Speaker 1: Now mystery, come in.
Speaker 2: Welcome. I'm e. G. Marshall Chamberlain. In this court of
the mysterious and the macabre, the act of trust seems
to get short shrift from the poets, the husiphers.
Speaker 3: And even the prophets.
Speaker 2: An early American sage warns us to trust everybody, but
cut the cards. The book tells us put not your
trust in princes. Very well and very good, but you
have to trust somebody. Can anyone go all the way
through this life without trusting another human being?
Speaker 3: What is it you want me to do?
Speaker 4: Tell me how to use this?
Speaker 2: It's a revolver. Exactly where did.
Speaker 4: You get it? I don't think that's important.
Speaker 2: Why I don't think I should help you.
Speaker 4: To Well, if you don't, I'll probably kill myself trying
to figure it out.
Speaker 2: But you don't need a rip.
Speaker 4: I I feel safer with it in the house in
ten is away so much?
Speaker 3: Well?
Speaker 5: You, uh, you flick out the soldier and you insert
the shells into these chambers. I see, And now you
flick back the cylinder, and I hope you never have
to use it.
Speaker 3: But the gun is ready to fire.
Speaker 2: You just point it and pull the try.
Speaker 4: Like so like something, but not at me, Why not
at you? Why I intend to kill you?
Speaker 2: Our mystery drama Can You Trust Your Husband? Was written
especially for the Mystery Theater by Sam M Dan and
stars Joan Lovejoy and Mandel Kramer. Somehow, love seems to
have become the province of the young. Ask almost anyone
to name two people who were deeply in love, and
the answer almost automatically is Romeo and Juliet. Well, let's
face it, Romeo and Juliet were a couple of teenagers
who only knew each other for a brief interval. They
conveniently died before they would have to weather the storms
of marriage and responsibility. The lovers of record should be
Philammon and bouss or Darby and Joan, couples who lived
with each other and put up with each other for
fifty and sixty years. That, dear friends, is love. All.
This is by way of introduction to the Mallards. Ted
and Myra married twenty five years. Far as we know,
there's never been an argument or even a harsh word.
It's all been one long, beautiful honeymoon as far as
we know. Let our story begin late one autumn evening,
as the doorbell rings and they're comfortable, well appointed apartment.
Speaker 4: Just a minute, you'll have to wait ed next time.
Carry your keys.
Speaker 2: Oh, Bert, did I awake you Myra?
Speaker 4: No? No, I I never can sleep weaken. Come on in.
Ted isn't known yet. I guess his plane was late.
Speaker 3: Well, yes it was.
Speaker 4: Oh I knew it. But but what well, I I well,
I something's wrong, Bert, what are you trying to tell me?
Speaker 5: Well, whatever it is, like I said, I'm not doing
a very good job of it.
Speaker 2: Instead, Yes, it's.
Speaker 4: About something's happened to him.
Speaker 2: The plane.
Speaker 4: Just a minute, I've been listening to the radio. I
haven't heard anything about a plane.
Speaker 2: No, it isn't the plane.
Speaker 4: Then what is it?
Speaker 2: The plane landed more than three hours ago.
Speaker 4: Berry, tell me what's happened to Ted?
Speaker 2: Well, I'm trying to it. It's not easy.
Speaker 4: You know where he is.
Speaker 3: He's in jail.
Speaker 4: Jail, Why what for?
Speaker 2: I said, it's not easy.
Speaker 5: I'm not sure he was arrested as he came through customs.
Speaker 3: Tell me why, Well, I suppose for smuggling.
Speaker 4: Smuggling. That's impossible that it has been a mistake.
Speaker 3: I'm sure of it.
Speaker 4: We have to get hold of Arthur Kremin. I doesn't
he practice that kind of law.
Speaker 3: You'll get someone else if he can't handle it.
Speaker 4: Handle Why all I know.
Speaker 5: Is Ted called me and they allowed them one phone.
Speaker 4: Please Bert get to it.
Speaker 5: Well, he said, Bert, I'm being accused of smuggling, called
Arthur and then tell Myra.
Speaker 4: But what is he accused of smuggling.
Speaker 5: Heroine or cocaine? I'm not sure, but that's ridiculous.
Speaker 4: Ah, How could Ted possibly be involved in anything like that?
Speaker 3: They followed in his atash Here case.
Speaker 4: But it's all a mistake, a terrible mistake, or else
it's it's a joke, a very bad joke.
Speaker 2: Ted, Darling, I didn't want you to come here.
Speaker 4: Why not?
Speaker 2: Because it's a prison zone.
Speaker 4: Are you all right?
Speaker 2: I don't know I'm in prison, my right.
