The Big Story: Back from the Dead (EP5067)

0:03 Thank you.

0:28 Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. In a moment, we're going to bring you this week's episode of The Big Story. But first, I want to encourage you, if you're enjoying the podcast, please follow us using your favorite podcast software. And I want to encourage you to check out our other podcast. And this week, I'm highlighting the Old Time Radio Snack Week, and where every week, We bring you a snack-sized bit of old-time radio across a wide variety of genres. You can follow us over at snackwagon.net. Now, from September 30th, 1953, here is Back from the Dead.

1:08 The Big Story.

1:25 Pittsburgh, Pennsylvania. The story as it actually happened. Joseph P. Brown's story as he lived it. You were in the.

1:44 Office when the call came. A woman had been shot.

1:47 The address, 93 Bixby. In the nearby town of Jeanette.

1:53 That's all, no details. That was 15 minutes ago. Now you're only a few blocks away. And you wonder, who is she? Who shot her? Why?

2:06 The old questions for a news story. Well, get ready to ask them, Joe Brown. But that's the place straight ahead. There, with the small group of people on the sidewalk.

2:25 What happened here? Anybody know? It's like someone pushed a button. Suddenly it's quiet.

2:32 And everyone's just looking at you.

2:34 I'm from the Sun Telegraph. I'd appreciate some information. Have the police been here? Where's the woman who was shot?

2:45 Why don't they talk to you? What's the matter with these people, anyway?

2:49 Master?

2:50 Yes, son?

2:51 She was lying on the sidewalk right there. Police took her to Memorial Hospital.

2:55 Alex.

2:56 I was just telling him what happened, Fred.

2:57 It's from a newspaper. What's the woman's name?

3:00 She lives just around the corner.

3:01 It's... Alex.

3:02 Shut your mouth.

3:03 He's just giving me her name. Find it out for yourself. What's so terrible about asking for a person's name?

3:09 You don't need to know it from us.

3:11 Anyone else here know it?

3:13 Fred, we ought to tell him. Just her name, that's all.

3:15 I told you to shut up. Your friend saw something. He was a witness. Is that it? He.

3:21 We saw nothing.

3:22 Nothing. Then why won't you let him talk? What are you afraid of?

3:25 It was Louise Miller who was shot.

3:27 Now, do you understand?

3:28 No.

3:29 Alex, I said we shouldn't stay here.

3:31 We're going home now.

3:32 Look, if your friend did see anything... I told you he didn't.

3:36 Don't mix us up in this, please. The man who did this thing, crazy. He's still running around.

3:42 He's still got a gun.

3:44 Who's the man? Does anyone know who he is?

3:48 Fred, let go of my arm.

3:49 He's going home.

3:50 Turn to the others. See what they know.

3:54 But they're just like these people, trying desperately not to become involved.

3:58 Why are they so frightened? Do they know the man with the gun?

4:02 Can any of you people help me? Did anyone see what the man looked like? Somebody must have seen something. Why are you all going away?

4:13 It's too late, Joe Brown. We're out of reach. But at least they left you something. Her name, Louise Miller. Go see her. She's at the hospital.

4:24 Hurry. Lieutenant Kruger? Yeah?

4:48 Yeah.

4:49 Oh, hello, Joe. How is she? No chance. Any leads? Hoping she'll be able to talk to me. She's got a kid. Five years old. Where's the father? Mrs. Miller was divorced. You talk to the people in the neighborhood? Yeah.

5:03 A one-sided conversation. They know who it is, all right. In a small place like that, they all climb into a shell. No outsiders allowed.

5:11 This is even more. Yeah? They're scared of the guy who did it. Scared they'll be next. In the back, Joe. He shot her in the back. Let's go inside.

5:21 The face of a young woman. But she's dying. Why do you look at her? Can you help her?

