Theater Five and Radio City Playhouse

Summary

The Relic Radio Show: Episode Summary Release Date: August 12, 2025

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Introduction

In this episode of The Relic Radio Show, hosted by RelicRadio.com, listeners are transported back to the golden age of radio with two captivating productions: "Blank Check" from Theater Five and "Wardrobe Trunk" from Radio City Playhouse. These episodes showcase the diverse genres that defined old-time radio, including drama, suspense, and intricate character studies. This summary delves into the plotlines, key discussions, insights, and conclusions drawn from both radio plays, enriched with notable quotes and their corresponding timestamps for an immersive overview.

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Part 1: Theater Five Presents "Blank Check"

Air Date: January 4, 1965
Description: A dramatic tale of familial support, business struggles, and personal redemption.

Plot Summary

"Blank Check" centers around Leo Davis, a struggling salesman grappling with financial woes and looming creditors threatening to dismantle his family's business. His father, Barney, despite not being present in Leo's day-to-day life, extends an unexpected lifeline by offering Leo a blank check to help salvage the faltering enterprise.

Key Characters:

• Leo Davis: Protagonist, a dedicated but beleaguered salesman.
• Barney: Leo's former business partner and a father figure.
• Penny: Leo's supportive partner.
• Ellen: A friend offering glimpses into Leo's personal life.
• Sherman: Another associate entwined in the business's fate.

Detailed Summary

The episode opens with Leo expressing frustration over the failed sales of their latest dress line, a product he believed would rejuvenate their business ([03:35]). The pressure mounts as creditors demand payment, creating a vicious cycle where Leo can't secure the necessary credit without first settling existing debts. Feeling trapped and responsible for letting his team down, Leo confides in Barney, who assures him that he's not alone in this struggle ([05:17]).

Barney's arrival introduces a pivotal moment. He hands Leo a blank check, symbolizing trust and support, and subtly nudges Leo to rebuild without further reliance on external aid ([09:00]). Leo grapples with accepting this gesture, torn between pride and the desperate need to save his business and family ([14:20]).

As the narrative unfolds, Leo contemplates the implications of using the blank check, reflecting on his father's influence and his own mistakes. The tension peaks when Leo confronts the reality of his situation, fearing that without Barney's help, both his business and personal life might collapse ([12:42]).

Notable Quotes:

• Leo Davis ([03:35]): "I never dreamed."
• Barney ([10:23]): "You're my former partner and a friend."
• Barney ([19:15]): "One good turn."
• Leo Davis ([14:07]): "Suicide? It's the only way out."

Themes and Insights:

• Family and Trust: The blank check symbolizes not just financial support but the deep-seated trust between Leo and Barney.
• Pride vs. Necessity: Leo's internal conflict highlights the struggle between maintaining personal pride and making pragmatic decisions for survival.
• Redemption and Second Chances: Barney's offer serves as a beacon of hope, suggesting that failure is not final and that support systems are crucial in times of crisis.

Conclusion:

"Blank Check" delivers a poignant exploration of familial bonds and the lengths one might go to preserve both family and business. Through Leo's journey, listeners witness the delicate balance between personal ambition and the humbling embrace of assistance from loved ones.

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Part 2: Radio City Playhouse Presents "Wardrobe Trunk"

Air Date: April 4, 1949
Description: A suspense-filled narrative blending noir elements with a tale of deception and moral ambiguity.

Plot Summary

"Wardrobe Trunk" is a riveting story of deceit, betrayal, and unintended consequences. The protagonist, Babe Sherman, navigates a web of lies and crime that spirals into a life-threatening predicament aboard the American Statesman ship.

Key Characters:

• Babe Sherman (David Gothard): The central figure caught in a deceitful scheme.
• Therese Germain: A charming woman whose interaction with Babe sets the plot in motion.
• Fowler (Joe Desantis): An FBI agent posing as a fellow passenger, whose true intentions are ambiguous.
• Bonnie: Babe's wife, who grapples with his obsession with work.

Detailed Summary

The narrative begins with Babe Sherman recounting his encounter with Therese Germain in Paris ([21:58]). His attempt to impress her through professional means leads to a deceptive act where he swaps expensive pearls with inexpensive ones, allowing him to leave Paris abruptly on the American Statesman. This act of deception is the catalyst for the ensuing turmoil.

Onboard the ship, Babe's fear intensifies upon discovering an FBI agent, Fowler, suspecting him of wrongdoing ([36:57]). The tension escalates as Babe struggles to maintain his composure, leading to a confrontation that culminates in a deadly altercation. As Babe tries to hide Therese’s lifeless body in the wardrobe trunk, Fowler’s true identity as a federal agent unravels, revealing that the entire scheme could have been averted had Babe not succumbed to panic and fear.

The climax sees Babe’s desperate attempts to conceal his actions, only to be confronted by Fowler, resulting in a tense standoff that pushes the boundaries of Babe's moral and psychological limits ([37:11]). The story concludes with a reflection on the consequences of deceit and the fragile nature of trust.

Notable Quotes:

• Babe Sherman ([24:52]): "They're so beautiful. Not as beautiful as you look at me."
• Fowler ([31:58]): "I'm staying here. You're coming with me."
• Babe Sherman ([38:05]): "Let's not get excited."
• Fowler ([40:19]): "You're coming with me."
• Bonnie ([45:30]): "You're a murderer."

Themes and Insights:

• Deception and Consequences: The narrative underscores how deceit, even when seemingly minor, can lead to catastrophic outcomes.
• Moral Ambiguity: Babe's actions and his subsequent panic highlight the complexities of moral choices under pressure.
• Isolation and Desperation: The confined setting of the ship amplifies the characters' emotions, emphasizing how isolation can exacerbate desperate decisions.
• Justice and Retribution: Fowler's pursuit represents the inevitability of justice catching up with wrongdoing, regardless of attempts to evade it.