Speaker 4: Well, it's not exactly prison, You're you're just being held
here because of some awful misunderstandable Darling.
Speaker 2: It's prison people like me, like us, We only read
about these things.
Speaker 4: But I just says he'll go before a judge in
the morning and and see about setting bail.
Speaker 2: That's another word, bail. Do you realize I'm gonna be
out on bail?
Speaker 4: As if?
Speaker 2: As if? I were some common criminal.
Speaker 4: Darling, ted, tell me what happened? I simply couldn't get
a war it out of bird? What happened?
Speaker 2: How many times have I done this? I got off
the plane, picked up my luggage, walked through customs except
except except this time I didn't walk through this time.
When they searched my head a shaycase, they found a
packet they say, a first grade cocaine.
Speaker 4: Well, then it couldn't have been your attash shaking.
Speaker 2: This was wow.
Speaker 4: How did the cocaine get that? Don't know? Couldn't you
have seen it?
Speaker 2: No? Because it was concealed in a secret compartment.
Speaker 4: What secret?
Speaker 2: I don't know, Darling. I didn't know I had one.
Speaker 4: Surely surely what? Surely nothing?
Speaker 2: Darling?
Speaker 4: I know how upset you are. You don't need me
giving you a third degree.
Speaker 2: They were waiting for me, Mara. Yes, ordinarily customs is
just a routine. This time there were three or four
of them out there. They emptied the papers out of
my case. One of them had some kind of a screw.
Speaker 4: Driver and he you mean that they actually expected to
find something?
Speaker 2: Yes, And then there was this this cellophane or I
think they call a glass scene, a packet just filled
with powder.
Speaker 4: Well it's a mistake. Well, of course, obviously it couldn't
have been your attache case. You see that. That's the
answer I told you it was had you. You're being framed.
Speaker 2: That's the only thing that makes any sense. But what
because I travel regularly between New York and London on
legitimate business, I'd make an ideal courier.
Speaker 4: Somebody's been using you. People a gang that's involved in
smuggling that they watch for regular travelers. I know it
sounds crazy, but they managed to get hold of your
bag somehow.
Speaker 2: I don't know what's going to happen now.
Speaker 4: Well, I know what's going to happen tomorrow. The mistake
or whatever it is will be straightened out.
Speaker 2: I don't know if it ever can be straightened out completely.
Speaker 4: Hey, what are you saying? You're innocent?
Speaker 2: Am I innocent? You know it and I know it.
But what about the rest of the world. Don't forget
this will be in all the papers.
Speaker 4: It's so obviously frame after.
Speaker 2: Whom my brother are people who actually believe that if
a person isn't guilty, he'd never have been arrested in
the first place.
Speaker 4: Ted that's crazy.
Speaker 2: Of course it is, but that's what's out there.
Speaker 4: But everyone knows that you're an honest, hard working at the.
Speaker 2: Mass, so many people there will be a nagging, little
nasty suspicion, could you really have been involved?
Speaker 4: Well, this is going to be a good way of
finding out who your friends really are.
Speaker 2: Certainly, I feel as if I'm part of another world, Myra, world,
you and I never knew. It's no longer our logical,
well ordered universe. All of a sudden, I'm a criminal, Darling.
Speaker 4: You are not.
Speaker 2: I'm a cage deprived of my freedom. Look at them,
the rest of them, as you leave here, the thugs,
the hoodlums, the fees. I'm one of them. Look at
them as you leave. Because I can't leave. I have
to stay, darling, not for long. You've got to get
me out. The shame of this, the disgrace. I can't
stand it.
Speaker 6: Hello, Myra, Burt, where are you courthouse?
Speaker 4: Was Arthur able to get bail? Set?
Speaker 6: Oh?
Speaker 4: That's what I'm calling you, very Please just tell me.
Speaker 6: There's a problem, Myra, and Arthur's going to be tied
up with it. So he asked me to call you.
Speaker 4: Will you please tell me?
Speaker 6: Well, it looks like, Arthur can't get bail.
Speaker 4: What do you mean he can't get bail? Well, it's
the law. A person isn't titled to bail.
Speaker 6: He is and he isn't.
Speaker 4: I'm going right down, man, Myra.
Speaker 6: It won't do you any good, you see, because of
the size of the package, the fact that they've had
their eye on Ted for a long Now.
Speaker 4: You just stopped there, You stopped right there, Myra.
Speaker 6: I'm only reporting the facts. The federal prosecutor moved for
suspension of bail, but that's not legal in some cases.
Speaker 4: Well, there has to be someone I can talk to.
Speaker 6: They claim Ted is so important to this narcotics ring?
Speaker 4: What ring that he?
