Broadway Is My Beat: A Thiefs Duty Radio Mystery

0:01 The Adventures of Harry Nile.

0:09 Harry!

0:10 Bonsoir, mon ami!

0:12 Yeah, Remy!

0:12 Good to see you!

0:14 Well, what do you think? Has not any done well these past few months?

0:18 Yeah, but I thought the place was going to be bigger.

0:22 That will happen next summer.

0:24 I'm afraid with Victoria in prison, we lost our largest investor.

0:28 So we move forward slowly, but wisely, no?

0:31 Yeah, smart move. You ever hear from her?

0:34 Victoria?

0:35 For what purpose?

0:38 No.

0:39 I am free and without companionship at the moment.

0:42 Oh, so you and Annie aren't... Oh, no, my friend.

0:45 We are only in business together. However, there is a woman here for the festival.

0:50 I saw her at the front desk earlier.

0:52 I think she is alone.

0:53 Uh-oh. Here comes the charm.

0:56 I think I will be charmed instead. She has a way about her, confidence, curiosity.

1:04 I saw her looking up this slope earlier, and it was as if she was measuring it.

1:08 Look, there she is. Ah, she is coming this way. Excuse me, Harry, I must talk with... There you are, Harry.

1:15 I've been looking all over for you.

1:20 The last time Harry was in the mountains, he got snow down his neck and bullets fired at his head. but he still managed to catch a killer. This time visiting the peaks, the only thing he plans to do is enjoy the grand opening festival of a new ski resort. What's that old adage? The best laid plans of mice and men?

1:44 Hiya, Murph. This is Remy Laporte. Remy, my associate, Murphy.

1:50 Enchanté, mademoiselle.

1:52 My good friend Harry has told me much about you. He has also, for obvious reasons, no doubt, left out much. Harry, why did you not tell me she.

2:01 Was beautiful and charming?

2:03 Well, I.

2:05 Do not worry. I am a man. I understand.

2:08 Competition. No, no, no, no, no.

2:10 I mean... Oh, to have a camera.

2:13 There is a lady in the lobby with a ski jacket as red as your face.

2:18 Ah, a sense of humor.

2:19 Bon.

2:20 May I get you a hot toddy, Miss Murphy?

2:23 Murphy, just.

2:24 Just call me Murphy. And I'd love a hot cocoa, if you don't mind.

2:29 I will make it for you myself. Excuse me?

2:32 Harry!

2:35 Harry!

2:36 Oh, give me a hug!

2:39 I'm so happy to see you. And you must be Murphy. I'm Annie Campbell. I've been looking forward to meeting you, and thank you for persuading Harry to come to the festival.

2:48 Well, it wasn't hard.

2:50 Even his friend Lieutenant Dutcher said he should come.

2:52 Didn't he, Harry?

2:53 Last week?

2:54 When we stopped by the office, he said Harry should take a vacation.

2:58 Right?

2:59 Yeah, he did.

3:00 Do you want anything to eat or drink?

3:02 Let me get a waiter.

3:03 Oh, Remy went to get me something. May I say, I'm so terribly sorry about your sister.

3:09 Thank you. I miss her every day. Almost all the investors are here and they love the lodge. I just hope she'd love it too.

3:19 I think she'd be awfully proud of you. And the lodge is beautiful.

3:24 I can't wait to get.

3:25 On the slopes.

3:26 You ski?

3:27 A few lessons a long time ago.

3:29 I just paid for some more.

3:30 Oh, no, no, no, no, no.

3:32 Your weekend here is on the house. You and Harry are our guests. Oh, here comes Remy. Let me see what he thinks.

3:38 Remy!

3:39 Murphy wants to pay for her ski lessons.

3:42 Never!

3:43 Here is your coco a la Remy. Now, ski lessons? I will be your instructor. No one else.

3:51 The only charge will be your charming company for dinner every night that you are here.

3:57 Unless, of course, you object, Harry.

3:59 Me?

4:00 Why should I object?

4:01 Randy, you're making him uncomfortable. We all have dinner together.

4:06 It will be like a double date.

4:08 Not a date.

4:10 I'll do what I want.

4:11 Oh, really? Just let me see.

4:14 I'm going to tell him what for.

4:16 Oh, dear.

4:17 Enough.

4:18 This is foolishness. Excuse me, please.

4:20 No, no, no. Let me.

4:22 You'll just make him angrier. I'll be right back.

4:26 What's going on?

4:28 Husband who thinks if another man is polite to his wife, he's.

4:31 Trying to steal her.

4:32 It have anything to do with you?

4:34 Too much. The wife, she hasn't used his jacket. The red one you saw, Murphy. I am the host. No, it is my job to make my guest happy. So I compliment her.

4:46 With a French accent.

4:48 With what else? I should adopt an accent from New York or Texas.

4:52 Not at all.

4:54 There is something very disarming about.

4:56 A French accent.

4:58 Oh, you think so? You must tell me about it.

5:01 Down, Romeo.

5:03 As I say, I complimented her.

5:06 The husband's nose was displaced.

5:08 You mean out of joint.

5:09 What was the compliment?

5:11 Harry, I assure you, it was a simple compliment.

5:14 Yeah.

5:14 Yeah.

5:14 With a French accent. Oh, come on, Remy. What was the compliment? With a, gee, you look nice, or gee, you look sexy. You can see where that might get a guy a little cute off.

5:25 Yes, yes, yes, I see now.

5:27 I told her that red is a good color for her. That is innocent, no? And that it was easy to see her on the slopes.

5:36 Oh, she's the lady I saw in the lobby.

5:39 You're right.

5:40 If she wears that little number skiing, no one will miss her.

5:44 You sure you didn't say anything else? Add a little extra French charm to it?

5:48 I remind you, my friend, I am the host. Frankly, she is too cold, distant. She is not for me. I prefer someone of warmth and more hot chocolate on her feet.

6:02 That is one prickly, jealous husband. I can't imagine what it's like being married to him.

6:07 He is calm now.

6:08 Oh, I don't think he'll calm down until she needs a facelift.

6:12 But.

6:13 For the moment, maybe we can enjoy the evening and not be bothered with them.

6:21 What's going on?

6:22 Rehearsal!

6:24 Oh, you have to see this.

6:24 Look out the window.

6:25 The opening night of the festivities is tomorrow, and every night for the past week, the staff skis down the runs with porches. There'll be more of them tomorrow night, I promise, pretty much everyone.

6:35 Really.

6:36 How perfect.

6:37 And it's snowing, too.

6:39 Yeah. Snow. Snow.

6:42 Whoopee.

6:43 Remy, it's beautiful.

6:52 Yeah, yeah, I'm coming.

6:57 Oh, Murphy. I thought you and Remy were going for a long walk in the snow.

7:02 We did a short one.

7:03 He has to make sure the equipment rental area has everything ready for tomorrow. You should see the lodge with the lights glowing and the snow falling. It was like that John Payne and Sonia Henning movie, but without ice skating.

7:18 That's nice.

7:21 I'm beat. I'm going to turn in. I'll see you at breakfast.

7:23 I'm sorry. I can't make it.

7:25 Huh?

7:26 Remy's going to give me a lesson first thing in the morning. Unless you want to come with us.

7:31 I'll pass.

7:32 See you at lunch then.

7:34 Night.

7:34 Night, Murphy.

7:40 What's going on? What happened? Somebody help?

7:41 Thief!

7:42 Thief!

7:43 My jewelry is gone!

7:45 It's stolen!

7:46 Help!

7:46 Help!

7:47 Thief!

7:47 Stay here.

7:48 Not on your life.

7:49 All right, what's going on?

7:52 Is anyone hurt?

7:53 Call security. Where's management?

7:55 I demand to talk to management. This is abomination.

7:57 Whoa, whoa, whoa.

7:58 Calm down, Mr.

8:00 Landry.

8:01 Don Landry, our room has been burgled. My wife's jewelry is gone. Where is management? And I don't mean that shifty-eyed Frenchman.

8:08 Now, just a moment, sir.

8:10 Who are you? Are you management? No, you're the tart I saw walking with him earlier.

8:16 Shut up.

8:16 Hey, hey, you shut up. Get in your room. Go on, move it. Who are you?

8:23 You have no say.

8:24 I'm head of security, so you get yourself in your room. And if I catch you insulting another guest, you'll be out on your ear.

8:31 Harry, Harry, what's going on?

8:32 We've been burgled. This man says he's head of security and he's ordered me back to my room.

8:37 Oh, I, um, well, he knows what he's doing. I suggest you follow his suggestion. We'll be right behind you as soon as we've conferred.

8:46 He doesn't have anything to tell you. He hasn't asked any questions. He just ordered me around.

8:51 After he called Miss Murphy a tart.

8:55 Really?

8:57 Why don't we all go into your room and discuss this?

8:59 I thought you were going to talk to him first.

9:01 I changed my mind. I wouldn't want you to think we're hiding anything from you.

9:05 Everyone else, I.

9:06 Am sorry for the disturbance. If you could all return to your rooms, please.

9:12 Mr.

9:12 And Miss Landry, this is Harry Nile, a private detective from Seattle who is currently acting as security for the lodge. Miss Murphy is his business associate. Now, what's happened?

9:24 My necklace has been stolen.

9:27 When you checked in, you deposited it in the front desk safe, didn't you?

9:31 She wanted to wear her diamond and sapphire necklace at dinner. Why bring it if she can't wear it?

9:35 A little dressy for dinner at a ski lodge.

9:37 Isn't it?

9:38 Don gave it to me for our wedding. We met skiing.

9:41 I saw you in the lodge bar after dinner. So? I'm just trying to lay down a timeline here. Were you wearing the necklace then, ma'am?

9:49 Yes.

9:50 Why didn't you return it to the safe after dinner?

9:53 I forgot.

9:54 Okay. Okay.

9:55 Did you go back to your room after the bar?

9:58 There isn't much else to do up here.

10:00 You know.

