- 2 months ago
A wax museum made especially for infamous criminals is an eerie concept. Things become creepy when it becomes the place for the re-enactment of a past murder as an exhibit protests his inclusion in the museum.
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00:00Come in.
00:20Welcome.
00:22I'm E.G. Marshall, opening the door to another tale of mystery and suspense.
00:28Inviting you to open your ears and your mind to the world of terrifying imagination.
00:36You're about to be taken on an unusual museum tour.
00:40There won't be any Mona Lisas on this tour, no Greek vases or Roman statuary,
00:46because this establishment specializes in only one kind of exhibit.
00:51And that's why our story is called The Murder Museum.
00:55You may have been to a murder museum like the one in our story,
01:00a house of wax, where the most brutal crimes of the century are recreated in paraffin
01:05for the wide-eyed enjoyment of the public.
01:09But now you're going to have the unique opportunity
01:11of hearing one of the most shocking exhibits of all speak for itself.
01:17Oh, John, please believe me.
01:19He means nothing to me.
01:21I swear it.
01:22And that's why he was in your bedroom, Arda.
01:24Is that why?
01:25Please, please.
01:26Oh, think of our little boy.
01:28Look at him since you're frightening him to death.
01:31Death.
01:32That's right, Arda.
01:34Death.
01:34Oh, please.
01:34That's what you deserve.
01:36Oh, no!
01:37Oh, no!
01:37Our mystery drama, The Murder Museum,
01:52was written especially for the Mystery Theater by Henry Slessor
01:56and stars Michael Wager.
01:58Our tale begins inside the murder museum itself,
02:09the home of Professor Raphael Gallinari's House of Horrors.
02:16There's a fair-sized crowd in the museum today.
02:19As usual, they listen in fascination to the words of their tour guide
02:23as he takes them from one bloody exhibit to another,
02:26recreating for them the terrible crimes
02:30which have immortalized these criminals and their victims.
02:35But there is one person in the crowd
02:37who seems reluctant to listen to his words,
02:40who hangs back and shields her pretty eyes
02:43from the sight of the wax images.
02:46Her name is Lisa Brandon.
02:48To this day, no man knows the true identity
02:51of the madman known as Jack the Ripper,
02:53but the theory persists
02:55that he may well have been a physician
02:57or at least a medical student.
03:00Judging from the skill with which he wielded the instrument,
03:03you see clutched in this hand
03:05as he attached the terrified young woman.
03:08And that, ladies and gentlemen,
03:10concludes the tour of Professor Gallinari's Murder Museum.
03:14Thank you for your patronage,
03:15and please tell your friends about us.
03:17Sir, excuse me?
03:19Yes, miss?
03:20Could I ask you a question?
03:21Well, yes, yes, of course.
03:23I was curious about the Raymond exhibit,
03:26but I see that you haven't opened it to the public.
03:28No, no, miss.
03:29The Raymond exhibit is still closed for repairs.
03:32Well, the truth is,
03:33it's the only reason I came to the Murder Museum.
03:35I wanted to see the Raymond.
03:37Oh, well, I'm sorry.
03:38The exhibit won't be open for another week at least.
03:42Now, if you'll excuse me,
03:43I'm going out for some coffee.
03:44But even if it isn't completely ready,
03:46I wonder if you'd mind showing it to me.
03:48Oh, I'm sorry, miss.
03:49I can't do that.
03:50Well, I came a long way to see it,
03:51all the way from San Francisco.
03:53It would be a terrible disappointment.
03:56Look, I'm willing to pay you.
03:58Now, please, put that money away, miss.
04:03Why is it so important for you to see the Raymond?
04:06You, uh, any connection with the family?
04:08Well, yes, in a way.
04:10I knew Vincent Raymond.
04:11I met him when he lived in San Francisco.
04:14I see.
04:15Look, you said you were going out for coffee.
04:18Could I come with you?
04:20Well, sure.
04:21I just go to this little coffee shop down the street,
04:24but you're welcome to come along.
04:32So you knew Vincent Raymond.
04:35You an artist, too?
04:37No, not really.
04:38But my brother owned a small art gallery on Green Street.
04:42And sold Raymond's paintings?
04:44Well, actually, no.
04:45He didn't really care for Vincent's work.
04:48It was so dark and gloomy.
04:51Frightening, really.
04:52But he felt sorry for him,
04:54and he loaned him some money,
04:55and sometimes he let him help out in the gallery.