Speaker 6: What's simply lead? Jump bail and leave the country.
Speaker 4: Where do you know what you're saying?
Speaker 6: Or else his life would be in danger. So what
this amounts to is his protective custody.
Speaker 4: And Arthur, our fine attorney, Arthur, to whom we pay
a fortune every year as a retainer, is just standing
there and taking it. Almira.
Speaker 6: You must be fair to Arthur.
Speaker 4: Be fair to Arthur.
Speaker 6: First fighting it. He's filing an appeal. He's going to
a higher court. But it has to take time.
Speaker 2: Time.
Speaker 6: A couple of days a week.
Speaker 4: Great, I have to hang up now.
Speaker 6: Now you just relaxed, My right, everyone's doing their absolute best.
Speaker 4: I'll talk to you soon, okay, goodbye? All right?
Speaker 3: Yes, missus Mallick, who are you? I'm Lieutenant Jack Dnson
of the Narcotic Squad. We're cooperating with the federal authorities.
And you're micro dentils.
Speaker 4: I see them.
Speaker 3: Yeah, why to discuss your husband's case.
Speaker 4: My husband doesn't have a case. He's a victim of
a of a frame up, of of some sort of
ghastly mistake. There's nothing you can gain from talking to me.
Speaker 3: I'm here to help you, Missus Mallard, help you and
your husband.
Speaker 4: Help us in what way?
Speaker 3: Well, I'd rather not discuss that in the hallway of
your apartment building.
Speaker 2: Very welcome.
Speaker 4: In the only way you can help us is to
clear up this terrible mistake and get ted out of
that jail.
Speaker 3: What makes you think it's a mistake?
Speaker 4: What makes me my husband is innocent?
Speaker 3: What makes you think so?
Speaker 4: I'm gonna have to ask you to leave this house first.
Speaker 3: Answer my question. What makes you think your husband is innocent?
Fact that you love him?
Speaker 4: Of course I love him? Has that become a crime.
Speaker 3: Your entire attitude towards your husband is based on the
fact that you love him, and love happens to be blad.
Speaker 4: Please spare me your dime store philosophy. You don't live
with a man for twenty five years without getting to
know him. Ours was no ordinary marriage, or maybe it was.
Maybe all marriages are the same. I wouldn't know. But
we were together in everything. We had no secrets. I
don't believe we even had separate faults. We lived with
and for each other. So he couldn't have been doing
anything wrong because I would have known it.
Speaker 3: Oh would you have known it?
Speaker 4: Evidently you're not married, or if you are, it's not
what I would call a marriage. I would know. He
wouldn't have to say a word or leave a clue,
but I would know if he were doing anything wrong.
So what do you say to that?
Speaker 3: HM? I wish I knew what the same, Missus Mallard,
And wish I knew how to say what I have
to say.
Speaker 4: And please stop beating around the bush.
Speaker 3: You're a fine woman, Missus Melin.
Speaker 4: I'm in no mood for flattery. Lieutenants. Say what you
have to say and get out I'm.
Speaker 3: Sorry, I'm forced to tell you this, but your husband,
whom you love and with whom you're so close, has
been leading a double life.
Speaker 4: I I don't believe that it. It can't be true.
Speaker 3: I'm sorry, missus mallick. We have proof.
Speaker 2: There are parts of the world where it never rains.
The bright golden sun shines in a deep blue sky,
and all is beautiful and cheerful and gay, and after
a while you accept it as something that will last forever.
But as the song says, into each life, some rain
must fall, and when it does, those who have never
known what it is to be drenched usually suffer the most.
I shall return shortly with that too, to the Mystery
Theater on WABC. For twenty five years, Myra and Ted
Mallard have had a wonderful marriage. Myyra and Ted could
communicate without speaking, read each other's thoughts, share each other's feelings. Well,
possibly this hasn't been completely so, for here is Meyra
being confronted with the charge that Ted has been living
a complete life away from her, a life that is
of interest to the police.
Speaker 4: I I I challenge you to present your proof, Lieutenant.
Speaker 3: We've been watching Ted for a long time. He makes
regular trips.
Speaker 4: He makes regular trips to London on legitimate business. Of course,
Ted had an opportunity to open a branch office in London,
and he goes there to supervise him.
Speaker 3: And it's an excellent cover cover.
Speaker 4: His presence is necessary.
Speaker 3: According to the annual report of your husband's company, that
London operation is losing money.
Speaker 4: Ted has faith in it.
Speaker 3: But you can excuse our being skeptical.
Speaker 4: And what right do you have to arrest a man
on skepticism?
Speaker 3: None at all? But it goes deeper.
Speaker 4: I'm not interested. I can see the nature of your
so called proof.
