympathy for the Widow

  “She certainly got a tough break.”
  — Patsy, [07:12]

• Nick’s Inventiveness

  “Governor, I want to go to State's prison. Oh, no, not as a visitor. I want to go as a convict.”
  — Nick Carter, [09:01]

• Unmasking the Crooks

  “You, Addie, her sister, married McCoy. When Sarah died, you found her marriage certificate and decided to use your resemblance to her to get the old man's money…”
  — Nick Carter, [26:23]

• Showcasing Vintage Detective Tech

  “It's a new type of microphone, Patsy... The amplifier also has a recording device which makes a permanent record of the conversation on a wire tape.”
  — Nick Carter, [24:21]

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Important Segment Timestamps

| Time | Segment | Description | |-------------|-------------------------------|-----------------------------------------| | 00:36–03:35 | Discovery & Initial Evidence | Crime scene and Ella’s suspicions laid out | | 03:41–05:25 | The Note & Handwriting | Disputed suicide note and penmanship details | | 05:53–07:09 | Confronting “The Widow” | Mrs. Sarah Jarbo’s tragic backstory | | 07:31–08:18 | Nick Spots the Stranger | Link to Barney McCoy | | 09:59–17:20 | Undercover in Prison | Nick infiltrates State's Prison | | 17:20–19:22 | The Housekeeper's Deception | Real identity of Mrs. Jarbeau revealed | | 24:19–26:21 | The Trap & Arrests | Wiretap, confession, and resolution |

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Tone and Period Flavor

This episode is a fine example of 1940s radio thrillers, with brisk dialogue, sharp plot twists, and vintage detective flair. The characters embody archetypal roles: the steadfast gumshoe, the resourceful assistant, the scheming villain, and the imperiled but spunky young woman. The period touches (wire recording, pen type as forensic evidence, going undercover in prison) evoke nostalgia for golden-age detective stories.

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Closing

The case concludes with the crooks exposed and the innocent vindicated, thanks to Nick Carter’s dogged investigation and inventive use of early surveillance tech. For fans of classic mysteries, "State's Prison Evidence" delivers atmospheric intrigue, memorable characters, and the satisfaction of seeing justice cleverly served.

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Transcript

[A]

I'm here on the job site with Dale, who's a framing contractor. Hey, good morning. Dale traded up to Geico Commercial Auto Insurance for all his business vehicles. We're here where he needs us most. Yep, they sure are.

[B]

We make it easy for him to.

[A]

Save on all his insurance needs, all in one 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. Look at me. Take a deep breath. I'm good.

[B]

So good.

[A]

Get a commercial auto insurance quote [e-mail] and see how much you could save. Get more with Geico.

[B]

What's the matter? What is it?

[A]

Another case for Nick Carter, Master detective? Yes, it's another case for that most famous of all manhunters, the detective whose ability at solving crime is unequaled in the history of detective fiction. Nick Carter, Master Detective. Tonight's curious adventure, State's Prison Evidence or Nick Carter and the mystery of the Midnight Robbery. Pardon me. Could you let me have a line? Certainly. There you are. Swell night, isn't it? Yes, indeed. It's a pleasure to walk on a night like this. Yeah, well, thanks. Not at all. Good night. Good night. Yes, even in a big city like this, stars are just. Help. What? Help. I wonder what's wrong with her. I beg your pardon, but is there anything I can do? Can I help you? Is something wrong? Murder. Murder? Who is it?

[B]

My uncle.

[A]

When did it happen?

[B]

I don't know.

[A]

Well, where is he?

[B]

In the library.

[A]

In this big house? Right here?

[B]

Yes. Oh, it's awful.

[A]

You shouldn't be out here in your night clothes. It's too chilly. Come, let me take you back to the house.

[B]

Come on. Yes, back to the house.

[A]

Did you call the police?

[B]

No. I just saw him lying there in a pool of blood. Then I came out here to get help.

[A]

Well, I'm Nick Carter, the detective. I'll be glad to help you if I can. Now, careful going up the steps. There we are. Now you'll show me the library.

[B]

He's in there.

[A]

Oh, yes, I see. He's dead, all right. Who found him?

