Sinister Errand by Intrigue

Summary

Relic Radio Thrillers: "Sinister Errand" by Intrigue

Original Air Date: August 14, 1946
Podcast Release: December 5, 2025
Featured Star: Vincent Price as Michael Kells

Overview

This episode of Relic Radio Thrillers presents “Sinister Errand,” a taut World War II espionage drama from Intrigue, a short-lived 1946 CBS radio series. Set in blackout-era London amidst deadly rocket attacks, the story follows British agent Michael Kells (Vincent Price) as he risks everything to track a murderous spy ring. A tale of coded clues, shifting allegiances, and double agents, this episode exemplifies classic cloak-and-dagger radio with atmospheric tension and sharp dialogue.

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Key Discussion Points and Plot Breakdown

Atmosphere & Setting: London Under Siege (03:09–04:26)

• London is depicted as a city on edge, plagued by V-1 “buzz bombs.” The terror of these indiscriminate attacks is palpable.
  • Quote: “One of those new buzz bombs landed in the end of Mulberry street the other night. ... Only one thing has saved us so far. ... If their agents ever get reports through to Berlin ... that will be the end for England.” — Belgian cab driver, [03:09–04:12]

The Assignment: Michael Kells’ Mission (02:29–02:49)

• Kells is given shadowy instructions by his chief, Collison: avoid direct contact, follow coded steps, and trust no one.
  • Quote: “Take a cab at the first stand, third in the rank. Tell the driver Mulber Street. If it's the right man, he won't ask the number. He'll know where to drive.” — Collison, [02:34]

The Murder: Sammy Carew’s Death (06:18–06:51)

• Kells arrives at a safe house to find his contact, famed British intelligence agent Sammy Carew, murdered amid a ransacked room.
  • “I was the one who got the start. Lying face down on the floor ... a knife handle sticking out ... was Sammy Carew.” — Michael Kells, [06:18]

Clues and Contacts: Music Halls, Feathers & Auntie (07:14–09:19)

• Kells meets “Auntie” (disguised as Madeleine Leclerc, a music hall performer) and follows a trail of clues—a heap of feathers, a coded address—to the “Heap of Feathers” pub.
• Encounters with characters such as Janine (Sammy’s secret wife) and The Great Ravelo (master impersonator).

Espionage and Double-Crosses (10:00–13:16)

• Kells discovers that almost everyone around him has ulterior motives or false identities.
• Janine is revealed as Sammy’s wife, deeply entangled in the spy network.

Moral Ambiguity and Trust Issues (14:03–15:22)

• Kells debates methods and ethics with the brutal Ernie Guelvada, a Belgian agent with a reputation for ruthless interrogation.
  • Quote: “There’s only one way to make a German talk ... blow torches, hot spikes under the fingernails.” — Guelvada, [14:03]

The Test: Guelvada’s Trap for Janine (16:11–17:56)

• Janine’s nervous reaction to Guelvada’s name confirms her guilt in the eyes of the spies.
  • Quote: “Watch her face when you tell her my name is Guelvada. ... If she does not turn at the chartreuse, then my name is Heinrich Himmler.” — Guelvada, [15:27]

Official Intervention & Deceptions (18:22–19:33)

• A high-placed official calls to vouch for Janine, introducing further confusion. It’s later revealed this was a trick—voice impersonation used to mislead the agents.

The Final Search and the Hidden Envelope (20:09–21:33)

• The vital microfilm—containing enemy rocket data—is finally located hidden in “Auntie’s” apartment, inside a photo frame.
  • Quote: “The face in the picture was grinning at me ... a hasp on the back of it fell out ... I thought it was the envelope Sammy was killed for.” — Michael Kells, [21:11]

The Showdown: Confrontation at the Theater (21:30–24:03)

• The Great Ravelo, revealed as a top enemy operative, tries to seize the envelope. Kells and Guelvada turn the tables by forcing Ravelo to summon the enemy unit via voice impersonation—luring them all into a trap at the Seven Arts Theatre.
  • Quote: “Decoyed them all into the cellar and locked them up there.” — Collison, [24:07]
• The timely Allied bombing of the theater ensures the end of the spy ring.