04:58And that's how you met him?
04:59Yes, that's right.
05:00I came home from college, and I met Vincent.
05:02I didn't know anything about him.
05:06Meaning, uh, about his parents?
05:10It took Vincent a long time
05:12before he was willing to talk to me about them.
05:22Vincent?
05:24Yeah?
05:24Isn't that music a little loud?
05:27Dariel, I'll turn it down.
05:30Are you angry with me or something?
05:33No, why?
05:34Why should I, Pete?
05:35I don't know.
05:36You've hardly said two words to me tonight.
05:39All through dinner, we...
05:40I was trying to digest that rotten food.
05:44Whoever told me that restaurant was worth trying
05:45must have had a secret death wish.
05:47I didn't mind it.
05:49Had only one thing to recommend it.
05:50It was cheap.
05:52That's the only criterion I have, you know?
05:54I didn't complain, did I?
05:57No, you never complain.
05:59You just suffer in silence.
06:01You think I'm some kind of gifted, starving artist
06:04who has to be tolerated for his poverty.
06:06Oh, you're so hard on yourself, Vincent.
06:10Let me tell you something, Lisa.
06:12I'm starving.
06:14But I'm not an artist.
06:16Well, let's not talk about it tonight.
06:18Let's just relax.
06:21You know I can't paint.
06:22Your brother knows it.
06:23I fill all my canvases with memories of my own nightmares,
06:26only you cannot call them art.
06:29Vincent, why do you paint in such a gloomy style?
06:34I've never seen you paint with anything
06:36that had any color or lightness.
06:40All those blacks and grays and slashes of red.
06:44Oh, I know I'm no sort of expert,
06:48but can't you talk about your work with me?
06:53There's a reason for it, Lisa.
06:56There's a reason.
06:57Well, what?
06:58I told you, my...
07:00my nightmares.
07:01They're all visions in...
07:04black and gray and slashes of red.
07:06Well, then if you won't talk about your paintings,
07:10why not tell me about your nightmares?
07:13You wouldn't enjoy hearing about them.
07:15Or rather, about it.
07:17It?
07:19I've only one nightmare.
07:22Just one.
07:23I have it virtually every night.
07:26Sometimes it follows me into the daylight.
07:29I can close my eyes and there it is.
07:31For years, I've tried to destroy it by painting it.
07:37Not its details, just...
07:39its colors.
07:41But the therapy hasn't worked.
07:44Please tell me about it.
07:46I've never told anyone before.
07:48But why not?
07:51I suppose I never met the person I wanted to confide in.
07:55Maybe now I have.
07:58But if I'm going to do that...
08:00this music has to stop.
08:05My...
08:05mother's maiden name
08:06might mean nothing to you,
08:08but at one time, many years ago,
08:11it was famous among people who loved the theater.
08:15She was an actress.
08:17Her name was...
08:19Ada Crim.
08:21Ada Crim?
08:22I think I do know that name, Vincent.
08:24She was born and raised in England.
08:27She was known as the beautiful Ada.
08:30She didn't have a very long acting career
08:32because she kept her success on the stage
08:34with an even more...
08:35successful marriage.
08:37She became the bride of John Lloyd Raymond.
08:40Your father?
08:42Yes.
08:44My father.
08:46He was a wealthy man.
08:47My grandfather had left him heir
08:49to one of the largest glass manufacturing companies in the West.
08:53Mirrored glass was his specialty.
08:55It seemed very appropriate to have our house full of mirrors.
08:59Maybe that's how it all started, that problem.
09:02What problem?
09:04Well, you know, when mirrors are these,
09:05after a few years go by,
09:06they stop being kind.
09:10And when that happened to my mother,
09:12she had to do something about it,
09:13something to prove that she was still
09:16the beautiful Ada.
09:19No matter what the mirrors were beginning to say.
09:21And what did she do, Vincent?
09:24She took lovers.
09:27Lovers are the best kind of mirrors
09:28for a bored, rich woman.
09:31Were you the only child?
09:32Yeah.
09:33I was her only child.
09:36At first there was a pampered little boy
09:39one of her favorite placings.
09:42Then she became bored with me, too.
09:43She stopped noticing that I was around.
09:48Maybe that's why she never made any attempts
09:50to hide her actions from me.
09:51She simply didn't know I was there.
09:54Vincent, you saw these men?
09:57I...
09:57I think I said enough.
10:09So, you never found out
10:11what Vincent's dream was all about?