[B]

The housekeeper. She came in late and saw a light still on in here. She looked in to see if he needed anything and saw.

[A]

Then she called you.

[B]

Yes.

[A]

And you are?

[B]

I'm Elle Jabot, his niece. I've lived here with him for the last five years, since my mother died.

[A]

I see. Has anything been touched since the body was found?

[B]

No. Nobody's been in here at all.

[A]

Good. Shot through the Head. Close range. Well, it looks as if he did it himself.

[B]

No. No.

[A]

Well, here's the pistol that was used right beside him. Did you hear the shot?

[B]

No. I sleep at the opposite end of the house. Oh, Mr. Carter, please find whoever killed my uncle.

[A]

What makes you think he didn't kill himself?

[B]

He wouldn't do a thing like that. I know it.

[A]

Well, that's hardly evidence. Ms. Ella. Did you see this note?

[B]

Note? I know.

[A]

Your uncle apparently left it propped up here in his desk. It's addressed to Mrs. Sarah Jarbou, 7 Dunner Street, City. You know her?

[B]

I never heard of her. What does it say?

[A]

Let's see. My dear madam, you've been a widow, in fact, ever since the hour following our marriage. But before day breaks, you will be a widow in name also, for I shall be dead. I have at last learned the truth. The one who told me right after our wedding ceremony that you were everything evil has at last confessed that you were really as good as I believed you to be. It's too late for me to ask you to forgive me for the great wrong I've done you. So I'm taking this way of making what amends I can. The upper drawer of my desk is my will. This leaves everything to you. Your repentant husband, Enos Yarboule. That's a remarkable document. Did you know anything about your uncle ever having been married?

[B]

No, I never heard that before.

[A]

Well, that note would seem to prove it was suicide.

[B]

I know better. May I see that note?

[A]

Of course. Here.

[B]

I knew it. Mr. Carter. My uncle didn't kill himself. And he didn't write this note either.

[A]

Isn't that your uncle's handwriting?

[B]

It looks very much like it. But he didn't write it. Uncle didn't use this kind of pen.

[A]

What do you mean?

[B]

Uncle Enos was very proud of his handwriting. And he never used anything but a special type of old fashioned steel pinpoint. It has a very fine point.

[A]

I see. Yes. This note was undoubtedly written with a stub point.

[B]

Another thing, Mr. Carter. Uncle never wrote anywhere except at his desk here. And this desk has been locked since yesterday morning. And I have the key.

[A]

How long have you had it?

[B]

I borrowed it yesterday morning because I had some letters to write and. And I've had it ever since.

[A]

Is there another key to this desk?

[B]

No. Uncle would never write anywhere else.

[A]

You're quite a convincing detective, Ms. Ella. And if you're right, this can't be suicide. In spite of the other evidence.

[B]

I know I'm right. Uncle would Never have taken his own life.

[A]

I believe you. And I'm just curious enough about this to do a little investigating myself. If I'm as good a detective as you are, I'll find your uncle's murderer in short order.

[B]

You think this Mrs. Sarah Blake is the woman you want, Nick?

[A]

I'm not sure, Patsy. But when the maid told me that she never heard of Mrs. Sarah Jarbo, but that Mrs. Sarah Blake lives here, I thought I'd better talk to her. She might be Mrs. Jarbo, using her maiden name.

[B]

Here she comes now. You wish to speak to me?

[A]

I'm looking for Mrs. Sarah Jarbo. Do you know her?

[B]

I do. I am Sarah Jarbo. You're a right name.

[A]

My name is Bill Peters. I'm a reporter. I'm writing a story on the sudden death of your husband, Enos Giarbo.

[B]

Oh, the poor man. He died to make up to me for my years of heartbreak.

[A]

Yes, I saw the note he left. Would you please tell me what happened?

[B]

Well, I met him one summer on the coast of Maine. We were married in the fall. We took a train for Boston. And on the way he went into the smoking car to smoke a cigar. I never saw him again. Why, that's terrible. Why didn't he come back? I only know that when the train reached the station, a Messenger gave me $500 and a note. It said that he had learned I was not a good woman and that I should never see him again. But didn't you try to clear it out? No. If he believed it, I would never seek to persuade him otherwise. I've worked as a governess ever since.

