Speaker 1: Me, they tune for my History theater. Come in, welcome him,
g Marshall. This time I bring you not a horror story,
not a mystery story, but a story that the ficionados
classify as the perfect crime. In other words, you see
what our police friends call the perpetrator plan and execute
what appears to be a perfect crime, one for which
he will never be brought to book. And then you
are kept in suspense, wondering or trying to figure out
for yourself what little mistake he will make or has made,
that will nail him. Consider the case of Jennifer Palmer
and her husband Nick, who framed her with murder. Our
mystery drama Frame Up was written especially for the Mystery
Theater by George Loather and stars Mercedes McCambridge. It is
sponsored in part by Onheuser Busch Incorporated, brewers of Budweiser
and sign off the Sinus Medicines. I'll be back shortly
with that one. Lounging in this big comfortable leather chair
of mine, I sometimes get to speculating on whether I
could commit, try anyhow to commit for perfect crime. It
must require a great deal of nerve and the conviction
that one is a highly superior human being. Vanity of
one's self, contempt of others. Hmm. These would surely be
two characteristics of whoever planned a perfect crime. Nick Palmer
possessed both in abundance, but they were carefully concealed most
of the time under a veneer of charm. Unhappily so
far as Jennifer, his wife, was concerned that veneer had
cracked long ago. Divorce.
Speaker 2: That's precisely the word I use, Nick, divorce.
Speaker 1: But gender on what grounds would you divorce me? In
the four years of our marriage?
Speaker 2: You have been unfaithful at least four times.
Speaker 1: Ah, you can't prove that.
Speaker 2: And using the power of attorney, I gave you mishandled
my money.
Speaker 1: You can't prove that either.
Speaker 2: Well, luckily I don't have to prove that. I had
only to revoke the power of attorney, which I did
this morning.
Speaker 1: Oh dear, I don't like that. No, no, I don't
like that at all. I didn't expect you would. I
don't want to track the idea of divorce. Either's bad
for my practice. A what practice?
Speaker 3: You haven't bothered to take on a law case in
more than a year.
Speaker 1: That's true, I don't believe in working if you don't have.
Speaker 2: To, and of course, using misusing my money, you haven't
had to.
Speaker 1: Look, let me ask you a couple of questions. You mind,
go ahead? Have I in any way tried to interfere
with your personal wishes? In any way as a husband
tried to keep you from whatever you might have wanted,
such as well, you know how I feel about Shila
and the expense of keeping her at the Laurence School.
Speaker 2: If you'd tried to get me to take her out
of the Laurence School, you'd have failed.
Speaker 1: And you know it. Sheila is my daughter, not yours.
Speaker 2: And she is also a special child, special, yes, a
special child who needs the special treatment she gets at
the Laurence School.
Speaker 1: All right, we won't go into all that again. Have
I ever asked you to give up those so called
art lessons of you? So called? What are you talking about?
We were going to chat Chatterton studio twice a week
for nearly two years and whatever it? What's wrong in
having a hobby or is that old Chatterton is to
you a hobby?
Speaker 2: Chat Chatterton is an old friend and I'm very fond
of him.
Speaker 1: But that's all I don't like to strip you of
your security blanket, my darling, But you leave me no option.
What are you getting at just this, Jen? Unless you
agree to leave things as they are, I'm afraid I
shall have to take measures to stop you. Well there's
nothing you can do to stop Oh yes, yes, there
really is. I could put you behind bars for murder.
You what frame you frame me with murder? Are you crazy?
Frame you with the murder you didn't commit and enjoy?
Oh you are crazy, crazy enough to see you put
behind bars. But ten to twenty years at least more
than sufficient time for me to enjoy your money. Now,
then will you drop the divorce and reinstate the power
of attorney?
Speaker 4: Of course not.
Speaker 3: And what's more, I want you to pack your bags
and get out.
Speaker 1: Of this house at once, Janey? Would I? I don't
care where you go. All I know is I can't
bear being in the same house with you. Well, in
that case, shouldn't you be the one to leave? I
like the house, and really I like you, Jen. I
don't mind being with you one little bit.
Speaker 4: Mute.
Speaker 1: Oh very well, I'll leave anything to be rid of you. Goodbye,
Not goodbye, my darling, Not yet.
Speaker 2: Jen, would you use a warm a cool shadow here
under the jowey line?
Speaker 1: Jen? Huh oh what?
Speaker 2: Oh this portrait I'm working on, I'm not sure if
I should use a warm.