10:14Not then I didn't, no.
10:16But you could have guessed, I suppose,
10:18if you knew the history
10:20of Ada Krim and John Raymond.
10:22Well, yes.
10:23I became curious enough to learn the history.
10:26I had a friend who worked in a newspaper
10:27and she checked into the dead files
10:30and found the story for me.
10:31The whole terrible story.
10:34But I didn't tell Vincent
10:35that I knew about it.
10:36It was obvious that he didn't want
10:39anyone to know the truth.
10:41But one day it emerged.
10:45Oh?
10:46Well, it was a beautiful spring day.
10:48The first really warm day of the season.
10:51And Vincent and I went for a walk.
10:56Vincent, why don't we walk down
10:59to Ghirardelli Square?
11:01We could do some window shopping.
11:03Maybe have some lunch.
11:04Considering the state of my finances,
11:06we'd better window shop the restaurants, too.
11:08Oh, no, I'll have money.
11:09Good for you.
11:10Are you going to be stubborn again?
11:12I'm going to teach you a lesson.
11:13I'll tell you what, Vincent.
11:14I'll buy myself some lunch
11:16if you want to split a hamburger with me.
11:17Wait a minute.
11:18Let's not fool around with me.
11:19Get your hands off me.
11:21You need a lesson on me.
11:22Hey, you get away from her.
11:23It's about time somebody's talking to me.
11:24Get away from her.
11:25Help me, please.
11:26Help me.
11:27You take your hands off her.
11:29Please, Vincent.
11:30You don't.
11:30I don't give a...
11:31Stop it, Vincent.
11:32For God's sake.
11:34Vincent.
11:35Vincent!
11:37Vincent!
11:45I'm sorry, Lisa.
11:47I'm sorry.
11:48I...
11:48I...
11:49I shouldn't have done that.
11:50I just went crazy.
11:51Why?
11:51What made you do it, Vincent?
11:52You could have killed that man.
11:54I couldn't stop myself
11:55when I saw what he was doing
11:56and what he was going to do.
11:57But they were man and wife.
11:58Yeah.
12:00Man and wife.
12:01So were my parents.
12:02Was that the reason?
12:04Was it because you saw your mother and father, Quarrel?
12:08Quarrel, you think that's all they did?
12:10Don't you know the truth yet?
12:13Yes, Vincent, I do know.
12:15I didn't want to tell you before,
12:17but I know that your father murdered your mother.
12:22And you know how he murdered her.
12:24My father came home early one night.
12:28A full day earlier than he was expected.
12:30He walked into my mother's bedroom
12:32and that man was there.
12:35Might have killed him too,
12:37but he was fast on his feet.
12:39We lived in a very old-fashioned house,
12:42Lisa.
12:43Quaint, old-fashioned Victorian manor.
12:45The kind that still had gas lamps on the wall.
12:48And fire axes.
12:52I used to hear my father
12:53joking to his friends about the fire axe on the wall.
12:56Vincent, don't.
12:57Don't talk about it.
12:58When he saw my mother,
12:59he ripped the axe off the wall and he used it.
13:01Please.
13:02You read about it, Lisa, but I saw it.
13:04You what?
13:05I was six years old,
13:06terrified six-year-old
13:08who came to find out what all the noise was about.
13:11Oh, no.
13:11I saw the whole thing happen
13:13from the first stroke of the axe
13:15to the final blow.
13:16Oh.
13:16Now, you know what my nightmare is all about,
13:20oh, the blacks and grays and flashes of red.
13:23Oh, you poor man.
13:24All right.
13:26Now, I've told you the whole story,
13:28so maybe now you know why I can't see you again.
13:32What?
13:33Don't come near me again.
13:34Do you hear me?
13:35Simpson.
13:36Don't come near me ever.
13:38It's been said that the mind is like a haunted house
13:48where the ghosts of the past rattle their chains
13:52and cry out their suffering.
13:54Of course, that's why we have our psychiatrists
13:57and psychoanalysts,
13:58and these days, even our exorcists,
14:02the house cleaners of the mind.
14:04But what will it take to free Vincent Raymond of his demons?
14:09Or can he ever be freed?
14:12We'll find out...
14:13And now, Act Two of the Murder Museum.
14:26Lisa Brandon has come all the way from San Francisco
14:30to see the Raymond exhibit.
14:32But she seems to be having a hard time
14:34talking the museum guide
14:36into allowing her a private showing.