10:01 You were in the parking lot, and then near the bottom of the bunny hill this evening.

10:05 I saw you.

10:06 You spying on us? Seeing if we were in our rooms so that French.

10:11 Watch it, Landry! She was doing her job with the security walker on the premises.

10:16 Maybe she saw someone else.

10:18 Your wife is the only woman up here with that distinctive jacket.

10:23 Unless someone has taken that, too.

10:25 When did you take the necklace off? What do you mean? It wasn't swiped right off your neck, was it?

10:30 Of course not. I took a bath. That's when I took it off. I put it on the dressing table.

10:38 Right here.

10:39 And when I got out of the bath, it was gone.

10:43 There's quite a bit of cosmetics here. I assume you wouldn't want to get any lotion or powder on such a beautiful stone.

10:51 Was that box taken too?

10:52 What box?

10:53 Jewelry that expensive usually has a box made especially for it.

10:58 Was that taken too?

10:59 Of course it was. You don't see it, do you?

11:01 Where were you?

11:03 What's that supposed to mean?

11:04 When your wife was taking a bath, where were you?

11:07 One stupid question after another. Obviously not here. Otherwise, I would have.

11:13 Where were you?

11:17 In the bar. Room service was over. I was hungry, and I remembered there were snacks in the bar. We discovered the necklace was gone when I came back. What are you going to.

11:27 Do about it?

11:27 Let me get the paperwork started for a report. If you wish to speak to us further, we'll be in the office for the next hour. Otherwise, stop by tomorrow to approve the report, and I'll call the police then. Unless you want me to call them now.

11:40 But you aren't going.

11:42 To search for it?

11:43 And start with the Frenchman's room.

11:59 Here you are, Annie.

12:00 Really, Murphy?

12:01 I could have typed it in the morning.

12:03 No time like the present.

12:04 See if I've left anything off.

12:07 Uh-huh.

12:09 Mm-hmm.

12:10 Wow, you really do remember everything. Yep, it's all here.

12:13 Except that Mrs. Landry is lying.

12:16 How do you know?

12:17 There was face powder all over that dressing table. Somebody stealing something would have disturbed it.

12:23 I saw that, too.

12:24 What surprised me the most is that she uses cheap cosmetics. And did you notice her face?

12:30 Sorry, too much makeup for me.

12:32 Ah, too much and too perfect.

12:36 Especially after a walk in the falling snow and a bath.

12:41 Oh, I see what you mean.

12:44 I don't.

12:45 Mascara runs when it's wet, Harry. She should have had black streaks trailing down to her chin.

12:50 That woman hasn't been outside or in a tub.

12:54 Well, then who did you see on your walk with Remy? Or did you just say that to get to Landry?

12:59 Well, I thought I did see her.

13:01 Now I'm afraid what I saw was her red jacket, but she wasn't in it. Whoever it was had the hood up, and with that fur trim around the face, who could tell? Remy and I were yards away.

13:13 It must have been Mr.

13:15 Landry.

13:17 Have you noticed she wears flats?

13:20 They're the same height, so yes, it could have been him.

13:23 But why?

13:25 Insurance scam, I'll bet. Look, tell you what. Tomorrow morning, I'll call a couple of police detective friends of mine. See if they have any bunco people with the Landry's description, and you can call the local....

13:36 Now what?

13:39 All of you are here. This is extraordinary. When I got back to my room, I found this behind my night table.

13:47 So that's why he was out walking around. He was planting the necklace in Remy's room. Show us where, Remy.

14:00 Oh, my.

14:02 You're very tidy.

14:05 I do not like things scattered here and there.

14:08 Makes it easier to see if somebody's been in your room.

14:11 Old habits from the war. They do not go away. I always leave a few things just so. And if they are moved, then I know someone has been in my room. The night table has always been against the wall and against the bathroom door edge, but not when I came in tonight.

14:27 Nothing else was disturbed?

14:28 No.

14:30 A little cleanser was left behind by the maid. Nothing more.

14:33 Where?

14:34 The night table. She must have brushed against it when she put fresh towels in the bath. I wiped it off with a mouchoir for the face.

14:43 You mean a tissue?

14:44 Oui.

14:45 What'd you do with it?

14:46 It is in the basket.

14:48 Was there a lot of it?

14:50 Just a little dust.

14:51 Found it!

14:53 Wow!

14:54 Take a whiff of this!

14:55 Ugh!

14:57 How could she put that on her face?

14:59 Who would put cleaning powder on their face?

15:02 It's face powder, Remy. And it looks like the Landrys are trying to frame you. But why?

15:07 I do not know. I do not know. I have only spoken with Mrs. Landry twice.

15:13 When she first checked in and when the desk clerk opened the safe for her this afternoon.

15:17 Was anybody else there besides you and the clerk?

15:20 Yes, new guests who were putting things in the safe. I was writing receipts for them.

15:24 That's when she took the necklace out?

15:26 Possibly.

15:27 You didn't see it?

15:28 Oh, he wouldn't. Everything a guest gives us goes into a special bag that's tagged with their name and room number. It can be loose things or in their own box or bag. We don't ask what it is.

15:38 They don't tell you?

15:39 Would you want a.

15:40 Complete stranger to know you've put $ 10, 000 in cash in her safe?

15:43 Someone's done that?

15:44 I hope not. We just feel that whatever our guests put in the safe should be private. I'm rethinking that policy.

15:52 Then they must be trying to set up Remy.

15:54 Yeah, well, again, why?

15:56 How many guests have stuff in that safe?

15:59 10, 15.

15:59 I'd have to check the record.

16:00 People come here to ski, not to go to big fancy parties where they have to dress up. So why bring something that has to go in a safe?

16:06 Have you ever dropped your keys in a foot of fresh powder? They disappear. Anything they lose on the slopes probably won't be found until the spring-fall.

16:15 But why try to frame Remy? Have you ever met Landry before?

16:20 No, but I have met men like him.

16:22 Well, are the Landrys investors in the lodge?

16:24 No, several guests are. But most of the people here just wanted to attend the grand opening.

16:29 Are the investors all rich?

16:30 Well, they're not hurting, that's for sure.

16:33 Anybody else bring up expensive jewelry?

16:34 Harry, I already told you, we have no idea.

16:36 All right, all right, I know, I know, I'm sorry, I'm sorry. What do you know about the Landrys?

16:41 We don't ask for references on guests.

16:43 So you don't know anything about them?

16:45 Nothing at all?

16:46 Ah, wait, I think I understand. They are the thieves, is that not so, Harry?

16:50 Possibly. And if they plant their necklace on you, they don't come under suspicion.

16:56 Giving them time to get away.

16:58 What's the safe like? It's very simple.

17:00 Lock and key inside another locked cabinet. Thieves on our opening weekend.

17:05 All right, let me see the necklace again. There was a big jewelry theft in Portland a few months ago. Cops thought the thieves were headed to Mexico, but maybe they headed north instead.

17:14 And now they know how the safe works, why not pick up a few extra things on their way?

17:19 I wouldn't be surprised.

17:20 Well, what should we do?

17:20 Well, you know, Annie... I'll bet you're telling them I was a private detective. Shook them up.

17:27 My friend, I have seen that look before.

17:30 You have a plan, no?

17:32 I have an idea. Not a plan.

17:35 Yet.

17:37 But maybe. Okay.

17:40 What do we do?

17:41 Go to bed.

17:41 What?

17:42 Go on and go back to your rooms. I got to figure out the logistics. But Murphy, see me before breakfast. There's a couple of things I want you to do.

18:01 You.

18:02 Morning, sunshine. Let me in. I need to talk to you.

18:05 Do you have that Frenchman under lock and key?

18:07 You gonna let me in or not? Oh, yeah, sure. All right, now you need to back off Laporte.

18:15 Who?

18:16 The Frenchman. Leave him alone. We're that close, that close to catching him, and you nearly blew it. What kind of an idiot are you?

18:23 Now, just.

18:24 Shut up and sit down.

18:25 I'm calling Miss Campbell to report you.

18:27 Who do you think got me up here? I said shut up and sit down. We've just spent the last six months setting this up. So I'm gonna level with you, but not a word to anybody, right? Not a word. Where's your wife?

18:42 Ice skating, then meeting me for breakfast.

18:44 Fine, fine, I'll talk to her later. Okay, here it is, straight. Laporte's a thief.

18:51 But he runs this place with Miss Campbell. He's been working with her for a year. I read the lodge's brochure.

18:56 Oh yeah?

18:58 Did you spot the paragraph that says he's wanted in five countries? That he stole the.

19:03 No, no, no.

19:04 I can't tell you what it was. But it was big and expensive. That's why we're trying to catch him. We got word he was bringing in somebody to help him with another job. There's a lot of wealthy people here this weekend. Perfect chance to pull off a big heist. I.

19:19 I would imagine.

19:20 Did I ask for your opinion?

19:22 No.

19:22 Then keep quiet. Where was I?

19:24 Oh, yeah.

19:25 He's got an associate. We don't know who. My associate, your T.A.R.T., has been doing her job in keeping him occupied. Then you lost it up by losing your necklace.

19:35 We didn't lose it. It's been stolen. Have you searched his room? I'm sure you'll find it there.

19:40 The necklace is penis next to what he's after.

19:43 Good grief.

19:44 What's in the safe?

19:45 A lot more than you expect. So, leave him alone. We have to give him and whoever is working with a chance to pull this off so we can catch him red-handed.

19:55 Wait a minute. He knows you're a detective, doesn't he?

19:58 Yeah, so now I'm a challenge to him to put something over on me. Didn't you hear me? He's wanted for theft in four countries.

20:06 You said he was wanted in five countries.

20:09 Four for theft, the fifth one for murder.

20:14 But he acts so charming, so smooth, so.

20:17 Likeable? Yeah, said the spider to the fly. For gosh sakes, man, he's a killer. So don't get in his way, especially not tonight.

20:27 Got that?