Speaker 1: Jin. Are you all right? Yes, you're you're ele. Why
do you ask?
Speaker 2: All through painting class today, you or your thoughts seemed
to be elsewhere. Something on my mind? That's all anything
I can help you with? No, No, it's something that
I have to work out for myself.
Speaker 4: It's eminent. Break everybody, and then I'll have a look
at what you've done. Hey, that portrait's coming along fine, Alexis.
I wish I could say the same for yours. Still
lives Jen, I wish I could too, chat. Oh, well,
she just hasn't been with it today. Yes, I saw
a since that, Alexis, do me a favor, will you?
Speaker 1: Oh? You have but to command?
Speaker 4: Have everybody arrange their paintings along the wall so I
can just.
Speaker 1: Walk by them. Look at him? Huh, Master, I go
care to talk about it?
Speaker 2: Chad Nick threatened me this morning, threatened you to frame me.
Speaker 1: With murder? Would you run through that again? To frame
me for murder?
Speaker 4: You told him about divorcing him then and revoking the
power of attorney, and he said, well, he must be
out of his mind. How could he frame you or
anybody for murder?
Speaker 2: I don't know, but if anyone can, he can't. Oh,
come on, je, No, I know him better than you do.
He's brilliant. He's got a mind that honestly, sometimes it
scares me.
Speaker 4: But he doesn't scare me. I'll take care of this
little matter in short order.
Speaker 1: Ow Chad, what can you do? I can go and
see that.
Speaker 4: Creep husband of yours and make a few threats of
my own.
Speaker 1: Pommer.
Speaker 4: Gen's going to get her divorce and she's already revoked
your power of attorney, and that's that. You give her
any trouble and I'll beat the living.
Speaker 1: Daylight back, I assure you. Unless she gives up all
thought of divorce and reinstates the power of attorney. I've enjoyed. Well,
you go ahead hit me. I'd like nothing better six
' two against my five ten. I could sue you
for every penny you've got, if you've got anything that's
suing for or are you just living on hope? What
do you mean Gen's money one's free of me. If
she gets free the field would be wide open for you,
wouldn't it Why I could kick?
Speaker 4: I warrant you or you did?
Speaker 1: Ah, I was foolish not to take your warning, But
you know I think it'll be foolish if you not
to take mine, which is quite simply stay.
Speaker 4: I have no intention of staying out. A large tube
isn't white?
Speaker 2: And then let's see, oh, a couple of tubes of ultramarine,
cirillian cad red light.
Speaker 1: Excuse me, but aren't you Alexis peorn is Lauren?
Speaker 3: Alexis Lauren?
Speaker 1: I'm afraid I'm Jenni Falmer's husband Nick. You and I
met about a year ago. Oh wait, chat chat is
this studio?
Speaker 2: Of course when you attended the student artist?
Speaker 1: That's right, Well, this says a pleasure. Jen asked me
to pick up some paints for her, and I run
into you. My lucky day. How nice of you. No, no, no,
it's always a pleasure to meet the pretty girl again?
Tell me this long? Is? Is your hobby still portrait painting?
You remembered, Yes, it is. For the thought crossed my
mind when I saw your work at the exhibit. Look,
couldn't it be a nice idea to give Jen a
portrait of me on some occasion or other birth the anniversary,
you know, and running into you accidentally, like, look here,
how would you like to do a portrait of me? Me? Yes,
you see, we have a fifth wedding anniversary coming up
in a month, and I'd like nothing better than to
give Jen a portrait of myself. But I'm only an
amateur in mister Palmer. What's that got to do with it?
I'm sure Jen would be doubly pleased if the portrait
were painted by you. Well, we guess she might. Why
do you say that? Well, all right, I'll do it. God,
that's well, oh not a word of Jen, of course,
Oh of course not. Could we? Could we begin tonight?
Do you think in my study at home? Your study?
But if I come to your house and she says
you won't, She's going to the Laurence School tonight to
see her her daughter, Sheila. Oh yes, poor thing. So
if you could come along say about eight thirty, Yes.
Speaker 3: I can, and I will, and thanks ever so much,
mister Palmer.
Speaker 1: I don't mind telling you that this is my first
commission and hopefully not your last. Hopefully Jen, don't say no.
I beg you don't her whole marriage depends on it.
Speaker 3: What marriage?
