Speaker 1: The CBS Radio Mystery Theater Presents, Come in welcome. I'm e. G. Marshall,
Lord Byron, if I recall correctly first said sweet is revenge,
but revenge is mine, said the Lord. According to the Bible,
the truth would seem to be that sweet indeed is revenge,
while the moment lasts. But the victim of revenge will
himself be avenged one way or another by a power
not of this world, surely the power of God. In
any case, had Arnold Montressor not revenge on fortune, Notubillini,
and enjoyed to the full that moment of sweetness, he
would never have experienced a shock and terror that surged
through him. When Inspector Murdau said, Arno, I arrested you
for the murder of Fortunato Bellini. Me, you arrest me
for murder playing the innocent? Would do you no good? Arno,
I've got you dead to rights. I have found the
body impossible. You couldn't, I mean, see you, you just slipped.
How would you know it was impossible if you didn't
know where the body was. But that was your second slip, Arno,
a slip you wouldn't have made if you hadn't made
the first first. Yes, you committed the perfect crime, my friend,
perfect except for one single, simple little mistake. What was taken?
What mystage? Our mystery drama. The Task of a Monteado
was especially adapted from the Edgar Allan Poe classic for
the mystery theater by George Loather and stars Richard Kylie.
Is sponsored in part by imported Vigna Rose Wine and
Buick Motor Division. I'll be back shortly with at one.
We were talking about revenge. I believe, yes, revenge an emotion,
a passion that came to burn fiercely in the breast
of a certain winegrower named Arnauld Montressor, a consuming fire
he at last managed to quench with oddly enough, a casque,
a barrow of a Monteado sherry. It all began, this
strange and terrifying tale at the famous Montressor vineyards in Tuscany, Italy. There,
on a certain day in the office of Arnaud Montressor,
for Hunardo Bellini sealed his doom.
Speaker 2: But I must have the nineteen twenty three Vintigiano. No
other than Montiado will do.
Speaker 1: You must manage to find more on me. I would
if I could perform miracles but I can't. I did
in touch with every wine grow, every merchant in Spain,
a scourt all of Montia where a Monthiodo was made.
I can't find even a bottle of the twenty three vintage,
And you ask for barrels where a bottle is only
a drop to me? You know that, eh, You wouldn't
be trying to raise the price on me.
Speaker 2: What, considering the money you owe me, the loans I've made.
Speaker 1: You, I wouldn't be surprised if you want your mind
for tomorrow. How could I possibly make enough money to
pay you back by raising the price of the amontiado
you drink.
Speaker 2: You don't drink that much, which is why I have
my suspicions about you.
Speaker 1: Know what?
Speaker 2: Are you the catacombs beneath your vineyard? You'd took me
down to.
Speaker 1: The third level not so long ago and showed.
Speaker 2: Me why why there must have been at least a
half dozen casts of a monthiado.
Speaker 1: More than a year ago, there was a half dozen.
There were only four. You'll drunk them all. If there
is one bottle, one drop of nineteen twenty three a
month Oddo left in Spain, in the world, I can't
find it for you. Now, this discussion isn't an end.
Speaker 2: And not altogether. I have another matter to take up
with you. Money you owe me, Well.
Speaker 1: What about it. I've been paying the intro and I
need the principle.
Speaker 2: Business has been bad and I'm in need of money.
Speaker 1: I'm afraid, Arnold, I must ask you to repay me.
Repay you not so. I don't think you realize what
you're asking. I'm in no position at this time. Come in, Oh, Margherita,
my dearest.
Speaker 3: I'm sorry to interrupt you, darling, and you signor Billini.
Speaker 2: You do disturb me, Signor montre sir always, but not.
Speaker 1: In the way you mean. Well, what is it, Margherita.
Speaker 4: Tonio is waiting to see you. It's urgent, he says.
Speaker 1: What's the trouble.
Speaker 4: Something about the dampness in the third level of the catacombs.
He says, it's getting worse and changing the temperature.
Speaker 1: Ah, yes, the dampness is increasing down there. I'll talk
to him in a few minutes.
Speaker 4: Very well, Darling, good to see you, Signor Billini.
Speaker 2: It's more than good to see you, Senor.
Speaker 1: It is a feast to my eyes.
Speaker 4: I can't help noticing. Good day.