5:45 What can you do to hold back the next few minutes? Who's the man? Bring him here. This is where he belongs. Make him stand here. See her face. Lieutenant, she'll never talk now. Lieutenant? Yeah? Where are you going? Her place. See the boy? She was bringing in this package. What's in it? Comic books.

6:34 I know this is a bad time to come to your house, Miss Edwards, but if you could spare me a minute, I.

6:38 What can I tell you? My father and mother, they're inside, crying about my sister. What do you want me to say, Mr.

6:46 Brown?

6:46 I had to see you. Nobody else will talk to me.

6:49 She had a birthday last week. Here, in our house.

6:52 Miss Edwards.

6:53 We all chipped in, gave her a new dress. Sequins on it. You know how old she was?

6:58 Yes.

6:59 Why can't I cry? I want to.

7:03 Why can't I?

7:04 Miss Edwards, have you any idea who did it?

7:06 All her clothes are here. As soon as she got a new place, she was going to take them. Maybe something in the country for her and little Roy.

7:13 Your sister was divorced, is that right?

7:15 Who told you that?

7:16 The police. The police? Mr.

7:18 Brown, I can't talk to you anymore now. I want to go inside.

7:21 When did it happen, the divorce?

7:22 A few months ago. Please, you have to excuse me.

7:25 Her husband's name. Just tell me that. Andy. Why did your sister divorce him?

7:29 You said that was all.

7:30 But he asked me more questions.

7:32 Miss Edwards, I'm trying to help, but everyone turns away from me. Now, even you.

7:36 I don't want to think about anything. How can I?

7:39 Where do I find Andy Miller? I don't know. But you must know where he lives. Why?

7:42 He's nothing to us anymore. We want nothing to do with him. You got no right bothering me anymore.

7:49 I told you.

7:50 Please go away.

7:53 Walk the neighborhood, Joe Brown. Keep looking, asking your questions. But their doors are closed, their blinds drawn. All is darkness and stillness.

8:06 But add up the little.

8:07 You've managed to find. They're all afraid of the murderer and the dead woman's sister. She's afraid of the husband, Annie Miller. Are they the same man? Where is he?

8:20 Why didn't he come to the hospital?

8:23 Wait a minute. Listen.

8:28 Someone on the other side of the street.

8:30 He's been following you.

8:33 Make sure. Go on, make sure.

8:37 That corner. Turn down it fast. He's after you.

8:49 The kid. The one whose friend grabbed him away. I saw you.

8:55 Saw you come out of the house. I was trying to catch up to you.

8:58 What is it?

8:59 Over there, mister. Away from the streetlight.

9:04 Well?

9:05 My friend didn't want me to make trouble for myself.

9:09 You understand. Sure. Mrs. Miller was nice.

9:13 Didn't talk to me like I was a kid.

9:16 When I saw her there on the sidewalk....

9:19 I knew I didn't have to tell somebody.

9:21 What, Alex? What do you want to tell?

9:24 I was around the corner when I heard the shots. Started to run and this car went by me.

9:30 Who was in it?

9:31 I didn't see. That car, I saw that real good. Blue sedan, four-door.

9:36 A Hudson. Good for you, Alex.

9:40 She was nice, Mrs. Miller was. Fellow who did it, he ought to be dead.

9:46 I'm sorry. Two facts. The name of Louise Miller's divorced husband and the car driven by the murderer. Can you tie them together? Only one way to find out. Where is Andy Miller?

10:09 No, Mr.

10:09 Brown, I'm sorry. I don't know where Andy is.

10:20 How did you find out he was living with me?

10:23 The divorce papers gave this address. Well, he'll be home soon.

10:29 You want to wait?

10:30 If you don't mind, Mr. Miller. I heard about Louise. A terrible thing. Yes, sir.

10:39 Never could understand why she didn't get along with Andy. Fine boy, like him.

10:45 Which of them asked for the divorce? Oh, she did.

10:49 Andy said all right. She didn't want him. He wasn't going to fight over it. There's not a girl in this neighborhood wouldn't want Andy for a husband. Louise wouldn't admit it, but she was sure sorry she let.