20:28 Oh, yes, of course. You screw this case up and you could be listed as accomplices. Come to think of it, how do I know you're not one?

20:36 Me?

20:37 I'm not.

20:37 We're not.

20:38 Really, we aren't. We're just two people who want to ski. I won't bother Laporte. I'll tell my wife not to.

20:45 No!

20:46 It's better she doesn't know the truth. When's the last time you looked in a mirror? You two are so easy to read, it's ridiculous. You look like something's going on, especially tonight. Now, I'll talk to your wife. I'll tell her everything's handled and she doesn't have to worry. Okay.

21:03 You think he'll make his move tonight, during the festival? That seems like a good time.

21:08 Oh, why do you think so?

21:09 Well, if I were a thief.

21:12 Yeah?

21:13 And I'm not. This is just hypothetical, mind you.

21:15 Always is. What would you do if you were a thief?

21:19 Well, skiers will be coming down the mountain with torches. People will want to see that. No one will pay attention to anything other than the spectacle.

21:30 Ah.

21:31 Smart man, Landry.

21:33 Very good.

21:35 Yes.

21:37 That's exactly when we're going to catch him.

21:39 But Isn't that supposed to be around 10?

21:41 Yeah.

21:42 Everybody's going to be looking up the mountain while he's robbing the safe. But once he gets on the mountain, that's when we grab him.

21:48 What if he makes his move earlier, say 9 o'clock?

21:51 He won't.

21:53 That's where my associate comes in. She's going to keep him busy, if you get my drift. Well, got to go. Remember, you tell nobody about this. Nobody.

22:07 Harry, did it work?

22:09 Shh, shh, shh, shh.

22:10 His motor's running overtime. Mrs. Landry's at the ice rink. Did you call Dutcher yet?

22:17 It's a pity you don't skate.

22:19 I'd love having a big, strong partner lend his arm over the rough spots.

22:24 You seem pretty calm about what I just told you, Mrs. Landry.

22:28 What's the price of having beautiful jewelry? Thieves consider it their duty to prey on the wealthy.

22:33 You're not worried at all?

22:36 I leave such matters to my husband. His whole reaction to that delicious Frenchman has been rather.

22:43 over the top. Though I shock you by saying Remy is delicious. I may be married, and quite happily so, Mr. Nile, but I'm not dead.

22:53 How very disappointing to find out he's a common thief. But perhaps a little exciting at the same time. Do you think it would help if I flirted with him a little?

23:04 We've got him under surveillance, ma'am.

23:06 Really?

23:07 Just you and... And your associate? All the time?

23:11 Don't worry. There are others.

23:12 And you're all watching one handsome young man.

23:16 My, my.

23:18 Did you search his room and find my necklace?

23:20 No.

23:21 He didn't want to scare him off.

23:22 What's to stop him from leaving early?

23:24 We've got the state patrol alerted in both directions out of here. He can't even ski out.

23:29 You are kidding.

23:30 Oh, ma'am.

23:31 We're going to get him. There's no place he can run. The police have his description, the car he's driving, everything.

23:38 Everything. Oh, how convenient.

23:41 I hope. If you'll excuse me, I'd better get back inside.

23:45 Well, what does my husband think of all this?

23:48 He doesn't know. Do me a favor and don't discuss it with him. We don't want you two giving our plans away or him trying to act like a hero.

23:55 Well, when you find my necklace, will I get it back or will it become evidence?

24:00 Oh, believe me, I fully intend for you to get it back.

24:04 Why, thank you, Mr.

24:05 Niles.

24:06 I feel better about it already. Will we be seeing you at the festival tonight?

24:11 I'll be watching Laporte.

24:13 Good luck with that.

24:20 Annie, it's going to be okay. Will you sit down and relax?

24:22 I can't.

24:23 These people are going to try and rob my safe.

24:26 Correction.

24:27 They will rob your safe.

24:28 I have to warn the staff.

24:29 Do not do that. Somebody is bound to give it away. Let them know that with the Landry theft, the front desk has to have somebody on it at all times.

24:39 But if somebody's always there, how do they rob it?

24:41 And when?

24:42 Between 8.45 and 9 tonight. But first, Annie, I want you to empty the safe.

24:46 What?

24:47 And substitute the packages with look-alikes that have junk in them.

24:50 What about the Landry's necklace?

24:51 Put it in a special package under Smith, if you don't have a Smith here already.

24:55 We have a Mr. Lawrence A.

24:57 Smith.

24:58 All right, then make it for Albert Smith.

24:59 I don't care.

25:00 Just so we know which package the necklace is in.

25:03 Bon.

25:04 What can I do, my friend?

25:05 You're going to have an accident. Pardon? At precisely 8.30 this evening. If you can stay up on skis, how well can you fall off of them?

25:19 I just don't understand why, Harry. Why try to frame Remy?

25:23 Well, my guess is that Landry was looking for a chump this weekend and Remy was convenient.

25:28 I bet all that hullabaloo about Remy flirting with his wife was just a setup, too.

25:33 We won't know until we catch them with what's in the safe.

25:36 What time is it?

25:37 Oh, dear.

25:38 After eight. I need to get out there.

25:40 I'm the one who's going to trip Remy and then he's going to roll.

25:43 Down the slope.

25:45 Oh, before I forget.

25:46 When I was outside before, Mr.

25:48 And Mrs.

25:49 Landry were up on their balcony.

25:51 Really?

25:51 Uh-huh.

25:52 Just sitting there all wrapped up and snuggled in.

25:57 Remind me to ask her where she got that jacket before the cops take it away.

26:00 I'll try. I wish you'd stay inside.

26:03 Sorry, Harry.

26:04 Two-person job. Besides, you'll have all the fun in here.

26:09 Barkeep, another cup of coffee, please.

26:12 You keep drinking coffee, they're going to lose money.

26:14 What are you doing in here?

26:15 Didn't I tell you to keep out of the way?

26:17 No room service. All the staff is up in the mountain getting in place for the torchlight descent. So I'm getting snacks for Lila and me, and we'll watch it from our balcony. Is that all right with you? Come and join us if you'd like.

26:30 Just stay out of the way.

26:31 I have every intention of doing so.

26:34 I'll bet you do.

26:36 Your coffee, sir.

26:37 Thank you.

26:38 Oh my gosh, what's happening out there? Oh man, that looks bad. It's running! Hey, they're getting the stretcher.

26:44 Right on time.

26:51 No, don't open anything. We don't have time.

26:53 I just don't want to get some stupid kid's Dick Tracy watch.

26:56 Who cares?

26:57 We'll toss stuff like that once we're on our way. Just fill the bag. We've only got a few minutes until someone returns.

27:03 You mean like me?

27:04 Niall!

27:05 For real. That stuff you're stealing is all a substitute. All right, take a seat while we wait for the police.

27:11 Won't work, Niall. Give me the bag, Lila. Get out of our way, and we'll be on our way.

27:16 You don't have any place to go. The cops have got the East and the West Highways shut down.

27:20 To your delicious friend, Remy. They won't be looking for a nice middle-aged couple. We'll sail right past them.

27:26 Actually, they've got your descriptions.

27:29 There are other ways out of here.

27:30 Remy!

27:33 Oh, that's right, Don.

27:34 Run right into the arms.

27:35 Hey, what's going on?

27:36 Hold right here.

27:37 Out of my way.

27:37 Oh, let us through.

27:38 Oh, you heard her. Let us through.

27:40 Ow!

27:41 Let go of me.

27:41 I said let go of me.

27:43 You're under arrest. More hot cocoa a la Harry Murphy? Mm.

27:49 Don't mind if I do.

27:50 It's a little nippy out here.

27:52 Yeah, but she can see everything. The Landrys don't know what they're missing.

27:59 You know.

28:00 The more I look at that red jacket of hers over there, I wonder how it would look on me.

28:07 Hmm, red.

28:09 On a redhead.

28:10 Yeah, well, just make sure you don't take the pillows she stuffed inside. Hotels don't mind an occasional ashtray, but they draw the line at pillow theft.

28:19 What a way to spend a vacation, huh, Harry?

28:21 I wonder if we can get some sort of reward for recovering the stolen goods from Portland.

28:27 Vacation? Do you think Dutcher really stopped by to tell me I should go to a ski festival? He knew these guys were headed this way and wanted somebody to intercept him for him. Somebody they wouldn't know.

28:42 You mean you two set this all up?

28:46 Yeah, even better than the Landrys, don't you think? Oh, hey, hey, hey, what are you going to do? Oh, no, you're not going to throw snowballs at those skiers.

28:56 Oh, who said anything about skiers?

28:58 Miss me.

28:59 His first one was just to test the wind.

29:02 Ow!

29:03 Ow!

29:05 Hey, look.

29:06 Remy and Annie are leading the torches in.

29:08 Where?

29:09 Ow!

29:11 You've been listening to A Thief's Duty, written by Sable Jack. Larry Albert stars as Harry Nile, and Marianne Dorward as Murphy. Also in the cast were.

29:22 Cynthia Weintraub.

29:23 David Natale.

29:24 Norman Newkirk.

29:25 Christine Moser.

29:26 The Harry Nile theme and incidental music is by David Shire. Frank Rosine and Curtis Takahashi supplied the live sound effects. Our engineer was Jason Chavey. The Adventures of Harry Nile was created and produced by Jim... French, directed by Larry Albert, and is a copyrighted feature of Jim French Productions, all rights reserved. This episode was recorded at the Kirkland Performance Center in Kirkland, Washington. This is Jay Green speaking. The Adventures of Harry Nile.

30:08 Okay, well, we might as well get started. You'll find we're pretty informal in our meetings, Murphy.

30:13 That's good.

30:14 I think you know everyone here. Franklin Dorn, Jim Kurnack, Laurie Russell, and of course, yours truly.

30:20 The famous Edgar Cooke.

30:23 I think it would be a good idea for us to observe a moment of silence.

30:26 You know, for Peter.