Speaker 2: She seemed defended with me, your wife.
Speaker 1: You never took your eyes off her. Oh can you
blame me so young soul? About the money I owe you?
Fortunate one week, I'll know one week.
Speaker 2: You know our agreement, the loans payable on demand, or.
Speaker 1: You can sell me off. But there was never any
thought of that. There is now I'm afraid which you
wouldn't you cry? Must I need the money. You've got
to give me more time. I do anything you ask,
anything within reason? Within reason? You say, yes, what is it?
Speaker 2: Well? You know how I feel about your lovely wife.
Just looking at her makes me feel young again.
Speaker 1: What are you saying? The thought has crossed my mind
more than once. I know that.
Speaker 2: What a pleasure it would be if she would come
to dinner with me one night. Yes, it is delighted
to and that we that you her alone.
Speaker 1: If you mean what I think.
Speaker 2: You mean, get out very well and all out. I said,
I'm going, but remember you have one week from today.
Speaker 1: What a filthy upset?
Speaker 4: Yes, come in, I just saw Senor Billini leave. If
you can see Tonio now, oh no, what is it not?
Something's happened to upset you? I can see it in
your face.
Speaker 1: What is it? Oh, Blini is given me a week
to repay the money I owe Emory sell me out.
But that's not all. What got me angered was yes,
he said, he said he'd be willing to give me
an extension if if you'd have dinner with him.
Speaker 4: What you mean is if I is oh, of.
Speaker 1: All, but.
Speaker 4: The thought of it, that's fact repulsed. But arno, darling,
what are you going to do?
Speaker 3: Can he take the vineyard if you don't pay him
in a week, the vineyard of.
Speaker 1: The wine stocks, and the gadagombs below the house, everything,
But we'll be ruined, Yes, ruined.
Speaker 4: Oh my dearest, there must be something we can do,
something if you.
Speaker 1: Think of something, margueritea let me know. I would. The
maid said you were here to see me.
Speaker 2: I didn't believe it, Bastle, What a pleasure, signor a montress,
or what a very real pleasure to discover I was wrong?
Speaker 3: Why would you think my paying you a visit, signor
Billini an impossibility to.
Speaker 2: Be altogether honest with you? Signor him? Magilite?
Speaker 4: If I may say, of course you may fortune not
to er.
Speaker 2: I'd always thought you didn't exactly care too.
Speaker 4: Much for me to be altogether honest with you. I don't.
Speaker 1: Then why are you here?
Speaker 3: If you force Arnor to repay what he owes you
in one week, he'll be ruined. Hears you offered to
give him an extension of time. If if I would
have dinner.
Speaker 4: With you, Yes, I've thought about it. Suppose suppose I
came to lunch. Say Anna and I don't see much
of each other during the day, and I'm often out shopping,
so there'd be no need to explain where.
Speaker 1: I'd been, white beautiful.
Speaker 4: If you cancel Arno's debt altogether, cancel it totally.
Speaker 1: Oh my dear, you are.
Speaker 2: As clever as you are desirable that I'm afraid you
take me.
Speaker 1: For a fool.
Speaker 2: Why forgive the debt altogether and enjoy your company only
once when by giving extensions of time I can enjoy
it many times over.
Speaker 1: What you'd take me for an extension wouldn't help very much,
but it would help when he needs help. It's either
that Margarite.
Speaker 2: Ruin for you as well as him lunch. Then say
tomorrow one.
Speaker 4: Tomorrow, that one.
Speaker 1: I said, where have you been all afternoon? Ah?
Speaker 4: No, dearest, I told you shopping.
Speaker 1: What did you buy.
Speaker 4: Nothing.
Speaker 3: I couldn't find what I wanted. A bag, a new
bag to go with those shoes I bought last week,
and I thought I might find a hat to go.
Speaker 1: With you with Billini. Isabella told me Isabella his daughter,
you know, his daughter, the one he sent to visit
our aunt for the afternoon. No, no, the aunt wasn't
at home, and she came back to find you with
her father in her father's bet. I did it for
you me, shame me.
Speaker 4: No one need ever know.
Speaker 1: I know me. I know I got to die. I
have died.
Speaker 4: I know, Darling, Darling, listen to me, Please listen. I
love you, only you.
Speaker 1: I don't want to please. Oh please.
