The Speaking Clock by Appointment With Fear

Summary

Strange Tales (Old Time Radio)

Episode: The Speaking Clock by Appointment With Fear
Date: July 6, 2026
Presented by: RelicRadio.com

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Main Theme and Purpose

This episode of Strange Tales features “The Speaking Clock,” a suspenseful audio drama originally aired in 1944 as part of the British series Appointment With Fear, written by John Dickson Carr. The story dives into the murky world of blackmail, murder, mistaken identities, and a chilling confession, all unfolding within the gloomy confines of an antique shop filled with ominous clocks.

The central theme: Can guilt, cleverness, and fate conspire to let someone literally get away with murder? The episode explores concepts of justice, moral ambiguity, and psychological manipulation, all underpinned by an atmosphere of tension and unease.

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Key Discussion Points & Plot Breakdown

1. Opening Monologue – The Shocking Confession

• [01:49] The episode opens with a philosophical reflection on guilt, innocence, and the rarity of true justice.
  • Notable Quote:

    “This is the story of a man who commits murder and gets away with it. Does the idea shock you?... And I know this because... I was the murderer, you ask? They would hardly tell you that if you inquired at Scotland Yard—I was the victim.” (Speaker C, 01:49)

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2. The Setting – Markham’s Antique Shop

• [02:51] The action begins at a rather dingy antique shop despite its elegant appearance.
• The shop is filled with clocks, armor, and tapestries, and the oppressive ticking of numerous clocks builds an unsettling background.

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3. Late Night Visit – Judith Ray’s Desperation

• [03:54-05:17] Judith Ray arrives urgently just before 1 a.m., pleading to be admitted to buy a “birthday present.”
  • Markham is suspicious but lets her in, setting a tense tone with the dim lighting and the mysterious, almost supernatural “speaking” grandfather clock.
• [06:43] “One o’clock and all…” – The clock eerily speaks the time, unsettling Judith.
  • Notable Quote:

    “Don’t they get on your nerves? Ticking away together like a nightmare?” (Judith Ray, 05:42)

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4. Blackmail Unveiled

• [07:27-11:12] Markham exposes Judith’s true identity (formerly Letty Wilson, an ex-convict), and the nature of his business as a proud blackmailer.
• The dialogue explores psychological manipulation and Markham’s twisted worldview:
  • Notable Quote:

    “What is life but blackmail? The child says, ‘If you don’t give me that, I’ll scream.’... Blackmail us from the cradle.” (Markham, 09:00)

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5. The Threat and the Temptation of Murder

• [11:38-13:13] Judith and Markham dance around threats of violence. Markham provocatively dares her to kill and claims:
  • “Because I shouldn’t die.” (Markham, 13:01)
• The conversation is interrupted by the arrival of Ronald Gilbert.

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6. Ronald Enters – The Stakes Rise

• [13:22-17:16] Ronald, Judith’s fiancé, appears with hush money. Markham had blackmailed both separately, drawing them into confrontation.

• Ronald’s emotional confrontation breaks the tense etiquette:

  • Notable Quote:

    “This is your job. I suppose you can’t help being what you are. But never again as long as you live… Never even say that word—gentleman.” (Ronald, 15:19)

• Markham, insulted by Ronald, returns the money and resolves to report Judith to the police, escalating the crisis to violence.

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7. Murder in the Shop

• [17:24-18:26] Ronald, desperate to protect Judith, brandishes a revolver.

• Markham taunts and advances; Ronald fires as Markham stands near the speaking clock.

  • [17:53] “I had to do it, Judith. Don’t you see? I had to do it.” (Ronald, 17:53)

• Markham appears dead; the bullet has passed through him and shattered the grandfather clock’s face.

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8. Aftermath & Cover-up

• [18:26-21:10] Judith and Ronald, panicked, attempt to hide Markham’s body under a chair’s dust cover, recalling a childhood game.
  • They forget about the gun and worry about the police officer expected at any moment.

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9. The Return – Markham Alive?

• [21:19-22:26] Suddenly, Charles Markham enters, appearing alive.
  • Judith, in shock: “Because we are seeing a ghost. If you’re Charles Markham, whose body…?”
• Markham reveals the existence of a twin brother, Robert, who acted as his double for risky dealings.