30:27 That's a nice idea.

30:29 Everyone agree?

30:30 Fine. For Peter Alice.

30:33 May God rest his soul.

30:34 Now, to get on with the business, after Peter died, Puget players sort of drifted, I think you could say. So now I think the best possible way to honor him would be to do his play.

30:50 The ghost thing?

30:51 We've all read it, so I think with a few little changes we could do it justice. You had your hand up, Franklin?

30:57 Well, it occurs to me that there'd be some irony in doing it, seeing Dory may have been visited by.

31:02 An actual ghost.

31:04 Excuse me?

31:05 Well, that's a matter of opinion.

31:07 What about a ghost?

31:08 We should tell her.

31:09 Well, you're the one who saw it.

31:11 Well, I certainly saw something.

31:12 What are you talking about?

31:14 It was in the dressing room.

31:15 Not that this has any bearing on our fall lineup.

31:17 Well, you can say what you like.

31:18 There was something in the closet when I walked into the dressing room, because the closet door was just closing. But I wasn't brave enough to open it. All I did was say, hello, is anyone there?

31:30 And was there?

31:31 Of course not. This drafty old theater has so many leaks in the walls and the ceilings that Any air current would cause a door to swing open.

31:39 Or close.

31:39 I think the old legends of haunted theaters are always in the back of our minds when we're rattling around in this old barn. It's easy to get spooked by all the creaks and the squeaks. The stage floor makes so much noise it can drown out the actors.

31:51 Well, there'd be some technical challenges. I mean, as I recall, the script calls for some supernatural effects. Not that there's anything we couldn't do. We can rent a fog machine, and the audio and lighting wouldn't be a problem.

32:05 I can see one angle right off the bat.

32:07 Promotion.

32:09 Come see a play called Ghost, starring a real ghost.

32:12 What do you mean?

32:14 You don't think ghosts are real, do you?

32:16 I don't know.

32:16 I've never seen one.

32:25 How'd it go?

32:26 Oh, fine.

32:27 There are five people on the board. I'm number six. They're all actors or directors.

32:31 I really don't know why Edgar Cook invited me to join the board of directors.

32:36 I've only worked there as a volunteer.

32:38 Something happened at the meeting.

32:39 Something happened?

32:39 What do you mean?

32:40 You're nervous.

32:41 I've never seen you nervous.

32:42 I am not nervous.

32:44 Yes, you are. You haven't sat down at your desk, you're fiddling with the telephone cord, and you haven't looked straight at me since you came through the door.

32:51 I'm sorry.

32:52 I'll sit right down and get to work.

32:57 You expecting a phone call?

32:58 No. Why would I be expecting a phone call? Harry Nile Investigations. Murphy speaking. Oh, yes, Dory.

33:08 No, I'm not busy. In fact, I was just telling my boss about the meeting. No, I didn't, but I was going to. I don't think so, but come over anyway. Yes, he's the private investigator I.

33:25 Told you about.

33:28 Okay.

33:29 I'll see you when you get here. Occidental and Main, second floor.

33:35 All right.

33:36 See you.

33:40 Harry, do you.

33:40 Believe there are ghosts?

33:42 Why?

33:43 Were you just talking to one? More coffee, Dory?

33:49 Just a little.

33:50 So.

33:51 Tell me more about Peter Ellis.

33:53 Well, as I said, he was in his early 50s, and he was a wonderful actor and a very good friend.

34:00 Were you in lots of plays with him?

34:02 Oh, yes, several.

34:03 Peter and I co-started a number of productions.

34:06 How'd he die?

34:07 I don't know all the details, but he was up in Alaska on a hunting trip when he fell off.

34:12 Of a glacier or something.

34:14 When was this?

34:15 This past summer.

34:17 And you think he's come back to haunt you?

34:19 Well, not just me. Personally, I think the whole theater is haunted. I think it's been haunted for a long time before Peter died.

34:27 What other things have happened?

34:29 Oh, lights would go on and off when there was nobody at the light panel. Some of the ropes they used to raise and lower curtains would move without anyone touching them. One of the weirdest things is, in the dressing room between the acts, the makeup would be all rearranged. We'd leave them out on the table just before going out on stage, and when we'd go back to the dressing room, they'd all be put away. One night, when Edward was blocking a scene, a big, heavy Fresno lamp crashed down onto the stage, and it came this close to hitting him.

35:02 Wow.

35:03 How did Peter get along with the others in the company?

35:06 Fine.

35:07 So aside from the stuff you mentioned, Nothing unusual happens in the rest of the theater.

35:12 Oh, I didn't say that.

35:13 Nobody will go up into the projection booth by themselves.

35:16 Why?

35:17 What happened?

35:18 Something about the arc lights and the projectors acting up. You'd have to talk to Jim Kernack about that. He's our tech director. I just know I don't go anywhere in the theater where I'm not needed. I don't mean to scare you.

35:32 I'm not scared.

35:33 Well, good.

35:34 By the way, what's your first name?

35:36 Everybody just calls you Murphy.

35:38 Murphy's fine.

35:39 Oh, well, you're so attractive.

35:43 Have you ever acted?

35:45 On stage?

35:46 No.

35:47 Oh, she's too modest, Dory. I've had Murphy helping me on plenty of cases where she had to pretend she was somebody else. I think if she got a part in one of your productions, she'd be a knock. I mean, with her red hair, good looks, and that figure.

36:02 Harry, I didn't know you noticed.

36:05 Well, I must be getting back to the theater. I have all kinds of projects that have to be done.

36:09 Yeah, well, listen, good luck with your next show. And thanks for dropping over, Dory. Let me know if you need somebody in my line of work.

36:15 Yeah, oh, it was so nice to meet you.

36:18 And thanks for the coffee. Have a nice afternoon.

36:22 Yeah, same to you. And give my regards to your ghost.

36:49 Oh, hi, Edgar.

36:51 Putting up a poster?

36:52 No, it's not my job, but somebody's got to do it. You've heard what happened to Jim Kernak.

36:57 No, what?

36:58 He fell and broke his leg.

36:59 In the theater?

37:01 He was hanging luminaries up at the grid and it gave way and he fell down onto the stage. Lucky he wasn't killed.

37:07 Good grief.

37:08 Where is he?

37:09 Franklin drove him to the emergency room. I called off the production meeting. Sorry, you had to make the trip for nothing.

37:15 That's all right. How are the rehearsals for Ghost going?

37:19 We've had to make a few changes in the script. We can't figure any way to pull off some of the effects he calls for. Of course, he always liked a challenge.

37:28 Well, didn't he intend to direct it himself?

37:31 I assume so. I doubt he would have trusted it to me.

37:35 Is that so?

37:37 He enjoyed directing. I think he only wrote plays so he could direct them. Listen, I've got to get these posters put up. Curnack was going to do it, but he'll be out of action for weeks with that broken leg.

37:46 Well, I could hang them up. Then you could show me what I could do to fill in for Jim.

37:51 That's very nice of you, Murphy. But Curnack was checking the show, and you haven't had any experience. There are too many things a technical director has to know.

37:59 I'm a fast learner.

38:17 All right, act two from the top. Curtain up.

38:19 Cue.

38:20 Why are you looking at me that way?

38:22 I like looking issues, Cynthia. What's wrong with that?

38:25 No, I mean, you look like you're examining something under a microscope.

38:30 I don't like being analyzed.

38:33 All right, my dear. The analysis is ended. Um, line? And what did you find out?

38:40 And what did you find out?

38:42 Sometimes I think you're really two people. Cynthia, the brilliant attorney, and Cynthia, the.

38:48 Cindy! Cindy, the provocative little vixen! I know, I've got it. Take the line again. Sometimes I.

38:53 Sometimes I think you're really two people. Cynthia, the brilliant attorney, and Cindy, the provocative little vixen.

39:01 It's like being married to two women. Line. And which one are you in love with?

39:07 And which one are you.

39:08 In love with? Both of them.

39:10 Or is that a case of bigamy, Counselor?

39:12 I'm sorry, Edward. Can we take a break?

39:15 What's the matter? We just had a break. Okay, five minutes, but I need to remind you that we open in less than two weeks, and by now you should have your lines cold.

39:24 Well, you can stop worrying. I haven't let you down yet, have I?

39:29 I'm... sorry. We're a little tense. Forget what I said just now. You'll be fine. You always are. Well, I'll be back in five minutes.

39:37 I'm going to step outside for a smoke.

39:39 Fine, Franklin.

39:39 Go ahead.

39:40 Edgar, were the light cues all right?

39:43 Oh, hi, Murphy. Yes, they were. They were perfect. Good job. Exceptionally good. Seeing that this is the first show you've ever worked on. And it's a complex lighting plot to boot.

39:53 I had a great teacher.

39:55 How you ever learned our antiquated light board so quickly, I'll never know. That thing's been rebuilt a dozen times.

40:02 Well, see, I have this thing.

40:04 What the hell? That's Dory.

40:07 I saw him.

40:08 I saw him in the dressing room.

40:10 He was there.

40:11 What are you talking about?

40:12 He was there and then he was gone.

40:14 I'm not kidding.

40:15 You're shaking like a leaf.

40:17 Of course I'm shaking.

40:18 There was a ghost in there. Calm down, Dory. What did you see? The ghost.

40:22 And I'm not crazy.

40:23 Tell me what happened.

40:24 I opened the dressing room door and the room was completely dark.

40:27 I know.

40:28 I left the lights on when I left. So I turned on the lights.

40:32 And there he was. Who was?

40:34 Peter!

40:34 Peter Ellis!

40:41 Well, rehearsal already over?

40:43 Well, Dory was a mess. There was no way they could rehearse after what happened.

40:48 What do you think really happened?

40:49 I have no idea.

40:51 But Dory was absolutely terrified.

40:56 Who else was in the theater?

40:58 Well, Edgar Cook was holding the rehearsal, Franklin Dorn and Dory Russell were on stage, and there was me. I didn't see anyone else, but there's something else.