Speaker 3: Since the day of our marriage, I have watched you
work yourself to the bone to keep the Montressor vineyards going,
to hold on to the heritage, your heritage of more
than a century. I have so admired you for what
you do, so loved you for the.
Speaker 4: Man, the husband you are.
Speaker 3: I couldn't bear to see you ruined, and so I
helped you in the only way I knew, the only
way I could.
Speaker 4: Bellini is going to extend the loans.
Speaker 1: Another devil with the vons and body and his extensions.
You stand there and tell me you couldn't bear to
see me ruined and are the same way. Admit you
ruined me. No, no, roll me as a man, ruin
me as a respective member of the community. You think
everyone will know about this with this Isabella and her tongue.
I can hear them laughing behind my back, all of them.
Speaker 4: Fuffy hanno.
Speaker 3: I beg you don't talk this way, Isabella won't talk.
Speaker 5: No one will ever know.
Speaker 1: I can never look at you again without knowing what
you did. I could never hold you in my arms,
never sleep with you again without knowing us. I know
you can kill your hopes. You've done to me? Tell
you you.
Speaker 3: I do, I know you.
Speaker 2: O.
Speaker 1: Margerita stead Yes, and you should be what you've done?
I careful, sweet, beautiful and desiral. What're about to do?
It's about to do? Yes? Yes, somebody must be hidden
hidden how doctor? Yes, that's it. The catacombs life. It's alive.
Speaker 4: Oh oh my my throw I just work fast fast,
I know, I know what.
Speaker 5: I can see, only your head and shoulders.
Speaker 1: Where am I? It doesn't matter where you are? What
are you doing? Walling you up? Walling you know? The
catacombs as well as I do. We are. The walls
have caved in in places, and our openings that can
be walled up. No one the wiser to what lies
behind them. Oh no, no, no, not a stone. Two
more on me, two more. I love you. I did
what I did because I love you, and I love you.
Then why are you doing this?
Speaker 4: Pull the stones away, tear them down.
Speaker 1: Oh I cannot. I will not your mine. But you
became his. You love me and you loved him. No,
give yourself to him for your sake. You didn't want him.
How can you say, because it could be true? How
do I know it isn't? How will I ever know?
Speaker 3: Oh?
Speaker 1: My god, I can't believe it. Well, I just said high,
I don't believe. But my mind is stained with a thought.
My heart is shutter by it. You must die, darling, must.
Speaker 4: If killing me, revenging yourself on me will help you,
I know.
Speaker 1: Put in the last stone. There is nothing left for
me now, nothing of me but my love for you. Stone.
Put it in place. Yes, yes, I love you. I
love you. I love you. I will always love you.
His heart, his soul smashed to bits, Arnold Montressor sends
his wife to her death, walling her up on the
first and uppermost level of the catacombs. Oscar Wilde, our
old friend said, each man kills the thing he loves
all my life. I've never been able to understand what
he meant by that. Perhaps I do now, Perhaps you
do too. I'll return shortly for Act two. Murder will out,
it has been said. And yet it's hard to see
how the murder of Marguerite to montresor by her husband Arnault,
will ever be discovered, For he has carefully walled her
up on the top level of the catacombs, beneath his vineyard.
It's possible, indeed altogether likely, that had he been content
with that, he would never have been found out. But
a consuming passion to revenge himself on Fortunatobelini has taken
possession of him now, a passion that is to drive
him into making one single, simple little mistake. Come in, Isabella,
Come in, what an unexpected pleasure. Sit down. I have
a glass of why this locker room and Christie is
particularly good. Thank you. Well, Now why have you come
to see me?
Speaker 5: I'm not sure, but guilt, I suppose shame?
Speaker 1: What do you mean?
Speaker 5: The story is all over town that you and Marguerite
to have split up, that she's left you.
Speaker 4: Is it true?
Speaker 1: Not entirely. I've let people believe that because I don't
care what they think. But you, I can tell the truth.
I threw her out yet, and.
Speaker 5: You can tell me the truth because I'm responsible. I'm
the one who came running to tell you about her
being with my father?
Speaker 1: Is that why you feel guilty? Ashamed?
Speaker 5: If I had minded my own business, none of this
would have happened. You and Marguerita would still be happily together.
Speaker 1: A false happiness built on unfaithfulness.