Coda: Betrayal and Emotional Aftermath (25:27–27:50)

• Janine, the last enemy agent and Kells’ romantic interest, confronts him. It’s revealed she killed Sammy and has been playing both sides.

• In a bittersweet ending, Kells exposes her and arranges her arrest—all while acknowledging the human wreckage of spy games.

  • Quote:
    • “I don’t mind your being an enemy agent ... I mind the way you stab Sammy Carew in the back.” — Michael Kells, [26:28]
    • “In wartime everything gets over faster: life, love, hatred, grief.” — Janine, [26:05]

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Notable Quotes & Memorable Moments

• Wartime Suspense:
  • “That’s one of the new rocket bombs.” / “Coming this way too.” / “No warning comes, too fast. No time for—” [03:38]
• On Espionage:
  • “Espionage business is nothing but misunderstandings in love affairs.” — Guelvada, [13:58]
• The Deep Cost:
  • “In wartime everything gets over faster: life, love, hatred, grief.” — Janine, [26:05]

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Important Timestamps

• [03:09–04:12]: London’s constant peril from buzz bombs explained
• [06:18–06:51]: Discovery of Sammy’s murder and the first coded clue
• [09:19–10:16]: Music hall and spy subculture details
• [15:27–16:11]: The “Guelvada” test set for Janine
• [20:09–21:33]: The microfilm’s hiding place is discovered
• [21:30–24:03]: Enemy unit is trapped by voice impersonation and ambushed
• [25:27–27:50]: Emotional confrontation and Janine’s arrest

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Tone & Language

The script is laced with the classic clipped British dialogue and sardonic humor seen in 1940s thrillers, where personal danger is shrugged off and death is met with wit.

• Vincent Price as Michael Kells provides a dry, occasionally world-weary delivery, balancing irony and gravitas.
• Supporting characters display a blend of dark humor, stiff upper lip, and emotional vulnerability appropriate to the war-torn setting.

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Summary

“Sinister Errand” is a masterful example of radio noir, blending suspense, real wartime fears, and the shadowy world of intelligence. Vincent Price’s Michael Kells navigates a deadly web of codes, betrayals, and shifting loyalties, ultimately exposing a traitorous network through cunning and teamwork. The episode is distinguished by its atmospheric realism, sharp dialogue, and poignant reflections on the costs of war and espionage.

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For further episodes and Old Time Radio adventures, visit RelicRadio.com.

Transcript

[A]

Relicradio.com presents stories of mystery and intrigue, espionage and suspense. Hear tales of ticking time bombs, mysterious crime scenes and cloak and dagger action. This is Relic Radio Thrillers.

Welcome back to Relic Radio Thrillers. We're going to hear from a short lived summer replacement series this week titled Intrigue. Seven episodes were aired in the summer of 1946 over CBS stations. This one features Vincent Price. It's titled Sinister errand. It aired August 14, 1946.

[B]

CBS presents Intrigues tales of espionage, manhunt and high adventure. With Vincent Price as this evening star.

[C]

This is the exciting and sinister story of a little group of British undercover agents fighting against desperate counter espionage. Hazarding their lives against the unseen and unknown forces of enemy operatives in the heart of blacked out London. When the fate of the world hung on the outcome of a game played by a handful of ruthless men and women. Come with us once again on a journey into the shadowy, uneasy fascinating land of intrigue.

[B]

With Vincent Price, star of Dragon Wick in the role of Michael Kells. The Columbia Broadcasting System presents Sinister Errand. This evening's story of intrigue.

Carson speaking.

[C]

Jack, it's Michael Kell.

[B]

I know it.

[C]

I just got off the boat train. Shall I come around to your office?

[B]

By no means. Take a cab at the first stand, third in the rank. Tell the driver Mulber Street. If it's the right man, he won't ask the number. He'll know where to drive.

[C]

Now look here, Jack. You aren't starting me off on another job so soon, are you?

[B]

You guessed it, lad. And we'll contact you from now on. Don't telephone me again under any circumstances.

[C]

Wait a moment, Jack.

[B]

What's up?

[D]

Who's my contact?

[C]

Are you there, Jack? Hello.

[D]

Hello.

[C]

There too, sir. Mulberry Street.

[B]

Yes, sir.

Been away long, huh?

[C]

Somebody tell you to ask me that?

[B]

One of those new buzz bombs landed in the end of Mulberry street the other night. Maybe you will be surprised when you see Mulberry street, huh?

[C]

You're not English, are you?

[B]

I'm Belgique.

[C]

Belgian, eh? Been here long?

[B]

Maybe somebody told you to ask me that.

[C]

I say, why are you stopping here? Now don't try anything, my Belgian friend.

[B]

Please put away the gun. Makes me nervous. Speak up.

[C]

Why did you stop here? Listen.

[B]

You hear that?

[C]

A buzzing sound. That's one of the new rocket bombs.

[B]

Coming this way too.

[C]

But why?

[B]

No warning comes too fast. No time for.

[D]

Stopped.

[B]

What's happened? That is the way they work. The mechanism shuts off just before they land.

[C]

Taking It a long time. Maybe it's a dud.

[B]

Do not be nervous. You will get accustomed.

Whew.

[C]

What a blast.

[B]

Now maybe you begin to see what things are like in London. Only one thing has saved us so far.

[C]

Oh, what's that?

[B]

They do not know how close to their targets these things are hitting. So far their agents have not been able to get any reports through to Berlin on it. If they ever do, they will be able to aim them accurately and that will be the end for England.

[C]

I should think Herr Himmler would be sending some of his very smartest agents over here to accomplish that mission.

[B]

Apparently, that has already been done. They have set up a special unit outside the regular espionage services. Created an entirely new field of activity, you understand. As yet unknown to our interceptors and counter agents.

[C]

So that's the way of it, eh?

[B]

That is the way of it, Mr. Kells. That is their sinister er.

[C]

Who is it?

[B]

The waiter, sir.

Your coffee, sir.

[C]

Oh, thank you. Put it down there anywhere. Yes, sir.

[B]

Unpack your bag, sir?

[C]

Later on, if you like.

[B]

You came in so late and just after the buzz. Vomit with all the excitement. I'm afraid we've rather neglected.

[C]

You know where it is?

[B]

If I did, I wouldn't say, sir.

[C]

Good for you.

[B]

I brought you the breakfast menu, sir. Have a look, sir. This item, for instance. Chef recommends it.

[C]

Oh, yes? Well, sir. Tell your chef I'll try that item.

The item was an address scribbled in pencil on the menu. 23 Canoe Street. It had the look of a shabby lodging house. I went in and climbed the first flight of stairs. At the top of it, the door of a room was standing open and something inside caught my eye. It was a necktie hanging over the mirror post of an ugly fumed oak dresser. The tie was a nice heavy Spittlefield silk in gray and black. The sort of thing Sammy Carew always used to wear. That was my contact then. Sammy Carew, one of the best agents in British intelligence. I tiptoed into the doorway, hoping to give him a start. And then.

I was the one who got the start. Lying face down on the floor in the middle of the room, a knife handle sticking out of the small of his back was Sammy Carew.

I took a quick look around the room. Sammy's clothes were scattered about in utter confusion, pockets cut, linings ripped out. The mattress on the bed had been ripped open and disemboweled. A few feathers from the pillows still floated in the air. Then I noticed a peculiar thing.

[B]

A trail of blood led from the.

[C]

Bed to the place where Sammy had fallen. And a few inches from his outstretched hand there was a bowl heaped high with feathers. I picked it up and examined it. Nothing there. Just a heap of feathers. Suddenly I heard a step behind me and wheeled around.

[D]

Who are you? What's happened here?

[C]

Looks as if someone had been murdered. Who are you?

[D]

Oh, no, it's not Sammy.

[C]

That was the name I knew him by.

[D]

Oh, my poor boy. My poor, poor boy.

[C]

You knew Sammy quite well.

[D]

I'm. I was his aunt.

[C]

Sammy's aunt was 5ft 3 inches tall with gray hair. You're about 5ft 7 with red hair.

[D]

Bad guess, my boy. I'm 5 foot 4 and my hair has dyed. And people have been known to have more than one aunt.

[C]

Sammy never mentioned having another aunt.

[D]

Probably because I've spent so much time on the continent. I'm in the theater, you see.

[C]

What theatre of operations would that be, Auntie? Or would you rather not say?

[D]

Oh, good heavens, I'm not ashamed of it. I do a turn in music hall. My stage name is Madeleine Leclerc. Which reminds me, I shall have to be getting along to theatre now. In spite of this tragic affair. The show must go on, you know.

[C]

I'll tag along if you don't mind, Auntie. I'd like to see your act.

[D]

Oh, but this terrible thing here. Won't the police have to be called, Auntie?

[C]

I'm no more anxious to answer questions for the police than you are. Sammy's dead. It can't be helped. So on with the show.

One thing she told me wasn't a lie. She was really a performer in a music hall. I dropped her at the stage entrance and dismissed the cab. One of the posters on the front of the theater had a portrait of Auntie on it, surrounded by pigeons. Twice Madame de Klerk and her educated dove. She shared top billing with the great Ravalo, the man with a hundred voices. The matinee was sold out completely. An escape for a war wearied London. I started walking up the street toward the corner, taking my time. Then I saw something that made me walk faster. It was the sign that hung over the entrance to the corner pub. The name was the heap of Feathers. When Sammy arranged that heap of feathers in the bowl before he died, he must have meant to steer me to this place. I walked into the saloon bar, a heap of feathers, and looked well.

[D]

Whiskey or bitters?

[C]

Whiskey, if you please.

[D]

Yes, sir. Milk, sir?

[C]

Thank you. Tell me, have you seen a chap in here lately? Sammy Koo?

[D]

I'VE seen him today, sir.

[C]

Well, thank you anyway. Excuse me. I might be able to help you.

[B]

Sir, I am the Great Ravello.

[C]

Oh, yes, I know. I recognized you from the poster in front of the theater. You know Sammy? Only casually. He's the nephew of the woman who.

[B]

Does the turn just after mine.

[C]

Did you talk to her this afternoon?

[B]

No, I did an impersonation of her doves and she didn't like.

[C]

No. You do bad calls as well as ventriloquism?

[B]

Not ventriloquism, my dear fellow. Impersonations. There isn't a man who figures in the news today whom I cannot imitate in voice.

[C]

Well, that's very interesting, but look here. You said you might be able to help me out about Sammy Carew? Oh, yes. He was in here last evening.

[B]

He left with Janine.

[C]

Janine? Who's Janine?

[D]

Who's Jani?

[B]

It's plain to see you don't know.

[C]

This neighborhood very well. Do you know where she lives?

[B]

Verity street, number 16.

[C]

Yes, Ms. Janine.

[D]

I'm Janine.

[C]

I'm a friend of Sammy Carew's.

[D]

Oh, you better come in.

What about Sammy?

[C]

He's been murdered.

[D]

You. You must be joking.

[C]

No, I'm not joking.

[B]

Oh.

[D]

Oh, no.

[C]

There, there. You must have liked him a lot.

[D]

I love.

When. When did it happen?

[C]

You and he left the pub called the Heap of Feathers, arm in arm last night. A short time later, someone stabbed him in the back. It might have been you, Jenny.

[D]

Are you from the police?

[C]

Do I look like a policeman?

[D]

No. No, you don't. See here, Mr. Kells.

[C]

Michael Kells.

[D]

I shouldn't be risking this, Mr. Kells, but I have a feeling you're all right. You see, Sammy Carew is my husband.

[C]

Oh, poor Sammy. First he gets an aunt that trains birds, and now a wife that hangs out in corner pubs.

[D]

We were married in France when he was working with the Marquis. That's how I happened to come here to England. He was doing some kind of secret work for the government. I never knew much about it. After we arrived here, it was necessary for us to live in separate apartments so as to keep his identity a secret. And last night he told me he was worried. He told me about the job he'd been on. He'd stolen something from some enemy agent and he was afraid they'd kill him before he could deliver it to the people he was working for.

[C]

Did he have it with him?

[D]

I don't know. I don't know. Oh, I wish I knew what to do.

[B]

Mr.

[D]

Kelp. If Sammy had only told me more about himself. A man came here this morning. He demanded an envelope he thought Sammy had left with me. He said that unless I give it to him the next time he comes here, eat, he'd killed me.

[C]

Have you any idea who this fellow was?