Conclusion:

"Wardrobe Trunk" masterfully weaves a tale of suspense and moral conflict, illustrating how a single act of deceit can spiral into a life-threatening predicament. Through Babe Sherman’s harrowing experience, the story delves deep into the human psyche, exploring themes of guilt, fear, and the quest for redemption amidst dire circumstances.

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Final Thoughts

This episode of The Relic Radio Show offers listeners a rich tapestry of emotions and narratives from two distinct eras of radio drama. "Blank Check" provides an intimate look into personal struggles and the power of familial support, while "Wardrobe Trunk" delivers a suspenseful tale that keeps audiences on the edge of their seats. Together, these productions not only entertain but also offer timeless insights into human nature and the complexities of moral choices.

For those who haven't tuned in, this episode serves as a testament to the enduring legacy of old-time radio, showcasing its ability to craft compelling stories that resonate across generations.

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Notable Quotes Recap:

• [03:35] Leo Davis: "I never dreamed."
• [10:23] Barney: "You're my former partner and a friend."
• [14:07] Bonnie: "You stole. You stole them."
• [31:58] Fowler: "You're coming with me."
• [38:05] Sherman: "Let's not get excited."

Note: All timestamps correspond to the provided transcript for reference.

Transcript

[Host]

This is the relic radio show. Old time radio entertainment still standing the test of time from relicradio.com welcome back to the relic radio show. This week we begin with theater five will hear the blank check from January 4, 1965. After that, it's radio city playhouse and wardrobe trunk. That story aired April 4, 1949.

[Barney]

There's a check in that envelope. It's for you.

[Penny]

Look, I don't need your help.

[Barney]

Take the envelope and the check.

[Leo]

But I don't want anything from you.

[Barney]

You can fill in the amount. I left it blank.

[Leo]

Fill it in for how much?

[Barney]

You name the amount. Any amount.

[Leo]

What about $1 million?

[Barney]

So what about it?

[Penny]

The other five presents blank C.H.

[Ellen]

Wyler Creation no, I'm sorry, Mr. Wyler isn't in. Yes, I'll take a message. Norco fabric. Have him call Mr. Saunders. Yes, I'll tell him. Thank you. Wyler creations. No, sorry, Mr. Wyler isn't in. Well, I'll have him call you the minute he gets back.

[Sherman]

Hello, Penny.

[Leo]

You look ravishing as usual.

[Ellen]

Compliments from our salesman.

[Leo]

From whom else? I admit that with a salesman it's part of the line, but with me it's sincere.

[Ellen]

I'll bet. Well, it's nice to hear. Anyway. Nobody's been giving out with compliments this past week.

[Sherman]

Not bad, huh?

[Leo]

Worse.

[Ellen]

The phone's been ringing like crazy the whole day. You see what I mean? Wyler creations. Oh, Mrs. Wyler. Why, yes, Barney's here. He's in the showroom. Well, just a minute and I'll call. Oh, you haven't time, huh? Well, yes. I'll tell him. What? You'll be at the charity bazaar in the afternoon and you're seeing a play in the evening. Well, is there any place he can call you? Oh, I see. You'll speak to him tonight. What would DFL Tell her? Mrs. Wyler?

[Leo]

Well, @ least she hasn't changed.

[Ellen]

Hi. Do you think marriages are really made in heaven?

[Leo]

Look, Penny, it's his marriage, not yours. Stop angling.

[Ellen]

I have no angles. It's just that, well, he's such a nice guy, and she.

[Leo]

Lady Penny.

[Ellen]

Well, it's awfully hard sometimes.

[Leo]

Where is Barney? Is he really in the showroom?

[Ellen]

Yeah, Surveying the ruins of Carthage, trying to plug up the dike. The creditors are flooding the ship, battering at the wall.

[Leo]

Aren't you mixing up your metaphors a little?

[Ellen]

Why not? Everything else is mixed up.

[Leo]

Boy, I feel like a traitor coming here.

[Ellen]

What do you mean? You did your best.

[Leo]

Well, I'm the kind of guy who said he could sell everything? And I failed. Failed miserably. Couldn't get the first base with the line.

[Ellen]

That's the trouble. It wasn't a line. It was a one shot. And all your eggs in one basket. Sealed more like Hialeah or Las Vegas than it was 7th Avenue. Wyler creation. Shooting the works on one dress. A copy of the famous Paris original. Only it didn't make it.

[Leo]

You know, there's often little difference between Las Vegas and 7th Avenue. The only difference is that Las Vegas, it's faster. So the victim doesn't suffer so much. Doesn't prolong the agony. Oh, hello, Bonnie.

[Bonnie]

Hello.

[Sherman]

Hi.

[Leo]

Nice to see you.

[Sherman]

Have a good trip?

[Leo]

No, it wasn't a good trip.

[Sherman]

Bonnie.

[Leo]

Bonnie, believe me, if you know how I tried. I used every trick in the book to sell the line and I couldn't. It shouldn't have needed any tricks. It should have sold itself. We've done it before. So many times these past couple of years. And this time it was different. I couldn't. Barney, I'm ashamed to say it. There's no shame attached to you. You're a good salesman. Hi. The best. I was proud to have you represent our line. I let you down, not the other way around. It was my decision. Listen, the man's entitled to guess.

[Sherman]

Wrong one.

[Leo]

Not if he doesn't have another chance to remedy his mistakes. What do you mean, not have a second's chance? Ask Penny. She'll tell you how the creditors have been breaking down the walls to get at me. Like sharks with a taste for blood. They sense it. I want to get theirs before the meat is gone. I can't get credit till I pay my bills. And I can't pay my bills till I get credit. A vicious cycle. And I'm trapped right in the middle. Well, how about Leo Davis? You used to be partners. Can't he help you? I said, how about Leo?