[A]

I see. Well, thank you very much, Mrs. Jabo. Come along, Patsy.

[B]

Goodbye, Mrs. Yarbo. I hope you'll be happy now. Thank you and goodbye. She certainly got a tough break.

[A]

You know, Patsy, I was prepared to doubt everything she told me. But somehow I'm inclined to believe her story. Even if it does spoil my theory that she's part of an elaborate put up job.

[B]

Which way are you going from here?

[A]

Well, I think I'll. Pardon me. Would you let me have a light? Yes, of course. Here you are. Thanks. Nice day, isn't it? Yes, very pleasant, thanks. So long. So long. Oh, come along. Wait a minute. I've met that man somewhere before. He asked me for a light just that same way. Where was it? Of course, it was outside Giarbo's house last night, right after the murder.

[B]

You mean, you think he.

[A]

Wait a minute. Watch a minute. I want to see if he.

[B]

Yes, he's going into the house we just left.

[A]

If he and Mrs. Jarbo know each other, the chances are her story is a phony.

[B]

Oh, but Nick, she sees.

[A]

I know what I know, Patsy, but this changes things. Patsy, I want you to find out what you can about old Eno Jarbo's past. Find out about that marriage, if there ever was one. But first, call Scubby and tell him to get here right away.

[B]

Okay.

[A]

That man leaves before Scubby gets here. I'll follow myself. Otherwise, Scubby can tail him, but I've got to know where he goes and what he does. Right now, he's our one positive clue. Is it all right to talk in here, Nick? The lobby of a big hotel is probably the safest place in the world to talk in. Scubby. Well, what'd you find out? Well, I followed him over to a saloon over on 3rd Avenue. Yeah, there was a fellow waiting there for him. I tried to hear what they talked about, but all I could get was the name Jarbeau. Yeah, I heard that several times. I thought so. But just as I was really getting in close, a couple of plain clothes cops came along and pinched him. Pinched him? What for? Well, it seems he broke out of state's prison three days ago. I heard the cops call him Barney McCoy. Barney McCoy? Yeah. Jailbird from State's prison. Pardon me, Scubby, want to speak to the desk clerk. Oh, sure, Nick, but what do you have to. Oh, clerk, I'd like to speak to the governor suite, please. Yes, Mr. Carter. Use booth number two. Right over there, please. Oh, Nick, what in the world do you want to talk to the governor for? Just having to remember Scubby. He's stopping at this very hotel for a few days. I want him to do me. Hello, Mr. Secretary, this is Nick Carter. I'd like to speak to the governor a moment, if I may. Thank you. Hello, Governor, this is Nick Carter. Fine, thanks. Governor, I want to go to State's prison. Oh, no, not as a visitor. I want to go as a convict. Nick, are you nuts? No, I mean it. If you can spare me five minutes, I think I can convince you. Thanks. I'll be right up. Ella, I asked you to meet me here at my office because I'm going to be out of town for a few days and I want to have everything straight before I leave. Has anything further happened?

[B]

Nothing, Mr. Carter, except that Mrs. Jabot has installed herself in the house as its mistress. She's very unpleasant to me. I know she'd like me to leave.

[A]

You Stay right there. Did the will leave anything to you?

[B]

No, Mr. Carter. Everything went to her. I can't understand it.

[A]

I can't. That will is forged.

[B]

But the will is an uncle's handwriting. And both the witnesses to the will have identified their signatures as genuine. And the will was found where the note said it would be.

[A]

Nevertheless, I'm convinced the will's a fake. Betsy, what did you find out?

[B]

Nina Jabot and Sarah Blake were married, right? Enough. I found the record in a little church on the south side.

[A]

Sarah really is his wife. Forged will doesn't make sense. And neither does a suicide note, which Giarbeau didn't write.

[B]

Maybe he did kill himself after all, Mr. Carter. Maybe he just forgot about me. I don't believe it, Ella.