Speaker 3: I want you to help your husband.
Speaker 4: Why should you care?
Speaker 3: By helping him, you help us, missus Mallard. He won't talk.
Speaker 4: What does he have to talk about?
Speaker 3: Everything? Who his associates are, where they buy the drugs,
where and whom they sell? Who is protecting them? But
please let me finish. You must convince him to talk.
If he remains silent, he'll spend the rest of his
life in jail.
Speaker 4: But he hasn't done anything.
Speaker 3: Missus Mallard. W We're beyond all that now. You must
convince him to cooperate. That way he can get a
substantial reduction in his sentence.
Speaker 4: What sentence.
Speaker 3: He'll be tried, and he'll be sentenced. We have proof.
Speaker 4: You'll keep saying you have proof, and all you've got
is the packet you found in his attache case. And
that could have been planted there.
Speaker 3: It could have been, but it wasn't.
Speaker 4: Well, I won't be intimidated. If we have to fight,
we'll fight. Ted is forty seven years old. He has
a spotless reputation. He's never done anything wrong. The jury
will simply refuse to believe that he could be m
a member of a don't bring.
Speaker 3: Did you ever hear of a woman named Jenny Saunders?
Speaker 4: Jenny Saunders? I don't believe.
Speaker 3: So I'll do some things that are not exactly in
the book. If you promise to say nothing, I'll take
you to her apartment.
Speaker 4: Well, why would I want to go.
Speaker 3: There because the two of you have something in common.
Speaker 4: How does it happen that you have a key to
this woman's apartment.
Speaker 3: Well, you see, she's cooperating with us, and uh, when
I said I might wanna bring you here, she felt
it best not to be present. Why, out of respect,
I suppose for your feelings? What do you think of
the place.
Speaker 4: Well, it it's nice enough, but why do wait a minute,
that that's Ted's picture?
Speaker 3: Yep, that's Ted's picture.
Speaker 4: Uh, what's Ted's picture doing here?
Speaker 3: You'll find some of Ted's clothing in the closet.
Speaker 4: Also, oh oh no, oh no, you won't get away
with this. I see what this is for. It's a
frame up to build your case. You're planting his things
in this apartment.
Speaker 3: You're making serious charges, missus Mallard. And I can understand
how you feel. But Ted was here, he spent time here.
Speaker 4: I defy you to prove that.
Speaker 3: We have witnesses people have seen him here, well they can.
Speaker 4: They can all be part of this plot?
Speaker 2: Which plot this is?
Speaker 3: Mallard?
Speaker 2: Why should we want to frame your husband.
Speaker 4: I don't know, to make an arrest, to create an
impression you're cracking down on drugs?
Speaker 3: Why pick on Ted? Mallard? Why construct this elaborate framework.
Speaker 4: I won't believe it.
Speaker 3: That means you refuse to believe it, Missus Millard. Let's
accept your argument for a moment. The drugs could have
been planted in the it's a shay case.
Speaker 2: Then you admit the sake of argument.
Speaker 3: Okay, then we could have gone to the trouble of
setting up the apartment, the witness, the girl. But you
tell me one thing. How do you explain your husband's fingerprints?
Speaker 4: What fingerprints?
Speaker 3: His fingerprints are all over the place. U. I know
it's very hard for you, missus Mallard. I suppose you
have to look at your whole life now from from
another perspective, and maybe faced with all this, you won't
even wanna help him.
Speaker 4: Please let me out of here, ah.
Speaker 2: Tira, where were you thought you be here earlier? Arthur
hasn't been able to do a thing. Now should we
get another lawyer? I can't believe a thing like this.
Speaker 4: Cad tell me about Jenny Saunders. Who Jenny Saunders?
Speaker 2: Jenny? What about? What about Jenny Sonders?
Speaker 4: That's what I'm asking.
Speaker 2: You don't know any Jenny Saunders. You don't, no, of course,
not mcdonnie. We've got a million and one important things
to worry about.
Speaker 4: You don't know a Jenny Saunders.
Speaker 2: Mayra is somebody named Jenny Saunders somehow involved in everything
that's happening.
Speaker 4: There's an apartment at two ninety one Fenamore Place, So
what about it? I was hoping you'd tell me what
about it?
Speaker 2: Mara, what's wrong? Don't say nothing, because I can tell
when something's bothering.
Speaker 4: I didn't say nothing was wrong. Tell me about two
ninety one Fenamore place.
Speaker 2: I never heard of it.
Speaker 4: The police say they found your fingerprints all over it.
Oh well, I guess they would. Then you do know
about ninety one.