[Sherman]

Bonnie.

[Leo]

You could go to him. I heard you.

[Sherman]

Hi.

[Leo]

I know what you're thinking. I didn't know when I was well off. I should have stayed in partnership with Leo, not gone out on my own. Play it safe and Papa will take care of me. I never said such a thing happen.

[Barney]

You know, it was always Papa at.

[Leo]

Home when I was a boy. And then later when I was in business. Papa makes the decisions. Papa protects. Papa stands by to rescue Sonny if he gets into trouble. But how long is a boy, sonny? Until he's 30? Well, I'm 35. I make my own mistakes and I take my own consequences. You did your best. It wasn't enough. You did your best, and Penny did her best and the operators did their best. But now everybody's gonna be out of a job. I've let you all down. Look, Barney, the end of the world isn't in sight. No, it's here. Oh, not by a long stretch. You know where you can get the dough? I never mind the personal factors. I mean, strictly business interest. The principal will be paid within a definite time. Cut and dry. No sentiment.

[Barney]

Who?

[Bonnie]

You know who.

[Leo]

Leo Davis, that's who. I'd rather go out of business than take money from.

[Sherman]

Leo.

[Leo]

You're practically out of business. The problem is getting back in. What about all of us good people.

[Sherman]

Who are in with you?

[Leo]

Or should I say out with you? Me and Penny and the operators. And, of course, your wife.

[Sherman]

What about us?

[Leo]

You feel sorry for us? Then the heck with your pride. Get the money.

[Ellen]

Wilder creation. Just a moment, please. I'll see if he's in. It's Leo Davis.

[Leo]

On cue.

[Sherman]

Barney.

[Leo]

With fate writing the script. Talk to him.

[Ellen]

Oh, I almost forgot, Barney. Your wife's called too.

[Leo]

Does she want me to call her?

[Ellen]

No, she'll be too busy at the charity bazaar during the day and a play at night. She'll see at home.

[Sherman]

All right.

[Leo]

Ellen has expensive hobbies, Barney. Or doesn't charity begin at home anymore? You better talk to Leo.

[Ellen]

Are you into Leo, Barney?

[Leo]

Yes, I'm in.

[Sherman]

I'll take it.

[Leo]

I. Leo. How's Papa doing, huh?

[Sherman]

Great.

[Leo]

Well, I wish I could say the same. You heard?

[Sherman]

Course.

[Leo]

How can you keep news quiet on 7th Avenue? At this stage, who can say how? I. I appreciate that, Leo, but. Yes, of course. I do the same for you. Lunch? Well, what, today?

[Sherman]

Well, I. Don't talk to him.

[Leo]

At Gardenos in an hour. Yes, I'll be there, Leo.

[Sherman]

Right, Papa. Good going, Barney.

[Leo]

I tell you, our troubles will be over. Whose troubles? Well, if not the troubles of Barney the Man, at least the troubles of Barney the Manufacturer. We sympathize with Barney the Man, but we make our living from Barney the Manufacturer. I'm seeing him. Isn't that enough? Yes, Barney, that's enough.

[Barney]

Relax, Barney. Enjoy your lunch. Of course you're disappointed at what happened. Who wouldn't be? But you know, 7th Avenue, the place is full of bounces. You know, bounce high, bounce low and bounce high again.

[Leo]

Or bounce right out of the ballpark, like me.

[Barney]

Because of one line that was my whole season.

[Leo]

Banked everything on it.

[Sherman]

I.

[Leo]

Well, I thought it would be a sensation. Our designer Did a masterful job. With all the attention the Paris original got. I thought we'd clean up. Who could tell that another firm would do a better job at a better price so that our line goes begging?

[Barney]

Who could tell? Indeed, that's 7th Avenue. But it isn't the end of the.

[Leo]

World, so everybody tells me. Leo, why don't you tell me what you're really thinking?

[Barney]

What do you mean?

[Leo]

That I was a fool to break up our partnership, go out on my own. I wanted to be like Papa. Papa knew best, didn't he?

[Barney]

Barney, what kind of foolishness is this? Believe me, if you were my own son, I couldn't have wished more for you. You had brains, you had ambition, you had talent. Why shouldn't you strike out on your own? The bird has to fly from the nest when its wings are strong enough. I guess mine weren't strong enough because you guessed wrong. I'll tell you. You're impatient, that's all. A little too much in a hurry, that's all. You figured on a killing all at once instead of a little at a time. Actually, who is to say who's right? So you'll be right next time?

[Leo]

Will there be a next time?

[Barney]

Barney, I like you, but I didn't ask you to lunch just to be sociable. You know I look upon you as a son. A son I never had with me. Bless them, it's daughters now. What kind of father watches a son go down and doesn't lift a finger?

[Leo]

Leo, you're not my father.

[Barney]

You're my former partner and a friend.

[Leo]

And a friend.

[Barney]

Then, not as a father, but as a friend. I want to help out. I have something for you. Please, no protest. You decide that it's repayment. The check. No, no, don't open the envelope. Just put it in your pocket. You look at it later. You got a quizzical look in your eye. You're wondering, will it be enough to get me started again? I think it will. Believe me, I think it will. Well, what are you sitting around here for? We're finished eating. Haven't you got business to attend to?

[Leo]

Leo, I. I want to thank you.

[Barney]

Now, look, who's got time for such things like thanks. Business. Barney.

[Bonnie]

Barney.

[Sherman]

In here, Ellen.

[Bonnie]

Oh. What are you doing sitting thinking in the dark? Who put the lamp on there?

[Leo]

The dark was restful.

[Bonnie]

Oh, it's been a full day.

[Leo]

Has it?

[Bonnie]

The charity bazaar was a huge success. We cleaned out everything. And the play was a delight. I laughed so.

[Barney]

Who knows?

[Leo]

Maybe we'll even see a play Together one of these months.