[A]

I don't either. And, Ella, I'm going to prove I'm right. Even if I. Even if I have to go to jail to do it. Oh, you're the new man. Yeah, Warden. What's your name? Max Herbert. Where were you born? Buffalo, New York. How old are you? 33. Nationality? American. Married? Nope. Crime? Housebringing. Very well. The guard will take you to the photographer's and then to the laboratory. Well, fella, you've been here three days. How do you like working in this shoe shop? I don't like it. Not cut out for it. What are you in for? Second story job. What'd I get you for? Cracking a safe. There's four of us. Two of them got away. Me and McCoy was nailed cold. McCoy? Hey, you wouldn't mean Barney McCoy, would you? Yeah. You know him? Sure know him well. Great guy. He sure is. And you know his wife? Yeah, some. He's a darn smart woman, Eddie is Andy.

[B]

Yeah.

[A]

Thought her name was Sarah. No, no, his wife's Auntie Sarah was his sister. That looked so much alike you couldn't tell one from the other. Yeah, well, what became of Sarah? I don't know. She married some rich guy for his money, but left her flat. I don't know what happened after that. Addie's still in town waiting for Mac to get out. Yeah, he did break out a few days ago. They just caught him and brought him back here? Yeah. You know, they got him on the rock pile for trying to escape. Hey, cut out that talking. You guys get back to work. Okay, okay. So Barney McCoy is on the rock pile now. I rather think I'd like to be transferred to the rock pile myself. Hey, Barney, look, you've known me now for almost two weeks. Yeah, so what? You know, I wouldn't give you a bum steer, don't you? What are you leading up to, Max? I'm working on a way to get out of here before I come up here. I heard you're on the level. Like to let you in on it. Where did you ever hear of me? Outside this place in a big town. Girl named Sarah told me about you. What? He married a sister, Addie. You know Sarah? Sure, about five, six years ago. Haven't seen her since. So Sarah's. Sarah's in Europe now? Yeah. When are you planning on getting out of here? As soon as I get the necessary people lined up. If I had some dough, we could get out of here tomorrow. How much do you need? About 200 to start with. Okay, I'll have it for you tomorrow. Okay, Max, you get that stuff and we'll be out of here in two days. All right, you get five minutes to talk. Hey, Nick, why don't you just got me. Hold it. I'm Max. Herbert. In here. Oh, I'm sorry. I should have remembered. How in the world did you ever get in this place? The governor fixed it so that I was caught red handed robbing the home of a friend of his. When they caught me, I had the family silver in one hand and the family jewels in the other. It was easy. And now you arrange to be transferred to the gang where McCoy's working. Well, have you found anything? Yes, but it's all circumstantial. But Barney McCoy and I are breaking out of here day after tomorrow, and I'm hoping to get some proof then. Are you sure you're getting out of here? Yes. One of the keepers is working with us. I think this Same keeper fixed McCoy's getaway last time. And I also think from what I've heard, that he may have helped in Jarbeau's murder. Yeah. I've learned positively that he was absent from the prison on leave that day. But isn't there danger of your getting hurt if you try to break out of here? Of course there is. I have to take that chance. I've got to stick to McCoy. Don't worry, Scubby. I'll be all right. I hope. We all set, McCoy? All set? Everything's fixed. Good. You see that delivery truck over there, Max? Yeah. Well, that's gonna break down when it tries to start. I get it. We'll have to help it get out of the yard here. Right. Listen, he's trying to start it now. The guard. All set? Sure. Mike's with us all the way. Same as before. Hey, you over there. That's us. Come on, Gab and give us a hand with this truck. Okay. What's the matter? Mortar won't start. Have to give him a bush. You two get a hold here and give him a start. Okay, Mike. Rest of you guys get back to work. All right, get your shoulder behind it, Max. Okay, let's go. All right. Hey. All right. Again he. Once more. Come on, get it going. We ain't got all day. So there's the motor starts, jump on the truck. Right. I got you. Okay. Again. There. Come on, Max. I'm in. Get down so they can't see you. Look. Bridge over the railroad tracks is just ahead. When we get over the tracks, be ready to jump. Be right with you. All right, now, come on. Right behind you, Barney. Jump on the tender of that engine below us now. Okay. You all right, McCoy? Yeah. Come on, engineer, give her all the steam you got. Don't stop the talk. You fireman, feed the coldimer. I don't want to use this gun unless I have to. Watch out, Max. The outside wall of the prisoner's just ahead. You'd better duck. There's going to be shooting. Right, McCoy? All okay? So far. Oh, here it comes. Watch it. Look at him pour it out. Well, we're out of jail now and for.