14:39However, she hasn't given up.
14:42Yes.
14:44I was in love with Vincent Raymond,
14:46and I was terribly unhappy when he walked out of my life.
14:50You mean you never saw him again?
14:52Oh, yes.
14:53I saw him again, but things weren't the same between us.
14:58He was tormented by the memory of what he had seen,
15:03and it changed his life.
15:09The dreams began in the orphanage.
15:12They began there, and they never stopped.
15:15I woke up screaming in horror
15:16every time the dream came to me.
15:19I became an outcast without friends, without sympathy.
15:24Oh, Vincent, I'm so sorry.
15:26That's when I realized that my only hope
15:28for any sort of life was keeping my secret.
15:31But you're not a child now.
15:33No, I'm older, Lisa, but...
15:36nothing's changed for me.
15:38Oh, yeah.
15:39There's one thing that's changed.
15:41Well, what's that?
15:43I'm giving up my so-called art.
15:46I'm going to look for a job.
15:47Well, I'm sorry, Vincent.
15:50Because I did think you had talent.
15:52I've got to get some money to live on.
15:54My talent won't provide that.
15:56Well, I thought you had some savings.
15:58They're all gone after that lawsuit.
16:00What lawsuit?
16:01That man I beat up on the street.
16:03He sued me for damages.
16:05He won, of course.
16:06His wife stood up in court and verified
16:08that I'd beaten him up with no provocation at all.
16:11Nothing like a wife's loyalty, is there?
16:13But, Vincent, why didn't you let me know?
16:15I would have been a witness for you.
16:16It mattered.
16:18Well, how are you living now?
16:19Well, on the welfare rolls, of course.
16:21But don't worry about me.
16:22Look, if I can lend you any money, it won't...
16:24No, no.
16:25I have borrowed enough from you and your brother.
16:27I don't want any more money or sympathy.
16:29Just leave me alone, Lisa.
16:30Can't you get that through your head?
16:33Leave me alone.
16:34He did find a job eventually, waiting on tables down at Fisherman's Wharf.
16:45He seemed to sink lower and lower every day.
16:48My brother and I tried to help him all we could,
16:50but he refused to take any more charity.
16:53I tried to sell his paintings by putting them in the window of our little gallery.
16:57But there was only one person who seemed interested in Vincent's gloomy efforts.
17:07Hello?
17:08May I help you?
17:10Uh, yes.
17:12I have been looking at the paintings in your window,
17:16trying to make out the artist's name.
17:19Oh, his name is Raymond.
17:21Raymond.
17:22Would that be Vincent Raymond, for any chance?
17:26Well, yes, it is.
17:28Did you like the work?
17:30Oh, it's interesting, interesting.
17:33I'm an artist myself.
17:35But, uh, that sort of thing, all those dark colors,
17:40it doesn't really appeal to me.
17:42Oh, I see.
17:44However, I am interested in the artist.
17:48I wonder if you could tell me how to reach him.
17:51Is he a local resident?
17:54Yes.
17:55He lives in San Francisco.
17:57Oh.
17:58Would you mind telling me your name?
18:00Oh, yes.
18:01Yes, of course.
18:02Here is my card.
18:04Raphael Gallinari.
18:06You might say that I am a portrait artist.
18:11Oh, and is that why you want to meet Vincent?
18:14To paint his portrait?
18:17Something like that.
18:19Now, will you help me?
18:21All right.
18:23I'll tell you where you can reach him.
18:32Who is it?
18:34Raphael Gallinari.
18:36Who?
18:37Please open the door, Mr. Raymond.
18:39What do you want?
18:43May I speak to you for a few moments, Mr. Raymond?
18:47I don't know you.
18:49Oh, I thought perhaps the young lady in the art gallery might have mentioned my name to you.
18:53What young lady?
18:55Oh, you mean Lisa.
18:56May I come in, please?
18:58It's about a rather important matter.
19:02Oh.
19:02All right.
19:03Come in.
19:07What is it you want, Mr....
19:09What was that name again?
19:12Gallinari.
19:13Please, my card.
19:14What are you, some kind of bill collector?
19:15No, no, Mr. Raymond.
19:18As a matter of fact, I'm an artist, like yourself.
19:22Tough luck for you, Mr. Gallinari, if you're an artist like me.
19:26Take a look around.
19:27Do you see any canvases in this place?
19:29I understand that you are working at a restaurant these days.