[Bonnie]

Well, it isn't my fault if you choose to spend almost every night at the office.

[Leo]

Choose? You mean it's a free choice? Honey, I don't make the choice. This house does. The mortgage, the two cars, the children in private schools, your charge accounts. Free choice.

[Sherman]

Look, I'm sorry, Barney.

[Bonnie]

I know I'm a selfish woman. Often you work like a slave. And I take it as though it's coming to me without even questioning.

[Leo]

Oh, don't be too hard on yourself. It's both of us. Honey, I. I wouldn't be content to stay a partner with Leo now. I wanted to be a big leaguer in just a single. And I stuck my neck out and they chopped it off. Don't put the fault on yourself, Barney.

[Bonnie]

What is the situation now? Are you bankrupt? Are we poor? Because if we can manage with what we have, we can move. We can?

[Leo]

It may not be as bad as that.

[Bonnie]

What do you mean?

[Leo]

I saw Leo today.

[Bonnie]

Of course. He's a friend.

[Leo]

I didn't want to see him. What it's cost me in pride and my own self respect.

[Sherman]

Well, how can you know?

[Leo]

But I saw him. He gave me a check.

[Bonnie]

Oh, Barney. For how much?

[Leo]

I don't know.

[Bonnie]

What do you mean you don't know? Didn't you see the check?

[Leo]

He put it in an envelope. I put it in my pocket. Without opening it?

[Bonnie]

How can you be so blase?

[Leo]

Blase? I wasn't blase. I was. What's the point of explanations? Here, Suppose you open it. Surprise me.

[Bonnie]

Oh, Barney. Not even to open it? It's for Barney. The check is signed, but the amount hasn't been filled in. Barney, he gave you a blank check.

[Sherman]

Oh, no, he couldn't.

[Bonnie]

He did a blank check.

[Leo]

How could he humiliate me so?

[Bonnie]

Humiliate? Barney, he trusts you. He has complete confidence in you. He knows that you can make it, and he's giving you his complete support. Well, how much will you make it out for?

[Sherman]

I don't know, Barney.

[Bonnie]

Leo is rich.

[Ellen]

Maybe a millionaire.

[Bonnie]

Money is no object. Oh, don't you see? We don't have to give up a thing. Not the house, nor the car, nor the children's school or anything. Oh. Oh, this solves everything.

[Leo]

This solves everything for you, doesn't it?

[Bonnie]

Of course. Of course. Doesn't it? For you, doesn't it?

[Leo]

I don't know, Ellen. I just don't know.

[Ellen]

While a creation. Oh, just a moment, Mr. Dean. He's right here.

[Leo]

Yes, Sherman, I'm waiting for you 10 minutes.

[Sherman]

Fine. Here.

[Leo]

That was Sherman Dean. Yeah, he's coming over here. Why do we need any factoring? The rates are high.

[Sherman]

Why are you borrowing money?

[Leo]

Did you like the new designs our designer made? Well, yeah, they're terrific. We'll have a great line, recoup everything and more. Well, how can we put the line into production without money? I have to pay the bills, buy the fabric, meet the payroll. I don't understand, Bonnie. I thought you met with Leo. I thought he offered your money. So why do we need a man like the look? Hi. You're a good salesman, right? We're going to give you a good line to sell. You run your end, let me run mine. Well, excuse me for asking. If that's how you want it.

[Sherman]

You're right.

[Leo]

We'll have a great line.

[Sherman]

Okay.

[Leo]

I'll see you later, Barney. Got things to do.

[Sherman]

Bye, Penny.

[Leo]

Stay beautiful till I get back.

[Ellen]

Me and my makeup kit. We'll work at it. You know, I think you hurt his feelings, Barney.

[Leo]

What do I have to do? Be a model of perfect behavior so I lose my temper? Okay, I stand corrected. Now, would you mind getting that correspondence done?

[Ellen]

Of course, sir.

[Leo]

And when Mr. Dean comes in, send him right into my office.

[Ellen]

Yes, sir.

[Leo]

All right. Penny, I am sorry. When I see hi, I'll apologize. It's just that we're not out of the woods yet and I'm still worried.

[Ellen]

Oh, I do understand, Barney. And I know hi does, too. We still want what's best for you. You know that.

[Leo]

So do I. But how to achieve it? That's the problem.

[Barney]

Well, such a pleasant surprise. Right out of the blue. A call from Barney inviting me to lunch and to Guardino's. A far cry from the last time I saw you. So relaxed. No frowns, no worry lines. You look like life's been good to you.

[Leo]

It has, Leo. It has. Our new line, it was a sensation. Sold like the proverbial hotcakes.

[Barney]

Why not like dresses?

[Leo]

Exactly like dresses.

[Barney]

Well, I'm glad for you. Couldn't be gladder. Tell me now that it's an accomplished fact now that you've had a great season, now that you're back in the running, tell me, how much money did it take? How much did you write in that blank space in my check?

[Leo]

I'll show you.

[Barney]

What do you mean?

[Leo]

This is what I mean.

[Barney]

What is this?

[Leo]

It's your check.

[Barney]

My check? The one I gave you. Huh. But it's still blank. You never used it. That's right. You left it blank. Never used it.

[Leo]

That's right. You're putting on a good show, Leo.

[Barney]

Show? What do you mean?

[Leo]

I mean, you're not really surprised, are you? You knew I'd be so angry at your check, I'd stop feeling sorry for myself and get back into action. You knew I'd find a way to prove that I could do it without your help.

[Barney]

Hey, this is some lunch. A free analysis thrown in. How about that, you old faker.

[Leo]

I learned at your knee you can't fool me.

[Barney]

Well, you're right. I couldn't fool you. But it worked, didn't it? Tell me, where did you get the money?

[Leo]

The usual sources. Sherman Dean. When he saw our new designs, he.

[Barney]

Said yes, but yes. How about the interest?

[Leo]

A short term loan. With the success of the line, I've paid it back. Are your feelings hurt?

[Sherman]

Hurt? No.

[Barney]

I accomplished my purpose. I have a surprise for you, though. It's a good thing you didn't use the check, because there was no money behind it.

[Leo]

What do you mean, no money behind it?

[Barney]

You think you're the only one who can make a wrong decision? I made some too, and I was strapped for money. I used all I had to pay the creditors. Both the check and the bank book were blank.

[Leo]

There could have been trouble, huh?

[Barney]

Somehow I had confidence. After all, a papa knows his own son, no?

[Leo]

What a question. Of course. Tell me, can I give you a check?

[Sherman]

A blank check?

[Barney]

One good turn.

[Leo]

Why not? And there's money.

[Barney]

And no, Bonnie. Once is a novelty. The second time, the surprise element is gone.

[Leo]

All right. I have a better idea. How about getting the family together again?

[Sherman]

Papa.

[Barney]

Now that's something to consider.

[Leo]

After all, you know what they say. United we stand, divided we fall. Who said that?

[Sherman]

No. I don't know.

[Leo]

Maybe Benjamin Franklin.

[Barney]

Did he ever work on 7th Avenue?

[Penny]

Theater 5 has presented Blank Check, written by Max Burton. Produced and directed by Warren Somerville. In the cast, Kurt Kelton, Ralph Bell, Danny Ako, Elliot Reed and Briana Rayburn. Audio engineer, Neil Foster. Sound technician, Ed Blaney. Script editor, Jack C. Wilson. Original music by Alexander Vlas Dotsenko Orchestra under the direction of Glenn Oser. Executive producer for theater five, Ted Bell. We invite your comments right to theater five, New York, 23, New York. That's theater five, New York, 23st, New York. This is Fred Foy speaking. This has been an ABC Radio Network production.

[Sherman]

The National Broadcasting Company presents Radio City Playhouse, attraction 31. Ladies and gentlemen, here's the director of Radio City Playhouse, Harry W. Duncan. Thank you, Bob. Friends, it is once again our privilege to welcome a very Talented actor to his first appearance on Radio City Playhouse. Our star tonight is David Gothard, A young man who has been a member of that very limited circle of top notch radio actors for some eight years. Here is David Gothard as Babe Sherman in wardrobe trunks, Attraction 31 on Radio City Playhouse. If I'd only not answered when she knocked at the door. If I'd only kept quiet, she'd have gone away. She'd have thought I was out and and gone away. I was what they call working Paris. In a big city, it's pretty easy to pick up money without attracting too much attention. Ponies, gambling, a little blackmailing. Married women who don't like their husbands to know what they're doing. All right, so I'm a heel. The fact remains that nothing would have happened if I just kept quiet when she knocked at the door. Therese Germain, her name was. Tiniest girl I ever saw. She was like a little bird, Fragile, delicate. I spotted her selling some guy a gold cigarette case in one of the best jewelry stores in the Rue de la Paix. When I try, I can make quite an impression. Teres wasn't any different from the rest. The buildup took a month. Taking her to lunch every day, calling for her every night. Ignoring the stuff in the showcases as though it didn't exist. I had to tear my eyes away from it, pretend I wasn't interested and look down at her. On the day it happened, we'd had lunch together. I took her back to the store and she insisted on showing me some pearls. She insisted, as though I didn't know exactly what I was after.

[Bonnie]

You must look at these. They're so beautiful. Not as beautiful as you look at me. Are they not beautiful?

[Sherman]

Yeah, I guess so.

[Bonnie]

So pretty. Shimmering like the street lights when there is the fog.

[Sherman]

Well, how much? Just tell me and I'll buy them for you.

[Bonnie]

I think for the moment in your money. $75,000 to wear around your neck.

[Sherman]

Try them on.

[Bonnie]

Oh, I think I should not be teleported.

[Sherman]

Oh, come on, come on. Let's see how they look on you. Turn around all fast.

[Bonnie]

All right.

[Sherman]

Oh, wait a minute. I think the clasp is broken.

[Bonnie]

All on. Give them to me. B.

[Sherman]

You better put them away.

[Bonnie]

Yes, you go now. I see you tonight.

[Sherman]

You see me tonight? Positively.

[Bonnie]

We seem to about 8. About 8. Love me dear than I Now Coco, I must get to work.

[Sherman]

Okay, honey. See you tonight. I deliberately let the pearls drop to the floor. And then. Stupid. It was a cinch to make the switch. The ones she put back in the case weren't worth more than a hundred bucks. I left the shop like I was on air. That was it. I'd done it. I would never have to see her again. I had a ticket on the American Statesman sailing from Cherbourg the next day at one. That night I went to a movie alone. A good solid American movie. Lana Turner. I'd had enough of French women. I came home and slept just fine. I had to be up at 7. The boat train left at 8. The packing didn't take long and I was so glad to be getting out of Paris that I felt like singing. East side, west side. When I feel like singing at 7:15 in the morning, things have to be just. Bridge is falling down. That's the way they were at 7:15 in the morning. Hello. Here's Porter's Mr. Sherman. Well, speak English, can't you? No, I've just one piece of wardrobe front. You'll be ready in 10 minutes if you come up. All right. Thanks, Fox. That's everything. All right. All right. I told you 10 minutes. Can't you tell the time? That's when I shouldn't have answered the room. I should have known that it wasn't the porter. He couldn't have gotten upstairs in 30 seconds. But I didn't think. I never dreamed. All right, I'm coming.

[Bonnie]

T.R.

[Sherman]

I. I told you not to come here. I told you.

[Bonnie]

Oh, baby, you're safe.

[Sherman]

But of course I'm safe.