[B]

It's good to see you back in your office again, Mr. Cuff.

[A]

Yes, it's good to be back here, Ella. Now, tell me, have you learned anything interesting since I last saw you?

[B]

I think so, Mr. Carter.

[A]

Let's have it.

[B]

A few months ago, our housekeeper spent about a month visiting her son in California. Before she went, she put an ad in the paper for a temporary housekeeper. Several women answered the ad, and Mrs. Martin was given the job. She had light brown hair and wore dark glasses. I disliked her on sight, and I'm sure she disliked me. When our housekeeper returned, this Mrs. Martin left, and I never saw her again until the day my uncle was buried. What do you mean, Ella? On that day, she presented herself as my uncle's widow.

[A]

Your uncle's widow?

[B]

Yes, Mr. Carter. When she first came to live in the house after the funeral, I thought there was something very familiar about her. But not until a few days ago did I see suddenly realized that Mrs. Jarbeau was Mrs. Martin with black hair instead of brown and without her dark glasses.

[A]

Ella, could you swear to that?

[B]

No. But some of her little mannerisms, certain tricks of speech, a funny way of walking, all make me positive.

[A]

That explains the mystery of how the fake will was forged. While Mrs. Martin was substituting for the housekeeper. She could have found out about the will, taken it out, had a new one forged, and then returned it the night your uncle was murdered. The forged will was substituted for the original one on the desk drawer by using a duplicate key that had been prepared in advance.

[B]

And it might interest you, Nick, to know that when Ella me this the other day, I checked at the house where we first met Mrs. Jabot. The woman there told me that Mrs. Jabot was away on a visit during the month that Mrs. Martin took the place of Ella's housekeeper.

[A]

Good work. That settles it, Betsy.

[B]

Just a minute, Mr. Carter. There's another thing. You better know something else. Yes, Mr. Carter? Last evening a strange man came to the house. He and Mrs. Jabot were apparently old friends because she called him Mac.

[A]

Barney McCoy.

[B]

She took him up to her room where I heard them talking for a long time. I tried to hear what they were saying, but couldn't get close enough. But I did hear him say it was time to get that girl out of the way for good. And then Mrs. Jabot said that now that Mac was back, it was time to wind up the job.

[A]

Well, Ella, if everything goes as I hope it will, we'll be the ones to wind up the job, not Mrs. Jarbot.

[B]

Anything else you want me to do?

[A]

Yes. Meet me in the rear of your home tomorrow night at 11 o'. Clock. We'll make our final arrangements then. In the meantime, sit tight and keep your ears and eyes open.

[B]

Mr. Carter? Mr. Carter.

[A]

That you, Ella?

[B]

Yes. Come into the living room here. We can talk better.

[A]

Okay. Sure. There's no one around?

[B]

Not now. That man Mac was here earlier, but he left quite a while ago. Mrs. Jabot has gone up to her room. We can talk safely here.

[A]

All right. Don't turn on the light. May be seen. We can talk just as well in the dark.

[B]

Whatever you say.

[A]

Now tell me, does Mrs. Jabot know you've ever seen this man Mac?

[B]

Oh, no. I've kept out of the way whenever he's been around.

[A]

Good. Do you know what he came here for this evening?

[B]

There was talk about chloroform and poison. Then she told him the lawyer for the estate was here this afternoon and said that she would be in full legal possession of the estate in another few days.

[A]

I see.

[B]

Then he said that if that was the case, it was the time to act before it was too late.

[A]

Well, it's time for us to act, too. I think we better. Quiet.

[B]

Somebody's unlocking the door. Through which we came.

