Speaker 1: Unsolved mysteries. Out of deference to persons who may still
Speaker 1: be living. Character names in some of these true unsolved
Speaker 1: mysteries have been changed. It is now the very witching
Speaker 1: time of night, when churchyards yawn and hell itself breathed
Speaker 1: out contagion to this world?
Speaker 2: Can anything be more ghastly than murder?
Speaker 1: Perhaps if it'd be the life crushing burden of doubt
Speaker 1: susage In the case of Alan Cammell mm hm.
Speaker 3: Oh at.
Speaker 4: Project.
Speaker 1: The scene is just outside the London County Police Station.
Speaker 1: Unmindful of the tragedies that old building houses, the hurrying,
Speaker 1: milling crowds sweep by in never ending stream. In contrast,
Speaker 1: Alan Cammell, reading the morning paper, strolls leisurely by hurrying
Speaker 1: from the opposite direction. The District Commissioner of Police, his
Speaker 1: eyes fixed on the pavement, guiding these two men with
Speaker 1: threads as invisible as they are strong fate, without whose
Speaker 1: ruling hand this tale would not be told. Oh, I say,
Speaker 1: I'm fitfully sorry, careless of me banging into this way,
Speaker 1: But by Joe Commissioner.
Speaker 2: I didn't recognize you. Oh it's all right, old cheff.
Speaker 2: I guess my mind was bull gathering too. Where are
Speaker 2: you bound? Just taking a stroll and you going into
Speaker 2: the police station here to take a look at the
Speaker 2: morning lineup? Morning lineup or fair? Come along in and
Speaker 2: see if they have time.
Speaker 1: They'll find it interesting, although something for him the usphere
Speaker 1: of activities.
Speaker 2: Good morning, commits a mound.
Speaker 1: Good morning, sergeant, Oh sergeant, this mister glad the lawyer, sir,
Speaker 1: and let it be two two songs. We will show
Speaker 1: us to Campbell the morning lineup. He's had no experience
Speaker 1: of the inside of a police station.
Speaker 2: I wonder, sir, Yes, would mister Campbell object to joining
Speaker 2: in the lineup?
Speaker 3: No?
Speaker 2: I don't know. That's up to him. I don't mind,
Speaker 2: certainly not. What do I do?
Speaker 1: Well? The idea is this, sir, when a crime is committed,
Speaker 1: we round up all the criminals we can who specialize
Speaker 1: on that type of crime. I see, but last night
Speaker 1: we had a murder, and the elevator boy, a dormant,
Speaker 1: and the taxi driver have all said we saw a man,
Speaker 1: a well dressed man, leaving the apartment house. So we
Speaker 1: want to get as many different types of men possible
Speaker 1: in the lineup so that we can get some sort
Speaker 1: of idea.
Speaker 2: As to what this man, this possible murderer, looks like.
Speaker 1: For instance, Campbell, the identifying group may say, the man
Speaker 1: we saw had shoulders like number twenty five, walks like
Speaker 1: number fifteen, or had a.
Speaker 2: Nose like number four.
Speaker 1: Smart one, I argue with the line up, please to
Speaker 1: do it, No, r boy, We'll start. The Commissioner's here,
Speaker 1: okase sagn't can't mind? Up into a long, whitewashed room.
Speaker 1: It's hard walls reflecting the harshness of the bluish white
Speaker 1: arc lamps. Walks Alan Cammell from the opposite end of
Speaker 1: the room, a file of suspicious characters picked.
Speaker 2: Up during the night. Campbell joins the end of the lion.
Speaker 1: As the group, their backs to the wall, stand erect
Speaker 1: against the lines of measurement, the sergeant brings in the
Speaker 1: three identifying witnesses.
Speaker 2: Slowly.
Speaker 1: They walk past the lineup, first the taxi driver, then
Speaker 1: the elevator boy, third lit the doorkeeper.
Speaker 2: Each in turn hesitates a moment, then stepping in front
Speaker 2: of Camel. That's the man. This is the man.
Speaker 1: He's the man I saw. I'm sorry, gentlemen, there must
Speaker 1: be some mistake. I don't worry, mister Campbell, just a
Speaker 1: case of mistaken identity. That will be all just now, certain, okay, boys,
Speaker 1: that's all for just now, Come along Campbell, who had
Speaker 1: enough experience of police methods for the day, into my
Speaker 1: office here.