Speaker 4: Perhaps, But I had no right to do what I did.
Speaker 5: It was just that I was so surprised, so shocked
at finding her with my father together.
Speaker 4: I lost my head.
Speaker 5: I must apologize, beg forgiveness.
Speaker 1: I don't know where Margherita is, and I don't want
to know. Have you told your father about finding him
and Marguerita together?
Speaker 6: No?
Speaker 5: I wouldn't, dare. I think he would kill me, and
you must never tell him either.
Speaker 1: Don't worry. I don't intend through another glass. Thank you.
Speaker 5: No, I'll go now.
Speaker 1: We'll let me see you to the door. Carnival Week
begins tonight. I suppose you're looking forward to it?
Speaker 5: You know better than that, Signor Montressor. I know everyone
knows that I never go to the carnival.
Speaker 1: Oh why not? Come on?
Speaker 6: Now?
Speaker 5: You know I can never find anyone to take me.
That's why there isn't a boy in town who'd want
to be seen with anyone as plain and unattractive.
Speaker 1: As me, plain unattractive. Will you shock me? I've always
thought of you as well, anything but unattractile. Come on
now one minute, but gus understand me. I mean, well,
I'm almost old enough to be your father, and I
wouldn't want you to think. All I'm saying is if
you would be willing to go to the carnival tonight
with me? You for why not? I'm alone? You're alone.
We could at least be alone together. Yes, and you'd
have the fun of going to the carnival at last.
Speaker 5: Oh, I don't know, I do.
Speaker 1: I'll call for you at ten. I won't take no
for an answer. Oh, Signor mont and another thing called me.
Arno see you at ten. Yes, I'll be looking forward
to it. Oh and so will I? So will i, Arno,
Inspector Madero, the police. Yes, signor what do you want
with me? A matter of routine, Senor, nothing more. It's
about your wife, yes, what about her? It's come to
our attention at headquarter. Is that your wife is no
longer living with you? Correct? Would you mind telling me
why we've separated? For what reason? If you'd rather not tell,
Hoddan happy to tell. We simply couldn't get along anymore.
We were incompatible, constant quarreling. It became too much, so
we decided to split up and she went elsewhere. Yes where,
I don't know, You don't know. I don't to tell
you the truth. I don't care. You have no idea
where she might have gone? Back to her parents, perhaps relatives,
parents of murders, for relatives. Why are you asking all
these questions? There is some talk of murder murder, No,
you mean she's met with foul plag and murdered. No, no, no,
no no. The talk about town is that you know
how gossip spread, Senior. And of course there's nothing to
this still and all the police must check it out.
The talk is that you murdered her. Yes, it is silly,
of course, it's ridiculous, utterly and completely ridiculous. Well, now
if you'll excuse me, Inspector. I have much to do.
And the relatives were your wife you said she has relative?
Oh yes, yes, a sister in Rome and another in Florence.
And I appreciate it if you'd give me their names
and addresses. Certainly, only well if you ask me, Inspector Madera.
The police are making a mountain out of a mole hill.
A matter of routine, your routine, nothing more. Enjoying yourself, Isabella,
Oh no, I am, I am. You have no idea.
Thank you for bringing me.
Speaker 5: It's so wonderful to speak, thousands and thousands of nights,
all kinds.
Speaker 4: Of color, and the music and the people in the costume.
Speaker 1: And hi area, I know the fireworks. Let's get closer
what we can. But pushing us card is going to
be okay, well, but you just stop blocking my way.
Speaker 6: I are now, it's we But you.
Speaker 4: Know what, because you went messing up the hart chested Yes, yes,
how are you.
Speaker 1: Well enough for tomato?
Speaker 2: You fine, fine, except I've been a little troubled and
a little puzzled not hearing from you.
Speaker 1: Especially after I gave you a three months extension on
the loan. Well, I've been very busy for tomorrow, very
busy harvest time. You know, I just haven't had a
moment to myself.
Speaker 2: Yes, but still in all, well, never mind, this is
a nightful fumlent pleasure which reminds me. Have you managed
to find some twenty three of antiagro for me?
Speaker 1: Well? The truth is fortunate that I don't want to
get your hopes raised. You have out some don't know,
not yet, not yet, but I I may now, I
say I may have located a barrel of it in Manti,
a old task. Oh, it's had it overhect.