[A]

Maybe they won't come in here. Who's in this room? I can't see you in the dark, but I know you're there. Who's there? Who are you? None of your business. Speak up or I'll shoot. If you do, you'll never live to see another day.

[B]

What's going on in here? Why isn't the light on, Mrs. Jabot?

[A]

El off.

[B]

What are you doing?

[A]

Barney McCoy? You Max Herbert? By all is holy, what are you doing here? Why, I. Oh, you see, Barney, I.

[B]

Yeah, he's here because he loves me.

[A]

Don't you know this man is an ex convict? You ought to be serving a sentence in state's prison right now.

[B]

Yes, I know that.

[A]

That's why we had to meet like this. Bonnie.

[B]

Is this true, Ella? Yes, Mrs. Jabot, it is. Look here, you. You interviewed me a couple of weeks ago. Said you were writing a story for your paper. You said then your name was Peters. Now you say it's Herbert.

[A]

Well, my real name is Herbert Peters, ma'. Am. You see, I.

[B]

And you, what are you doing here?

[A]

I'm a night watchman on duty in this neighborhood. I saw this man come in here and followed him. Recognized him as a suspicious character.

[B]

They're both lying. Get out of here, both of you, immediately. And as for you, Ella, get upstairs at once.

[A]

I'll deal with you later. That's all the thanks I get for trying to protect your place against thieves. I will. Get out. Come on. You go ahead, Barney. I'm coming. Good night, Ella dear.

[B]

And see that you never come back. Either of you.

[A]

Hey, Max. Yeah? Was that story about you and the girl straight? Why, sure, Barney. Wasn't your story on the level? Well, to tell you the truth, I was going to see if I could find a few things I could swipe. I'm flat broke. You haven't got a few bucks on you, have you? Sure, Bonnie. I can let you have a 10 spot here. Gee, thanks, pal. I won't forget you for this. Forget it. We sure were lucky to get out of there so easy. Yeah, I thought the old dame was gonna have his pinch. You're under arrest, both of you. So don't try and have it nice. Right. There you go. Just stop. Stop or I'll shoot. No, you don't. You let go of my arm. You made me miss him. So what?

[B]

Yep.

[A]

Well, I got you anyway. You won't get away. You're going back to state's prison again. Mr. Max Herbert. Oh, you know my name, do you? I sure Do. And I know yours. Ben Lyons. But what? You know me? Hey, let me look at you. Gladly. Come over under the street light. All right, you know me now. Well, Nick Carter. Well, I'll be. Well, Gosh, I'm sorry, Mr. Carter, but a woman just called the station, said she'd passed two escaped convicts in front of her house. And if we hurried, we could pick them up, even give us their names, too. So I find out. Now, Ben, listen to me. I'm on the trail of something big. Have the lieutenant and eight men meet me at 12 o' clock tomorrow night at the back of the Jarbo place across the street where they won't be seen. Okay. Be sure to tell them not to fail me, because I expect to capture the murderers of Enos Yarborough. Are all the men posted as we agreed, Scubby? Yes, Nick. Outside and inside the house. They have orders to let anybody come up here, but to let nobody go downstairs again. Then we're ready for the finale in this case.

[B]

What's that you've got there, Nick?

[A]

It's a new type of microphone, Patsy. Oh. I've attached it to the wall between this room and Mrs. Jarbo's room. Through the vibration of the wall, it'll pick up whatever is said in her room. Then whatever is picked up is amplified so that it's loud enough for us to hear it. The amplifier also has a recording device which makes a permanent record of the conversation on a wire tape. Gosh, what will they think of next? Quiet. Now, let's listen. I'll turn it on.

[B]

But I tell you, Barney, we can't lose. In a few more days, the whole Jarbot estate'll be mine, legally.

[A]

I know, Addie, but can you handle that girl for a few days more?

[B]

Well, if I can't, we'll give her what we gave the old man.

[A]

Do we have to?

[B]

If she's dead, we know she ain't gonna bother us.

[A]

So we bet. Hey, what the devil's that? Quiet.

[B]

How do I know the housekeeper's answering it?

[A]

Hey, somebody's coming up here.

[B]

Did you tell anybody you were.