Speaker 1: Jen? Give me this one more chance, and I promise
I'll make everything up to you. I'll spend my life
making it up to you. I have no intention of
giving you power of it. I don't want that. That's
what I'm trying to tell you why I want to
talk with you. I realize what a mess I made
of things, and I'd like the chance, just one chance
to make amends. Oh well, he'll come, I know you will,
nine tonight. Please all right, Jen, I I can't tell
you how great fire.
Speaker 3: Turn Just just a little more of the left toward
the light of the lamp.
Speaker 1: Uh like saw perfect the other way?
Speaker 2: You see, we get a light effect where one side
of the face is totally in shadow.
Speaker 1: We don't want that. I think it's turned like a car,
a car in your driveway. Yes, it is, a matter
of fact. It's Jen, Jen, your wife. Do you know
any other Jen? What is it?
Speaker 2: Kind of game?
Speaker 3: You don't want your port?
Speaker 1: What you just took from the drawer. It's it done? Yes,
I'm uh sorry to dash your hope, Selexis, Yes, my hope.
Remember you told me this was your first commission and
I said, hopefully it wouldn't be your last. Sorry, dear,
it is jin Come in, DearS, come in. You're right
on time. So Jennifer Palmer walks into a trap and
the trap is sprung. Nick promised her head framer with
a murder, and from where I sit, he's well on
his way to keeping that promise. I'll return shortly for
AC two.
Speaker 4: This is John Scott.
Speaker 5: Be sure to join me eight o'clock tonight for the
latest news from the Wor New York Newsroom.
Speaker 1: Well, now we've been discussing the perfect crime, and we
have seen Nick Palmer take the first step toward the
accomplishment of his perfect crime by inviting Alexis Lorne to
paint his portrait and then in cold blood, shooting her dead.
As his estranged wife, Jennifer rings the front door buzzer.
But frankly, I don't get it, Neil, I mean quite
obviously he plans to frame Jennifer for the murder of Alexis.
But exactly how will he do that? All right, Nick,
say what you have to say. Oh, come on, Jen,
sit down, let's have a drinking.
Speaker 3: No, just tell me what you have to say and
I'll go.
Speaker 1: Okay, Jen, I'm sorry I made you such your rotten husband.
I'm sorry about playing around, about squandering your money, the
whole bit. I'm sorry I made no effort to be
more of a father than Sheila. Well, she's not your daughter,
even so I know what she means to you.
Speaker 2: Oh please, before you're trying to say, is that you
want another chance?
Speaker 1: My answer is no, everyone deserves a second chance. Yes
that this would be about the twentieth for you. Nick,
good night. I can't live without you. You can scarcely
expect me to go with the truth. I don't want
to live without you. Refuse me one more chance, and
you might as well kill me. I think you'll survive.
I'll let me sure you. I mean what I say, Nick,
Are you mad? How will you put that gun down?
Oh no, I've got it pointed straight in my head. Jen.
I'll tell me that you'll return to me, or I
swear I'll pull then say it. Say you'll take me back, Nick,
I can't lie to you.
Speaker 3: Now, give me that gun.
Speaker 1: I'm gonna kill myself.
Speaker 2: I'm going to kill me.
Speaker 1: No you're not. I'll give you the gun. That's better.
Howmever thing you say I am yet I haven't even
got the guts to shoot myself. Well, let's both be
glad that you haven't even so I'll keep this gun
just in case.
Speaker 4: You took the gun away from him, just like that.
Pretty damn cool of you.
Speaker 1: Gin No, not at all.
Speaker 2: Chat Nick had forgotten that he pulled this little scene
once before. Only I felt for at that time. I
wasn't falling for it again.
Speaker 1: He had no intention of killing himself and I knew it.
And why did you keep the gun? Well, just to
play it safe, I guess because you never know, you know,
you really never know. That's true enough.
Speaker 4: Well, this is a great pleasure you dropping by like this.
Speaker 1: If I had to tell somebody, sure you did.
Speaker 4: Oh this is my night for unexpected visitors. Well, all right,
I'm coming.
Speaker 1: Yes, I'm detective Rights Police, my partner Jim Andrews Detectives.
You're Jennifer Palmer. Yes, I am I this Parmer. Yeah,
BI arrest. You're suspicion of murder, suspicion of it. It's
my wiity to tell you that you're right through a future.
Speaker 4: Wait a minute, what in the world I gotta stay
out of this.
Speaker 1: But one thing more, missus Palmer. Anything you say can
be using evidence against you. Okay, let's go, yes, of course,
but murder. Just a minute, when you open your bag? Please?
This my handbag? Is sure? This the gun? You used?