Speaker 2: My agent is checking. I'll let you know as soon
as you do. Don't waste a minute. We'll get it
over from space as you can.
Speaker 1: I'll do my best. Well, so you need have you?
It's a subside, isn't it certain?
Speaker 6: Please?
Speaker 1: Sior Montresor, Oh, Inspector Mardiro, Well, meto, And isn't this
Celina Uni with you? Yes, it's Abello. This is Inspector
Marduro the police. How do you do enjoying the carnival?
Speaker 6: Io?
Speaker 3: Oh?
Speaker 1: Yeah, yeah, oh, honor. By the way, she didn't go
to her relatives, but you're what she didn't go to
her sister in Rome or Florence. We checked, they haven't
seen her. Oh well, they must have gone elsewhere. Then.
Of course the question is where. You have no idea,
as you said, your yeah, but I'll just have to
keep looking till I find her.
Speaker 4: OHNO, take me home now.
Speaker 5: I shouldn't have come to your house in the first place.
Speaker 1: Or to stop. A glass of wine is a villa? No, I.
Speaker 5: I can't seem to get up from the chair. What's
happened to me?
Speaker 1: I've drugged you, That's what's happened me to make killing you,
murdering you easier. Murder you, stupid, ugly little fool. You
really believe me when I said I found you not unattractive,
that I'd be delighted to escort you to the carnival.
Speaker 5: I know what are you saying.
Speaker 1: I'm saying that I'm going to do the same with
you that I did with Marguerita. Wore you up in
the catacombs below.
Speaker 4: You'd kill her then walk her up.
Speaker 1: Oh no, oh, she was alive when I did it,
at least she was when I put the last stone
in place, But she didn't last long after that. I'm
sure it couldn't have been more than an hour or
so before she suffocated to death. Suffocate. I've got to
get out of here.
Speaker 5: I can't move.
Speaker 1: No, you can't, so you might as well stop trying.
You haven't a chance, Isabella, not a chance. Why are
you doing this to me? Revenge? Revenge for what your
father did to me, Revenge for what Margherita did to me,
Revenge for what you did to me. I you're right,
you see. If you hadn't come running to me, falling
over yourself, to tell me what you'd seen, I'd never
have known Margherita, Why beloved Marguerita, I'd never have known
she'd been unfaithful. But you had to tell me, you
and your wagging, gossiping tongue.
Speaker 5: I didn't think I'll pick you up in my arms and.
Speaker 1: To carry you down to the kettons of a second
level below. No wall you up as I walled up, Margherita.
Please think what it will be like. Slowly, one stone
after another goes in the place a growing coffin lid
for a stone coffin. Think of the agony that lies ahead.
When the last stone is placed and mortyd in fight fight,
the air is cut off and slowly in agony and horror.
You suffocate smother today tell me now, little gossip. I
want you to say that nothing holding in my arms,
looking into your eyes, I was filled with fright, with terror.
You have nothing to say. You must have something. Surely
there's some words you can speak, some sound you can
make it that it again again, consumed by revenge, Arnaud
Montressor bears the numbed body of Isabella away to the
catacombs below, as the terror in her heart pours from
her throat. And if I'm not mistaken, Fortunato Bellini will
be next in line for Arnault's vengeance. We'll see when
I returned shortly for Act three. Our theme, as I
have said, is revenge. But in the cask of a Monteao,
we are also dealing with a perfect crime. What more
perfect place for concealing a body, concealing it for even
centuries than in the wall of a catacomb, an ancient
burial ground beneath the earth itself, a house of bones
and skulls and skeletons. Arnold Montresor has done this with
his unfaithful wife Margarita, and now with Isabella, daughter of Fortunato,
who seduced Margarita but as with all perfect crimes, the
criminal inevitably goes one step too.
Speaker 2: Fared words, Nick, I know what could have happened to
Isabella after she left you, Walter motto, my good friend.
I wish I could tell you, though, Really I do
think you're worrying unnecessarily. What do you mean unnecessarily? You
say you brought her on last night at twelve thirty.
Then when I returned from the carnival at three this morning, she.
Speaker 1: Was not in the house.
Speaker 2: And here it is two in the afternoon the next day.