41:07 Yeah?

41:08 If they can't get the play ready to open on the 7th, they might default on the rent. And from what I get from Edgar, the theater owners would love to throw them out and shut the theater down.

41:21 And you want me to do something about it?

41:24 Yes, I want you to find their ghost before it's too late. And I can tell you right now, they won't be able to pay you.

41:32 Where have I heard that before?

41:35 Well, I've shown you all there is to see, Harry. The place was in shameful condition when we leased it back in 55. I know it doesn't look much better now, but we put a lot of money and sweat into the place.

41:48 Doesn't look too bad from the front.

41:49 Oh, you should have seen it right after the quake in 49. Everything made of brick just toppled into the street, but the guy who owned it at the time had insurance, so they rebuilt where the worst damage was, the result being what you see today. Patchwork backstage. Antique seating in the house. We hold our breath every time the fire marshal comes to inspect it.

42:12 What do you think it's worth?

42:14 The building? Probably only good for salvage. But the property it stands on, half a block off 3rd Avenue, it's worth probably a quarter of a million dollars.

42:23 Who owns the theater now?

42:24 An outfit in Portland. Lucas Lambert Associates.

42:28 You all have good cards with them?

42:30 As long as we make our rent payments. I'll tell you the truth. If we don't get good houses for the run of this play, that'll be our last season. We're doing Ghost because there's no royalty to pay, not because it's a particularly great play.

42:45 Okay.

42:46 Now tell me who's out to get you.

42:48 What do you mean?

42:49 We've all got at least one person who has it in for us. Wants to get back at us for something, or wants something we've got, and he doesn't.

42:56 So think about it.

42:57 Lights go on and off by themselves.

42:59 Curtain ropes move up with nobody touching them. A guy falls off the grid. A gal thinks she sees a dead guy in her dressing room.

43:05 You think this is all coincidence?

43:07 Or do you think the place is really being haunted?

43:10 Yes, I think it's one or the other. Yeah, well, let me tell you something.

43:15 There's no such thing as coincidence, and there is no such thing as ghosts.

43:19 Then how do you explain what's been happening? That's what a P.I.

43:24 Does.

43:25 He gets to the bottom of the so-called mysteries.

43:27 And you think you could find out what's going on?

43:29 Sure.

43:30 Well, I wish I could hire you.

43:32 Well, I'll give you my rate card.

43:33 It won't do any good. We don't have the money to hire you.

43:36 How do you know?

43:36 Because I run the theater, and I see the books, and we barely survive from month to month as it is.

43:41 All right, I'll tell you what. Suppose I go ahead and investigate your ghost at my own risk.

43:46 What's the catch?

43:47 What's the catch?

43:49 The catch is, I don't want Murphy to get hurt.

43:54 Harry.

43:55 Edgar just told me you've offered to investigate these accidents at.

43:59 Your own expense. I think that's wonderful, but.

44:03 You mustn't do that because I'm volunteering at the theater.

44:07 That makes me feel responsible.

44:08 You can feel any way you want, but this won't cost me any more than my time. And, well, I haven't got any other cases to work on, so why not?

44:16 My hero.

44:17 Yeah, that's me.

44:20 Now listen, I want you to research the people who've come in contact with the ghost.

44:25 What do you want to know?

44:26 Their backgrounds, their relationships with each other, and to the dead guy.

44:29 Peter Ellis.

44:30 Right.

44:32 Larry, when do you have to go back to the theater?

44:33 Tomorrow.

44:34 They're going to run act two. That's the longest act with the most light and sound cues. I have to be there by nine o'clock in the morning.

44:41 Yeah, not much time for you to get what I need.

44:44 You might be surprised.

44:46 I'm always surprised with what you can do.

44:47 Ooh, I believe that's the second nice thing you've said about me today.

44:51 Come on in.

44:55 Pardon the mess. It's the butler's day off.

44:58 That's all right.

44:58 I'm a bachelor, too. How's the legs?

45:00 Well, it hurts, and it itches inside this cast. Other than that, I can't get around like I'd like to, and I've got to put up with five or six more weeks of this. I feel like I'm letting everyone down over at the theater, but I guess Murphy's doing a great job.

45:13 And what are you doing now that you can't work at the theater?

45:16 Building models. I work on sculpture. That's what I really like to do, but there's no money in it.

45:21 Not for me, anyway.

45:22 Yeah, I'm going to get to why I'm here. What can you tell me about Peter Ellis? How well did you know him?

45:28 We were friends.

45:29 All right. Tell me what you know about the way he died.

45:31 Well, I guess he was tramping around in the wilds of Alaska all by himself, and he fell off a cliff or something. Anyway, nobody knew what happened to him until somebody found his body.

45:39 Three or four days later.

45:41 What'd they do with it?

45:41 They carried him to the nearest little village and waited for the police to investigate.

45:45 How did you find out about it? Did they contact a relative or anybody?

45:48 They found a former wife of his who lives somewhere back east, and she knew Edgar.

45:53 That's how we found out.

45:55 And what was done with the body?

45:56 They had him cremated.

45:58 Was there a funeral?

45:59 If there was, we never heard about it down here.

46:02 Did he have any family? Not that I know of.

46:04 He kept to himself a lot.

46:06 The ladies liked him.

46:09 Anybody in particular?

46:10 Dory Russell.

46:11 She was always making a play for him, but I'm not sure he felt anything special for her.

46:16 And what's your take on this ghost business?

46:19 I don't know.

46:20 I don't want to believe in that stuff, but after what's been happening, I don't know.

46:27 If this is a bad time for you, Frank.

46:29 That's Franklin.

46:31 Oh, sorry.

46:33 How well did you know Peter Ellis?

46:35 I knew him about as well as any of us in the theater. We had a mutual admiration society. I admired his playwriting and he admired my acting. But beyond that, we were really from different worlds. I was professionally trained.

46:49 Peter was self-taught.

46:51 But he was favored with good looks, so he got cast in the romantic lead in several shows.

46:56 He couldn't have lived on what the Puget players paid him, so how did he get along?

47:00 We often wondered that.

47:01 Meaning what?

47:02 He had no visible means of support, and yet he dressed very well. He never seemed in want of money. And when he decided to go hunting in Alaska, why.

47:11 Off he went. Hmm.

47:12 Where do you live?

47:13 On Capitol Hill.

47:15 I don't know any more than that. If you want more personal details, why don't you talk to Dory Russell?

47:24 Who is it?

47:25 It's Harry Nile. I need to ask you a few more questions.

47:27 This is really not a good time.

47:29 I won't take long.

47:30 We're going to run the second act, which is very long and very complicated, and I'd rather not be bothered right now.

47:36 I'm sure you understand.

47:38 Okay, sure.

47:39 Look, I'll go out and sit in the audience. Fine.

47:57 You mind if I watch the rehearsal from here?

47:59 No, no, sit down. We'll be starting in a minute, but first the cast will be coming out here for notes. And how are things going for your investigation? Making any progress?

48:09 Too early to tell. I may know more after I.

48:11 See the actual rehearsal. Well, this is the second act. About halfway through the act, a big storm hits, and the lights go out for a moment, and then they move around with flashlights as the only illumination. That's when the ghost makes his appearance.

48:26 Oh.

48:27 We really get to see a ghost? How are you going to do that?

48:30 Well, I could explain how we're doing it, but I'd really rather have the ghost come as much of a surprise to you as we hope it will be for the audience.

48:40 Okay.

48:40 Fair enough.

48:41 Now, this act opens with the two lovers having a quarrel. That's Franklin Dorn and Dory Russell.

48:47 Ah, here they come.

48:49 Okay, folks, now you're going to run through this straight through with no stops. We'll have sound and light cues.

48:56 Right, Muffy? Right.

48:57 And if someone goofs up anywhere along in the act, I want you to go right on and cover it just as you would if we were performing to an audience. Wait a minute.

49:07 Murphy?

49:07 Yes, sir?

49:08 When you do the lighting, can you handle the thunder effect too?

49:11 Do you want the thunder to come before, after, or during the lightning?

49:15 Is the lightning far away?

49:16 No, no, I don't want it together with the lightning. It should be... flash of lightning, beat, then the thunder. Do it that way each time. Okay. Oh, and Dory, when the ghost makes his entrance, remember not to be looking at the place in the wall where he appears. The audience should see him before you do. And when you do see him, Pull out all the stops like you did when you thought you saw Peter in the dressing room. When you screamed, they could hear you in Tacoma.

49:42 Well, I wasn't acting, believe me.

49:45 Oh, and Murphy?

49:45 Yes?

49:46 When Dory screams, it's critical that you drop the curtain at exactly the right moment, because they're going to freeze on stage after the scream, so the instant the scream ends, curtain down, fast. Got it. I wish Jim Curnack were here to help you, but just keep your eyes on the stage, and when the ghost appears, you'll have your hands on the curtain rope ready to pull.

50:07 I'll do my best.

50:08 I know you will. Okay, places, everybody. Douse the house lights, and we'll start with the curtain down. Okay, Harry, I'll leave you now. I hope you enjoy it.

50:19 Thanks.

50:20 Curtain up!

50:23 You know, since the last time we ate at this hotel, I think they must have hired a new chef.

50:30 Oh, you may be right.

50:32 Whatever they did, they sure came up with a fun menu. I wish the trial would last another week so we could try all the entrees.

50:46 That was close. Paul, I'm a good lawyer.

50:50 You certainly are.

50:51 Then why did I feel uneasy this afternoon when I went into my summation? I should have been able to look Fred Skinner straight in the eye when I got to the finish, where I asked the jury to find him guilty of murder in the first degree.

51:04 But I couldn't.

51:06 Having second thoughts about who killed Francisco?

51:09 Ooh, that was close.

51:15 No, I'm convinced he did it. But we've still got the death penalty in this state.

51:22 Who could that be?

51:23 I'll get it. This is Dr. Cornwell.