11:02 My boy go. You say he'll be here soon? I expect so. What do you want to ask him? Just a few questions. Ask me. I'm his father. I'll wait for him, if you don't mind, sir. Sure.

11:18 Did they find any clues? One.

11:20 That all? Kind of an important one. We know what kind of car the murderer was in.

11:26 They sure about it?

11:29 There's an eyewitness.

11:31 I see. Mr.

11:34 Brown. Yes, sir?

11:36 The man who's got this car, you figure he's the one you're after?

11:40 The killer, I mean? It's pretty good evidence. What kind of a car was it?

11:46 A Hudson.

11:46 Hudson? Four-door blue sedan. I see. You know someone with a car like that, Mr. Miller? Yeah.

11:54 It's mine.

12:10 Avast there, lads. This will be me again. The name is Jones, Davy Jones. So whatever it is you be doing, belay it and lay to for a spell of sea talk. Because if it's sea law you're after, I'm your man, right enough. For I've been following the way of wind and water, sail and rudder, gun and cannon, man and boy, since there's been men and ships and a proper American flag in these waters.

12:32 Aye, lads, that I have.

12:34 I was with Simon Lake all along, for instance. He was the one who invented the even-keeled submarine. Also the first to use an internal combustion engine in a submersible. Funny thing about Simon's subs. The first ones he built had wheels on the bottom so they could run along the bottom of the ocean. Also had doors with double air chambers, allowing divers to emerge so they could be used for recovering sunken treasure in peacetime. At any rate, in 1894, he went to the authorities and asked permission to enter unseen the minefield protecting Fort Henry, but he was refused. That's all old Simon needed. He just got in his submarine, the Argonaut it was, and went right into the center of the minefield without being observed or

13:15 blown to bits. That convinced the powers that be, and he was put to work. And from those first experimental ships came the sub-fleet of World War II that sank more than four and a half million tons of shipping, including over 126 warships.

13:31 So heave to, lads. Man the braces. Get on with it again.

13:34 And remember, not only have we got the best blooming navy there is, but by the great jib boom, we've got the blooming brain power behind us to keep it that way.

13:58 This is Cy Harris, returning you to your narrator and the big story of Joseph P.

14:02 Brown.

14:04 As he lived it, and wrote it.

14:07 She's dead, Louise Miller. 26 years old. Surviving her, a child, and a divorced husband, Andy Miller. You thought he might be the murderer. But now, the case has taken a sharp.

14:22 Sudden turn.

14:22 And in the office of the state police, you try to reason it out.

14:27 The big thing is, where's the husband? He must know you're looking for him. What do you think, Lieutenant? I'm not sure, Joe. You're finding the boy who saw the murder car. That was important. But now that it turns out to belong to Miller's father, well, it complicates things. Andy Miller could have borrowed the car, used it for the murder. Let's talk about the father. He had a motive.

14:50 Maybe he saw it the girl for divorcing his son, if possible. He's a little guy, Lieutenant. People in the neighborhood are scared of somebody who's big, tough. Like the sun.

14:59 Give a little man a 12-gauge shotgun and he can look awful big. The car is the whole answer. It's missing and so is Andy Miller. It adds up only one way.

15:07 Excuse me, Joe. Lieutenant Kruger. Oh, yes, ma'am. Yes, that's the information I wanted. I see. When did it happen? All right, fine. Appreciate your looking it up. Bye. Registration Bureau. I checked on the car, Joe. Yeah, huh? It's owned by Miller's father, all right. But, Lieutenant, that still doesn't mean.

15:32 Now, hold on, Joe. I found out something else. He owns the car, all right, but only since yesterday morning. The title was transferred to him by Andy Miller.

15:47 The search begins.

15:49 Andy Miller is a fugitive, wanted for questioning in the murder of his former wife.