The gun? I oh no, no, never mind, just come along. No, no,
I'll keep the handbag. I didn't hear, Missus Palmer. And
this is her the tun Sit down, Missus Palmer. We
found a gun twenty five automatic in a handbag. I
sent it on to the lab for test.
Speaker 3: Okay, thanks, noah, you want a cup of coffee?
Speaker 1: Oh no, thank you, ma'am.
Speaker 2: Lieutenant Oh, detective Lieutenant McCluskey. Lieutenant, I really don't know
what this is all about. And you've been arrested on
suspicion of murder. Rice must have told you that, well
here's what, Well, you murdered somebody or not?
Speaker 1: Of course not he didn't, of course not.
Speaker 2: You know anybody named Lauren Alexis Lawn Alexis. Yes, yes,
she's in a painting class I attend at the Chatterton Studio.
Speaker 3: Not anymore, Missus Palmer.
Speaker 1: What she's dead? Alexis is dead.
Speaker 2: Yeah, and that's why you're here on suspicion of killing her.
I'm sure you don't want that coffee?
Speaker 1: Oh yes, I will, thank you. Well, why why would
I kill Alexis Lawen?
Speaker 3: You tell me? Oh yeah, thank you. I guess maybe
i'd better tell you.
Speaker 1: Now.
Speaker 2: About two hours ago, nine to twenty five, to be exact,
we got a call from your husband, Nicholas Palmer, from
your home.
Speaker 3: He said a murder had been committed. Get there.
Speaker 2: We find this girl, Alexis Lawn has been murdered, shot
to death.
Speaker 1: What is that to do with me?
Speaker 3: You care to tell it now or you want me
to tell it?
Speaker 2: You drink your coffee. Your husband says that this Alexis
is painting his portrait in the den room. He says,
his hair gets all mussed up. He doesn't have but
we figure we know, and he goes upstairs to brush it.
Speaker 3: He hears shots.
Speaker 2: He comes running downstairs and Alexis is dead on the floor.
Then he hears a car start up in the driveway.
He runs to the window, looks out and he sees
you drive away in your car.
Speaker 1: How could he tell that it was me? I mean,
after all, it was night but.
Speaker 3: A full moon.
Speaker 2: The moon at nine twenty thereabouts was full and bright.
He recognized the blue Sedania drive, also that maroon coach
you're wearing. I don't remember the moonlight, but in my
mind was on other things. Then you were there, Oh
yes at that time, I guess so yes. Other words,
you found out he was full around with this Alexis
and I didn't find out anything.
Speaker 3: And what do you go there for?
Speaker 1: I wish I knew.
Speaker 2: Well, I hate him really, but I feel sorry for
him too. And he phoned me and he said, please
come over and let's talk things over, and so I went.
But you wouldn't understand any of that.
Speaker 3: I'm a woman, I've been in love. I wouldn't I understand.
Have another cup?
Speaker 1: No, thank you said that?
Speaker 3: No, no, Now.
Speaker 2: Tell me more about him asking you to come there. Well,
I don't see what then what happened after you got there?
I don't see what that has to do with Alexis
being dead being culled.
Speaker 1: I mean, why Nick.
Speaker 3: Phoned and why I went there, and what happened after
I got there? Don't ask, just tell, Oh, chat.
Speaker 4: Are you doing, Jim?
Speaker 1: Oh? Well I'm doing? Oh Jim.
Speaker 4: I didn't know what to bring her? Candies out, figure
and flowers, few murials, So I brought this.
Speaker 2: Oh it's sketch pats drawing pencil.
Speaker 1: Thank you, keeps you occupied.
Speaker 4: I ran over to Laurence School. So Sheila, Oh, she's fine, fine,
I don't worry about How are you? I'm awful, sure,
But listen, you've got a friend you me. Oh, I'm
more than a friend, you know that, anyhow I could
be if you ever let me.
Speaker 1: McCluskey, Lieutenant McCluskey.
Speaker 4: I asked to see her, and she said, okay, she
believes your story, but the evidence is against you. The
hundred said he framed me. He said he'd do it,
and he did it.
Speaker 2: The way I see it is that he shot Alexis
to death, timing it at the moment that I arrived,
and then a little later even into that act about
shooting himself, knowing that I'd take the gun out of
his hand so that my fingerprints are on the gun.
And the whole rotten mess about my divorcing him for infidelity,
and the mishandling of money.
Speaker 1: Chack, what about the money? I mean, I'm thinking about, Sheila.
The money.