51:27 Yes, Lieutenant, she's right here. It's some police lieutenant.

51:31 This is Cynthia Cornwell.

51:34 Yes. Yes.

51:39 Oh, my God.

51:40 When?

51:41 How could that happen? I see. No, I can't think of anything at the minute. I'm in shock. Do you need me to come down?

51:52 All right.

51:53 Thank you for calling, Lieutenant.

51:56 What is it?

51:57 Fred Skinner hung himself in his jail cell.

52:04 There go the lights.

52:05 Oh, no!

52:07 Don't you have one of those little flashlights in your purse?

52:10 I think I do, yes. What did I do with my purse? Oh, here it is.

52:16 Paul? Where did you go?

52:19 Paul!

52:20 And the ghost walks through the wall and the curtain falls. All right, house lights, everyone on stage. Well, Harry, what do you think? Where was the ghost? The only way we can make the ghost appear to walk through the wall was to build one section of flat out of burlap with a slit in it for him to step through and paint it the same color as the rest of the flat so it won't be noticeable. Well, the paint on the burlap is still wet and We don't want it to smear the ghost costume, so we'll have to wait for it to dry before you can walk through it. But it'll be dry for tomorrow night's dress rehearsal. Okay, everybody, get set for the final act.

53:03 Good morning, Harry.

53:03 Hey, Murphy. What are you doing here so early?

53:06 I couldn't sleep, so I decided to come down here and see what's been cooking.

53:09 Not much, apparently.

53:10 Nothing.

53:11 But I watched part of the rehearsal last night.

53:13 What did you think?

53:14 It's looking real good, but who's going to play the ghost?

53:16 Well, it could be almost anyone. The ghost doesn't have any lines.

53:21 You're not going to tell me who it is.

53:22 I don't know who it is. Edgar isn't telling us.

53:26 Why not?

53:27 I don't know.

53:28 But if I had to guess, I'd say it's going to be Edgar himself, and he's waiting to spring it on us opening night.

53:35 That's weird.

53:36 Well, he feels very close to this play because Peter Ellis wrote it and Edgar promised him he'd do it for the first of this season.

53:44 And then Peter died. Edgar's keeping his promise. They were good friends.

53:48 What does the ghost have to do?

53:49 Just walk into the room.

53:51 And he doesn't go back in the third act? Nope.

53:53 We don't see him again. But his presence is felt. You haven't read the script.

53:59 Uh, nah.

54:01 Well, it's got a trick ending. I don't want to spoil it for you.

54:04 Go ahead.

54:05 Well, it turns out that Fred Skinner, who was on trial for murder, really didn't hang himself. That was an act put on by the defense attorney, pretending to be a police lieutenant to shake up the.

54:20 Prosecutor, Cynthia.

54:21 Because, it turns out, she'd withheld evidence that would have cleared Skinner, but she needed.

54:29 To win the case against him, even if he went to the gallows.

54:33 But.

54:34 When she thought Skinner had killed himself, she went crazy. Or she's supposed to.

54:38 But Dory still hasn't done it to Edgar's satisfaction.

54:42 She hasn't?

54:43 Well, what's he going to do about it?

54:44 I don't think we'll know until opening night, end of the second act. He's got something up his sleeve, but none of us know what.

54:54 What is it?

54:56 Fred Skinner hung himself in his jail cell.

55:02 There go the lights.

55:03 Oh, no!

55:05 Don't you have one of those little flashlights in your purse?

55:08 I think I do, yes. What did I do with my purse? Oh, here it is.

55:15 Paul?

55:16 Where did you go?

55:17 Paul?

55:18 Oh, no!

55:21 It's Peter!

55:22 It's Peter!

55:23 You're dead! Curtain, curtain, lower the curtain, Murphy. My God, who is that? Never mind. She's collapsed. Get some water, somebody. I'm going to make an announcement. Ladies and gentlemen, ladies and gentlemen, is there a doctor in the house? This is not part of the play. We need a doctor.

55:42 Now.

55:44 Dory, can you hear me?

55:46 Dory.

55:46 What do we tell the audience?

55:48 Tell them the show is over. Hey, where's the ghost? What happened to the ghost?

55:53 If he's smart, he's driving away from here, peeling off his mask.

55:56 What are you talking about?

55:57 Can someone tell me what happened?

55:59 Sure.

56:01 Edgar Cook and Jim Curnack can tell you. They gotta be the ones who cooked this up. Looks like Edgar couldn't get a realistic reaction out of Dory when she saw the ghost, so he decided to give her a ghost. Peter Ellis. Dory'd been in love with Ellis, as everybody knew. For a minute tonight, she thought she was seeing him as a ghost, but it was only Jim Kernack without the plaster cast and including the mask of Peter Ellis, both of which Kernack created himself.

56:28 So he didn't really break his leg?

56:30 Nope.

56:31 When did you know?

56:32 When I visited him at his house. The cast he was wearing looked a little phony, and there wasn't a cane or any crutches anywhere around. And I caught a look into a room where he was building models and working on a sculpture of a head Well, that told me he had the talent to pull off a stunt like this.

56:49 But it backfired.

56:51 Maybe so. Maybe not. But when the papers write a review of the opening, aren't a lot of people going to want to go see what's going to happen next time? This could turn out to be a hit.

57:03 And Jim Kurnak can come back and do the tech and the ghost.

57:08 Would you be sorry to give it up?

57:09 No.

57:10 No.

57:10 It was an interesting experience, but I'd rather work with you, Harry.

57:14 I'm through with show business.

57:15 Oh, Murph, you'll never be through with show business. You do a performance every day, and I'm your audience.

57:23 You've been listening to Ghost, written and directed by yours truly, Jim French. Larry Albert stars as Harry Nile, and Marianne Dorward as Murphy. Also in the cast were.

57:36 Terry Rose.

57:38 Jan Darcy.

57:39 Norman Newkirk.

57:40 Peter Kelly.

57:41 The Adventures of Harry Nile is a copyrighted feature of Jim French Productions. All rights reserved.

57:49 The Adventures of Harry Nile.

58:01 Harry Nile Investigations.

58:03 Your voice sounds different, Murphy.

58:06 Betty, is that you?

58:07 It's me. Where's Murphy?

58:09 Out of town. Right now, I'm answering the phones and investigating the cases. Or I would be if I had any cases.

58:15 Maybe I can help you with that.

58:17 Well, I could use a second pair of hands around here, but Betty, won't your boss have some hard feelings about that?

58:22 Not help in the office, Harry. I mean, I can send some work your way.

58:27 How come?

58:28 I would also have accepted thank you.

58:31 Thank you? How come?

58:32 My employer, Kingsley Addison, has been very happy with some of the work you've done for him.

58:37 Especially on the Frank Rimini case. He didn't even have to set a foot in court.

58:42 Yeah, lawyers hate that. But you know, Rimini should be behind bars for what he did to his wife.

58:48 Mrs.

58:49 Dexeter made an appointment to see Mr. Addison earlier today. A few minutes into the consultation, he decided it was a case for a private detective.

58:58 Not an attorney.

58:59 So, she's on her way to see me? Well, what time can I expect.

59:03 Does that answer your question?

59:05 Come in.

59:06 Harry, there's something else I should tell you.

59:08 Gotta go, Betty.

59:09 Thanks.

59:10 Oh it is you hester hester rimini.

59:15 I thought this dump seemed familiar.

59:18 Take a seat betty said to expect a mrs dexter no.

59:23 She said to expect a mrs dexeter that's me hester leslie.

59:29 Dexeter Oh, so you and Frank aren't... No.

59:32 After he had me beaten up, and after you let it out that I was a bigamist because I'd never divorced Woodhouse, my first husband, I figured we were beyond help. That was all over a couple of years ago. I got a quickie Mexican divorce from hubby number one, remarried, and now my missus is Dexeter.

59:52 Oh, congratulations.

59:53 Yeah, about that. Maybe you should bill me as Hester Kronsky.

1:00:00 Oh, right. Look, Miss Cooper should have explained to you, I don't really handle divorce work, Hester.

1:00:07 Oh, it's not a divorce case. I mean, I'll probably go back to using my maiden name once Alan shows up dead. Assuming I don't go to the gas chamber for killing him.

1:00:17 They hang you in this state.

1:00:19 Whatever.

1:00:20 Okay, never mind. So, Alan's your husband, and he's been murdered?

1:00:24 Uh-huh.

1:00:25 You think he might have been murdered?

1:00:27 I guess. There are plenty of people who'd want to do them in, but I'm the only one who's ever said so.

1:00:34 And when was that?

1:00:35 Last Tuesday. Oh, and the Friday before that. And twice the week before that. Both times on the same day. In fact, a couple times a week most weeks.

1:00:47 But they were just words, right?

1:00:48 Right.

1:00:50 Also, I shot him.

1:00:51 Where?

1:00:52 In the garage.

1:00:53 No, no.

1:00:54 Where in his body?

1:00:55 In the arm. In the garage. This may surprise you, but.

1:01:00 Yeah, you've been drinking.

1:01:01 A little bit.

1:01:04 I'm here!

1:01:05 I'm here.

1:01:07 What?

1:01:07 Now, I know Murphy has a typewriter, but I can only work with my own model, so I hope that's okay.

1:01:13 What's going on? Who is this?

1:01:15 This is a friend of my associate's, Betty Lodge.

1:01:18 Murphy asked me to help out while she's away. Didn't she tell you?

1:01:21 She didn't, but you're welcome. You know, I was just talking to Betty Cooper on the phone.

1:01:27 Other Betty... Huh?

1:01:29 That's what we call her in the reading group.

1:01:31 Other Betty.

1:01:33 Look, maybe this was a bad idea, Harry. I'll take my chances.

1:01:37 With the law.

1:01:37 No, no, no.

1:01:38 Don't leave, Hester. We're just getting acquainted. Look, Betty, there's a pad on Murphy's desk. Start taking notes. So, I guess it's safe to say you and your husband had a fiery relationship.