Speaker 2: I have a drink. Yes, I guess you will. Oh
Speaker 2: the nerve wracking, isn't it? Yes? It is stupid identified
Speaker 2: as a mergerer. By the way, who was that it
Speaker 2: was killed? I don't know. I look on the report.
Speaker 1: Uh, Robert Julian, Robert Julian, Are you certain where did
Speaker 1: helium Bathurst Department?
Speaker 2: Heaven you?
Speaker 4: No?
Speaker 2: No, m yes, I know.
Speaker 1: I rather than knew him very well, went to school
Speaker 1: with him. He served under me during the war. We
Speaker 1: were both members of the same PLoP. When I say,
Speaker 1: I'm factfully sorry, Old Chaptain have been responsible for giving
Speaker 1: us such the sharpest way.
Speaker 2: Don't bring yourself, Commisioner. You you couldn't be expected to know.
Speaker 1: However, if you don't mind, I think I'll run along,
Speaker 1: Quie not in the slightest have another drink before you go?
Speaker 2: No thanks. So rarely in almost the.
Speaker 1: Days, Cammell steps out on the Marlborough Road. Here's a
Speaker 1: passing taxi cab and is driven out to Mayfair outside
Speaker 1: the Bathurst apartments.
Speaker 2: He dismisses the taxi, but hesitates as to whether or
Speaker 2: not he should go up to Julian's apartment. Finally, his
Speaker 2: heart cundling against his ribs, he tenses himself and walks
Speaker 2: down the hallway. Hey, this is is Alan, Alan Campbell.
Speaker 2: Oh Allan, Allen. I I don't know what to say.
Speaker 2: I I just learned just now that Bob had been
Speaker 2: head what's dead?
Speaker 5: Said Dan? Come here, said Helen.
Speaker 1: I can't come myself. I've just had the horrible experience
Speaker 1: of being identified as his murderer. Where at the police station?
Speaker 2: Oh? Alan?
Speaker 5: How did they find out?
Speaker 2: Find out? What?
Speaker 1: How?
Speaker 3: So?
Speaker 2: Does do you mean you?
Speaker 5: You don't have to deny it to me?
Speaker 2: Alan? To what is ever? Goodbody? Crazy?
Speaker 5: Allan? I? I came home about two this morning and
Speaker 5: and found Bob dead lying beside him. Where he slipped
Speaker 5: from the murder's pocket?
Speaker 2: Was this? I put it in my HANDA good lord,
Speaker 2: my cigarette case? Then? Can you think that I killed him?
Speaker 5: Didn't you threatend to cull him?
Speaker 2: Yes, if he ever harmed you? But how did you
Speaker 2: know that Bob left the package to be opened at
Speaker 2: his death?
Speaker 5: I opened it? It told how how it lied to
Speaker 5: me about you, how he quipped me into breaking off
Speaker 5: our engagement. In his he actually igloried and writing all
Speaker 5: the horrible details. Then he went on to say that
Speaker 5: if if ever he came to a violent death, he
Speaker 5: would be his murderer, because you had told him that
Speaker 5: if he ever hurt me, harmed me, was unkind to me,
Speaker 5: you'd kill him.
Speaker 2: It's all true.
Speaker 1: For years I've hated him. That's why I avoided him.
Speaker 1: At the time I set eyes on, I realized what
Speaker 1: he'd done, and that, Oh, perhaps I should have told you,
Speaker 1: but you wouldn't have believed me. How could you be
Speaker 1: expected to? But Eileen, I I didn't kill him.
Speaker 5: How do you account for your cigarette?
Speaker 1: Oh?
Speaker 2: I don't know. I now use your phone? Yes, Allen,
Speaker 2: you'd be Tottenham two two six seven eight les Glee.
Speaker 2: Uh hello, Dobbs. Listen, Dobbs. When did I get home
Speaker 2: last night? About seven? That's right? Did I go up again?
Speaker 4: No?
Speaker 1: Good, I knew I hadn't, but oh, yes, Dobbs. Look
Speaker 1: in the gun room, will you and tell me? Has
Speaker 1: anything been disarranged?