15:54 The tips begin coming in from the cranks, the practical jokers. But then, in the whole crowd of them, at last, one with a payoff. The car has been found. You just tell the lieutenant, Alex. Is this the car you saw speeding away after Mrs. Miller was shot?

16:14 Yes, sir, it is.

16:15 No mistake, Alex? No, sir, I'm sure. All right, son, that'll be all. One of the officers will take you back. Lieutenant? Yeah?

16:23 You gonna find him?

16:24 We'll try, son. So long, Alex. And thanks. Sure, Mr.

16:27 Brock.

16:36 Anything in the car, Lieutenant? Box of shotgun shells. 12 gauge. It official now? Has to be, Joe. Andy Miller's the murderer. No, there's only one problem. What's that? Getting him.

16:58 The police wire picks it up, sends it across the country. Flyers are printed carrying his description, his picture.

17:06 It won't be long now. They'll find him. They have to.

17:10 What he did, they can't let him get away with it. But the days pass, and the fact becomes more real. Andy Miller has disappeared.

17:21 Where? What's happened to him? Hello?

17:27 Joe?

17:28 Yes, Lieutenant.

17:29 I think we've found what happened to Andy Miller. What?

17:32 He's dead. Joe, this is Tom Parage. He's an old friend of Millie's. Go on, Mr. Parage. Tell him what you told me. Yes, sir.

17:46 Well, like the lieutenant says, I've known Andy a long time. Used to double date with him and Louise when they started seeing each other.

17:52 What makes you say he's dead? The way he talked. He said he was going to do it. You mean you saw him recently?

17:59 No, no.

18:00 I've been away. That's why I didn't come to police before. Tell him what Andy used to say about Louise.

18:05 What? That he couldn't live without her. Go on.

18:09 Well, I always thought he was kidding. Whoever really does something like that... I figured it was just talk, you know, but... After what happened.

18:19 Mr.

18:19 Perry, you don't know for sure, do you? You don't really know if he's dead. I didn't see his body, if that's what you mean. But I knew Andy better than anyone. He said if Louise ever left him, he'd kill her... And then do away with himself.

18:35 Mr. Brown, he meant it. Lieutenant, see you in a minute? Sure, Joe. Excuse us, Mr.

18:41 Pack.

18:41 Oh, yeah.

18:44 Lieutenant, what's this guy selling? He tells a straight story. How do we know he hasn't seen Miller? That Miller made him come up here, make up the whole thing.

18:52 You look around, Joe. You'll see it makes a lot of sense. That transfer of the car from Miller to his father... Maybe it was just part of putting his affairs in order.

19:01 It's too past.

19:02 You fellas want me much longer?

19:03 Just a few seconds, Mr. Parrish.

19:05 If Miller wanted to commit suicide, he wouldn't have run away. Look, from what I hear, he hasn't the nerve to.

19:10 Take his own life. He's the bully type, and they never do. I checked for a will, Joe. Then I made one last week.

19:17 Lieutenant, I'm sorry, but I have to get back to work. Yeah, so do I. I don't believe your friend is dead, Mr. Parrish. I'll never believe it until I see the body. All right, Joe Brown. You say he's alive. Then find him. Figure out how to bring him back to the city.

19:39 Maybe there's something that'll force him to come back. Maybe it's hidden in the kind of person he is. A weak spot you can use. Only one way to find out... Get to know this man. Find out what makes him tick.

19:58 I'll never be able to understand my son, Andy. He did a lot of things as a boy, but I.

20:04 Never thought they were serious.

20:07 Always wanted his own way Friends told me that was his spirit. It was how he was made to be.

20:15 Strong-willed. Independent.

20:24 Andy, you had to like him. If you didn't, he'd go after you and make you sorry. Nobody really knew him. Not till after he married my sister. If she didn't agree with him on something, he'd beat her up. He had to be important.

20:42 I already told you about Andy, Mr.

20:44 Brown.

20:44 When he said something, he meant it. I remember once we were out with some girls. One of them laughed at him, said he was just a kid trying to be a man. He picked up a rock, threw it at her, almost killed her. He just went wild when anybody hurt his ego.

21:15 Joe.

21:17 Lieutenant. Take it easy. Nothing on Miller yet. This, uh, this the latest story you're writing on him? Have a look. You still think he's alive, huh, Joe? Yeah. I figured maybe that's why you've been doing these stories. Trying to get him back. That's a good idea, if it works. Give it time. How long, Joe? I've been writing them for a week. Wherever he is, Lieutenant, he'll want to read about himself. He'll buy this paper.

21:45 If what I've learned about him is true, he'll be back.

21:56 Where did you get the crystal ball, Joe Brown? How did you know it was going to happen?

22:01 That in the quiet of a summer night, a man would stand in.

22:06 The shadows outside a house on the edge of a city.

22:11 And that he would wait there, Wait for the man who lived inside to come home.

22:21 Is your name Mace Thompson?

22:23 What? Who's there?

22:26 Where are you? I'm right outside your car. Now answer my question, fella. Are you Mace Thompson?

22:32 No.

22:34 No, I'm not.

22:34 You're a liar. I swear. This is Thompson's house. What are you doing here?

22:40 I'm not him.

22:41 Look, if you want my money, you can have it.

22:43 There's not much, but it's all yours.

22:46 I don't want your money.

22:48 Just tell me the truth. The truth?

22:50 Was that story in the paper true? What story? About my wife. Was that fella telling the truth? I have to know if it was.

22:58 Hey, come back here!

23:00 Come back here!

23:20 This place is all state town, Joe.

23:22 If Miller comes here to his father's house, we've got him.

23:26 Did Mace Thompson identify that picture of Miller? Yeah. He said he had a gun. Pointed it right into the car. Lieutenant. Yeah? Down the road. You see him? Woman's coming. Back here, Joe. Behind the post. You get a look at his face? Not yet. Steady now. Easy, mister.

24:03 What do you want? Lieutenant, it's him. It's Andy Miller. Let it go, you hear? Let it go.

24:08 All right.

24:13 I had to come back.

24:14 I had to.

24:15 Why? What I read in the paper. I was going to prove it was a lie.

24:19 Was it, Miller?

24:20 The story said she didn't want me anymore wasn't true. I didn't want her.

24:23 Yeah.

24:24 I knew Mace Thompson had been seeing her since our divorce. He was going to tell me she didn't love him. That would have shown everyone I was right. She didn't care about anybody but me. Me.

24:32 But you didn't care about her.

24:33 I told you she was nothing to me. You understand?

24:36 Sure. You didn't care about her.

24:38 That's right. I left her. I forgot about her.

24:41 Yeah. That's why you killed her.

25:01 When brought to trial, killer in tonight's big story denied his guilt. The jury, however, found him guilty of murder in the second degree. He's now serving a sentence of 10 to 20 years in Western Penitentiary.

25:21 And so ends another big story.

25:25 In order to protect the names of people actually involved in tonight's authentic big story, the names of all characters in the dramatization were changed with the exception of the newspaper reporter.

25:39 The Big Story has been a presentation of the United States Armed Forces Radio Service.

27:07 Welcome back.

27:08 Well, Mr.

27:09 Brown was played by Nelson Olmsted. Also in the cast, we had Mary Patton, Cameron Prudhomme, Madeline Sherwood, Michael O'Day, Bill Griffiths, Carl Emery, and Bernie Grant. Now, as told on the episode, I thought this was a pretty clever psychological operation by the reporter to play to the criminal's ego. Now, the real story, the details on the stories behind the big story is a bit scant. The real-life case is that the son left behind was a baby, and.

27:58 The reason the killer turned himself in was because he missed his son, and he pled guilty and avoided the electric chair. So, quite a few details changed in this Big Story adaptation. Now, I have to say that Nelson Olmsted might be one of the more interesting actors we've heard on the Big Story, and he's not really been in any other great detective programs. And while he did both radio and television acting, he is known much more as a storyteller. Olmsted actually started as an announcer. He had been raised in Texas and started working in Fort Worth.

28:49 But what Olmsted discovered is that the announcing job was kind of The word he used is sterile. It's like you tell the time, you let people know what program is going to be played, and it's really basic stuff. Now, he had an eye towards doing drama, but he realized that in order to do audio drama, but there wasn't any budget. So he had the idea of reading great literature over the radio. With a very strong focus on Edgar Allan Poe, Olmstead built a number of programs around this approach, starting with World's Greatest Short Stories and then the Nelson Olmstead Plan. Story for Tonight, and Nelson Olmsted's Short Stories. But probably his most noted and memorable work was the Light 50 series Sleep No More, where he

29:56 read horror and science fiction stories that he adapted to be dramatized. So definitely an interesting creative figure, and I'm not surprised to hear him in an actual acting role. Now we turn to listener comments and feedback, and this one comes from YouTube. Where Victor writes, the show is fine, but the way they anonymize makes no sense. We've changed all names except those of the newspaper and the reporter, which means it can be found in a few hours, even pre-internet, if you have access to a big city's central library. Well, Victor, thanks for the comment. And I will acknowledge you could, in most cases, in theory... find a lot of these cases and the real-life meaning of them. However, there are some important points to consider. First of all,

30:55 a lot of these stories, not all of them, but a lot of them come from more obscure papers. Now, this is important because if I went into a New York public library in the late 40s and early 50s, I might find back issues either on microfilm or even on paper of the Pittsburgh Post-Gazette, the Cleveland Press, or the Los Angeles Examiner. But would they have copies of the Louisville Courier-Journal, the Arkansas Gazette, or the Huntington West Virginia Advertiser? And they certainly wouldn't be keeping copies of the Hiawatha Daily World or the Helena Independent Record, the Elkhorn Independent, or a weekly newspaper like the West Seattle Times.

31:51 The second thing to consider is chronology. These cases, in some instances, happened a year before the air date. In some instances, they happened a decade before. In one case, it went back to 1915. So if you have got access to the newspaper archives in question, and you want to do a deep dive and spend several hours going through a newspaper's entire body of work searching for a story, and in many cases, searching for the time period in which the reporter was actually killed, employed by the paper, you can, but I think that it's a bit harder than you give credit for. Then, of course, you have the details. In so many cases, you know, the key details are invented for dramatization purposes, like the one episode

32:59 where the whole issue with the killer was a mother complex. which had nothing to do with the motive of the original killer. And there are all sorts of licenses taken, either for dramatics or to try to keep this anonymous. And they just did this as a matter of practice. Go way, way back to the case of the cornered cat.

33:27 This was a story reported on by Walter Winchell, in which he corroborated with J. Edgar Hoover. Walter Winchell was probably one of the top five most famous journalists in the whole country. And it was about him facilitating the surrender of Louis Lepke, a key figure in Murder Incorporated. This was the story of Winchell's career, and... Doubtless many listeners were aware of it, but they still changed many details, including changing the name of Louis Lepke to The Cat.

34:09 You know, a very generic criminal name, you know, could be in any series or comic book for, you know, hundreds of different characters. But it's a matter of practice. Another key point, is to understand what the purpose of the anonymization was. It was not so nobody could find out what story was on the big story. In fact, I often cite the stories behind the big story website.

34:43 Great resource. But for many of these cases, they have to go through all sorts of hoops and detective work just to kind of piece together the source of the story. And that's with all of the resources that have been put online in the 21st century. And in most cases, it would have been a lot harder during the era.

35:08 But one source that they have actually been able to use, which was a bit of a shortcut for them, is that the newspapers that the story appeared in would often run an article highlighting what the real story was as part of covering the newspaper's work being featured on the big story. So they're not trying to hide what the story was from local people. What they are trying to do is to focus on the work of journalist and not to make every person involved in the story a national figure. There were reasons for this. One thing is they didn't want to get sued. And we talked a few months back about an episode where the murderer in the story tried to sue to have the airing of the big story stopped. So just imagine how what sort

36:12 of risk you are taking from a litigation standpoint if you are making secondary or tertiary figures in the investigation identifiable. And it also drew a boundary. What is this series about? Is this series about all of these different criminals and their associates and the people involved with them. No, this is a series about journalism. This is a series about the intelligence and courage and determination of the American newspaper reporter of generally the first half of the 20th century.

37:02 And the big story statement is simply this is about them. This is about their work. It is not fiction. about the actual people who were involved. And in many ways, I think this is a foreign concept because it's just a simple contract that the listeners of the time say, okay, fine, I don't really need to know this information. And that approach, I think, is very hard to understand in the world in which we live. We live in a world of social media where anyone can become the internet's Person of the day. And there is a concerted effort to find out what is your actual name? And then who does this person work for? Let's contact their employer. Is there somewhere we can leave a negative review about this person?

37:55 Because they did something or said something I didn't like. I've never even been to this state, but I'm reviewing the restaurant, giving it a one-star review to teach them a lesson. Now, my grandparents were not perfect, but they did not spend their time doing this sort of stuff. So, the anonymization is meant to be sufficient to keep the production out of legal hot water. and to also avoid making national figures of people who shouldn't really be exposed to national scrutiny because the story's not about them. Could you track down the details of many of these stories if you were a determined private citizen?

38:45 Yes.

38:47 But unless it was relevant to your occupation, somehow, most people had lives. So the effectiveness of the anonymization depended upon that. Well, now it's time to thank our Patreon supporter of the day. Thank you to Tammy, Patreon supporter since February, currently supporting the podcast at the showmest level of $ 4 or more per month. Thanks so much for your support, Tammy. And that will do it for today.

39:17 If you're enjoying the podcast, please follow us using your favorite podcast software. And be sure to rate and review the podcast wherever you download it from. We'll be back next Tuesday. with another episode of The Big Story, but join us back here tomorrow for Broadway's My Beat, where.

39:36 Your call sounded urgent, Mr.

39:38 Blair.

39:38 Are you looking?

39:41 Are you looking?

39:42 Funny question.

39:43 Choose one.

39:44 What?

39:45 Choose one.

39:46 One of the darlings, the beauties. There they posture in their exercises for the dance.

39:52 And which one is best? In your eyes, I mean.

39:54 Look, Mr.

39:55 Blair, I didn't come here.

39:56 And of course, your eyes remain on Sylvia. All right, darlings, enough, enough!

40:03 Sylvia, background, newly returned from England. A beautiful dancer with greatness in her.

40:09 Devoted to me, her dancing master. Sylvia, I saw her six years ago. Sent her to study with Sadler's Welles. Paid for her education.

40:21 Now she is back here with me.

40:23 I'm glad for both of you.

40:24 Now she is back here with me. Now she will die.

40:29 What?

40:30 Sylvia told me that she is convinced of it.

40:33 Peter Churro. What are you talking about?

40:35 Dear man, I have said it. Sylvia told me Peter Churro was going to kill her.

40:39 And who is Peter Churro?

40:40 Whose name and address I give you on my car.

40:43 Here.

40:44 Sylvia!

40:45 Sylvia, dear!

40:49 Sylvia, dear, tell the dear man who Peter Churro is. A boy I met in England once he was a soldier. And what does he want to do to you, Sylvia? He wants to kill me.

41:00 I hope you'll be with us then. In the meantime, send your comments to box13 at greatdetectives.net. Follow us on Twitter at Radio Detectives. And check us out on Instagram, instagram.com slash greatdetectives. From Boise, Idaho, this is your host, Adam Graham, signing off.