1:01:49 Oh, don't get me started.

1:01:50 I was talking to the client.

1:01:52 Sorry.

1:01:53 Just venting. We had our problems, sure. Nothing as bad as I went through with Frank.

1:01:59 Even though you shot him?

1:02:01 He was asking for it.

1:02:03 Literally.

1:02:04 I remember him saying, you want to shoot me, Hester? You don't have the guts. Showed him.

1:02:09 He didn't press charges?

1:02:11 I think he was too embarrassed. That was a few weeks after we married. I didn't know about the state of his heart then. I probably wouldn't shoot him now. Just pointed at him, maybe.

1:02:24 So why did you shoot him a few weeks after you got married?

1:02:27 He's terminally unfaithful.

1:02:29 Terminally?

1:02:30 Oh, bad choice of words. I'm no candidate for wife of the year.

1:02:34 I remember.

1:02:35 But Alan's line of work put temptation in his way too many times.

1:02:40 And what is Mr. Dexeter's line of work?

1:02:43 He's a talent scout for colossal pictures.

1:02:47 I love the movies, but I've never heard of colossal.

1:02:50 That's because it doesn't exist.

1:02:52 Okay, you've lost me.

1:02:54 Alan looks for pretty girls... tells them he's going to make them famous, sends them off on a bus to L.A. with the name of one of his associates in their purse. Once they arrive, they're put to work.

1:03:06 But the work they do isn't acting.

1:03:10 You might say it's performance-based.

1:03:13 You knew this when you married him, and you're all right with it?

1:03:17 You want me to tell you life's fair, kid? Yeah, Alan's a creep, but he's my creep. But if he's dead, a jury might not see it that way.

1:03:26 And what makes you think he might be dead?

1:03:29 I haven't seen him in days. He doesn't behave himself, but he always stays in touch. Mostly just to make sure I'm not drinking too much. Or too little. Understand me, Harry. I'm not that concerned about him anymore. Find him alive, find him dead. I don't care. Either way suits me fine.

1:03:49 Say he's alive.

1:03:52 I'll take him back, I guess. Or divorce him and go back to being Hester Kronsky, one or the other.

1:04:00 And what if he's not alive?

1:04:03 Then he's probably been murdered. Who wouldn't want to kill a guy like him?

1:04:07 Yeah, she has a point there, Harry. I haven't even met him, and I want to kill him.

1:04:11 I went to see Mr. Addison because I figured I'd need a lawyer once the cops show up at my door. But he said he thought it'd be better if he put a private detective on the case. I want you to spend as much as it takes, Harry.

1:04:26 Yeah, well, I hate to ask, Hester, but do you have as much money as it'll take?

1:04:32 Frank put all his company's profits into my bank account. It was a tax thing. So I'm sitting pretty. If you can prove someone else killed Alan.

1:04:43 If he's dead.

1:04:44 If he's dead.

1:04:45 And you didn't kill him.

1:04:46 I don't blame you for being skeptical, Harry. I wouldn't believe me, but... Hey, what are you going to do?

1:04:53 Well, find your husband, I guess. How much do you know about how he ran his business?

1:04:58 Enough that I need sleeping pills every night. My conscience doesn't get a whole lot of exercise, but that doesn't mean I don't have one.

1:05:06 Fine.

1:05:08 I want to know everything you know, and I'm going to need a photograph of your husband.

1:05:11 So you'll know his body when you see it?

1:05:13 So I'll know him when I see him.

1:05:16 If you seriously think he's alive. Start by lifting up every floozy in town. He's bound to be under one of them.

1:05:28 After Hester leaves, I put in a call to a very old friend. I could have asked Betty to do it, sure, but it's been way too long since I talked to Sam Reynolds of the LAPD. See, once upon a time, I had an office above Manny Fine's tailor shop on Molina Street in Los Angeles. Nowadays, that seems like another life. Anyway, I asked Sam to find out whether any of Alan Dexeter's buddies were out of town recently. Like, that'll prove anything.

1:05:55 If my client's husband is dead, and that's a big if, then there's no reason why they couldn't have put out a hit on him and stayed where they were.

1:06:06 Okay, I made it.

1:06:08 If there's one thing I can't stand, it's being made to feel guilty.

1:06:12 Betty?

1:06:13 I told Mr.

1:06:14 Addison I had a family emergency, got him to give me a couple of days off.

1:06:18 I think you should know I prefer to work on my own type.

1:06:23 Writer.

1:06:25 Hello?

1:06:27 Betty, you and other Betty know each other, right?

1:06:30 Which one of us are you talking to?

1:06:32 Aren't you Other Betty?

1:06:34 She's Other Betty.

1:06:36 What?

1:06:37 Did Murphy say I was Other Betty?

1:06:39 Okay, okay, look, look, I'm grateful you're both here, but I'm not really sure that I.

1:06:43 Well, I'm not leaving. I took two days off work for this.

1:06:47 If she's not going, I'm not going.

1:06:48 All right, I'm sure there's enough work for everybody. This case probably is more complicated than I think. All right, Betty, put down your typewriter.

1:06:57 Which Betty are you talking to?

1:06:58 The Betty holding the typewriter. Okay, now, I can't call you Betty and the other Betty. That's out, and no Betty Lodge and Betty Cooper takes too long. How about Betty One and Betty Two?

1:07:11 Fine by me.

1:07:13 Obviously, I'm Betty One.

1:07:14 I don't see why that is obvious.

1:07:17 All right, all right.

1:07:17 How about Betty A and Betty B? No, that's never going to work. We'll work on it later.

1:07:22 This is a picture of the husband?

1:07:23 Yeah, Alan Dexeter. Real prince among men with a face like a crushed fedora.

1:07:28 Is that a watch or a lump of gold round his wrist?

1:07:31 It's really something.

1:07:33 Vulgar is what it is.

1:07:35 That's the something I was about to say it was.

1:07:37 All right, first things first. We need to track down Alan Dexeter, and the only way we can do that is through his business acquaintances. Now, Hester gave me a list. One half for you, Betty, and the other half for you, Betty.

1:07:50 Betty.

1:07:51 All right, start checking the phone book, even the city records if you have to. I need to talk to every girl on this list.

1:07:57 And what if they've already gone to find fame and fortune in Los Angeles?

1:08:01 Then we need to talk to their families. Any one of them would have a motive to kill him.

1:08:05 If he's dead.

1:08:06 Good point. Thanks, Betty.

1:08:07 I thought it went without saying.

1:08:10 All right, everybody play nice. Now, here are the names of the cops in Seattle who are still talking to me. Dexter drives a Mercedes sedan, California license number TKU. I want to know if it shows up.

1:08:26 All right.

1:08:27 The Harry Nile Detective Agency is now open for business, so let's get to it. Crazy as it seems, I probably would have turned down Hester's case if it hadn't come to me through Kingsley Addison. Alan Dexeter's business, well, it was all a little too much like taking a trip down a sewer in a glass-bottom boat. And if he had been killed, Hester looked like a pretty good suspect to me. But Addison honestly thought he was doing me a favor. And if I didn't take the case, well, car salesmen called it reciprocity. Or at least that's what Murphy tells me.

1:09:02 I'm late for the theater. This is going to have to wait, Mr.

1:09:06 Nile.

1:09:06 It's Nile, and this is pretty important.

1:09:08 Are you a cop?

1:09:09 I'm a detective.

1:09:11 But not a cop.

1:09:12 Oh, that usually works. You're a very smart young lady, Miss Verringer.

1:09:16 Don't feel too bad. And call me Colette.

1:09:19 But I still really need to talk to you. It's about Alan Dexeter.

1:09:23 I don't want to talk about him.

1:09:25 Well, now, that's the funny thing about being a detective, Colette. The minute somebody doesn't want to talk about something, I do. I've talked to everybody Alan was planning to see this week. You're the last name on my list. And you're the first person to know something useful.

1:09:42 I never said that. You're putting words into my mouth.

1:09:45 I wouldn't have to if you'd talk to me.

1:09:48 Your technique could use some work, Mr.

1:09:50 Nile.

1:09:51 Call me Harry. Can I give you a ride to the theater? My car's over there, the Hudson Hornet.

1:09:57 You came here in that thing? You're braver than I thought. I'll take a cab, thanks. You're welcome to come along for the ride.

1:10:05 Well, how am I supposed to get back to my car?

1:10:07 Take another cab? Not my problem.

1:10:14 So, Alan Dexeter wanted to put you in the movies, huh?

1:10:17 You make a lot of assumptions, Harry Nile.

1:10:20 But that's what he told you. That's what he told every other girl I spoke to today.

1:10:23 Me?

1:10:24 He told the truth.

1:10:25 And what is the truth, Colette?

1:10:28 That he finds girls and sends them out to work as streetwalkers for some L.A. goons.

1:10:34 Wow.

1:10:35 He really did tell.

1:10:36 You the truth.

1:10:37 He was soft on me. A big sap.

1:10:40 Well, if he was so soft on you, why'd he give you that black eye?

1:10:44 I didn't think it showed.

1:10:45 It doesn't. But the makeup around that eye is as thick as pie crust.

1:10:50 It was four days ago.

1:10:52 He took me to dinner at Quarter Deck. Do you know where that is?

1:10:56 Golden Gardens. Yeah, I know it.

1:10:58 Probably. He thought it was too nice a place for me to throw a fit when he told me he wasn't going to make me the next Lana Turner or even the next Mamie Van Doren. Well, he was right about that.

1:11:10 I'm still not too clear on why he told you.

1:11:12 I already said... He fell for me. In a big way. A lot of it was pretty typical stuff. He'd never met anyone who made him feel this way before. His wife didn't understand him.

1:11:26 Blah, blah, blah, blah.

1:11:27 You hear that a lot?

1:11:29 More often than you'd think. But there was one thing I hadn't heard before.

1:11:32 What was that?

1:11:34 That he emptied.