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10. True Identity & The Final Twist

• [22:31-26:00] The deception is unraveled:
  • The “dead” man was Robert, Charles’ brother and stand-in.
  • Markham is disturbingly calm and self-interested, prefers not to expose his own affairs.
  • He manipulates the situation to avoid scandal and disposes of the body himself.
    • Notable Quote:

      “Has it occurred to you... that a man’s double who looks exactly like him and shares all his secrets may become a danger rather than an asset?” (Markham, 26:13)

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11. Epilogue – The Final Confession

• [28:07-29:20] The narrator, revealed as Robert Markham (implying he killed his brother Charles), discloses how the perfect crime was accomplished:
  • Two shots were fired simultaneously—only one struck the man.
  • The murderer left by the back door, circled around, and returned as himself.
  • The episode closes with a final moral puzzle: “Dare you say, if I stood on trial for murder, that you would condemn me?”
    • Notable Quote:

      “It was not Robert Markham who died… I am Robert Markham. It was Charles who died that night. And I killed him to stop his blackmailing business forever.” (Narrator, 28:49)

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Memorable Moments & Quotes

• “One o’clock and all...” – The haunting, mechanical voice of the grandfather clock [06:43], symbolizing fate and the inexorable march of time.
• Moral ambiguity:

  “What is life but blackmail?” (Markham, 09:00)

• The twist:

  “If you killed me, I should be back to haunt you within half an hour. And I don’t happen to be joking.” (Markham, 13:01)

• The confession of guilt:

  “Ronald Gilbert, now an old and honored man, looks back across the years and is still firmly convinced of his own guilt. But of course, Ronald Gilbert never shot anybody. I was the man who committed the murder.” (Narrator, 28:38)

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Timestamps for Important Segments

• [01:49] – Opening philosophical monologue
• [02:51] – Description of Markham’s antique shop
• [03:54] – Judith arrives, urgent and desperate
• [06:43] – The speaking clock chimes and unnerves Judith
• [09:00] – Markham’s musings on blackmail and life
• [13:13] – Markham claims he cannot be killed
• [15:19] – Ronald’s emotional demand
• [17:53] – The shooting and Markham's apparent death
• [19:56] – The attempt to conceal the body
• [21:19] – Markham reappears alive
• [22:39] – Revelation of the twin brother
• [28:07] – Epilogue and the final twist explained

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Tone and Atmosphere

The episode is delivered in a tense, ominous, and psychologically probing style. The dialogue is sharp, cynical, and layered with irony. The ticking clocks and the shadowy, claustrophobic setting enhance a sense of dread and inevitability.

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Conclusion

The Speaking Clock stands as a masterful tale of psychological drama, deception, and the moral quandaries of justice. Its clever use of identity, guilt, and the ticking of time leaves listeners questioning not just who is guilty, but what real justice even means. This episode epitomizes Strange Tales’ eerie, suspense-laden storytelling.

Transcript

[A]

Brain.

[B]

Relicradio.com presents Tales of the strange and bizarre, the weird and the wicked. Stories not necessarily of the supernatural, but of the unnatural. Join us now for Strange Tales, featuring radio drama at its most mysterious and unusual. Welcome back to Strange Tales, your weekly dose of weird old time radio. Every [e-mail]. if you'd like to help support this podcast, visit donate.Relicradio.com We've got some downloadable sets for certain donation amounts, though any amount is greatly appreciated. We're going to hear from Appointment with Fear this Week, a series that aired from 1943 to 1955. It was the British version of suspense and shared many of the same scripts. The story we'll hear today was written by John Dixon CARR and aired April 13, 1944. It's titled the Speaking Clock.

[C]

This is the story of a man who commits murder and gets away with it. Does the idea shock you? Do you believe that justice must always be done? But you and I needn't be cynics to know that justice is very seldom done in this world. Innocence flinches. Guilt is childish and bland. Innocence is imposed upon. Guilt can compass all things, even a successful murder. And I know this because. Because. Because I was the murderer, you ask. They would hardly tell you that if you inquired at Scotland Yard, I was the victim.

[A]

In Bond street, not far from Piccadilly, there used to be an establishment which in a less fashionable part of town would have been called a shop. On the windows, in letters as discreet as a visiting card, were the words, charles Markham, Antique Dealer. Forty years ago, far back it takes us. This antique shop, despite deep carpets and crystal chandeliers, was a dingy place. It rustled with the ticking of a hundred clocks. It was shadowed by damascened armor and the colors of tall tapestries. And late one summer night, when the shutters had long been closed on the windows, a four wheeler drew up at that door in the gas lit street.

[D]

That's all, cabby. You needn't wait.

[C]

Very good, miss.

[E]

Good night.

[D]

Good night. He must be here. He must be. I won't go back to that place. I'll kill myself first.

[C]

Now look here, old man, you needn't. Oh, I beg your pardon.

[D]

And I beg yours. I'm not the person you were expecting, am I?

[C]

No, madam. As a matter of fact, I was expecting a police officer.

[D]

A police officer?

[C]

A merely an old friend who often drops in for a talk and a drink.

[D]

You are Mr. Markham, aren't you?

[C]

Yes, my name is Markham. Can I be of any service to you.

[D]

I want to come in. I want to buy a present for the.

[C]

Really, madam, this is hardly the time.

[D]

Yes, I know it's late.

[C]

It's nearly one o', clock, Madam. Surely tomorrow morning.

[D]

Oh, that'll be too late. This is a special occasion. It's a. It's a birthday present, bless it. A birthday present. And I. I've got to deliver it at breakfast. And Sir George Little says this is the only place in London to buy antiques.

[C]

Sir George flatters me.

[D]

Won't you let me come in just for five minutes?

[C]

Well, under the circumstances, madam, I think it might be managed. One moment while I put some lights on and.

[D]

No, please. That. One little light will be enough.

[C]

But you won't be able to see anything.

[D]

That doesn't matter. I'll trust your judgment.

[C]

Just as you like. This way, madam.

[D]

What's that? That noise?

[C]

Noise? Oh, you mean the clocks, Madam. There are more than a hundred clocks in this room. I'm very fond of them.

[D]

Don't they get on your nerves? Ticking away together like a nightmare? Striking the hours together?

[C]

They don't strike together. When the hour approaches, you hear a musical din that lasts for some time. Might I interest you in perhaps a clock?

[D]

No, I hate them.

[C]

Well, all the same, this grandfather clock might amuse you.

[D]

What about it?

[C]

Observe the signature. Johannes Carver Dundai feast Anno Domini 1752. You could see better, madam, if you raise that veil.

[D]

I'll keep my veil down.

[C]

Just as you please. But look at the clock. I open the glass. I open the glass face like this. I push the second hand forward like this. And.

[A]

One o' clock and all.

[D]

Well, what was that voice?

[C]

Only the clock, madam. Nothing more.

[D]

The clock spoke.

[C]

Clever, isn't it? A device of old John Carver anticipating Mr. Edison's gramophone by more than a hundred years. But you don't like clocks.

[D]

No.

[C]

May I ask whether the present is for a lady or for a gentleman?

[D]

It's for a man.

[C]

Has he some knowledge of antiques?

[D]

No. Yes. I mean he.

[C]

Oh, furniture, perhaps. Porcelain, bronzes, tapestries, weapons.

[D]

He might be very much interested in weapons. Yes.

[C]

Then I imagine his name is Mr. Ronald Gilbert. Will you tell me, Ms. Ray, why you really came here tonight?

[D]

So you know who I am?

[C]

Naturally. You're Miss Judith Ray. Why did you come here?

[D]

I wanted to see what sort of man you actually were.

[C]

Have you found out?

[D]

No. But I won't go back to prison. I won't.

[C]

Since this is to be a business conference, Ms. Ray, and I imagine it is Then suppose we go into my office here at the back of the shop. Will you precede me?

[D]

Thank you.

[C]

You must excuse the dust covers I put on the chairs here. I'm leaving for holiday tomorrow and the shop will be closed when I return next week. Ms. Ray. I shall expect the amount requested. In cash of course.

[D]

But I can't raise £2,000. You ought to know that.

[C]

Your fiance could raise the money, I imagine.

[D]

Ron. Do you think I'd have Ron know where I've been and what I've been?

[C]

It's better than having his father know, surely. Sit down, Ms. Ray.

[D]

I'd rather stand, thank you.

[C]

Now, now, that's very foolish gesture, but the ladies will do it. They think it gives them dignity and shows their disdain of the poor blackmailer. Oh, you see, I make no bones. I am a blackmailer.

[D]

You seem rather proud of yourself.

[C]

Why not? It's the one. I'm the one person in England, perhaps in the world who has made it a large scale business.

[D]

Congratulations to all.

[C]

What is life but blackmail? The child says, if you don't give me that, I'll scream. The grown woman says, if you go on behaving like this, I leave you your sex, Ms. Ray. Ah, blackmail us from the cradle.

[D]

You know, Charles Markham. Well, I wonder if anybody has ever hurt you.

[C]

What do you mean?

[D]

When you talk about the world and people in general, your face goes white under the eyes. You pick up that letter opener from the death.

[C]

Oh, not a letter opener, Ms. Ray. And there did she. Dagger. 16th century work.

[D]

It isn't the money that really interests you, is it? You hate the world. You want to torture people as you think you being tortured, isn't that so?

[C]

This is a very sharp dagger, Ms. Ray. If I throw it down on the desk, it sticks like that.

[D]

Isn't it so, Charles Markham?

[C]

My motives, Ms. Ray, aren't in question, I wonder. Whereas your motives are. Let me see. Ten years ago in 1894, a certain girl called Letty Wilson, your real name I believe, fell in love with a rather contemptible underworld character named Arthur Akers.

[D]

Please.

[C]

No. Humiliation was too great for her. She worked for him, lied for him, stole for him.

[D]

I was only 18. I didn't know what I was doing.

[C]

This girl, for a very shabby theft, was sentenced to three years penal servitude at Holloway Prison. Five months later she escapes from prison and disappears. All these years afterwards she appears in the West End as Judith Ray, fashionable millionaire.

[D]

Haven't I made up for it? Haven't I mistake after 10 years that's

[C]

the way of the world, my dear. I didn't create it. But, oh, I'm forgetting the best part of the comedy. This paragon of virtue next falls in love with Mr. Ronald Gilbert, son of Major General Sir Edmund Gilbert. Such a respectable family.

[D]

Tommy, please.

[C]

Then shall we say 2, 3,000 pounds?

[D]

Suppose I did raise the money. I don't know how, but suppose I did raise it. Well, what guarantee would I have? You wouldn't ask for still more money?

[C]

I probably shall ask for more money, Miss Ray. That's my privilege as a Black Peder.

[D]

Then I'm never going to be free of you, is that it?

[C]

Frankly, that's it.

[D]

Unless I kill you, of course. What if. What if I did kill you?

[C]

People have threatened that before, but they haven't meant it.

[D]

Maybe I mean it.

[C]

Well, we can easily test you out. There's a sharp knife stuck in the desk in front of you. I'm going to get up and deliberately turn my back on you. Like this.

[D]

Be careful, child.

[C]

Markham, as a student of human nature, I'm curious. How much will you risk to keep this secret? Have you the courage to kill and risk hanging?

[D]

Yes, I think I have.

[E]

Look out.

[C]

You fool.

[D]

What was that?

[C]

Aren't you glad? Aren't you glad you held back at the last moment? Miss Ray.

[D]

I said, what was that?

[C]

That, my dear, was the front door bell. Probably my Inspector Russ from Wigma Street Police Station. Come on in, old man. The front door isn't locked.

[D]

You wanted me to attack you, didn't you? No.

[C]

I was merely curious. And in any case, Miss Ray, it would be useless to kill me.

[D]

Useless? Why?

[C]

Because I shouldn't die.

[D]

Don't talk rot.

[C]

It's quite true. A man in my position must take certain precautions. If you killed me, I should be. I should be back to haunt you within half an hour. And I don't happen to be joking. Come in.

[E]

Now look here, Markham. I rob

[C]

Mr. Ronald Gilbert as I live.

[D]

Ron, what are you doing here? He hasn't got anything against you, has he?

[C]

Speak up, Mr. Gilbert. Have I?

[E]

Well, the fact is, Judith, I. I

[C]

look at him, this Ray. See how he changes colour and clenches his hands and altogether assembles a boy caught at the jam cupboard. The perfect picture of a gentleman being a gentleman.

[E]

Now look here, Markham. I'm not very clever. You can always make a fool of me when you start talking. Let's stop talking. I've brought the money.

[D]

What money?

[C]

Mary May fee for keeping quiet about you.

[D]

So you went a wrong too. You told him about it?

[C]

Naturally. If possible, always sell your wares in two markets.

[D]

How much money?

[E]

Never mind, Judith. I hoped I could keep you out of this without your knowing.

[D]

How much money?

[E]

3,000. It's all I could raise.

[D]

Has he told you who I am and what I've been?

[E]

Listen, Judith, I don't care who you are or what you've been. I happen to be in love with you. I. Never mind. Let's get out of here.

[D]

Her on it's no good. Do you ever come back for more money?

[E]

Know that. But what else can we do?

[C]

Nothing, I'm afraid.

[E]

What's that knife doing stuck in the desk?

[C]

Nothing dangerous, I assure you. No, merely a curio. I pick it up like this. I flip it down like this and pick it up again. Miss Ray was much interested in the dagger. May I have that envelope with the money, please?

[E]

There you are. Take it.

[C]

Thank you. As I explained to Ms. Ray, I am leaving tomorrow for a holiday. Hence the general disarray and the dust covers on the chairs before my departure. I am glad we could settle this affair as you. As you would say, like gentlemen.

[E]

Before we clear out of here, Markham, there's just one favour I'd like to ask.

[C]

Of course, old man. Ask away.

[E]

This is your job. I suppose you can't help being what you are. But never again as long as you live. Never even say that word. Gentleman.

[D]

Be careful, Ron. Look at his face.

[C]

Tell me, Mr. Gilbert, how much money is in this envelope?

[E]

You heard what I said. £3,000.

[C]

Then take it back. My friend, I find we can't strike a bargain after all.

[E]

What do you mean?

[C]

Just what I say. Here's your money. You will now oblige me, Both you and Ms. Ray, by leaving my shop.

[E]

WhatsApp. What are you going to do?

[C]

Tomorrow morning, perhaps even tonight, I'm going to get in touch with the police. I shall tell them where they can find Letty Wilson, alias Judith Wright.

[E]

You can't do that, Markham.

[D]

Oh yes, he can. You hit him where it hurts.

[C]

£3,000, my friend, is not enough compensation for the way you talk. There's the way through the shop. Shall I escort you to the front door? No. You prefer to stay here and make a fool of yourself.

[E]

You're not going to tell the police, Markham. I promise you that.

[C]

And how are you going to stop me?

[E]

With this?

[D]

John, put that gun away.

[E]

It's a funny thing, Judith. I. I felt a bit of a fool bringing this revolver along. But now I've got a use for it. Oh, yes, I've got a use for it.

[C]

Maybe the best thing would be to go into the street now and call a policeman.

[E]

You'll never get to the street, Markham.

[C]

Are you following me into the shop?

[E]

Yes.

[C]

So both of you, it appears, came here under false pretences. You said you wanted to pay me some money.

[E]

The money's still there, but you've lost your chance to get it.

[C]

And our dear Judith said she wanted to buy a present for you. I showed her this grandfather clock here. This speaking clock.

[E]

Don't go a step beyond that clock, Markham. I warn you.

[C]

Nonsense, old man. You wouldn't dare shoot.

[E]

Wouldn't I?

[C]

No. And I call your bluff. One step, two steps. I know, I know. You're wholesomely tried, my friend. You wouldn't risk it. You wouldn't. What's happening to me?

[E]

Don't try to grab at the clock, Markham. It won't save you.

[C]

You wouldn't risk. You wouldn't risk your life. You wouldn't risk your family position. You wouldn't. One. Fifteen and all.

[E]

Well.

[C]

One.

[E]

I had to do it, Judith. Don't you see? I had to do it.

[D]

Did you? Is he.

[E]

Yes, he. He's done for, I tell you. I hate to do it.

[D]

Maybe he's not dead. Ron, go and look at him.

[E]

He's dead, all right.

[D]

Please, Ron, go and look at. Well?

[E]

Shot through the heart. The bullet went clean through him and smashed the face of the grandfather clock. That's all I can see in this dim light.

[D]

This isn't happening to us. It can't be happening. Wait a minute. He said he was going for a holiday. That gives us time. It means his absence won't be noticed. The shop will be closed. Nobody will come here for days. And certainly nobody will come here tonight. And what's there? The police officer. I forgot. The police officer.

[E]

What police officer?

[D]

A friend of Markham's. Inspector. Somebody or other from Wigmore's treaties expected here to know.

[E]

Then we're finished.

[D]

No, Ron, we're not finished. You can't see anything out there. The shutters are up and the door's covered. Could you. Could you pick up Markham and carry him?

[E]

Yes, I commend that.

[D]

Why, that must be a back way out of the shop. Probably in the office. Hurry. Hurry.

[E]

He's as heavy as a sack of meal. He seems to be looking straight at me.

[D]

I know. Did you see the expression in his eyes just before you?

[E]

No.

[D]

He seemed to be looking behind us or. Or beyond us. He said through the door. Quick.

[E]

This police officer, Judith, he can't get into the shop, can he?

[D]

Of course he can. The front door isn't locked. Our only hope is the back way. I thought I'd seen the back door. Oh, there it is. Just a minute. I'm sorry, Ron. It's locked.

[E]

Isn't there a key?

[D]

No.

[E]

Maybe in his pocket. On a keyring time.

[D]

I think I heard the front door open. Visitors coming in.

[E]

I've got it. Dust covers.

[D]

What?

[E]

Those white cloth covers that fit over the chairs. Look at them.

[D]

What on earth are you talking about?

[E]

We used to play a game when we were kids. Somebody sits in a big chair, you fit the dust cover over him and nobody can tell he's sitting there. Don't you see, Judith? That's how we can hide Markham's body.

[D]

It might work if there's time.

[E]

There's got to be time. Take the COVID off that big wing chair.

[D]

All right. Maybe there's a chance I'll fit him into it.

[E]

Arms along the chair. Arms. Feet. Push back. Now put the COVID back again and pull it down around his feet.

[D]

Don't let it touch his chest. And we'll show through there.

[E]

That's got it. You can't see anything now, can you?

[D]

No, Ron. Well, what did you do with the gun?

[E]

The what?

[D]

The revolver. The gun you shot Markham with.

[E]

The fact is, Judith, I. I put it down on the floor when I picked up his body.

[D]

Out in that other room?

[E]

Yes, sir, I'm afraid so. It's too late now, old girl. The police are here.

[D]

What are we going to say?

[E]

I don't know. Cross your wits and try to brazen it out. Yes, Come in.

[C]

Good evening, mistress. Miss ray. Good evening, Mr. Gilbert.

[D]

Charles Markham. You're Charles Markham.

[C]

Correct, Miss Ray. But why should that surprise you? Why do you look as though you were seeing a ghost?

[D]

Because we are seeing a ghost. If you're Charles Markham. Whose body?

[E]

Oh, Judith, be careful.

[C]

Body, Miss Ray. Did you say body?

[E]

Oh, Ms. Ray is upset. She doesn't know what she's talking about.

[D]

If you killed me, I should be back to haunt you within half an hour. That's what you said.

[E]

I tell you, Ms. Ray isn't herself. She had bad news today. A relative of hers died. I've been trying to make her feel better.

[C]

Oh, indeed? Did you think it would make her feel better to bring her here?

[E]

I. I don't understand.

[C]

My dear sir, you're very welcome, but the situation is surely a little odd. I come in here and find you two looking as guilty as a pair of murderers in my Private office in the middle of the night? Did you see anybody else here?

[D]

There's nobody here, Mr. Markham. Not a living soul.

[C]

Then you didn't by any chance meet my brother?

[D]

Your. Your brother?

[C]

Yes, my brother Robert. You couldn't have mistaken him if you'd seen him. He looks so much like me that few people can tell us apart.

[D]

Then that's it.

[C]

Poor Robert often deputises for me. He's learned to act like me, think like me, talk like me. But he. He doesn't like the work much. He thinks, poor fellow. My profession is beneath confidence. But he acts the part and acts it well because I pay him and I find it useful to have a double who will run risks for me. What have you done with his body?

[E]

We haven't done anything with him.

[C]

I see. Oh, well, in that case, all we can do is to sit down and make ourselves comfortable. Will you sit there, Mr. Gilbert? And you, Miss Ray, in that wing chair by the window. What's wrong, Miss Ray? Why don't you sit down?

[D]

Because I prefer to stand, thank you.

[C]

Oh, then perhaps you won't mind if I sit in this wing chair. It's a very comfortable one. My brother always says, don't sit down there.

[D]

For the love of God, don't sit down there.

[C]

So

[D]

that's it.

[C]

Yes, that's is rather a thick chair. I press against the dust cover and blood comes through. I lift the bottom of the dust cover.

[E]

What's the use of going on with this? I killed him.

[C]

You admit it?

[E]

Yes, I admit it. But Judith had nothing to do with this. I swear she hadn't.

[C]

My telephone, you notice, is against the wall. I shall have to turn my back to you when I ring.

[D]

Ring where?

[C]

Wigmore Street Police Station.

[D]

Give him a chance. Please give him a chance.

[C]

Hello, operator. I want Regent 0586.

[D]

I won't let them take you, Ron. I won't.

[E]

It's no good, Judith. I killed a man. I meant to kill him and that's all there is to it.

[C]

A very sensible attitude, my friend. And if the lady has any idea of flying at me with that knife, just notice what I've got here. A.32 revolver, one chamber fired. Picked up off the floor in that other room where. Hello? Wigmore Street Police station.

[D]

Last time, Mr. Markham. Won't you give him a charming, quiet mistress?

[C]

May I speak to Inspector Ross, please? Inspector Ross speaking. Isn't that Mr. Markham? Garcitin 1 Inspector Charles Barkins here. I understood you were going to drop in and see me tonight. I intended to Mr. Markham, but I'm afraid I can't make it now. Oh, why not? Anything wrong? Only a robbery in Davis street, but it's likely to be a long job. Sorry I can't get there. Oh, that's perfectly all right, Inspector. As July rang up to say to make sure you wouldn't come here tonight, I've got a lot of work to do and I'm leaving for Eastbourne early tomorrow morning. Oh, let's make it some other time, shall we? Get Tombs to Moggam. No crimes being committed up your way, I suppose. No, Inspector. It's as quiet as the grave. Goodbye.

[D]

What you saying? Why did you do that?

[C]

Please don't excite yourself, Ms. Ray. Didn't you hear what I told the inspector?

[D]

You're not doing this without a reason.

[C]

Naturally not. Has it occurred to you, either of you, that I might not want my business dealings revealed in court?

[E]

Stop a bit. What?

[C]

Has it also occurred to you that a man's double who looks exactly like him and shares all his secrets may become a danger rather than an asset? He knows too much. He wants too much.

[D]

And I think I understand. You're glad he's dead.

[C]

Oh, no, not glad, my dear. You shock my face. Brotherly feelings, but definitely relieved.

[E]

Oh, then what?

[C]

You may quiet your fears, Mr. Gilbert. You may stop trembling for good, Miss Ray. I shall save your skins because I mean to save my own. And now, while we are all in in the mood, shall I show you how we can dispose of my brother's body? This, as I said before, is the story of a man who commits murder and gets away with it. Ronald Gilbert, now an old and honored man, looks back across the years and is still firmly convinced of his own guilt. But of course, Ronald Gilbert never shot anybody. I was the man who committed the murder. Don't you remember? The bullet that killed my brother is supposed to have passed through his body and smashed the face of the grandfather clock. But that's an impossibility. The face of a grandfather clock is much higher than the heart of a man. You see, two shots were fired at the very same instant. Ronald Gilbert missed and smashed the clock face. I fired from the door of the office at the rear and did not miss. That was why my brother looked past those two. I went out by the back door, locked it and reappeared at the front afterwards. It was not Robert Markham who died. I am Robert Markham. It was Charles who died that night. And I killed him to stop his blackmailing business forever. His records. I destroyed his correspondence. I burnt. I have assumed his name and identity ever since. Dare you say if I stood on trial for murder that you would condemn me?

[E]

Foreign.

[B]

Don't Forget to visit relicradio.com for more from Appointment with Fear, Strange Tales and all of the Relic Radio podcasts and our Shoutcast stream lots to listen to there, all made possible by your support. Thanks again those who have helped out and thanks for joining me this week. I'll be back through the week with more old time radio on all of the Relic Radio podcasts and next Sunday with our next episode of Relic Radio's Strange Tales.