[Bonnie]

I imagine all sorts of things. That you're killed with a t. Don't be r. I wait last night for hour and hour ter you not come and put the wor.

[Sherman]

Look, I told you not to come here. Go down to the corner and wait to the coffee.

[Bonnie]

No, no.

[Sherman]

I'll meet you and we'll have breakfast. Everything's fine, Therese. There's no need to get.

[Bonnie]

You're backing pizza.

[Sherman]

Keep your voice down.

[Bonnie]

You're going away. You're leaving today. Still going to not say no so that I can shut up, will you? No, I will not shut up. I will not shut up. You cannot do this, Jimmy.

[Sherman]

All right, come in, come in. But for sake, keep your voice down.

[Bonnie]

I cannot do this to me. Baby, please heal the salesman I love like this. Please, baby. You can undo this.

[Sherman]

Look, look, Therese. Look. Here, take my handkerchief. Now stop crying and listen. What's the matter? Therese. Therese, what is it? Well, don't stand there staring at me.

[Bonnie]

Look. I can see them hanging from your pockets of both.

[Sherman]

Just a little present for my mother.

[Bonnie]

Let me see.

[Sherman]

Don't get Excited?

[Bonnie]

Let me see. I can. Will you be quiet? Give them to me.

[Sherman]

Don't get excited, Therese.

[Bonnie]

Is there a present for your mother? No. You stole. When you dropped them yesterday. You stole them. You stole them.

[Sherman]

Keep your voice down.

[Bonnie]

Give them to me.

[Sherman]

All right, you act for it. You're a dumb little French Damon. You're duller than a parachute. The buildup was strictly professional. The dinners, the dancing, the golf. Strictly for business. I got the pearls and I switched another string. And unless you keep quiet, they'll think you did it.

[Bonnie]

You big, big, big, big.

[Sherman]

We were both in a white heat of rage and hate and fear. I was scared stiff at the noise she was making. I put my hand over her mouth. She got away and made for the door. I grabbed her and she started to scream again. Then I heard the porter outside the door and I grabbed her around the throat. All of a sudden she went limp. Dead limp, like a Roman candle bursting in my face. The thought hit me that she was dead. Sid told me that her heart was bad. I didn't mean to strangle her. I didn't hold her more than 10 seconds. Nobody strangled that fast.

[Bonnie]

Her.

[Sherman]

Her heart just stopped.

[Bonnie]

Just.

[Sherman]

She just died on me like that. Even though I knew it was useless, I. I tried to bring her, too. I tried with everything in me to make her live again. Therese.

[Bonnie]

Therese.

[Sherman]

God Almighty, what have I done tonight? Who is it?

[Bonnie]

Monsieur la mal, c' est, pray. What?

[Sherman]

It's not packed yet. Come back in 10 minutes.

[Bonnie]

Monsieur. Un mon citraine. It is already 7:30. 10 minutes only, monsieur.

[Sherman]

Stop yelling at me. When I'm ready, I'll call you.

[Bonnie]

Yeah, Monsieur. But only you and Monsieur Train.

[Sherman]

What can I do? What can I do?

[Bonnie]

I can't leave her here.

[Sherman]

They'll find her ten minutes after I'm gone. The train takes five hours to Cherbourg. They can stop me with a Telegram. That takes 20 minutes.

[Bonnie]

What will I do?

[Sherman]

And then, looking at the trunk, I knew I'd have to take her with me once we got to sea. I'd throw her overboard. Like all wardrobe trunks. One side was entirely open for suits. The other was a scramble of little holes and drawers. It wasn't a particularly well made trunk. I pulled out all the drawers, ripped out the thin last partitions that go. Both sides are wide open. Just the metal shell remained. She was very tiny. When I was through, nothing was left out. I got back every nail, every board, every flat and drawer. And then I got it shut. Porter. Porter. Porter.

[Bonnie]

Monsieur. I'm coming. I'm coming. Monsieur, train. Now it is but 20 minutes before 8.

[Sherman]

Shut up and get moving. This thing goes right in the taxi with me. Understand?

[Bonnie]

No, monsieur.

[Sherman]

You what?

[Bonnie]

I don't understand, she said. Impossibility is too big.

[Sherman]

In the taxi, I said. Double fare, triple fare. But in the taxi. Now get going. We got it. Into the taxi. I was sweating and panting, almost sick. That taxi driver would never forget me. Never. If they asked him afterwards about a guy with a trunk, he'd be able to draw them a picture. The same thing happened at the station. An argument that it was too big to go into the train department with me. Finally I got my way and they put the trunk in with me. I sat down as if the seat were magnetized dust slumped, sick with relief and, well, just sick. Then I saw his name, E.B. fowler, on his luggage. He was sitting across from me, reading a paper. And I knew it was a cop, an American cop. I knew it. I could feel it. Sense that I ached with it. I tried to figure out whether he was city or federal. Maybe an assignment in Paris that hadn't worked out. When he spoke, I knew he was a cop. I knew he had me spotted the moment he said, will you work in Paris, Bud? Were you working Paris, Bud? How'd you find it? Do we have to get sociable? I was just wondering the fuss you made getting that trunk on the train. What's in it anyway? The Eiffel Tower. Okay. What's your name? What are you, an income tax blank? No, no. I tell Fortune. Want to hear yours? The first night out, you'll drum up a little game. A friendly little game. The nickels and dimes, just to make it interesting. The night before we dock, you'll make a killing. Oh, drop it. Drop it. Okay. I'm only four. Oh, be careful. I'll die laughing. No, you won't, kid. You won't die laughing. Sherburn showed about one o'. Clock. I was out in the vestibule with a trunk 10 minutes before the train started to slow down. It ran right out onto a double decker pier, broadside to the boat. I thank God for American ship. An American steward who spoke English. Then it started again. The trunk was too big for the cabin. They said, I'm sorry, sir, but we don't allow heavy luggage in the cabin. I've got to have it in my cabin. I'm sorry, sir, but it's too large. It's the only piece of luggage I've got. Surely I can have it with me for a day or so. Just till I get it unpacked. Perhaps you could open it here, sir. Remove the things you need for the trip, and then you have to go in my cabin, and that's that. What cabin are you in, sir? 42A. Well, that's a cabin for two, sir. You're sharing it with somebody? I'm afraid a thing that size would be annoying to the gentleman. Poop. If the gentleman wants the trunk in the cabin with him, let him have it. Listen, Fowler, why don't you mind your own business? It is my business. What do you mean? I'm in 42Amyself. I don't need much room. Let him have the trunk, Steward. Very well, sir. See you later, Sherman. We'll have lots of time to get to know each other. Sitting in that cabin all the way home, I knew what had happened. Fowler had been standing behind me. I knew by the way the steward's opposition flattened like ice cream under a blowtorch, that Fowler had placed his badge behind my back. He'd sized me up as off color. Now he was baiting me. Baiting me the way they'll bait any guy on the other side of the fence. Not sure. Just suspicious and hoping for the worst. I had to get out of that cabin. They just had to change me. I couldn't cross the Atlantic with Pollard sleeping across from here. I'd go nuts. I hurried on board and made for the person's office. There was a lineup, but finally I made it. You're welcome, madam. Hope you have a nice crossing.