[A]

Anybody here?

[B]

Mike, what are you doing here?

[A]

Well, that's a fine question to ask me. I'm here because you sent for me. Who sent for you? You did. McCoy. Are you crazy? I did nothing of the kind. I got your note this morning. It is what?

[B]

Come to Jarbo house tonight, but not before 12. Everything okay?

[A]

Very important.

[B]

And it's signed, Barney.

[A]

Listen, I never wrote that note.

[B]

Well, if you didn't, it means Trouble for us. Somebody else knows about this business besides us three.

[A]

You mean we're caught? We ain't caught yet, but we will be if we don't watch our step. Even now. I was afraid of this. I knew I should have kept down to it.

[B]

Ah, shut up, you rat. You're not in jail yet.

[A]

But I'm gonna be. I can feel it coming. Don't. Shut up, Mike. I'll bring you. You did it, McCoy. You fired the shot that killed the old man. I just. Come on, kids. It's enough of that. Let's go. Right with you, Nick.

[B]

Got to get out.

[A]

I'll take it easy, Sarah. Wait a minute, will you?

[B]

I can't wait any longer.

[A]

Get your hands up, both of you. We're no funny business, Max. What are you. No, McCoy. Not Max. Nick Carter. Nick Carter? You ain't got nothing on us. Nick's got enough on you three to send you to the chair. Ask McCoy. We know the whole plot from beginning to end.

[B]

Tell him what we found out, Nick. What do you mean?

[A]

It means I know that Sarah married Jarvo and that shortly afterwards, she died. You, Addie, her sister, married McCoy. When Sarah died, you found her marriage certificate and decided to use your resemblance to her to get the old man's money. McCoy was in prison then, but you arranged with the guard, Mike here, to help McCoy escape when the time was ripe. Then, to pay Mike for his trouble, you cut him in on the deal. Then you, Eddie, got that temporary job here as a housekeeper, which was an unexpected break. While you were here, you had the fake will made. Then, when all was ready, McCoy escaped as planned. Mike came with him, and between the three of you, you chloroformed old Jarbo and then shot him in such a way that it looked like suicide. How do you know it wasn't suicide? The suicide note you left for the old man. Whoever had, he got to forge that will for it did such an expert job that the witnesses recognized their own forged signatures as genuine. But whoever wrote that suicide note was so clumsy that he wrote it with a blunt, pointed fountain pen instead of the sharp, pointed steel pen that was the only pen Jarbeau ever used. That ain't proof. That's guessing. We've got plenty of proof, McCoy. And if that isn't enough to top it all off, the conversation in this room between you three crooks has been recorded in full for the past 20 minutes. And if that isn't practically a confession and good legal evidence in any court, my name isn't Nick Garter. This was another strange experience of Nick Carter, master detective called State's Prison Evidence, or Nick Carter and the Mystery of the Midnight Murder. Another of the curious adventures of Nick Carter which are brought to you regularly at the same time each week by WOR Mutual and Alec. What about our story for next week? Well, next week's story started off as a simple question of who stole the firm's funds.

[B]

But it ended up by being the very perplexing question of who killed two men and caused the death of a third.

[A]

And not the least puzzling part of the case was to find out who fired the fatal bullet which started off the murders. Isn't that usually the most puzzling part of a murder story? Well, yes it is, but in this case, the man who was killed was standing by my side in the corridor of a large office building and there was no one around at the time who could have fired the gun that killed him. I'm afraid I'm getting more mixed up all the time.

[B]

That's exactly how we felt about it. But Nick cleared it all up in spite of everything.

[A]

And we'll tell you all about it next week. So long.

[B]

So long, folks.

[A]

And so long to you, Nick and Patsy. See you next week. In the strange adventure you've just heard, Nick Carter was impersonated by Lon Clark, Patsy by Helen Choate and Scubby by John Kane. Original music was played by Lew White. The entire production was written and Directed by Jock McGregor. Next week at the same time, another curious experience of Nick Carter entitled An Angle on Murder or Nick Carter and the Mystery of the Mutilated Bullet. This story is a copyrighted feature of street and Smith Publications Incorporated. 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.