Speaker 4: He's tied it up somehow. Don't ask me. It's legal
mumbo jumbo things I don't understand, like you could have
been free on one hundred thousand bail, but he blocked that, said.
Speaker 1: You were unfit and so on. Unfit.
Speaker 4: Well, I guess I shouldn't have said, what do you
mean unfit?
Speaker 1: Well? That sounds like something to do with Sheila? Well,
is it? Chad? Listen now, I'm listening for Heaven's sake, Jad.
Speaker 4: Please, all right? All right, he's moving already. He's moving
to get control of your money, of Sheila.
Speaker 1: Of everything. But he can't do that. Do you think
he can?
Speaker 4: He might as well know he can, and he is.
But how he's still your husband with certain legal rights,
I guess, and a brilliant lawyer. Jen, I don't understand
these things. It takes a set of mental muscles I
never had. But but he can't do it, and he's
doing it, and there's only one.
Speaker 1: Out for you, for me and Sheila. You mean Sheila. Yes,
it's the money he's after.
Speaker 2: That's all he's ever been after, that's all he's ever wanted.
And if I'm convicted, if I mean the death of Sheila,
he'll take her out of the lawn school and he'll
put her away.
Speaker 4: No, No, he wouldn't do that. We'll never let him
do that. Stop him O M plusy. She says, it's
a matter of his word against yours, plus.
Speaker 1: The evidence against me. Well, yes that too, Yes, that too.
Speaker 2: There are the prince my prints on the gun and
the fact that I was divorcing him for playing around
his story, that he was playing around with a Lexus,
and that I heard about it and blew my stack
and I was there and the coroner says she died
approximately at the time I was there.
Speaker 1: Oh, Chad, he's framed me. He's fringed me.
Speaker 4: Good unless we can prove he's lying. Something bugs me
about his story.
Speaker 1: Huh.
Speaker 4: There's something that doesn't make sense, doesn't hang right.
Speaker 1: What I don't know.
Speaker 4: If I knew, you wouldn't be sitting in this Sallu
waiting trial. But there's something something I I'm looking straight
at it and I can't see it, but it's there.
Speaker 1: I know it's there.
Speaker 4: And if I can find and see it, he'll be
behind bars and you'll be free.
Speaker 1: And if you can't find it, Sheila's life and all
the treatment that would have made her well again, and.
Speaker 2: All the future that lay before her until now that
will be all gone.
Speaker 1: Why you look at me like that.
Speaker 4: All you want is what's best for Sheila, and all
I want is what's best for you.
Speaker 1: That's because you.
Speaker 4: Love your daughter more than anything else in the world,
and I and you love you more than anything else
in the world. Well, whatever it is I'm looking at
and can't see, whatever is staring me in the face
that I can't find, I better see it, I better
find it.
Speaker 1: Come now, What could be staring Chatterdan in the face?
What vital clue he can't see? If it's staring him
in the face, it's staring us in the face too,
And I don't see a thing, do you. I'll be
back shortly with Act three framed into a charge of
murder by her husband, a murder he committed. Jennifer Palmer,
if found guilty, faces a sentence of anywhere from twenty
years to life. But if the thought of spending years
in prison for a crime she didn't commit is torment
to jen the prospect of what lies ahead for her
young daughter, Sheila is agony. For Sheila. A special child
needs constant professional care and treatment. Care and treatment that
will surely be withdrawn if Nick Palmer gains custody now
as witness for the prosecution. Nick takes the stand in
the trial of the State versus Jennifer Palmer.
Speaker 4: Now, mister Palmer, I show you this gun. I haven't
seen it before.
Speaker 1: Well, yes, that's twenty five caniber automatic. We kept in
a death store at home, you know, in case of
needs self defense.
Speaker 4: I see now, on the night Miss Lauren Alexis Lauren
was shot to death with this gun, she was painting
your portrait. Yes, would you tell this Cord how it
was that she came to be painting your portrait in
your study at nine o'clock at night.
Speaker 1: Well, I wanted to give the portrait to my wife
as an anniversary gift. I wanted it to be a surprise,
and so the sittings had to be held when she
wasn't at home. And that night she'd gone, well, she said,
she said she'd gone to the Laurence School to visit
her daughter, Sheila. That's a lie, I kept him. No,
I was going to you for divorce.
Speaker 4: I I'm sorry, your honor, our procedure, honor. You and
miss Lauren were alone in the house then at nine
that night.
Speaker 1: Ah, yes, let's see. I oh yeah, I remember my
hair had gotten a bit of rumpled, and I went
up to my bedroom to brush it.