Speaker 1: Where is she? If you asked me, she may have
met with some friends and stayed with them. And I
don't think so. It isn't like her, not like her
at all. I must go to the police. I should
have gone to them before this. Wait a little while
yet you'll show up. And by the way, I think
I may have a surprise for you tonight, and a
pleasant surprise.
Speaker 2: And what do you mean, you'll see the amontiado? You
have found me some amontiado? Or didn't say that that's
what you mean?
Speaker 1: Yeah? Did you find it? How much? I mean? You're
running ahead of yourself and me I said nothing about
finding any of your month.
Speaker 2: You are who knew how much it means to me,
the craving I have for that nineteen twenty.
Speaker 1: Three Vin time I cried, And believe me when I
tell you I've moved heaven and earth to find them
for you, and you have. I don't say that, and
I'm not going to say another word until well until
I'm sure I have the.
Speaker 2: Surprise for ahead, and when we'll let be, perhaps.
Speaker 1: Tonight, perhaps tomorrow, perhaps never. I'll send a message to you. Oh,
I keep moving all of those gaps in before sundown
you are yours. I'll work with you or inspector. I'm
very busy, as you can see, only a few minutes
no more. Well what as your Belini? You know him?
I think it is very old friends. He has reported
his daughter missing Isabella. You took her to the carnival
last night? Is that right? Yes, that's right. Why why
I've felt sorry for her? I begun to learn a
dislike to be lonely, and I've just felt sorry for her.
A girl her age should have some fun out of life.
Lord knows, there's little enough true true about your wife.
Would you have any news for any news? Have you
heard from her? Letter? Message of some kind I know. Well,
if you do, be sure to let me know. I will.
Now I must get back to my work. Oh you
way up, and let's talk one thing more than your Yes. Yes,
I understand that the vineyard is built on catacombs, early
Christian catacombs beneath us here well, yes, where my house
stands over there used to be a monstry, of course,
at the centuries ago. An interesting, very interesting. You know
I have never been inside a catacom. Is that song?
No lot, those bast no those basset. Even when I
was in Rome, I was wondering if you'd mind if
I went down into yours. Well, no, not at all.
I'll take you down myself. Sometimes.
Speaker 2: Excuse me, senor excuse me. I'm wondering if you might
have seen a girl.
Speaker 1: She's eighteen.
Speaker 2: Her name is Isabella Bellini and the excuse me, signorina,
excuse me do you happen.
Speaker 1: To know Isabelle? And also they're looking all over for you. Oh,
she hasn't come home. No one has seen her. Everyone
I've asked, is what are you talking about? Isabella? Would
I be out here on the second night of Carnival
if I hadn't you get my message? Or what message?
What her? What? I had to come in to town
late this afternoon to pick up the ask of a
Montrealdo Manteado had a cask of a Montiado. Yes, that's
the surprise. My agent at Montia several weeks ago he'd
be found a whole cast nineteen twenty three, Bill Hall. Anyway,
it arrived today and when I came to town to
get it, I ran into Isabella a cask or I
took her to my house, did on her feet from
lack of sleep in my house.
Speaker 2: With the closest so and then she's saved good good
helm to why.
Speaker 1: At my place? Till of course, come on along a
lucky night for you, my friend. Have you found your
daughter and your favorite wine? Good Lord Arnold?
Speaker 2: How far down into your infernal catecolt?
Speaker 1: Because we go to the third level, the lowest, this
is the second one. More, Why did you have to
k careful? Lots of the walls are broken down. They
care not that up unbroken stone me.
Speaker 2: Now that I've turned my ankle, you'll tell me.
Speaker 1: Yeah, why did you have to bring.
Speaker 2: The cask a whole cask down to the lowest level.
Speaker 1: Of the dampness, very damp, dampest part of the catacombs.
The walls here are sweating with condensation. Yes, but why
did you have to not to bring I'm afraid all
you know about wine, Fortunato, is how to drink it
when the place is damp. It's cool the damper the cooler,
and casks of wine must be stored in. Oh, here
we are precede the old. The torch try to give
light ahead of.
Speaker 2: All places to still wine bones, skulls kills more a
grave than a wine cellar.
Speaker 1: Grave, Yes, the grave of people buried here centuries ago.
Now you are still your grave, fool. So you're coming
to your senses fortunate? Oh good, because I want you
to see you. I want your deceiver every month of
horror that lies before you. Ahead, Well, what's happened?