Speaker 2: Thing, thinking, Darling, I have been there. Let me see often, well,
twice twice to install, and then I wants it? Was
it three times? Anyway? I installed and then went back
for some repairs. I guess, And I guess the police
were checking every place that I ever visited.
Speaker 4: Or why would you have been to two ninety one Fenamore.
Speaker 2: It's a favorite to Bert Bert. Yes, he's got a.
Speaker 4: Friend, Jenny Saunders.
Speaker 2: I do maybe that's her name. I never saw. I
never saw anyone in the apartment.
Speaker 4: Oh why did you go there in the first place?
Speaker 2: Telling you, darling, Bert asked me to install one of
our special stereos for this good friend of his.
Speaker 4: You don't you have servicemen and technicians new things?
Speaker 2: And Bert said that it would be a big favor.
Speaker 4: And that's the only reason you ever went to to
a ninety one for any more place?
Speaker 2: Well, of course, what other reason would I have?
Speaker 6: Oh?
Speaker 4: Hello, missus Mallard. Hello, Harriet? Is is Bert Hollison? Yeah?
He sure he is, but he he's on the phone.
That's all right. I'll wait. I look, I don't believe
it about mister Mallard. I mean, what wall He's just
about the straightest guy there is, Harriet, tell me something.
Does the name Jenny Saunders mean anything to you?
Speaker 2: Er?
Speaker 4: Uh say it again, Missus Mallard, Jenny Saunders? Does it
mean anything? Yeah? What w I? I? I don't know.
I mean, oh gosh, who is it? Look? Does this
ever happen to you? You know you've heard something somewhere,
but you can't a life if you remember when away?
Now this name Jenny Sonderes? I did hear it? Apropos?
Of what? Apropos? I can't remember? Please, Harriet try to recall. No, no, no,
it doesn't do me any good. It's very important. I mean,
it's it's all just slashing around somewhere in my subconscious
and it'll come to the surface when it wants to. Well,
you will let me know, won't you? If you should
happen to remember, Oh, sure. Oh, mister Hollis's light is out.
Now say he's off the phone. Why don't you just
go in? Thank you? Bert, Myrah, come in, come in,
sit down, thank you?
Speaker 2: Is there something new? I know? Arthur is still waiting
for the court of a pier.
Speaker 4: Bert. Who is Jenny Saunders?
Speaker 2: I'd never heard of her. Now.
Speaker 4: Look, I know how long you and Ted have been friends,
and of course your your instinct is to protect him.
But Bert, oh, Bert, I have to know.
Speaker 3: What do you have to.
Speaker 4: Know if my husband has been has been having an
affair with a woman named Jenny Saunders? Ted? An affair?
Speaker 2: Oh? No, never, It's impossible.
Speaker 4: I looked in the mirror today and I see that
it could be possible. Myra, I know Ted, I say no, please.
When I think of Ted and me and our marriage,
I believe I'm still twenty and he's still twenty two.
But I'm not and he's not, and I have wrinkles,
and a girl named Jenny Saunders is probably quite young.
Speaker 2: And you're being quite silly, Ted.
Speaker 4: Wood, are you familiar with an apartment at two ninety
one Fenimore.
Speaker 6: Place to ninety one?
Speaker 2: No? No?
Speaker 3: No?
Speaker 2: Should I be yes?
Speaker 4: If you have a friend who lives there.
Speaker 3: No, I don't know anyone who would be.
Speaker 4: Well, since you have never heard of the place and
you don't know anyone who lives there, then you couldn't
possibly have asked Ted to personally install a special super stereo.
Ask Ted to what you heard? What I said?
Speaker 2: Why I heard it? But I can't believe it?
Speaker 4: Well? Why why would I ask Ted?
Speaker 5: I see myrah Myra?
Speaker 2: Please? Why did you ask me such a question?
Speaker 3: What are you driving at?
Speaker 2: What's happened?
Speaker 4: I'm not sure. When Ted was arrested at the airport
the other night, I thought that was the end of
the world. Now I see that that may have just
been m calme before the storm. Ah, yes, you're Jenny Saunders.
Speaker 2: Yeah, okay, where do we go from here?
Speaker 4: I'm Mara Mallard. Oh well, come on in, said an
thank you drink. I don't believe so. Well, what are
we gonna talk about? Is it true? That's true? I
didn't think you'd be his type when they started hit fifty?
Speaker 2: What's a type?
Speaker 4: Although you are quite pretty? If it makes you feel
any better, he's uh, he's still in love with you? Really?
Speaker 6: Then?
Speaker 4: What was he doing here? I guess these fellas need excitement.
He's in a jam. I hear, yes, I will say
he was fast with a dollar. He was good to
me and round here goes for almost three hundred. And
then he uh liked to go to the track. I
never knew he had the slightest interest. And he liked
a game of cards. I told him the stakes were
a little high. I never knew he could even play cards.
Speaker 2: Well.
Speaker 4: I I tried to steer him clear of it, thank you.
But men they do what they wanna do. And so,
by the way I see it, he got in very
deep to the loan sharks, and it's all tied into
the rackets, you understand. So they said, look, here's how
you can pay his back. And so he became a courier.
And you see it happen all the time. Legit business
guys get themselves in hot and the mob moves in.
What are you looking for? Uh? You were? You wouldn't
happen to have a specially installed stereo, would you? Oh? No,
I wish I did. I thank you, Miss Saunders. Yeah,
I'm glad you're uh friendly, missus mallet. A lot of
wives they'd throw a fit, but in the better to
act civilized.
Speaker 2: Mara, what are you saying to me?
Speaker 4: What are you saying to me?
Speaker 2: Ted, I'm saying that I don't know. A girl named Jenny.
Speaker 4: Songer lives at two ninety one Fenamore Place. You admit
you went.
Speaker 2: There as a favorite to Bert.
Speaker 4: Bert knows nothing about it.
Speaker 2: You mean he knows nothing about it? He asked me specifically,
asked Mara. Bert came into my office a couple of
months ago and asked me to do him this favor.
Speaker 4: But he didn't ask him. I did ask him. He
knows nothing about it. And furthermore, I just had a
visit with Jenny Saunders. I can see where she might
be very exciting. No, you listen to me. Call Lieutenant
Denson so you can make a deal and be out
of here in a few years or maybe even months.
Speaker 2: What you're talking, I'm talking.
Speaker 4: About a man who fell in love with a woman
half his aide. All right, Let's say he became infatuated
and so he went through all of his money, got
into debt, and was of it a way out, an
illegal way out.
Speaker 2: And he was caught moral. Do you believe this, yes, said.
Speaker 4: I believe it. I don't see how it's possible not
to believe it?
Speaker 2: How is it possible, indeed, not to believe it? How
can one doubt the evidence evidence based on the reasonable, logical,
and sensible interpretation of the facts that exist. Certainly a
man must be proven guilty beyond the shadow of a doubt?
Is there even a shadow?
Speaker 4: Here?
Speaker 2: Everything seems so clear cut. I'll be back shortly with
Act three.
Speaker 3: Oh, the Mystery Theater returns.
Speaker 2: On w a BC. Sometimes if you repeat a story
often enough, you'll come to believe it. For instance, for
twenty five years, Myra Mallard has been telling herself that
she has a perfect marriage, a union that was made
in heaven, as they say. And perhaps she has been
so taken by the idea that she refuses to accept reality.
And reality seems to be another woman and a prison
cell and a narcotics carrying charge. You're telling me I've
been having an affair with another woman. I have met her,
and I've been maintaining yes. And the drain on my
finances has driven me into becoming a member of a
narcotics ring.
Speaker 4: Head these are facts.
Speaker 2: Well, I deny every one of them, but.
Speaker 4: Your finger prints are all over that apartment.
Speaker 2: I told you how they got through, Ted, I also
told you something else. I told you this would never
be straightened out. At the very fact I've been arrested
would scar me for the rest of my life. Ted
will always be imagining doubt in people's minds. Well, what
can I expect from strangers when my own wife believes
I'm guilty?
Speaker 4: Ted, I don't know what to believed.
Speaker 2: I'd know what to believe if you were the one
who was sitting in jail. I believe what you told me.
Speaker 4: I'm trying to, but only evidence.
Speaker 2: Wouldn't care for evidence, I'd know that the person I
loved would tell me the truth. I don't think we
have the kind of marriage that we thought we did,
or at least that I thought I did.
Speaker 4: Ted, what do you want me to do?
Speaker 2: What do I want you to do? If you have
to ask, I'm all mixed up. We had a paradise.
I see you and I'm Marrah, But at the first storm,
look what happens to it?
Speaker 4: Darling.
Speaker 2: The other night you said to me, this would be
a good way to find out who my friends are.
That's better than that. It's a good way for me
to find out who my wife is.
Speaker 3: Well, missus Mallick.
Speaker 4: Have you thought it over, Yes, Lieutenant Danson.
Speaker 3: I have and dec to help your husband.
Speaker 4: Yes, I'm going to do everything I can fine.
Speaker 3: And I can expect you to cooperate with us.
Speaker 4: So I will, that is, if you agree to cooperate
with me.
Speaker 3: Certainly, what would you like me to do?
Speaker 4: Find the man who's really guilty?
Speaker 3: Missus Mallard. Is it possible we are back to ground
zero on this thing?
Speaker 4: We never left it. Ted is innocent in the.
Speaker 3: Face of all the evidence. Can you really believe that?
Speaker 4: Yes? I believe he is innocent, and I believe it
because he says so. Ted Mallard cannot lie to me
any more than I can lie to him.
Speaker 3: Missus Mallard, I would like.
Speaker 4: You, I know what you'd like. You'd like me to
look at the facts. But there are all kinds of facts, Lieutenant.
You have yours and I have mine. And what are
yours mine is the fact that Ted and I are
in love. Yes, for a moment I panicked.
Speaker 3: I was frightened, Missus Mallard.
Speaker 4: It's no good, Lieutenant. I have twenty five years supporting me.
Speaker 3: I know this is a blow to your pride.
Speaker 4: Let me tell you whom you should investigate. My husband's partner,
Bert Hollis.
Speaker 3: Please, Missle is lying.
Speaker 4: He said he didn't ask Ted to install the stereo
set at two ninety one, Fenomon.
Speaker 3: Missus Mallard, you can't shift the blame convenient.
Speaker 4: I is Bert lying. That's the crux of the entire case.
Speaker 3: Bert was not caught with the narcotics. Bert was not
maintaining a girl in that apot.
Speaker 4: Please, lieutenant, don't give me facts your facts for once.
Try something else, something else, faith, believe somebody take a
person's word. You once said I was a very fine woman.
Speaker 3: All right?
Speaker 4: Would I lie? Isn't it possible that I'm telling the truth.
I know you have a case, it's well constructed, but
it's Missus Ballard.
Speaker 3: We know Ted is.
Speaker 4: Guilty, and I know Bert is lying, And I'm asking
you to find out why we have.
Speaker 3: No reason to pursue that line of investment.
Speaker 4: Perhaps you don't, but I do, and I'm going to
pursue it. Oh, I don't know what do I know
about these kinds of things? But somebody has.
Speaker 3: To help Ted, who must be wonderful to have a
wife who simply won't face the facts.
Speaker 4: Oh, you're wrong, Lieutenant. I'm facing all the facts. Why
would Bert.
Speaker 2: Lie I don't know think I told you. I don't
know how.
Speaker 4: You had any differences of opinion about the business. Is
he in debt?
Speaker 2: Not that I know.
Speaker 4: Can you think of anything, anything, any reason why he
would do this to you?
Speaker 2: Bert been friends since college?
Speaker 4: All right, the attach case? How could the cocaine have
gotten in there?
Speaker 2: Let's beyond me.
Speaker 4: Oh, Ted, you're not being very helpful.
Speaker 2: I befriend.
Speaker 4: It's it has to be Burt.
Speaker 2: But why, I don't know. I'd have been willing to
bet my life on Bert, just as i'd be willing
to bet my life on you.
Speaker 4: Oh hi, missus Mallard. Hello, Harriet. Anything new with mister Mallard.
We're hoping. Yeah, I've just gone by to get some
of Ted stays. Oh, that's mister Hollis's ring. He wants
to give me some dictation. Look, if you will be
in mister Mallard's office for a few minutes, would you
mind answering the phone? No, not at all. It's just
that when mister Hollis dictates, he gets all confused. If
I have to stop and pick up the phone, well,
I'll be here for a while. Thanks, Yes, that's but there.
Uh no, supposed he just stepped up for a moment.
Oh well, yes, what are you a man? Oh? Yes, well
I I've I've heard Bert mention your name. Uh, Brit
and I are rough. Oh it, we're very close you are.
Speaker 2: What about the suns then?
Speaker 4: Oh that that's all over. Uh.
Speaker 6: It's a lot of dough and it's a doe.
Speaker 2: He knows how and where to bring it.
Speaker 4: Oh my ruh.
Speaker 2: Harriet said you were here?
Speaker 4: Oh I I uh I I. I just wanted to
get some of Ted's things. Why he'll be out of
jail soon, and I feel it in my ball y
do you I know Ted?
Speaker 2: He couldn't do anything wrong.
Speaker 4: You're a good friend to him.
Speaker 5: I don't care what anyone says. I'll stick by him.
Speaker 4: Thanks for covering the phone. I heard it ring. Oh
it it it was around them though. Well, I hope
everything will be okay with mister Mallard. Thank you, Harriet.
If you're throwing mister Mallard's office, maybe i'd better lock it.
Why does mister Mallard usually keep it locked? Oh no,
that's his problem. He leaves everything lying around. Anybody could
walk into his office and walk off with anything, even
I even his attache case. Oh sure, Oh why would
anyone want to take his attache case? Or did you
ever see anyone carrying his case? Did? I?
Speaker 2: Well?