[D]

I'd seen Sammy talking to him once or twice. In the heap of fetters place, A big dog man wearing a chauffeur's cap. Ernie, I think his name was. I was on my way out to tell Sammy when you came in. I'm so frightened, Mr. Kelsey. I don't know where to turn.

[C]

If it's on the level about your being Sammy's widow, I'll look out for you.

[D]

Well, I. I have everything here. All the papers.

[C]

Look.

[D]

Look at it, Mr. Kells. Does that convince you?

[B]

Okay. What's this?

[C]

Diplomatic visa. How did you rate that?

[D]

I can't answer that question.

[C]

You must have been hob nodding with the prime minister.

[D]

Please don't ask me any questions about the visa. It has nothing to do with this other business, I assure you.

[C]

Well, you're Mr. Sammy Carew. All right.

[D]

That's what I wanted you to be sure of. You will help me, won't you, Mr. Kells?

[C]

What do you want me to do?

[D]

I want you to find that envelope.

[C]

So you can give it to the.

[D]

Himmler boys so it can be delivered to the people Sanny was working for. It's the only way both parties will be convinced that I haven't got it.

[C]

I don't think you need to worry, Janine. You've certainly convinced me you haven't got it.

[D]

And you'll help me?

[C]

Yes. And the man who threatened you, the man named Ernie. You needn't worry about him anymore. I'll look after him personally.

Cap.

[B]

Sir.

[C]

Oh, it's you again. Who hired you to shadow me anyway?

[B]

Enique Velbada is his own boss. Get in, my friend. I will drive you home.

She is attractive, this shining girl, huh?

[C]

Very.

[B]

I would like to point out, my friend, that espionage business is nothing but misunderstandings in love affairs.

[C]

Look here, if you think I've fallen.

[B]

For gentle jokes, could blame you.

[C]

Wasn't that rather crude of you to go around and threaten her?

[B]

Maybe it was not crude of her to go around to Sammy's place after he was killed and ripped the place to pieces looking for the envelopes. She did that.

[C]

She did.

[B]

With her husband lying dead on the floor with a knife in his back. She goes calmly to work, then upstairs she goes to auntie's room. Not even stopping for last looks at her. Poor dead Sammy. You certainly. She is in such a hurry, she does not even stop to throw her the blind. I did not know at the time what had happened to Sammy. I could not see the floor from where I was standing.

[C]

What happened after she went upstairs to Auntie's apartment?

[B]

I could not see in those windows at all. Then you came in. And after that, Auntie. Pretty soon you and Auntie leave and I trail you to the music hall.

[C]

You've had a busy day, haven't you, Annie?

[B]

I do not like this kind of assignment. Too much of a tip. There's only one way to make a German talk. These same methods. Deals. Blow torches.

Hot spikes under the fingernails.

[C]

You're a bloodthirsty chap, aren't you?

[B]

Personally, I have never stood for any nonsense from accursed Germans. Eh?

[C]

So I've heard.

[B]

Give me one hour with that journey in an assembled room and she will tell the whole plan. Names, everything you need.

[C]

There's no proof of anything against her.

[B]

There is only one way to get it.

[C]

That's not our way. In England.

[B]

You are the boss.

[C]

Besides, how do I know you're the person you pretend to be?

[B]

Do me a favor, Michael. Take this Janine to dinner tomorrow night. Choose a place. Later on, I will drop around to your table. Watch her face when you tell her my name is Guelvada. They all turn gleam at the mention of my name. That's swine. If she does not turn at the chartreuse, then my name is Heinrich Himmler.

Sammy.

[D]

To Sammy. Rest his brave soul.

[C]

By the way, Janine, you got that chap with the chauffeur's cap all wrong. He's one of our men.

[D]

But how could he be? I told you, he threatened me.

[C]

He realized his mistake now and wants to apologize. I. I asked him to join us here later on.

[D]

Are you sure we're talking about the same person?

[C]

Of course. Ernie Guelvada.

[D]

Oh, dear. Now look what I've done. I spilled that drink all over my skirts. I have to go and filled it.

[C]

The glass was empty. There's no damage at all. What's the matter, Janine? You're trembling.

[D]

Well, I just happen to remember a telephone call. I must.

[C]

I'll have the waiter bring a phone over to our table.

[B]

Waiter. Yes, sir?