Speaker 6: Not?
Speaker 1: You are I hicked up a rock? And not you're
out of it? But why what's this? Man?
Speaker 6: Mam?
Speaker 1: Well my legs, I can't moaned the Regardia Monaco to
bolsom the wall. Why are you doing to me?
Speaker 3: Wowing you up?
Speaker 1: My friend Mars, I walled up Margharita, walled up Isabella,
so you can die in agony of horror, die of suffocation.
Of ah, no, let me go, it's only leave me.
I beg you, and beg of your tongue, rock on
your mouth. It'll do you no good anything. I'll do
anything new way. I'll give you anything new way. You're
doing that already giving exactly. But I wish revenge the
for tomato.
Speaker 7: Revenge's like to free yourself while I put a stone
in place, like I think of.
Speaker 1: What's to come when the last stone this one goes
in place, and darkness, darkness, the blackness of the grave,
gray made of walls covered with wet slides, gray for
the living. For you die slowly, slowly di suffocation. See
now as I put it in place, guys can't tear
themselves coming. Let me look into the yes and enjoy
when you place the hideous, weird and ghostly horror your
so in a place that goes you could place the
last inspector Maturo to what do I owe the pleasure
of this visit? Why? In a way signor montresor it's
at your invitation. I invited you several weeks ago. You
recall I mentioned that I'd never been down in the
catacombs and you said you would take me on a
tour sometime. Oh that, yes, well, I'm delighted to do so,
but not today. I am the time. I'm afraid the
tour of the catacombs must be made today. It's impossible, Inspector,
I assure you if I had the time to take
you on a tour, I'm sorry. I should have made
myself clear. I'm talking about me taking you on a tour,
you taking me. Yes, I've already seen them. Your overseer
has showed me around this morning after I showed him
the search warrant. What are you trying to tell me
that you're under arrest for the murder of Senior for
Gunato Vedini, his daughter Zavella, and your wife Margherita. You're
out of your mind. No, but I think you were
out of yours. I must congratulate you in your You
came close, very close to committing the perfect crime. That
you overlooked one single factor, one very small thing. What
and we'll go down and I'll show you all. No, yes,
Fortru Motto's body exposed of you the wolf horn. How
did you find him? We didn't? But who got to
all on it? No one? It collapsed of its own weights.
You season, you are the one mistake you made. The
one thing you forgot was the dampness on this third level,
the excessive moisture, the wetness the cement. The cement wouldn't dry,
It didn't dry. So, as always with a perfect crime,
there is some slight imperfection. Indeed, so very slight is
not to be noticed by the murderer, to his deep regret.
I'll be back shortly. During the rehearsal of our adaptation
of The Cask of a Monteato, a friend of mine
visiting the studio said, you know, EGI, this isn't the
Poe story exactly as he wrote it. I agreed that
it wasn't, and explained that there's such a vast difference
between story writing and playwriting that no adaptation can follow
any story exactly. However, I also explained that our respect
and admiration for Edgar Allan Poe impelled us to retain
all of the original story where possible, and above all,
it's chilling horror. We have reason to think mister Poe
is pleased, and that you are too. Our cast included
Richard Kylie, Francis Sternhagen, ROBERTA. Maxwell, Leon Johnny and Robert Dryden.
The entire production was under the direction of Hyman Brown.
And now a preview of our next tale. Well this
may give you a lift.
Speaker 3: The Morning Paper page one shooting victim succumbs Joseph Wilson,
aged thirty seven, died at Mercy Hospital last night as
the result of a mysterious bullet wound inflicted while he
was driving along the Old high Road. Wilson, a plumber
by trade, leaves a wife, Helen, and two children, ages
eight and three.
Speaker 1: Let me see that, well, you have the right.
Speaker 5: Not many men get to see their own obituaries.
Speaker 1: Should gets a man of funny feeling.
Speaker 3: How that.
Speaker 6: The victim's will said he will be buried in Clemdon Cemetery.
That policeman sure did it up thoroughly, didn't he.
Speaker 3: Well they could scarcely release a story that you died
without being nice enough to bury you. Radio Mystery Theater
were sponsored in part by Signoff the Sinus Medicines.
Speaker 4: This is E. G.
Speaker 1: Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre.