Radio Reader's Digest 46-11-07 (036) Murder in the Big Bowl

Summary

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Radio Reader's Digest 46-11-07 (036): "Murder in the Big Bowl"

Podcast: Harold's Old Time Radio
Host: Harold's Old Time Radio
Air Date: December 2, 2025
Original Air Date of Drama: November 7, 1946
Episode Theme:
A classic mystery from the golden age of radio, dramatizing Anthony Abbott's "Murder in the Big Bow." This episode stars Claude Rains as Grodman, a retired Scotland Yard detective thrust into a perplexing locked-room murder. The show epitomizes the drawing-room mystery format, combining sharp wit, layered suspects, and a twisting plot, all delivered in the rich, vintage tones of radio's golden era.

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Main Themes and Purpose

• Locked Room Mystery: The episode centers on the apparent murder—or possible suicide—of Eric Constance, found dead in a locked room, with both the cause and means of his death unclear.
• Revenge and Redemption: Underlying the central case is a theme of professional pride, revenge, and the search for justice—even when justice gets complicated by ego and rivalry within the police.
• Golden Age Storytelling: The program seeks to recapture the communal magic of radio mysteries, delivering suspense and character-driven drama to audiences of all ages.

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Detailed Breakdown and Key Discussion Points

Introduction to the Case (Starts at 01:56)

• Setting the Scene:
  Claude Rains is introduced as the evening’s guest star. The play begins on a foggy London morning. Mrs. Bradham, a landlady, wakes her neighbor Grodman (retired Scotland Yard inspector) about trouble in her house.

• Incident Discovery:
  Mrs. Bradham: "It's Mr. Constance ... He's dead, poor chap." (03:49)
  Grodman reluctantly agrees to investigate, finding Constance's room locked from the inside, with no apparent murder weapon.

Investigation and Police Rivalry (04:42–13:32)

• Inspector Corley Arrives:
  Corley is skeptical but methodical, and a rivalry is evident between him and Grodman, who has become a renowned crime writer since his retirement.

• Locked Room Problem:
  The key question: How was the murder committed in a room locked from the inside?
  Grodman: "A man that slashes his own throat hasn't time to conceal the weapon he did it with." (07:41)

• Suspect Introduction:
  Violet Deane (Eric’s former flame) and Tom Mortlake (her fiancé) are both drawn into the investigation. Tom had an argument with the victim and once lived in the same room.

Mounting Suspicion and Legal Proceedings (13:32–19:14)

• Mortlake's Alibi Unravels:
  Tom Mortlake admits to lying about his whereabouts, adding to suspicion, but insists on his innocence.

  • Grodman: "As long as you're not hiding anything else from me. You're not, are you?" (12:35)

• Tom Mortlake Arrested:
  Inspector Corley arrests Mortlake, confident in his case despite Grodman's protests.

  • Corley: "Mortlake had a key to the murdered man's room..." (16:25)

• Trial and Conviction:
  Grodman believes the trial is a farce and insists: "The Crown didn't prove anything. A lot of hocus pocus about locking a door from the outside. Grandstand play, that's all that is." (18:18)

  Despite this, Tom Mortlake is convicted of murder.

Race to Prevent an Execution (19:14–22:36)

• Grodman Pleads with Authorities:
  Grodman desperately petitions the Home Secretary to halt the execution, presenting a petition signed by 10,000 citizens, but to no avail.

  • Grodman: "If that boy goes to the gallows, it'll be the greatest miscarriage of justice in the history of England." (19:14)

• Confrontation and Confession:
  As Mortlake’s execution approaches, Grodman gathers key players—including Inspector Corley and Mrs. Bradham—to reveal the truth.

The Big Reveal: The Murderer Unmasked (22:36–25:22)

• Locating the Weapon:
  Mrs. Bradham presents the murder weapon (a razor), discovered in Grodman’s own coat pocket. Grodman narrates the timeline and logistics of the crime.

  • Corley: "You were with me on the morning of the murder." (23:25)

• Grodman’s Confession:
  Grodman reveals he murdered Constance himself, driven by bitterness over being retired from the Yard. His plan was to confound his former colleagues with a “perfect crime.”