1:11:35 His wife's bank account. Her first husband was something in the mining business.

1:11:41 Hello, motive.

1:11:42 And.

1:11:43 That whenever he went back to L.A. to check up on his pals and his girls, he helped himself to more than his fair share of the profits.

1:11:52 Oh, I bet his pals would have loved that.

1:11:54 Well, he said he'd got an alias all picked out and he was going to disappear permanently.

1:11:59 With the money and with you.

1:12:01 I have this effect on men. I mean, what can I say?

1:12:04 What did you say, Colette? To Dexeter, I mean.

1:12:07 I said I wanted to go home. He offered to drive and I said yes. That was a big mistake. The next thing I know, we're speeding along Highway 99, away from town.

1:12:19 He kidnapped you?

1:12:20 I don't think he saw it that way. He figured I'd come around to his way of thinking. I told them I knew some people who could unpress his suit if he didn't take me home.

1:12:31 And do you know any people like that?

1:12:33 My father does.

1:12:34 Uh-huh.

1:12:36 Uh, your father wouldn't be Garrick Beringer, would he? Owner of the Cascadia Lounge?

1:12:42 That's him.

1:12:44 All right, then I don't get it. The Verringers are doing pretty well. Why do you care about getting into the movies?

1:12:50 Who'd want to just be rich? I want to be famous, too.

1:12:54 Ah, got it. So, did Dexeter take you at your word?

1:12:58 He pulled over and we had an argument. I told him he was crazy if he really thought I was going with him. I tried to walk away. He grabbed my arm. I snatched his keys and threw them as far as I could. And that's when he gave me the shiner.

1:13:13 I'm sorry.

1:13:14 I'm not half as sorry as he was. I've been taking jujitsu lessons twice a week since I was 15. My dad insisted. He shouldn't have touched me.

1:13:25 Collette, did you kill Alan Dexeter?

1:13:28 Kill him?

1:13:30 Heck no. No, the last I saw of him, he was on his knees, losing his expensive dinner and clutching his dignity. I hitched a ride back into town.

1:13:41 Okay, just one more thing. Do you know what alias he picked out for himself?

1:13:46 He never said.

1:13:48 Okay, driver, let me out here. Well, at least Dexter was right about one thing, Colette.

1:13:57 What's that?

1:13:58 I don't think Hollywood's ready for a girl like you. Not yet. Good morning, Bettys.

1:14:06 Morning?

1:14:08 Is that what you call it?

1:14:10 Do you always start work so late, Harry, or is it just when Murphy's not around?

1:14:14 You know, until now, I never realized what she had to put up with from you.

1:14:17 Me neither.

1:14:18 Look, I had a long night, but it wasn't for nothing. Take my word for it.

1:14:22 Well, while you've been sleeping in, we've been working.

1:14:26 I spoke to Sam Reynolds. He says, how come you never came.

1:14:30 Back to L.A.? Oh, call me crazy, but I like to live someplace that has seasons.

1:14:35 He also says that, so far as he knows, no one in Alan Dexeter's business has been in Seattle in the last week.

1:14:41 Closer to home, a Lieutenant Bellano called.

1:14:45 He said Alan Dexeter's Mercedes was found abandoned.

1:14:48 On Highway 99.

1:14:49 Well.

1:14:51 That had less impact than I was hoping.

1:14:53 All right, call him back. Tell him the keys are still lying around on the ground somewhere.

1:14:57 So is this what the Harry Nile Detective Agency does?

1:15:00 Just tells you things you already know?

1:15:04 Admit it, Betty.

1:15:05 You're impressed.

1:15:06 Sorry.

1:15:07 Which one of us are you talking to?

1:15:09 Oh, boy.

1:15:10 I'll be glad when Murphy gets back.

1:15:13 Anything else?

1:15:14 Bolano figured Dexeter might have walked to a motel.

1:15:17 Good guess. There are plenty of seedy places around Pacific Highway South.

1:15:21 Turned out to be.

1:15:22 A bad guess.

1:15:23 The name Alan Dexeter doesn't appear in any of their registers.

1:15:27 Sorry, Harry. I thought it was a possibility.

1:15:30 Yes, I still do.

1:15:32 How?

1:15:32 His name's not.

1:15:33 Names can sometimes cause a lot of confusion. Yeah. Look, Bettys, thank you for coming in early, so why don't you take the rest of the day off?

1:15:42 No.

1:15:47 No.

1:15:49 No, never seen this guy in the picture before. Sorry.

1:15:52 Take a good look, Mr.

1:15:54 Kasabian.

1:15:56 No, no, he's a little too well-dressed to stay at this dump.

1:16:01 Look, I told all of this to the cops.

1:16:03 Yeah, I understand that. Can you smell that?

1:16:08 You'll get used to it. Takes about two months. It's the smell of desperation and failure.

1:16:17 I guess it takes a lot of staying power to run a place like this.

1:16:20 Just waiting for my big break.

1:16:22 Who isn't?

1:16:23 Maybe you should try some of the other motels around here.

1:16:26 I tried a few already, but... I got a good feeling about this place.

1:16:31 I don't know why. The guy wasn't here. I told the cops. I'm telling you.

1:16:35 You show the cops your register?

1:16:37 Of course.

1:16:38 Mind if I take a look?

1:16:40 Is this for love or... Are you offering something in money?

1:16:46 Does this help?

1:16:47 Doesn't hurt. It's okay. Yeah, I remember the date. Hold on a second.

1:16:55 Yeah, see?

1:16:56 And anybody who stays here has to sign this?

1:16:59 Mm-hmm.

1:17:00 See? No Dexedar. Not that night, not any night.

1:17:04 Right, right.

1:17:06 I see you had a guy staying here that night named Les Kronsky.

1:17:11 Les Kronski, right.

1:17:13 You remember him?

1:17:15 Yeah.

1:17:16 Pretty young, good-looking guy, kind of skinny.

1:17:19 In other words, the exact opposite of Alan Dexeter.

1:17:23 That's one way of looking at it.

1:17:25 Funny thing is, Mr. Kasabian, Dexeter thought there were people coming after him, and he picked out an alias for himself. But I didn't know what it was until now.

1:17:37 Dexter wasn't Kronsky, no way.

1:17:39 Oh, then it's just coincidence that the night he vanished, somebody was at your motel who had the same middle and maiden dame as Dexter's wife, Hester Leslie Kronsky?

1:17:52 Yeah.

1:17:53 Yeah, I guess it's just a coincidence.

1:17:56 So if the cops compare the writing, they won't find a match. And the gold watch you're wearing stands out like a kangaroo in a dinner jacket.

1:18:06 I bought this.

1:18:07 No, no. Look at the photo. A friend of mine said she thought it looked pretty vulgar. Seeing it for real, on your wrist, yeah, I think it is too. So, do you want to tell me what happened to Alan Dexeter?

1:18:19 I didn't kill him.

1:18:20 Well, that's good to know. Say, I'm going to need that money back, if you don't mind.

1:18:28 So he's dead. Alan really is dead.

1:18:31 Yeah, he's dead, Hester. Kasabian led the cops right to the spot where he buried him.

1:18:36 I never heard of anyone called Kasabian.

1:18:38 Neither had your husband. He's the manager of the Enchanted Gardens Motel, and it doesn't live up to its name, believe me.

1:18:45 So why did Kasabian kill him?

1:18:47 Well, he didn't. That's the one thing he told the truth about. You said that Alan had a bad.

1:18:52 Heart, right? Well, he never really used it for much.

1:18:54 Well, on the night he died, he got quite a workout. He was already planning on skipping town, knowing there were plenty of heavy hitters who wanted him in pieces if they ever got up with him. If that wasn't bad enough, he wound up going a few rounds with the jujitsu champions. And as you can imagine, that didn't work out too well for him.

1:19:11 Good.

1:19:12 On top of that, he lost the keys to his car and had to walk a few miles to the nearest motel, the Enchanted Gardens.

1:19:17 Put a lot of strain on the old ticker, I'll bet.

1:19:20 He signed the register, but he made the mistake of letting the manager in on the fact that Les Kronsky wasn't exactly his own name. Gave the guy a 50 from a well-stuffed wallet.

1:19:30 Stuffed with my money, the louse.

1:19:32 And told Kasabian that if anybody came looking for somebody matching his description, he wasn't there. A few hours later, he really wasn't there. His heart finally gave out sometime during the night, and when Kasabian found the body, he remembered that Alan had signed in under a false name, so there was no evidence to show he'd ever been there.

1:19:50 He helped himself to the wallet and the gold watch, but he had to wait until nighttime to bury the body.

1:19:55 What did he do with it for a whole day?

1:19:57 Kept it in his office. Couldn't have made the place smell any worse, believe me.

1:20:03 I sure can't pick him, right? First, Woodhouse. Then Frank, then Alan. What's my secret, Harry?

1:20:11 I wish I knew what to tell you, Hester. If Murphy were here, she'd probably say exactly the right thing.

1:20:17 Murphy's your girlfriend?

1:20:18 Not my girlfriend, no.

1:20:20 So you're single?

1:20:22 And planning to stay that way, Hester, for a long time.

1:20:28 You've been listening to It's More Complicated Than You Think, written by M.J. Eliot. Larry Albert stars as Harry Nile. Also in the cast were.

1:20:37 Ellen McClain.

1:20:39 Maggie Stenson.

1:20:40 Mary Kay Irvin.

1:20:41 Annalisa Nodder.

1:20:43 Gary Schwartz.

1:20:44 The Harry Nile theme is by David Shire, with incidental music by Michael Lynch. Frank Rosin and Curtis Takahashi supplied the live sound effects. Our engineer was Jason Chavey. The Adventures of Harry Nile was created and produced by Jim French and directed by Larry Albert and is a copyrighted feature of Jim French Productions. All rights reserved. This episode was recorded before a live audience at the Kirkland Performance Center in Kirkland, Washington. This is Jay Green speaking.