19:34That's right.
19:36Listen, if it's my work you're interested in, or at the gallery...
19:39Let me be honest with you, Mr. Raymond.
19:42It isn't your work I care about.
19:45It's mine.
19:46Yours?
19:47That is correct.
19:49You see, I am a portrait artist.
19:53A sculptor, actually.
19:55So what?
19:56This is how we differ in our talents.
19:58Yours is dependent on the quality of imagination, while mine is devoted to verisimilitude.
20:05If you would permit me, perhaps I can buy us both some dinner, and we can talk about our art.
20:14If you hadn't mentioned dinner, Mr. Gallinari, I would have said no.
20:18You know how it is with an artist.
20:29You know how we become obsessed sometimes, obsessed with a certain idea, a certain passion for a subject.
20:37No, Mr. Gallinari.
20:39I wouldn't know.
20:40I lost all my passion for art a long time ago
20:44Ah
20:44But if you had the inspiration
20:47If there was one thing you wanted to paint
20:49More than anything else in the world
20:52Believe me
20:53The passion would come flooding back like the tide
20:56And
20:56Do you
20:58Do you have such a subject in mind?
21:02Yes
21:02I do
21:04A subject which has haunted me for years
21:08More years than I wish to count
21:10And this has something to do with me?
21:14Everything to do with you
21:16Ah
21:17Will you have another glass of wine?
21:20Sure
21:20Since you're buying
21:21You see Mr. Raymond
21:24I am contemplating a certain work
21:26A sculptural project
21:28And one which would be impossible without you
21:33How could that be?
21:35In order to answer that question
21:37I have to bring up a subject
21:39Which
21:40May be painful to you
21:43A lot of subjects are painful to me Mr. Gallinari
21:47This one
21:49I think
21:50Has left the deepest
21:51Wait a minute
21:52Yes
21:53Mr. Raymond
21:54I mean your parents
21:57How do you know who I am?
21:59Did Lisa tell you?
22:00Oh no no no no
22:00No I assure you
22:01The young woman at the gallery
22:03Said nothing at all to me about you
22:05And how did you know?
22:05Damn it
22:06Because I've made it my business to find you
22:10Believe me it's taken a very long time
22:13The last address I had for you was in the Midwest
22:17Then I ran across one of your paintings in a traveling exhibit
22:21The Moorland exhibit
22:23Yeah
22:24That was the only show I've been in and nothing sold
22:27I found out that you were in San Francisco from the proprietors of the exhibit
22:33Finally I saw your work in a little gallery on Green Street
22:37Your style is unmistakable
22:40Rotten
22:41But unmistakable
22:43Mr. Raymond
22:44I remember
22:46The beautiful Ada
22:49Go on
22:52I'm quite a few years older than you
22:56I have a very clear memory of how your mother looked on the stage before her retirement
23:03I thought then that she was the most beautiful woman I had ever seen
23:10Beauty is very fleeting Mr. Gallinari
23:13Like life itself
23:15Yes
23:16Yes
23:17I know that
23:18But then
23:20That's why artists are born
23:23Aren't they?
23:24To capture that fleeting beauty and
23:27Imprison it on canvas or in clay or in what?
23:32Or in other media
23:34Why don't you get to the point Mr. Gallinari?
23:37Your mother's beauty is the point
23:39If I had been a sculptor then that I am now
23:43I would have carved her image then
23:46But alas I was only a boy
23:48I still don't know what you want from me
23:50I want
23:52To sculpt your mother's image Mr. Raymond
23:56But there is only one drawback
24:00I have no mother to work from
24:02There's nothing I can do about that
24:05My mother's been dead for 25 years
24:07I know there are some faded old newspaper photographs of her
24:10But they're not really helpful
24:13Not to someone who insists on very similitude
24:16I don't see why it's so important
24:17Who cares what
24:18Ada Krim looked like?
24:20But I care
24:21Very much
24:23You see
24:25I've already started the project
24:28You have?
24:29Yes
24:30I've been using the crude photographs of her as a guide
24:34I've obtained a sort of likeness
24:37Look, I cannot stop you from doing what you please, Mr. Gallinari
24:40If you're asking for my permission
24:41Well, in a way, yes, I suppose I am
24:45It does seem like a slight invasion of privacy
24:50All right
24:51If your conscience bothers you, I'll tell you what you can do
24:54You can order another bottle of wine
24:57Mr. Raymond
24:58I would gladly order you a case
25:02If you would give me one more permission
25:07What's that?