[C]

Bring a telephone. Mademoiselle wants to make a call.

[B]

Yes, sir. Right away, sir. Mighty little friend. I trust I am not late.

[C]

Just on time. You two have met, haven't you? Miss Janine? Ernie Guelvada.

[B]

Miss Jeannine, I must apologize for my behavior the other morning. Had I known that you were the widow of Cahu.

[D]

Michael, the smoke in here is giving me such a headache. Please take me home.

[B]

By the way, Michael, you remember the story I was telling you about that beautiful spy in a certain city?

[C]

What spy? What city?

[B]

You know it. Lives from Marindan Marangan. You knew her, mademoiselle. A wonderful woman. A Nazi, but beautiful. It pained me to have to torture her. But she was reluctant to give me the information I needed. And I did not have time to make love to her.

[D]

Michael, will you please take me home? I'm sure Mr. Guelado will excuse me.

[B]

I will take you in my cab. It is just outside. Brillo.

[D]

Don't touch me.

[B]

I was surely trying to assist you into your court, mademoiselle.

[C]

You're behaving very strangely, Janine.

[D]

I'm sorry. It's this headache. Please take me out of here.

[B]

Dear me, Miss Janine.

[C]

You look quite pale.

[B]

Nervous condition and positive.

[D]

Michael, send him away. I refuse to go in his care.

[C]

You're being hysterical, Janine. Now stop it.

[D]

I know what you're up to, both of you. You're going to take me away and torture me.

[B]

Why should I torture you, Miss Janine? I have definitely decided that you do not have the envelope. And so has Michael.

[C]

Come along, Janine. Get into the cab and stop this now.

[D]

No, I won't. I won't help.

[B]

Please. What the. What's the problem, Miss?

[D]

These two men are molesting me. They tried to force me into that cab.

[B]

She is in intoxicated. She does not know what she is doing. Well, it doesn't look intoxicated to me. Run along, you two, and leave the lady be.

[D]

Thank you, Officer. You saved my life.

[C]

Yes?

[B]

Michael, this is Collison.

[C]

Jack, thank heaven you called at last. Just about everything has gone wrong this past 24 hours.

[B]

I know. You got me in a deal of trouble, too.

[C]

How's that?

[B]

One moment, please. Is Downing street still on the wire?

[D]

Yes, Major Collison.

[B]

Put it on to this outside connection. Michael, are you still there?

[C]

Yes, Jack.

[B]

I'm going to let you talk to him directly, Michael.

[C]

Talk to whom directly?

[B]

You'll recognize his voice. Go ahead, sir. Are you there, Mr. Kell?

[C]

Yes.

[B]

Oh, yes, sir. Well, sir, you know I don't at all like to meddle in matters written under my affair. But a young friend of mine, a refugee in whom my wife has taken an interest, seems to think you've gotten the Wrong idea about her. It's quite hysterical. Of course, lots of talk about torture and all such nonsense could never happen in England. Well, to be brief, Mr. Kells, I personally will vouch for this girl. I'm positive that you must be quite mistaken in your ideas about her.

[C]

Yes, sir, I. Perhaps I was a bit hasty.

[B]

Be vigilant. Be vigilant, lad.

[C]

Yes, sir. Thank you, sir.

[B]

Was that connection all right, Michael?

[C]

Yes, indeed, Jack. What a connection.

The next morning, while I was having coffee, Annie Glvada brought up a letter from Collison. It was a detailed breakdown of my assignment. I was to find the envelope Sammy Carew had been killed for. It contained microfilm reductions of the Himmler unit's collated reports on the buzz bombs which would enable the enemy to perfect the aim of the new weapon. My sole job was to find out where Sammy Carew had hidden it.

[B]

Examine the facts, Michael. Once Sammy got the envelope, what is the first thing he would have done? Drop it in the mail, naturally, and mail it to headquarters. But he did not.

[D]

Why?

[C]

Well, he must have wanted to check on the contents.

[B]

So he takes it up to his apartment, but he never leaves there alive. The killers did not find it on him. So what has happened to him?

[C]

Must be somewhere in that house.

[B]

If I were semi in that spot, you know where I would hide it?

[C]

Where?

[B]

In Auntie's apartment.

[C]

You're crazy.