Speaker 4: Wow, let me interrupt, How did your hair become rumbled
messed up?
Speaker 1: I beg your pudon.
Speaker 4: I'm sure you heard my question.
Speaker 1: Oh well, did it just got a little a little
messed up? That's all.
Speaker 4: It hadn't got that way because of, shall we say,
something that had gone on between you and miss Lauren.
Speaker 1: I don't know what you're getting at.
Speaker 4: What I'm getting at, mister Palmer, is this the safe
contends that your wife killed miss Lauren out of jealousy,
And what I'm getting at is that she he had
grounds for jealousy?
Speaker 1: All right? If you mean was I fooling around with Electra?
Speaker 4: Exactly what I mean?
Speaker 1: Well, yes I was, Thank you.
Speaker 4: Now you are in your bedroom brushing your hairs, and.
Speaker 1: I hear these gunshots, three of them. I come running
downstairs and I find Alexis dead, sprawled on the floor
of my study. Then I heard a car I start
out the driveway, so I ran to the window and
I saw my wife, Jennifer, taking off fast in her car.
I rushed to the phone. I called the police, and
well that's all. How far would you say?
Speaker 4: The driveway is from the window you went to, Oh,
not more than one hundred feet circular driveway.
Speaker 1: I believe. I guess I'll try it. Now.
Speaker 4: You are positive it was your wife's car you saw
and that the person driving it was your wife?
Speaker 1: Positive?
Speaker 4: Since it was nine o'clock at night, mister palmer night, how.
Speaker 1: Can you be so positive? Oh? You see the moon?
The moon was at its fullest, its brightest. It was
practically daylight.
Speaker 4: So then you recognize your wife's car.
Speaker 1: Oh? Yes, it was her car, all right, dark blue
two door sedan, and she was driving. I saw her clearly.
Speaker 4: You saw her face clearly.
Speaker 1: Well, no, not a face, but but she was wearing
a coat, a dark maroon coat that I recognize anywhere.
Speaker 4: But then you cannot really swear it was your wife
driving that car.
Speaker 1: I don't know who else would be driving her car
and wearing her coat. Do you No? No, I don't
thank you. No further questions.
Speaker 4: You're a witness.
Speaker 1: No, they can't. They can't do this.
Speaker 4: I've got to see she I got to the morning away.
Speaker 1: Quiet down, take it.
Speaker 3: What is going to happen to hear anymore?
Speaker 1: To see that she's properly cared for? You know what
Nick's going to do. Just as soon as he can
do it.
Speaker 2: He'll take her out of the Laurence School and you'll
flow her in the sub second is a great place.
She'll leave her there to rock.
Speaker 1: Please. I can't stand it. I can't stand it.
Speaker 2: I get it the case of hysterics. I heard Missus
Palmers leaving for Upstate tomorrow.
Speaker 1: I thought I just drop by.
Speaker 3: Was a good luck?
Speaker 1: Nice of you.
Speaker 3: How would you like to buy me a cup of coffee?
Speaker 1: Later?
Speaker 2: Meet outside then in five ten minutes. Hey, come on now,
Missus Palmer, come on, let's let's sit up, huh and
drive the tears.
Speaker 3: I'm like, you don't want to go to pieces. There's
always hope.
Speaker 2: Even when things look the worst, there's hope. And look,
tomorrow they'll be taking you up to women's prison.
Speaker 1: I can't do.
Speaker 2: There's another of it you can, because you've got to.
Now Captain Greenberg up there. She's an old pal of mine.
I've talked to her about you. She's going to do
all you can to make things comfortable for you. As
long as you keep your nose clean. You understand, yes,
I do. Now, you do as you're told.
Speaker 3: When you're told to do it.
Speaker 1: I know, hysterics are making scenes are like that.
Speaker 3: Okay, okay, I'll try it.
Speaker 1: You'll do it. How will I get to see my
daughter when I'm up there? All those years, oh my god,
all those years without me? What will she do? Please?
Speaker 2: I've got to see her on a regular basis somehow,
and it's got to be arranged so that I can
check on her and know that she's all right.
Speaker 1: Could that be arranged.
Speaker 2: Through proper channels, the warden's office? But you believe me now,
everything that can be done.
Speaker 1: Will be done no time. M'clutey.
Speaker 3: Of course, send him in.
Speaker 2: Oh don't tell me, chat And the look on your face,
it's clear you've just come from seeing Jin in women's.
Speaker 4: Prison, from seeing her in the infirmary in women's prison, Mac,
I think she's dying.
Speaker 1: Oh, come on, I mean it.
Speaker 4: Not seeing Sheila all these months, Nick refusing to bring
her to the prison, refusing to let anybody else take her,
and now learning that the kid's been placed in a well,
you know, the kind of institution.
Speaker 3: Afraid i'd do.
Speaker 1: But how did she learn about that? He wrote and
told her? The dirty creep?
Speaker 4: Nick wants to kill her and he's succeeding.
Speaker 1: Should have seen her.
Speaker 3: I saw her last.
Speaker 1: Week, well chat.
Speaker 2: I wish there was something I could do, something somebody
could do, but there isn't. It was her story against his,
but unfortunately for her, all the evidence was against her,
even to the moonlight moonlight, it being a bright moonlight night.
That didn't just happen, you know. Nick Palmer planned things
that way, planned everything for a night when there would
be a full moon, eh.
Speaker 4: And tricked her into grabbing the gun away from him.
Speaker 1: Damn if I could only only watch Jen.
Speaker 4: There's something For months now, it's been anoying at the
back of my mind. Something, what kind of something, Something
that's wrong with Nick Palmer's story, something that doesn't fit.
Speaker 1: It's staring me in the face yet I can't see it.
Speaker 2: Are you sure it isn't just, you know, wishful thinking?
Speaker 3: I mean, you want to prove Jen Dennison.
Speaker 4: I want to save her life because that's what's at
stake now. I No, it isn't wishful thinking. There is something,
and by Heaven, I'm going to find it. Nick Palmer
lied in whatever. The something I'm looking for is it'll
prove the light all right, coffee break over, clasps, settle down,
I settled down. Now we'll return out to our discussion
of color, and no questions please until I'm finished. Great
artists haven't just used colors in their work. They have
intimately understood, felt, experienced color. Now Here here is a tomato.
I hold it up to the sunlight, and we see
that its color is red, or so we mistakenly think.
The simple fact of the matter is that the tomato
isn't red. The tomato in and of itself has no
color at all.
Speaker 1: It's sunlight that gives it color.
Speaker 4: Why, Because sunlight, and only sunlight, contains color, the colors
of the solar spectrum we can see in a rainbow.
What happens is that an object, any object, absorbs all
the colors of the spectrum, all the colors in sunlight
except one. A tomato absorbs all spectrum colors but red,
a banana all colors but yellow, and so on. In
other words, without without Oh, good Lord, there it is there.
Speaker 1: It is, Lieutenant m. Proosky.
Speaker 4: Please and hurry, Mac chat chattered Mac. I can prove
Nick Palmer lied, Yes, you heard me. I can prove it.
The thing that's been staring me in the face for
months and I couldn't see it. Well, well I see
it now, I see it bright and clear.
Speaker 1: Oh no, wait a minute. You barge into my house,
chatteron along with us Lieutenant McCloskey, and you tell me
that you're here to test out my story about what
happened that night. No, first of all, mister Palmer, we
didn't barge in.
Speaker 3: We asked to come in. Second of all, unless you've
got something to hide, you'll go along with my request.
Speaker 1: What would I have to hide the.
Speaker 2: Fact that you lied when you said you recognized your
wife's card driving off out of that driveway out there,
even noted the color of her coat, when the fact
is you couldn't have recognized either.
Speaker 1: What are you talking about. It was a bright moonlight night.
It was so bright it could have been daylight.
Speaker 4: Only it wasn't. It wasn't daylight. And there's a big
difference between moon right and daylight, A very big difference
moonlight daylight.
Speaker 1: I saw what I saw. I saw Jem's two door
Bruce sedan and Jenn at the wheel. All right, I
didn't see her face, just a coat of dark broon coat.
Speaker 3: You're positive event.
Speaker 1: Well, I saw it under oath, didn't I? Yes, you did.
Speaker 2: Now, all I'm asking you to do is prove what
you said was the truth. If you were telling the truth,
you will. If you weren't, you won't you, mister Palmer, Okay,
what do you want me to do? Oh there's a
full moon tonight.
Speaker 1: Come and look.
Speaker 4: There.
Speaker 2: You can see the driveway just as you saw it
on the night of the murder, clear and bright as
the daylight.
Speaker 1: She said, that's right.
Speaker 2: And now what I'm going to do, using this little
two way radio mine is to order one of my men,
Detective Rice, to parade.
Speaker 3: You might say.
Speaker 2: A number of cars passed you as you stand here
in the window. Don't concern yourself with the drivers. The
colors of their coats are like that. You just pay
special attention to the colors of the cars.
Speaker 3: Okay, okay. Send the first car through the color of
that car, mister Palmer, what what is it?
Speaker 1: White? Next car?
Speaker 3: And name that color quickly.
Speaker 1: It's a black?
Speaker 3: Next car in what color?
Speaker 1: It was black?
Speaker 5: Too?
Speaker 1: Wait a minute, you could have been yes, well, I
don't know it was.
Speaker 3: Next car?
Speaker 1: Name it? Uh? Green? Next car? No? Hold up?
Speaker 3: Ed I think that's enough.
Speaker 1: How are you satisfied with turned.
Speaker 2: Satisfied enough to say this, mister Palmer, that you lied
when you said you recognized your wife's.
Speaker 3: Car and the coach she was wearing.
Speaker 1: Lied. I don't know what you said. The first car
that came around the driveway was white, all right?
Speaker 3: No, it was powder blue?
Speaker 1: You said.
Speaker 2: The second car was black, but it was a dark blue.
It was what The third car was a deep shade
of green, but you called it black.
Speaker 1: Well, I wasn't sure of that. What I started to
change my mind exactly?
Speaker 3: You started to change your mind?
Speaker 2: You weren't certain because in no case with no car,
because you really say for sure that is its color.
Mister Palmer, you lied when you gave your first statement
to the police, and lied under oath when you gave
testimony in.
Speaker 3: Your wife's trial.
Speaker 1: There's more than enough evidence here.
Speaker 2: To reopen this case, and what's more, mister Palmer, to
open an inquiry into exactly why you lied.
Speaker 1: Well, it is said and truly said, that perfection is
something aimed at but seldom achieved, never achieved, I may
venture to say, when it comes to crime, did I
say never? Well? Hardly ever, I'll be back shortly. I'm
sure you'll want to know that Jen was quickly released
from women's prison and is today happily married to Jack Chatterton. Sheila,
Jen's daughter continues at a school for special children, where
she is responding very well indeed to treatment and therapy.
Our cast included Mercedes McCambridge, Leon, Janny Briner, Rayburn and
Ian Martin. The entire production was under the direction of
Hyman Brown Radio. Mystery Theater was sponsored in part by
sign Off the Sinus Medicines and On Horzer Bush Incorporated
Brewer's a Budweiser. This is E. G. Marshall inviting you
to return to our Mystery Theater for another adventure in
the macabre. Until next time, Pleasant Dreams.
Speaker 6: Night's Mystery Theater was also brought to us in Park
Lift Shop right Supermartints where you get a lot more
for a little less. The preceding program was furnished by
CBS Radio.
Speaker 1: What is a Summer.
Speaker 7: Festival, the Big Apple and the bi Centennial too, right,
New York. This is Joel Gray most of this year's
summer festival, and I want you to pop right down
up over across to the New York Convention and Visitors
Bureau at ninety East forty second.
Speaker 1: Street, to pick up all the brochures that the Visitors
Bureau has.
Speaker 7: To give out free, which they've got a calendar of events,
a guide, a map, a shopping guide, a restaurant, all
free for you.
Speaker 1: W bar in New York.
Speaker 5: Mayor Beam, returning from Albany with precious little in the
way of funds from the legislature. New Jersey Governor goes
to his legislature with an eleventh hour appeal. The price
of gasoline is going up and shortages may appear late
in the summer. It's seventy eight degrees in partly cloudy
mid Manhattan. The man says, partly cloudy, warm and humid tonight.
The lower round seventy partly sunny. Continued warm and humid tomorrow,
with a chance of a thundershower in the afternoon.
Speaker 1: The high eighty five to ninety.
Speaker 5: This is John Scott with the eight o'clock edition of
the News.
Speaker 4: This late word.
Speaker 5: Pele and the Cosmos are playing at Randalls Island tonight,
and the traffic from Queens into Manhattan is so heavy
it's backed all the way up to LaGuardia On Sunday
in an exhibition game the Cosmos to a record twenty
one thousand fans. Tonight, in a regular game, the attendance
is exp acted to be even greater. Mayor Bean went
to Albany today and is flying home at this hour,
outraged in his opinion he was shortchanged.
Speaker 2: I want to say that I'm outraged and shocked at
the crassness with which.
Speaker 4: The Senate majority is treating the people of the city
of New York.
Speaker 1: We've heard all kinds of stories