  • Grodman: "Because I never got over being retired by the Yard. I wanted to see you idiots squirm and fume over a case you couldn't solve ... But I never thought you'd be stupid enough to convict an innocent man." (24:53)

Epilogue & Reflection (25:22–27:09)

• Claude Rains’ Personal Note:
  In a heartwarming postscript, Claude Rains (Richard Talmer) reflects on his love for America, explaining why he became a citizen:
  "It's quite simple really. I love this country ... I think I love your country because it is the great hope of mankind ... I lay my heart to beat." (25:42–27:09)

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Notable Quotes & Memorable Moments

• On the Locked Room Mystery:
  Grodman: "If Constance committed suicide, that razor would be here ... If Constance were murdered, how did the murderer get into this room? Through the locked windows or through the door I had to break down?" (07:41–07:56)

• Grodman's Bold Self-Condemnation:
  "Because I never got over being retired by the Yard. I wanted to see you idiots squirm and fume over a case you couldn't solve ... But I never thought you'd be stupid enough to convict an innocent man." (24:53)

• On Professional Ego and Justice:
  "Only someone who spent a great deal of time at the Yard can understand the purpose of this crime ... Revenge, Mr. Inspector. The murderer was obsessed with the idea of getting revenge on the Yard." (23:51)

• On Patriotism (Claude Rains as himself):
  "I think I love your country because it is the great hope of mankind ... Against the warm earth of America, fertile with new strength and promise, I lay my heart to beat." (25:42–27:09)

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Timestamps for Key Segments

• Episode Introduction / Sponsor Message: 00:37–01:56
• Case Begins: 01:56–04:42
• Discovery of Body: 04:42–07:07
• Grodman and Corley Spar: 07:07–13:32
• Violet Deane and Tom Mortlake Questioned: 09:07–13:32
• Tom Mortlake Arrest and Trial: 13:32–19:14
• Grodman’s Appeal & Petition: 19:14–20:26
• Tense Vigil/Preparation for the Final Act: 20:26–22:36
• Confession and Solution (The Reveal): 22:36–25:22
• Claude Rains’ Reflection: 25:22–27:09

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Summary Table

| Timestamp | Event/Speaker | Key Point / Quote | |------------------|--------------------------------------------------|-----------------------------------------------------------------| | 01:56 | Host / Narrator | Introduction of Claude Rains and “Murder in the Big Bo” | | 04:42 | Mrs. Bradham, Grodman | Constance’s body found – locked room, suspected murder/suicide | | 07:41 | Grodman | “A man that slashes his own throat hasn’t time to conceal...” | | 13:32 | Mortlake / Grodman | Mortlake admits lying; suspicion increases | | 19:14 | Grodman | Appeal to Home Secretary: miscarriage of justice | | 22:36 | Grodman, Mrs. Bradham | Dramatic reveal: Grodman confesses to the crime | | 25:42 | Claude Rains | Personal reflection on becoming American citizen |

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Tone and Style

The episode is imbued with classic British wit, a dash of cynicism, and a moral undertow about the dangers of professional ego. The dialogue is brisk, formal, and laced with dry humor, especially in the exchanges between Grodman and Inspector Corley.

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For Listeners New and Old

This episode exemplifies the captivating “locked-room” mystery, steeped in vintage radio charm, and capped by a profound meditation on patriotism by one of cinema's greats, Claude Rains.

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Perfect for: Fans of classic detective fiction, lovers of old-time radio, or anyone intrigued by clever plots, charismatic characters, and a twist ending that still packs a punch decades later.

Transcript

[A]

What do you think makes the perfect snack?

[B]

Hmm, it's gotta be when I'm really craving it and it's convenient.

[A]

Could you be more specific?

[B]

When it's cravenient. Okay, like a freshly baked cookie made with real butter, available right down the street at a.m. p.m. Or a savory breakfast sandwich I can grab in just a second at a.m. p.m.

[A]

I'm seeing a pattern here.

[B]

Well, yeah, we're talking about what I.

[A]

Crave which is anything from AM PM.

[B]

What more could you want?

[C]

Stop by AM PM where the snacks.

[B]

And drinks are perfectly craveable and convenient. That's cravenience AM PM Too much good stuff.

[D]

Remember, smart card will best express a perfect case your. The makers of Hallmark greeting cards bring you an exciting story of mystery and intrigue starring for dreams. For more than a third of a century, quality has been a habit with the makers of Hallmark cards. They are the mark cards. They are the kind of cards you can be proud to send, proud to receive. That's why through the years, Hallmark cards have been America's favorite greeting card. So if you want to send the very finest, look on the back for the three identifying words. A Hallmark card. These three words are your assurance of finest quality. They tell your friends you cared enough to send the very best. And now to preside over the Hallmark program this evening is a young man well known to Broadway both as actor and producer Richard Talmer.

[C]

Thank you, Tom Kelly, and good evening, ladies and gentlemen. If ever a man knew his own mind at Claude Rain, where most actors would gladly roll a hoop from Broadway to Hollywood for a picture contract, Claud kept saying no until they told him that they had just the part for him, the lead in the Invisible Man. And where another actor would have been indignant to this insult to his profile, Claude Rains took the part and scored a big hit in it. And where a lot of successful movie actors loll around marvel swimming pools, Claude performs manual labor on his Pennsylvania farm. He's come up from that farm to be with us tonight. And we know our own mind about that. We're glad. The Hallmark program proudly presents Claude Rains in murdering the big Bo, Anthony Abbott. Early one dismal morning, with a low fog hanging over the city of London, a doorbell rang long and continuously in the house of a man named Grotman. Grotman was a retired Scotland Yard inspector who had achieved considerable fame both as a detective and as the author of a bestseller entitled Criminal Dr. So it was only natural for the woman next door to come running to him for help at the first sign.

[A]

Of trouble, Mr. Cordman. Come to me on here, Mr. Godman. Look at his take still come down here announcing your door.

[E]

My dear woman. Now please take a finger off that bell. What on earth are you trying to do?

[A]

Begging your pardon, Mr. Godman, I'm sorry about the bell, but I just had to speak to you.

[E]

It's five in the morning. Don't you know it's a criminal offense to wake me up at 6:30?

[A]

Santa was again, sir? Never again, sir, If I had for a son. It's Mr. Constance. What's Mr. Consciousness on your boarder, sir. You know him, don't you? That nice young man from the West End.

[E]

Uh, what about him, Mrs. Bradham?

[A]

Oh, it's awful, Mr. Bradham. One must come over and see him right away. He's dead, poor chap.

[E]

Dead? Well, if he's dead, why should I take calling the doctor or the police?

[A]

You're the police.

[E]

I'm not anymore, Mrs. Bradham. I live in with the yard for two years. Now calm yourself and get in touch with an undertaker.

[A]

Oh, I can't do anything, Mr. Braddon. You know I'm mortally afraid of the dead.

[E]

All right, all right, I hope. Give me a chance to get into the clothes and I'll be over 6:45 minutes.

[A]

Thank you ever so much, Mr. Gordman. But if it's just the same to you, I'll wait for you right here. It's up here on the second floor, Mr. Grodman. I was supposed to serve him his breakfast at 6:30, but he never came out of his room.

[E]

Which one is it?

[A]

This one, sir. You see, the tray's still there. I left it on when Mr. Constant didn't answer.

[E]

What makes you think he's dead, Mrs. Bram?

[A]

Well, he must be dead. Something. The door's locked on the inside and he won't open it.

[E]

I. Mr. Constance. Mr. Constant.

[A]

Oh, I'm not loud on that, Mr. Broadman.

[E]

Did you try the door?

[A]

I did everything, sir.

[E]

Well, in that case, you better let me have your key.

[A]

My key won't Open this door, Mr. Broadman. Not when it's locked on the inside. Still have to force your way in.

[E]

Perhaps you're right.

[A]

Be careful, sir. Don't arm yourself.

[E]

It's coming now. One more try. Therehere we are. Mr. Constance. Mr. Constance.

[A]

Isn't he in there?

[E]

He doesn't seem to be. Oh, just a moment, Mrs. Bradham. Don't. Don't come in here. Don't come in here, please. It's not a pretty sight.

[A]

Oh, good don't let me see it.

[E]

Now quick, Mrs. Bradham. You run downstairs and call the police. His throat's been cut.

[A]

You mean he committed suicide?

[E]

Well, I can't say that as yet. It might be suicide. On the other hand, it might be murder.

[A]

Oh, the pity of it, Mr. Grubman. The terrible pity of it.

[E]

Now dry your eyes, madam. You can't be of any assistance to Inspector Corlys, who burst into tears every time he asks you a question.

[A]

But he was such a nice young gentleman, married sector, not a bit of fuss to him. Never a day behind on his rent.

[D]

When did you see him last, Mrs. Madam?

[A]

Last night, about 8 o'. Clock. I turned his face down over there, but little did I expect.

[E]

I know, I know.

[D]

Were the windows open when you left, Mrs. Durham?

[A]

I don't believe so, sir. I can't be sure. But I think they were locked just as they are now.

[D]

You didn't text them this morning, did you?

[A]

How could I, sir? I haven't been in here this morning. Not until you called me.

[E]

He's right, Inspector. I didn't allow anyone into the room until the police got here.

[D]

All right, Mrs. Berry. May I guess that'll be all for the present?

[A]

Oh, thank you, sir. And I do hope you find out what happened to poor Mr. Constance. He was such a nice young man.

[E]

If that woman sniffles again, I'll strangle her with my bare hands.

[D]

Patience, patience, Mr. Brodman.

[C]

Even if you are an author now.

[D]

You must remember you're still a Scotland Yard man at heart.

[E]

I'm nothing of the sort, Inspector. I never could stand talking to women. And I wouldn't now. As if he found his case one so baffling.

[D]

Baffling?

[E]

Don't tell me.

[D]

The great Mr. Drotman, Ms. Cuttle.

[E]

Listen to me, Cawley. We've been over this room with a fine tooth comb. And the razor or the knife that killed Constance still hasn't turned up. King.

[D]

Well, that doesn't alarm me particularly.

[E]

Well, it should now. If Constance committed suicide, that raider would be here. A man that slashes his own throat hasn't time to conceal the weapon he did it with.

[D]

Granted, but Constant might have been murdered.

[E]

If Constance were murdered, how did the murderer get into this room? Through the locked windows or through the door I had to break down?

[D]

No, I feel to see your point.

[E]

You usually do.

[D]

No, no, Godman, don't be sarcastic. After all, this isn't your case. And in spite of the high opinion you have of yourself, the Yard still manages to function without you.

[E]

Don't change the subject. Call it. This isn't a matter of personal rivalry anymore, now that I've left your organization.

[D]

Sorry to contradict you, but you didn't leave the Yard. You were retired. The old man and I were afraid you were slipping. That's why we retired you, so you could sit at home and write books.

[E]

Well, it wouldn't hurt you to read some of those books. Especially at a time like this.

[D]

Don't worry. God, I'll handle this case myself, thank you. And solve it according to my usual method.

[E]

Very well, Mr. Inspector, I'll bow out. But if you handle this case according to your usual method, I doubt if you will ever solve it. All right, all right, I'm coming. I'm coming.

[A]

Yes, Mr. Gardner.

[E]

Oh, naturally, yes, that's what my mandalate says. Well, I come to the point, young woman. Your name is Dean, you live in Berkeley and you've come to see me about the Constant case.

[A]

Good. Deborah. How do you know Eliza?

[E]

And twice today my maid told me all about it. Now, come in, won't you?

[A]

Oh, thank you.

[E]

Why, a pretty little thing, aren't you? Won't be a frown so much.

[A]

Mr. Crockett, would you help me? Something about. You see, I know something about the key. Eric Carson was a friend of mine one time. We were very fond of each other.

[E]

How long was this?

[A]

Quite recently. Very sweet. Broke off quite recently. Just about a week before the murder.

[E]

What murder?

[A]

Why do you know? Eric was Keyleth, wasn't he?

[E]

I don't know. Do you?

[A]

Well, I. I understand he was. At least Inspector Call. He led me to believe.

[E]

Oh, Mr.

[D]

Call.

[E]

He's been over to see you, I guess.

[A]

Yes.

[E]

I was wondering how long it would take him to find out about you and Eddie. Constables.

[A]

You knew? We will see.

[E]

Don't be surprised, young woman. Mrs. Bradham told me all about it.

[A]

Mrs. Bradham?

[E]

The landlady. She not only has a big mouth, long years to go with.

[A]

Well, I have nothing to hide.

[E]

In that case, Inspector Corley won't harm you.

[A]

But you see, I wasn't worried about myself. It's Tom I was thinking about. Tom Mortlake.

[E]

Who is Tom Mortlake?

[A]

Why, a friend of mine.

[E]

Another friend.

[A]

I'm sorry? I said. You haven't forgotten. He's more than just a friend. Promise. The man I'm going to marry.

[E]

Now that's more like it. Tell me, what's Tom and Eric rivals to your hands, so to speak?

[A]

Well, more or less. But Tom didn't kill him.

[E]

Now, now, now. Now just you answer my questions, Mr. How do work out on him?

[A]

Nothing as yet, except, except the fact that he and Eric had an argument the night before the murder.

[E]

Will you please stop calling it a murder? You'll have me believing it was in a moment. Say that the argument takes place in.

[A]

Tom's apartment about 7 o' clock in the evening.

[E]

That was your.

[A]

I was in the apartment when it happened.

[E]

Do you suppose I can find Tom there now?

[A]

Yes, I believe he's home, Mr. Godman. Will you go over and see?

[E]

I will if you answer just one more question.

[A]

What is it?

[E]

Tell me, Ms. Deane, what makes me so sure Tom Mortley did not commit a murder?

[A]

I know he didn't, Mr. Godman. I know. Because.

[D]

It was a mistake, Mr. Cartman, a stupid mistake. And, and there's nothing I can do about it now.

[E]

Oh, I wouldn't say that, Tom. If a man lies so please. And he has a right to rectify that lie.

[D]

Don't you see, sir? It won't do any good.

[C]

I, I, I shouldn't have lied in the birthday.

[D]

Why did you? Well, I, I, I was afraid.

[C]

I read about Eric's death in the.

[D]

Papers the morning it happened.

[C]

I was sure the police would come.

[D]

To me sooner or later because of.

[C]

That argument we had the night before.

[E]

You made up an anifi for yourself.

[D]

I had to do something, Mr. Godman. I, I had no way of proving I didn't kill Eric. I, I mean, I, I couldn't prove I was right here in my room when it happens.

[C]

Or so I said I was out.

[E]

Of town, Inspector Corley. But you are. Up and down and every which way.

[C]

I never made such a mess of anything in all my life.

[E]

Well, now, I wouldn't worry too much.

[D]

About it if I were you.

[E]

As long as you're not hiding anything else from me. You're not, are you? Well, there is just one more thing I haven't told you. I used to live at Mrs. Bradham's room. When was this?

[C]

About six months ago. I, I have the same room Eric's with.

[E]

Well, I must say that's a strange coincidence. Coincidence?

[D]

It's worth the map, Mr. Godman, unless you can help me. It's the one thing that's going to put a noose around my neck.

[C]

Show me.

[E]

A fool, Tom. This is England. You won't hang for a murder you didn't commit. Mr. Morphen up, Mr. Mortgage. Inspector.

[A]

Paul.

[D]

In here. Just a moment.

[E]

Yes, Inspector, what is it?

[D]

Come with me, young man. You're Wanted for the murder. Very constant. Rod Range will be back in just a moment with the second act of tonight. Paul Mar drama from the pages of the Reader's Digest, America's favorite magazine.

[C]

And now, here's Dick Dalmer. You know, when a woman is seated in a restaurant, she almost always drapes a coat over the back of a chair. And I wonder if you've ever noticed how many other women casually glance at the label in her coat. Yes, most everyone notices labels in greeting. Todd, too. It's natural, folks, to look on the back for the mark of the maker. And when you send or receive a card identified by the word a Hallmark card, you can be proud of it. Those three words are a sign of outstanding quality. Because for more than a third of a century, creating cards of finest quality has been a habit with a maker to fall mark cards. Yes, the three identifying words, a Hallmark card. Tell your friends you cared enough to choose the very best. So when you select cards for any occasion, always look in the back for.

[D]

The words Hallmark cards. These three words, like sterling on silver, are your assurance of highest quality. You will find Hallmark cards on display in America's finest.

[C]

So when you want to send a.

[D]

Card, always do what discriminating folks are doing. Go to your friendly Hallmark dealers for a Hallmark card.

[C]

Because those three identifying words, a Hallmark card, tell your friends you cared enough to choose the very best. Standing on opposite sides of a wire screen, Tom Mortlake and his visitor, Mr. Grodman, convert as best they can in the prison where the young man is being held for murder. Presently, a guard appears to terminate the interview.

[D]

Time's up, Mr. Godman.

[C]

All right, Dan.

[E]

I was just about to go anyway, so could you tell Vara I was asking for. Why, of course, Tom. And you won't have to ask ask for her very much longer. With any luck at all, I'll have you out of here this afternoon. I'm ever so much obliged. Not at all. Good. Well, thank you.

[D]

Well, well, Mr. Brodman, actually.

[E]

Well, well, Mr. Corley. I appreciate you're just a man. I wanted to see her. Come here, you old goat.

[D]

I got to talk to you. Well, for heaven's sake, men, you don't have to clap me by the collar.

[E]

Lucky I don't grab you by the throat.

[D]

Listen. Listen to me.

[C]

Call.

[E]

Have you gone completely out of your mind?

[D]

I beg your pardon?

[E]

Don't stand there with your mouth gathering air.

[C]

You know what I'm talking about.

[E]

That Mortlake boy, are you seriously charging him with the murder of Eric Constance? I am by what rights? You can't even prove a murder was committed.

[D]

Well, perhaps I can't just now, but I shall by the time we go to court.

[E]

You have the audacity to go to court on the flimsy thread of evidence you've strung together?

[D]

It's not as flimsy as you think, Rodman. Mortlake had a key to the murdered man's room.

[E]

Oh, he killed him with it, I suppose.

[D]

No, no, he didn't kill him with it. But he might have used it to sneak into Colston's room and locked the door from the inside. Nonsense.

[E]

If Mortlake had locked himself in, he couldn't have gotten out.

[D]

Well, not necessary. There's such a thing as leading through a window and locking it from the outside.

[E]

Have you ever performed this feat of legerdemain?

[D]

No, but there are people who can. As a matter of fact, I plan to have gone in the courtroom when we go to file.

[E]

Or you're deliberately trying to frame this boy on insufficient evidence. And if you persist in going to court, I shall disgrace you in public.

[D]

I don't believe you can, old man. Either as Godman the author or as Godman the former Inspector of Scotland Yard.

[E]

Listen to me. On page one of my book you'll find three questions which must be answered before a murder can be solved. When? Where? How? Now? Do you know when this so called murder was committed, Mr. Inspector?

[D]

Approximately, yes.

[E]

What time?

[D]

Well, according to the coroner's report, the time of death was established at 7 o' clock in the morning.

[E]

Oh, quite sure it was seven o'?

[A]

Clock?

[D]

Positive.

[E]

I see. Now if that's true, Tom Mortlake wouldn't have had time to commit the murder and get away without being seen.

[C]

Why?

[E]

Because at 7 o' clock on the morning in question, I had already broken into the dead man's room.

[A]

Any news yet, Mr. Crodman? You've the jury's still.

[E]

No, no, no, Ms. Dean, don't worry about the jury. It takes time to deliberate a case of this sort. After all, a man's life is at stake.

[A]

Mr. Crotland. Did anything happen to Tom? I think I could tell.

[E]

I don't talk that, my girl. From a professional standpoint, the trial's been a farce from beginning to end.

[A]

You think so?

[E]

Why of course the Crown didn't prove anything. A lot of hocus pocus about locking a door from the outside. Grandstand play, that's all that is.

[A]

But suppose it works?

[E]

It cannot work without the murder weapon. Corley hasn't got a leg to stand on. And that's why he put on such a big show. To save his skin at the Yard. The old butterhead he had. In his sense, he never would have taken the case to trial.

[D]

I heard you, Mr. Gro.

[E]

Well, I'm delighted you did, Mr.

[D]

Inspector.

[E]

If you'd listened to me in the first place, you might not have had all this trouble.

[C]

What trouble?

[E]

Don't lie to me, Corly. Doesn't become you. You know very well this Mortlake affair will finish you at the Yard.

[D]

You still think he's innocent, Gram?

[E]

Innocent? I'll state my professional reputation on it.

[D]

You better not. Some Mortlake was just convicted of murder.

[E]

The talk. I beg of you, don't allow this verdict to stand. If that boy goes to the gallows, it'll be the greatest miscarriage of justice in the history of England.

[D]

I can't say that I agree with you, Mr. Brodman. But even if I did, what can I do about it?

[E]

Any number of things. Perhaps, as Home Secretary, you can set the verdict aside. You could declare a mistrial. You could pardon the prisoner. And you could arrest Inspector Corleif or willful and deliberate misses of his knowledge of the crime.

[D]

Here, here, now. I can't have you say such things in my office. Some Mortlake was given a fair trial. Mortlake was convicted by a jury of his peers.

[E]

Bakers, Said Talbert. Bakers, tailors, laundrymen, candlestick makers. These are the men who convicted Mortlake, sir.

[D]

In this country, the opinion of those.

[E]

Men is the law of the land. But if the opinion of our countrymen is what you want, why don't you look at this petition? It's signed by 10,000 of our citizens. And every one of them has sympathized up with Tom mortley.

[D]

I'm sorry, Mr. Grodman, but petitions of.

[E]

This thought have no standing in our court.

[D]

The execution will take place at dawn.

[A]

Cup of tea, Mr. Grubman?

[E]

Thank you, Mrs. Bradham. Hoping to make it.

[A]

That's all, sir. I'm glad to be of service to you, especially at a time like this.

[E]

Yes, you. You seem to be quite nervous, Mrs. Bradham.

[A]

Good, Evans. I'm petrified. I don't know what I'd have done if you hadn't called me over here and asked me to sit up with you. I never could have spent the night alone in Miono.

[E]

What would you have done?

[A]

Well, I. I don't know. I just can't help thinking about that nice young man.

[E]

Which nice young man?

[A]

Well, both of them, I guess.

[D]

Except that it.

[A]

It's odd to think of a convicted murderer as a nice young man.

[E]

Why? Don't nice people ever commit murder?

[A]

I shouldn't think so, Mr. Godman. Well, I mean. Well, heaven's sake, what are you staring at me for?

[E]

I wasn't staring at you, Mrs. Bradham. I was just peering into your mind.

[A]

Goodness. What's that?

[E]

Telephone, Mrs. Bradham. Now, don't shake so. I'll get in. Yes?

[A]

Mr. Godlan, this is Violet Deane.

[E]

Oh, yes. Yes, my dear.

[A]

It's no use, Mr. Groton. The warden won't do the same.

[E]

I see.

[A]

Isn't there anything else? Isn't there any way we can save him?

[E]

Now, now, now, now, now, now. Don't cry, Viola. It isn't over yet.

[D]

Not yet?

[A]

What do you mean?

[E]

I mean there's still a way of convincing Sir Talbot that Tom isn't guilty. By getting a confession from the one who is guilty. Hey, Mrs. Bram.

[D]

Quick, get your coat on.

[A]

What?

[E]

Get your coat on, I said. You and I are going to the Home Secretary's office to free an innocent man. Open up in there. Open up.

[D]

Good heavens, Robin. What's the meaning of it?

[E]

Oh, stand aside, Mr. Cory. Mrs. Bren. I've got to teach a Talbot.

[D]

See me at a time like this. We've got our handful tonight.

[E]

Yeah, but I've sold the murder, Inspector. I know who did it and exactly how it was done.

[D]

Walton, will you get out of here?

[E]

What's the matter with you, Mr. Corley? Don't you want to see justice done? Or are you afraid it'll ruin your reputation at the Yard?

[D]

You blackguard. Your story for time. You haven't any new evidence.

[E]

Haven't I? This is Badam. Turn the razor.

[D]

What razor?

[A]

This one, sir.

[D]

Waiker. What on earth is that?

[E]

That, Sir Talbot, is the murder weapon. The razor that killed Eric Constance. An examination of the blood stain or prove it beyond any doubt?

[D]

Where is your gift, Ms. Grogan?

[E]

I found it in a coat pocket with the suit I was wearing on the morning of the murder. The murderer put it there.

[D]

But it is preposterous. You were with me on the morning of the murder.

[E]

Exactly, Mr.

[D]

Inspector.

[E]

I was with you and Mrs. Bradham. But you see, Mrs. Bradham was downstairs phoning the police when the murder was committed.

[D]

Good heavens, Brougham. Have you taken the offensive?

[E]

Not at all, Mr. Corley. You know yourself what an unusual case this is. Only someone who spent a great deal of time at the Yard can understand the purpose of this crime. The insidious reason it was committed.

[D]

What are you driving at?

[E]

Revenge, Mr. Inspector. The murderer was obsessed with the idea of getting revenge on the Yard. Because the old man didn't think he was much good anymore. That's why he wanted to leave them with a case that just couldn't be solved. The perfect cost.

[D]

Are you out of your mind? Do you think I care that it.

[E]

Constitutes If I you killed Eric Constant, I would not be here, Mr. Inspector. Don't you understand? Eric Constant wasn't dead when I broke open his door on the morning of the murder.

[A]

What?

[E]

He was sleeping peacefully in his bed. Under the influence of a drug he'd been given the night before.

[A]

But, Mr. Godman, if Mr. Constant wasn't dead when you opened the door, when was he killed?

[E]

Immediately afterward. Mrs. Bradham, I knew you wouldn't out step into that room after what I told you. And when you went downstairs to phone the police. I committed murder.

[A]

Good Lord. Why?

[D]

Why?

[E]

Because I never got over being retired by the Yard. I wanted to see you idiot squirm and fume over a case you couldn't solve. I counted on your stupidity, Mr.

[D]

Inspector.

[E]

But I never thought you'd be stupid enough up to convict an innocent man.

[D]

Thank you.

[C]

Broad range for an exciting performance. You know, ladies and gentlemen, Mr. Rains was born in London. Not very far from the scene of tonight's Hallmark drama. But many years ago he became a naturalized American citizen. I've sometimes wondered what prompts a man to do that. And now I have an opportunity to find out. Would you mind telling us, Claude?

[E]

Yeah. I'll tell you what prompted me, Dick. It's quite simple really. I love this country. I think there's a kind of special devotion that a man gives to the nation of his own free choice. I feel a great deal the same way about America. As a celebrated French writer, Andre Moorewhile feels about America as he expressed it in the Reader's Digest. I embrace America. I salute its courage and audacity. Its kindliness and goodwill. Its turbulent energy and unquenchable death. I love America because I find here freedom and disappointment. Crises that drive other people to revolution are solved here by orderly, democratic methods. I think I love your country because it is the great hope of mankind. I surrender my affections to America because of its unconquerable habit of laying down its life and treasure. To maintain the forces of good in the world. Against the warm earth of America. Fertile with new strength and promise, I lay my heart to beat.

[D]

Thank you again. Here's a suggestion to help you in choosing your Christmas cards this year. Go to your friendly Hallmark dealer for Hallmark Christmas cards.

[A]

Cards.

[D]

You can select your cards quickly or at leisure.

[C]

And if you want his help, you'll.

[D]

Discover he's glad to assist you in suggesting just the right cards for you from his wide selection of Hallmark. Wide selection of Hallmark Christmas cards.

[E]

And remember, at Christmas, as always, there's.

[D]

An extra satisfaction in sending cards identified by the three words a Hallmark card. For those three words, tell your friends you cared enough to choose the very best.

[C]

You're cordially invited to be with us again next week at the same time for another fine dramatic program brought to you by the makers of Hallmark greeting cards, America's favorite greeting cards. At that time, you'll hear the tender and inspiring love story of Nathaniel Hawthorne and his wife, Sophia. In order to cast these exacting roles, Hallmark has drawn upon both Hollywood and the New York stage. From Broadway, we have the brilliant young star of Dream Girls, Live Spirit and, yes, my darling daughter Hala started. And from the motion picture Capital, by way of the Army Air Corps, we're presenting one of your favorite leading men, Gene Raymond.

[D]

Rod Rains can currently be seen in the Warner Brothers picture Deception. Murder in the Big Bow was dramatized by Robert Sloan from the Reader's Digest, America's favorite magazine. The Hallmark program was directed by Mark Loeb with music especially composed by Jack Meller. Remember, a Hallmark card will best express your perfect taste, your prospect taste, your thoughtfulness. Tom Shirley speaking. This is tv, Tom Shirley speaking. This is dbs, the Columbia Broadcasting System, the WBB American.