[B]

Where is the last place you would think of looking for something you knew had been stolen from you?

[C]

Well, it's the possibility anyway. Worth a try.

[B]

And don't look for secret panels, my friend. Look the most obviously.

[C]

After Auntie had left for the theater that afternoon, I let myself into the Canoe street house and went straight up to her apartment. The first thing that hit my eye was a framed photograph of Auntie herself in a silver frame on the mantelpiece. The face in the picture was grinning at me with that try and catch me expression of hers. I picked it up to turn it to the wall. A hasp on the back of it fell out and the glass and backing of the frame dropped on the floor. I bent to pick up the pieces and then.

I thought it was the envelope Sammy was killed for.

[B]

Thank you for finding that, Mr. Kels.

[C]

Now will you please hand it over? No, I won't. The valet. I don't like killing an agent, even a British agent. But if you force me. You thought you were very clever following me here, didn't you, Ravala? I think I've been rather clever all along the line, Mr. Kells. When I telephoned you and impersonated your chief Collison and his chief Churchill, I.

[B]

Kept you off one of my best agents for three valuable days.

[C]

Dear Janine. The envelope, Mr. Kilbs.

[B]

I'm getting impatient. This gun might go off in spite of myself.

[C]

Very amusing, Ravalo. Very amusing indeed. Why, I wanted you to follow me here. I left a trail deliberately. And Ernie Guelvada followed you every step of the way. He's standing behind you now. And he's got a gun, too.

[B]

My dear Kells, did you really think.

[C]

I would fall for that old trick?

[B]

I must be slipping. Everybody used to be frightened of me. Guelvada. Yes, it is I, Hervallo. I will take the gun now. Guelvado. Listen. I was only doing my job. I know nothing. See, Michael, how green they turn at the sight of me.

[C]

You wouldn't dare to torture me.

[B]

They would never permit such methods here in England. I just looked over this cellar under this theater. Very well constructed. Absolutely soundproof. What? What do you want me to do? Tell him what to do, Mike. Yes, tell me what to do.

[C]

Pick up that telephone, ravalo.

[B]

Do what Mr. Kells tells you to do.

[C]

Now then, Ravalo. Here's your chance to give a real performance. You're so good at imitating voices. Let's hear you give an impersonation of your chief. You're going to phone every member of your special unit. And in his voice you're going to call them together for a special emergency conference. Where?

[B]

Where shall I tell him to come?

[C]

Here at midnight. The meeting will be held in that soundproof basement.

[B]

Hello? Is that Mr. Hoffman?

[C]

Speaking.

[B]

There was quite a large fire in your neighborhood last night. Three and seven. Operation Zero. It's safe to talk. Listen closely. There will be a meeting of the entire unit at midnight tonight. The 7 Arts Theatre in Rodney Place. You will come to the stage entrance and proceed directly to the.

7 Arts Theatre in Rodney Place. Midnight.

[C]

I'll be there.

[D]

Midnight. Rodney Place. I will inform my husband.

[B]

Rodney Place, near Bulbury.

[C]

Ah, Midnight.

[B]

A special directive from the FIRA. It was the chief's voice.

[D]

Unmistakable.

[B]

Rodney, please send it out. Theater. Midnight.

A brilliant piece of work, Michael. Brilliant.

Decoyed them all into the cellar and locked them up there.

[C]

All except one, jock.

[B]

Which one was that?

[C]

A girl named Janine. A special operative who entered England on a diplomatic visa issued by a neutral coward.

[B]

Well, I shan't worry about one getting away. We got the documents and we've broken the unit. Now I'd best Call Scotland Yard and have your prisoners brought in from Rodney Place.

[C]

That can be done at your leisure. There's only one exit. An iron door, triple bolted on the outside. They couldn't even get out with a blowtorch.

[B]

We'll let them stew for a while. Ah, one o'.

[D]

Clock.

[B]

Time for tonight's buzz bump.

[C]

What's their target tonight?

[B]

Your hotel in Mulberry Street. We'll see how close they come to it.

[C]

Right. There it is now.

[B]

All right on time.

Now we shall see whether we've done for them.

[C]

Yes.

[B]

Where did it hit?

[C]

Excellent.

[B]

Excellent. That will be all.

[C]

Good night.