[Bonnie]

Thank you very much. You've been very kind.

[Sherman]

Yes, sir. Any spare cabin? I think so, sir. I. I find I'm sharing mine and I'd prefer to be alone. I think that can be arranged. What cabin you in now? 42A. Is that Sherman? That's right. I'm sorry, Mr. Sherman. I'm afraid there's nothing available at the moment. But if anything comes up, I'll give you first cheer. Fowler had beat me to it. He'd foreseen this move. He'd priced his badge and told them to leave things as they were. But he couldn't know what was in that trunk.

[Bonnie]

He couldn't.

[Sherman]

He was playing a hunt. He knew I was nervous, and he was playing a hunch. I paced the deck until it began to get dark. It was hot July weather. I couldn't leave her in the trunk any longer. It was a small cabin and I had to get rid of her.

[Bonnie]

That night.

[Sherman]

Finally, after I'd had four straight Scotches in the bar, I went down to cabin 42A. Well, I was wondering when you'd show up. The idea. Window shut, fan off. Can't be that chilly in July. Why all the yen for ventilation? What do you mean? You were fresh air fiend. Not especially. Just like a little breeze, that's all. Why? Well, why shouldn't I? I don't know. Go ahead, open the window. Taste. Thanks. Not much breeze yet. There's enough. Enough for what? What's biting you, Fowler? Nothing. Nothing at all. But I've been piped down. What makes you so edgy? I'm not edgy. You just get on my nerves, that's all. Is there something on them already? Now, look here, Fowler. No, no. Let's not get excited.

[Bonnie]

Decided.

[Sherman]

Let's go down and have dinner. I got up off the bunk, took off my shirt and threw it over the trunk. Then I took a long time washing my hands and face. I watched him every minute. I could see every movement he made in the mirror above the wash basin. Took a bottle of liquid shoe polish out of his bag, unscrewed the top, laid the bottle on the trunk. Then he started to clean a pair of blue suede shoes. I saw him deliberately upset the bottle all over my shirt. I saw him. You did that on purpose. Now, look, Mr. Sherman. I saw you. I saw you deliberately knock it over. I'm awfully sorry. I didn't mean to. I'll be glad to pay for your shirt. What's it worth? $5, $10, you say? You'll have to loan me one of yours. Mean to say you haven't another shirt in that young bungalow you're carrying? Listen, am I marked lousy or something? What are you hounding me for? I'm not hounding you. I'm just curious. Never saw a man so concerned about a trunk. Every time anybody touches it or moves it, you scream like a stuck monkey. That makes me curious. I don't like being curious. Oh, you don't? No, I don't. Now, come on, open it up. Get a fresh shirt. Come on down and we'll have some dinner. Nuts. I'll have my dinner sent in. Okay, have it your way. There's no hurry. Got eight days. He finished dressing and went down to dinner. Alone. I locked the cabin door and gritting my teeth, I opened the trunk. I didn't look. I just grabbed for shirts, underwear, ties for Thomas. Then I heard Fowler coming back. I'd fallen for it. He'd walked down the passageway and then come back. I couldn't get it shut again. It wasn't Her. It was all the wood and the stuff I piled in. I tugged at it. It wouldn't shut.

[Bonnie]

Oh, dear heaven, make it shut. Make it shut.

[Sherman]

Please.

[Bonnie]

Make it.

[Sherman]

Hey, what is this? A lockout? And then I saw it. My hairbrush. Between the edges at the bottom. I grabbed at it, shoved it back in, and it closed. I. I didn't know the door was locked. I did, before I even tried the handle. I forgot my pipe. Oh, yeah, that's right. Clean shirt. I see you opened it. What's my trunk? What are you carrying? Soap. Oh, you're crazy. You're absolutely crazy. Jewelry, Perfume. What? Just you trying to find out? I'll find out, all right. Now that you got a clean shirt, you're still gonna eat in here. Al. I went down to the dining room, but I didn't sit with him. I ate, but I couldn't taste anything. I didn't even know what I was eating. After dinner, I went back to the cabin and flung myself down on the bunk, fully dressed. Sheer nervous prostration made me sleep. When I woke, the luminous hands on my watch said three o'. Clock. A thin shaft of light from the transom above the door made the room a little lighter. The pitch dark. I could hear Fowler in the opposite bunk. His breathing was regular. In, out. I listened for. For an hour, I listened. There's an art in pretending to be asleep. Nobody can do it. For a whole hour, his breathing never varied. Not by a catch or a gurgle. I had to get her out of that trunk. I had to. Either I did it tonight or it was finished. I made up my mind to try it. I edged out of the bunk slowly. I didn't make a sound. I got the key from my pocket, got the key into the lock. I turned. I twisted it. It wouldn't open. Oh, dear, dear heaven, make it open. And it turned with hardly a sound. That turned. And Fowler went on breathing, breathing. Then I went at the snaps. They were on springs and they sounded like firecrackers. Exploded every noise. I died waiting for his breathing to stop. Waiting for him to sit up, to tow a gun, to flash his badge. I covered the clasps with my handkerchief. Finally, I got them all open and I started to get it. I never heard such noise. To me it sounded like an explosion. Deafening but foul. I went on breathing. In, out. Inch by inch, I forced it open slowly, violently. I hadn't wakened and I'd gotten it open. It took me 15 minutes, but I'd done it. I lifted her up. She was Like a doll. Like a beautiful sleeping doll. I got through the door, stood with her in my arms. A passageway. I stood there, sweating, shaking, terrified. And then I heard someone coming. Someone was coming along the passageway. I pressed back into the recessed doorway, holding her in my arms. And the footsteps came nearer and nearer and nearer.

[Bonnie]

Wonderful evening, Gerald. See you in the morning. Now, don't ask if you can come in. If you're anything, surface. What? Good night, dear.

[Sherman]

Good night.

[Bonnie]

They hadn't seen me.

[Sherman]

They hadn't seen me. I tiptoed along the passage. I climbed the flight of stairs at the end without making a sound. At the top, I had to open a heavy sliding door. In an instant, I was out on the deserted deck. I made for the stern of the boat. I hadn't gone 50 yards until I heard his footsteps behind me. I knew it was Fowler. He'd catch up with me in a matter of seconds. He'd see me, see her, see everything. I knew I'd have to face him, so I put her down on a deck chair and threw a blanket over. And then I. I turned the face foul. All right, Sherman. Here's my badge. FBI. I'd like to talk to you. What about? What did you take out of that truck? Wouldn't you like to know? An easy thing to Speak to the captain and have it searched. All right, go ahead, have it searched. I'll have you searched too. Go ahead. Come along. Like the devil I will. I'm staying here. You're coming with me. I'm not. Now, look, Sherman, I got a gun. I'm a federal agent. I'm ordering you to come with me. And if you put up a fight, I'll slug you. Now, be a good. Who's that? Who? The dame in the deck chair. I don't know. Oh, you got a shill working with you. I don't know who she is. Well, let's go over and introduce ourselves. I hit him. I hit him with everything I had. He spun like a top. I hit him again and he stomped over the rail. Then I grabbed his be than he. It didn't take a second to go back for her. I held her out over the black water and let go. Then the whole ship blew up under me. Please, madam, control yourself. Quiet, everybody.

[Bonnie]

Quiet.

[Sherman]

Now, tell me exactly what you did.

[Bonnie]

Well, I. Jared and I danced until after 3. I went to my cabin. I was getting ready for bed when I heard two men fighting on deck. I put on a robe. And at the door of my cabin I heard this scream. This terrible Scream. I went up on deck and I saw him hold his man out over the water and let go. When the man fell, the blanket came loose. The wind blew it back under the deck. It landed right at my feet. And I found the badge. He murdered an FBI man. He's a murderer, I tell you. A murderer.

[Sherman]

All right, Sherman, start talking. So I. I told him. I told them everything. I confessed. About the pearls, about Therese, about the trunk, about Fowler. Everything. It was after I'd made the confession that the purser told me. They took me down to a little room in the hold. A room with a big, heavy door on it. And that's when the Perth let me. Sherman. You crooks are all alike. You think you're smart, but you're not. You're dumb. I'll lay off. Will you lay off, Sherman? You got a shock coming to you. A big shock. What do you mean? If you hadn't fought with folly, you'd have gotten away with it. There have been no scream, no badge, no fight. You could have dropped her overboard. You wouldn't have had to wrap her in a blanket. You could have just dropped him. Are you crazy? I was there in the cabin with this FBI guy. And he knew I had to get rid of him some way, didn't I? No, you didn't. What are you talking about? 15 minutes more and we'd have gotten rid of Fowler for you. He'd be down here and you'd be up in 42A alone. What are you trying to say to me? We got a wire from the New York City Police instructing us to arrest Fowler for impersonating an FBI agent and blackmailing people on ships. What? Fowler was a fake, Sherman. A crook. So you see, Fowler's murder could have been avoided. And the girls. Well, the girls would probably never have been discovered at all. You have just heard Wardrobe Trunk by William Irish. The story was adapted for radio by Harry W. Duncan, who also directed the production. David Gothard starred as Babe Sherman. Joe Desantis played Fowler. Other players included Inga Adams, Bill Lipton and Ernest Graves. The music was composed and conducted by Dr. Roy Shield. Radio City Playhouse is supervised for the National Broadcasting Company by Richard P. McDonough. This is Harry Junkin again next week on Radio City Playhouse. One of the most exciting, exciting stories we have ever presented. The story of a vague and indescribable evil that ruins the lives of three very fine people. Be with us next week for Treasure Trove Attraction 32. Next week on Radio City Playhouse. Good night, everybody. Robert Warren speaking. This is NBC, the national broadcasting company.

[Host]

Visit relicradio.com for more from Theater 5, Radio City Playhouse, the Relic Radio show and all of the Relic Radio podc. Our shoutcast streams there as well, with even more Old Time Radio lots to listen to, all made possible by your support. If you'd like to help out, visit donate. Relicradio.com or click on one of the support links on the website. Thanks to those who have thanks for joining me this week. I'll be back tomorrow with the Case Closed and next Tuesday with our next episode of the Relic Radio Show.