Speaker 4: I I never thought to watch. Try to think, Hey,
how did you mention it? It's funny now. When he
left for London last week, I saw mister Hollis bring
him the case and mister Hollis said, hey, Ted, you
left this in my office. Uh th that's what mister
Hollis said. Huh what did mister mallard An say? I
think he said, uh uh, thanks Bert and that was all. Yeah.
Oh you'd hearing to me Westmon. Did I know where
Jenny Saunders? Yes, so that's where I heard her name.
As they were saying goodbye, mister Holliw said, let me see.
Uh did you get everything squared away from my friend
Jenny Saunders? And mister Mallett answered the Uh, the stereo
works just fine. There you are. Did you really forget nothing? If?
If you know how to make it come back?
Speaker 2: Hell, but I'm on time. You got it? Yeah, hand
it over? I know fifty grand here, I know. Look
the agreement was ten payments fifty grand each fifty is
too big a sum to hide, adreamm and uh.
Speaker 5: I can fix the books for twenty five maybe each month,
but not for fifty.
Speaker 2: Who cares about the books. That's why we got Mallet
out of the way, so you could have an open run.
His wife was there today, Why, I don't know why.
Maybe she suspects something. Why should she suspect me? I
don't know why. I said maybe. Look, you're the one
who said, oh, you needed was to get Mallin out
of there and the tilt would be wide open. Okay,
but you have to be cautious, cautious the way you
drop money in the ponies, the cards, the dames. Look,
look it'll just take a little bit longer, but i'll
pay you fellas back.
Speaker 4: What's that?
Speaker 2: I don't know. Nobody's supposed to be here. Oh maybe
it's Jenny. I could have been Jenny. How would you
do it? Cou it sits?
Speaker 4: What did you hear that?
Speaker 2: Yes, secretary told me she doesn't know anything about Jenny.
In a minute, what are you gonna do with that
kind of somebody's in that closet? Are you trying to
do Bert set me up? No? No, I don't alright,
whoever you walk, come on out of there.
Speaker 3: Myra.
Speaker 2: You notice then it's Ted's wife?
Speaker 4: Hello, Bert, who is your friend?
Speaker 2: Myra? I? I I couldn't help myself, so.
Speaker 4: You did frame Ted after?
Speaker 2: Please my red.
Speaker 3: You don't understand.
Speaker 2: It was Jenny, Jenny Saunders. I I couldn't keep away
from her. Alright, we can't hang around here.
Speaker 3: What are you gonna do with her?
Speaker 2: I don't know, but something will occur to me?
Speaker 3: Move sister.
Speaker 2: Why what are you gonna do to her? She has
to disappear, let her alone.
Speaker 3: Murder was no part of the deal.
Speaker 2: Look, but people do what they have to do. I said, no, please,
please my r r if you promise? Not what can
she promise?
Speaker 5: Poor girt?
Speaker 4: This this character makes you betray your friend, loot your company,
and now he'll kill you. Shut up, lady, Well how
else can it end?
Speaker 2: I think we'd better go for a little ride. No,
I won't let you go.
Speaker 3: You okay, mister Hollis me? Yes, yes, I have yo
to be able to save this other one's life. Tenant,
what what am I doing here?
Speaker 4: Yeah?
Speaker 5: Well?
Speaker 3: You can say whatever you like about science and facts
and clues and evidence, but sometimes a good hunch has
'em all beat you.
Speaker 4: You heard what they said.
Speaker 3: Yep, everything I followed you, because if it didn't happen
to be right, you'd need help. I didn't mean to.
Speaker 5: I just well, I just kept getting in deeper and deeper.
Speaker 3: Thank you, lieutenant, No, thank you for showing me what
it can be like?
Speaker 4: What what can be like?
Speaker 3: Marriage?
Speaker 2: I may even try it myself, and he did or
so we are told, well, what is the model here?
You may be sure that faith can overcome any difficulty.
And as the Persian poet said, the sweet breath of
love can blow away the mightiest mountains. So you have faith,
for I shall return in just a few moments. Love,
like wine, they say, grows mellower, finer, tastier as time
goes on. Just as youth is wasted on the young,
so is love. The heart has its reasons, and the
more we attempt to probe and pry and weigh and analyze,
the more we come to nought. Love is one of
the two supreme passions. The other, of course, is murder,
which is why we always try to give you liberal
amounts of each seven times each week. Our cast included
Joan Lovejoy, Mandel Kramer, Rna Raeburn, Ken Harvey and Sam Gray.
The entire production was under the direction of Hyman Brown.
This is E. G. Marshall inviting you to return to
our Mystery Theater for another adventure in the macabre. Until
next time, pleasant dreams.