[B]

Well, Michael, it's safe for you to go home now. It fell quite a way short of its target.

[C]

Mind if I ask where it did hit?

[B]

Oh, Rodney Place. Just an old theater called the Seven Arts.

[C]

Janina. I didn't expect to find you here.

[D]

Don't be angry at me. I didn't dare come in the front way. That man was following me, Bernie. He's absolutely mad. He's convinced that I'm one of that group of spies and nothing will dissuade him.

[C]

How did you get into my room?

[D]

I used Sammy's bunch of keys. Oh, please don't be angry with me, Michael.

[C]

I'm not angry with you, Janina. Just tired.

[D]

Why don't you give up this life, Michael? We can go away together to Ireland or somewhere. Just you and I. I'd like that, Janine. I knew the moment you first came.

[C]

To see me at Verity street that.

[D]

You were the only one who could ever take Sammy's place.

[C]

Looking out for replacements rather soon, aren't you, darling?

[D]

In wartime everything gets over faster. Life, love, hatred, grief.

[B]

Everything.

[C]

What do you want, Janine? You like this, my darling?

[D]

I had to come back to you. You knew I would, didn't you?

[C]

I hoped you would.

[D]

We'll be so happy together.

[C]

There's only one thing standing in the way of it. Darling.

[D]

What, Michael?

[B]

What is it?

[C]

I don't mind your being an enemy agent. You've taken the same chances and done the same work we all have to do.

[D]

Then what do you mind, Michael?

[C]

I mind the way you stab Sammy Carew in the back, that's what I mind. He loved you and trusted you and you stabbed him in the back.

[D]

He refused to understand anything. It angered him that I had powerful protection in this country. He kept on trying to interfere.

[C]

Yes, that famous voice on the telephone must have served you well. Till Sammy found his way to that music hall and heard the great Ravalo imitating the Same voice on the stage. I should have known my trick wouldn't work on you, Janine. Having used Senor Ravalo's talents yourself, you weren't taken in by his impersonation of your chief, were you?

[D]

Ravalo and I used the voice trick on many a job. Do you blame me for not falling into your trap?

[C]

I told you, I only blame you for one thing.

[D]

You'll forget that in time you'll come to understand why it had to be.

[C]

Yes, you're right. I'll forget it in time. Jenny.

[D]

Let's bring to it, Michael. Let's bring to us.

[C]

All right, darling. The bottle's over there. I have to make a call. Get me Colophon.

[D]

Who are you calling?

[C]

Jock, it's Michael Kells. I've got the missing member of the unit. She's here in my room now. Better send someone over. No, Jock, just tired. Good night.

[D]

Well, I did my best.

I didn't think I'd be able to talk you out of it.

[C]

We'll have that drink now, Jenny. We'll drink too. Tammy.

[B]

With Vincent Price's stars. CBS has brought you sinister errand, third in a new series, Intrigue. Now here is Mr. Price.

[C]

Thank you. I've enjoyed being with you this evening on Intrigue. Our producer Charles Vander tells me that there won't be any show next week because of the VJ Day anniversary. But I shall certainly be listening two weeks from tonight when Joseph Shilcrat returns to bring you that most famous of all stories of Intrigue, the great impersonation, the masterpiece of that undisputed master of the sinister E. Phillips Oppenheim.

[B]

Good night. Vincent Price appeared on Intrigue tonight By permission of 20th Century Fox, producers of Anna and the King of Siam. Robert Tallman adopted the story. Music was composed by Gail Kubik and Lucian Maravac and conducted by Lud Gluskin. James Matthews speaking. This is cbs, the Columbia Broadcasting System.

[A]

That's Relic Radio Thrillers for this week. You can find more from Intrigue, Relic Radio Thrillers and all of the other Relic Radio podcasts at the website relicradio.com. there's a shoutcast stream there as well with even more old time radio. And if you'd like to help support this and all of that, give one of those support links a click or visit donate. Relicradio.com We've got some downloadable sets for certain donation amounts, though any amount is always appreciated and helpful. That's how this show has been coming to you every week since 2007. Thanks to those who have helped out. Thanks for joining me this week. I'll be back tomorrow with the Horror. Next Friday with our next episode of Relic Radio Thrillers.