Speaker 2: Yes? You can call me Mayfair four three ninety six,
Speaker 2: and you see dobb says, I wasn't out all evening.
Speaker 2: Dos purge it for you, Allen.
Speaker 1: She's no reason for he doesn't know anything. Why should
Speaker 1: he say that I was home all evening if I were?
Speaker 5: Dods is the world's greatest dipl I.
Speaker 2: Know, Iileen, don't you see? I'm I'm not lying when
Speaker 2: I say that I didn't kill Bob. I might have
Speaker 2: in the blind rage, I don't know, but not in
Speaker 2: cold blood shall lie of you? You answer? Yes, dogs,
Speaker 2: what contunderstand it? Commenterstand what? Yes? Yes, good heavens yes,
Speaker 2: by all means hate it. I'll explain it. I'll get
Speaker 2: home Dobbs. Dobbs says, my forty five has been moved
Speaker 2: used one bullet fire. Oh and this is horrible dash it.
Speaker 1: To kill a man is bad enough, but to kill
Speaker 1: him not even remember it, well, not anything about it,
Speaker 1: to both for the rest of my life, wandering, doubting,
Speaker 1: never knowing, always wondering.
Speaker 2: In just a moment, you will hear a solution to
Speaker 2: the Allen Camel mystery. M the p.
Speaker 6: SPA that the s times not appecial.
Speaker 7: Si ladies and gentlemen, inasmuch as any solution must have
Speaker 7: necessarily be supposition. Liberties of time, place and character have
Speaker 7: been taken in the solution for what you have been waiting.
Speaker 7: The scene is the police Commissioner's home, and the Commissioner,
Speaker 7: accompanied by the sergeant from the Marlborough station, are seated
Speaker 7: before the fire talking as Alan Campbell enters.
Speaker 1: Oh, good evening, Camber, good evening. Sit down here by
Speaker 1: the fire. That's it now, puck on your mind. I
Speaker 1: hard enough where to start. I call you, commissioner, now
Speaker 1: ask you to invite the start of the word. Because
Speaker 1: of what happened this morning, my dear.
Speaker 2: Cat, forget the whole business. We know you didn't kill
Speaker 2: Robert Julian, but that's it. It seems that I did what.
Speaker 2: I went to his apartment after I left the police station.
Speaker 2: His wife was there and.
Speaker 1: She gave me this a cigarette case, yes mine, she
Speaker 1: found it lying beside her husband's body.
Speaker 2: Out for the rest of the camera. Julian and I
Speaker 2: were in love with the same woman. She was engaged
Speaker 2: to me. He tricked her into believing that.
Speaker 1: I was carrying on with another woman. Yes, she broke
Speaker 1: off her engagements and I you you second, Julian, I did.
Speaker 1: I told him that if he ever hurt her, I'd
Speaker 1: kill him. Recently he's been well, he'd gone back to
Speaker 1: his old tricks, neglecting her and all the rest of it.
Speaker 1: It's been on my mind, but I'm not the slightest
Speaker 1: recollection of doing anything. If I killed him, I don't
Speaker 1: know about it. You you've gone over in your mind
Speaker 1: when you were alone brooding, just how you would give him.
Speaker 2: Yes, I admit that. Then that's the explanation.
Speaker 1: Your subconscious mind has taken possession of your physical body
Speaker 1: to commit murder without your ever being aware of the facts.
Speaker 2: Is that possible? It won't be the first time.
Speaker 1: It's the cause of the subconscious power of the physical
Speaker 1: body that the murderer very often revisits the seed of
Speaker 1: his crime.
Speaker 2: Then you think, you rarely think that I have killed Julian. Yes,
Speaker 2: thank Cly, I do. And there's nothing else is there
Speaker 2: except the form. I'm not going to arrest you, and
Speaker 2: I don't think the sergeant is either. It's not me, sir.
Speaker 2: I don't in the first place.
Speaker 1: I don't believe a jury would convict you. In the
Speaker 1: second place, I'm not going to give them a chance.
Speaker 1: And so, in so far as the people of London
Speaker 1: were concerned. Alan Campbell's name was never mentioned, and the
Speaker 1: murder of Robert Julian was an unsolved mystery.
Speaker 4: Perfect Us
Speaker 6: Satisf