25:10To sculpt your father, too
25:13My father?
25:18As I said
25:19This is a form of obsession with me
25:23But from the moment I began work on the statue of Ada Krim
25:28I felt that I couldn't stop
25:31Until I had also done the head of John Lloyd Raymond
25:37He's dead, Mr. Gallinari
25:39I have no way to prevent you from sculpting him or painting him or anything else
25:43But I'll tell you one thing
25:45You won't get me to talk about him
25:47Oh, no, no, no, no
25:48I would not dream of it
25:50But you see, I have a peculiar problem
25:55While there are some likenesses of Ada Krim available
26:00In the case of your father
26:02Well, I cannot find a single photograph
26:07I have searched and come to a dead end
26:11And what I was wondering
26:13I know this is an imposition
26:16If there is something in your possession
26:19You think I have a picture of him?
26:23It was only a hope
26:26I know his memory is painful
26:30But you were his son
26:32And sometimes, well, there are souvenirs one hates to discard
26:39Well, Mr. Raymond
26:43I have pictures of him
26:46You do?
26:50I won't give them to you
26:51Please, don't be so hasty
26:53I won't give them to you
26:55But I'll sell them to you
26:58Oh, yes, of course
27:01I'm perfectly willing to pay
27:03I owe Lisa Brandon and her brother exactly $127
27:09That's the price
27:10Done, Mr. Raymond
27:12$127
27:15And I'll still throw in that case of wine
27:19Vincent told me about Mr. Gallinari's visit
27:30When he paid me back the money that we'd loaned him
27:33He didn't really care about those photographs he had
27:36He was happy to have gotten rid of the debt
27:38But there was only one thing wrong
27:41I think you must know what I mean
27:45Yes, I think I do
27:47Raphael Gallinari didn't tell Vincent Raymond the whole truth
27:53No
27:53He didn't tell him the truth
27:56He didn't tell him what kind of a sculptor he was
28:00Or what use he would make of his work after it was completed
28:06And obviously he didn't tell him the medium he would use to carve the statues
28:12No
28:13He didn't tell him that the medium would be whack
28:17And that the subject would be murder
28:22And what happened when Vincent Raymond learned of the duplicity of Raphael Gallinari
28:34Or was it really duplicity?
28:38Gallinari said he was a sculptor
28:40Gallinari said he believed in authenticity
28:44And of course Gallinari paid for the privilege of using Vincent's photographs as a model
28:51But has Gallinari paid enough?
29:02And now, here's Act Three of the Murder Museum
29:07For Vincent Raymond, all nights are the same
29:12A dark passage into yesterday
29:14A grim return trip to the past
29:18But men must sleep
29:20And sleepers must dream
29:24So there's no escape for him
29:27Ada!
29:30John, please believe me
29:33Ada!
29:33He means nothing to me, I swear it
29:36And that's why he was in your bedroom, Ada?
29:38Please
29:38Is that why?
29:39Please, think of our little boy
29:41Ada!
29:42Look at Vincent, you're frightening him to death
29:45Death, that's right, Ada
29:47Death, that's what you deserve
29:49Ada!
29:51That's what you deserve
29:53Oh dear God
30:04When will it stop?
30:06When will that dream stop?
30:15Who is it?
30:16It's me, Vincent, it's Lisa
30:18Lisa?
30:21Oh, wait a minute
30:23Hey, what is it?
30:27What are you doing here?
30:28So early?
30:29I just couldn't wait
30:30I've got wonderful news for you, Vincent
30:31What about?
30:32The painting, the large one in the window
30:34It's been sold
30:36Sold?
30:37You're joking
30:38Who would buy it?
30:39Oh, please, let me come in
30:41All right, all right
30:41Just let me get a robe on
30:43It happened
30:45First thing this morning
30:47The gallery wasn't open more than ten minutes
30:49And this man walked in
30:50Wearing a Homburg, Vincent
30:52I didn't think people wore Homburgs anymore
30:54He did
30:55Who was he?
30:56What was his name?
30:57He gave me a card
30:58Oh, wait a minute
30:59It's right here
31:00I've got it in my purse
31:01It wasn't someone named Gallinari, was it?
31:02What?
31:03Raphael Gallinari
31:04Called himself a sculptor
31:05Oh, no, no
31:06Oh, that
31:06No, it wasn't him
31:07It's, uh, wait
31:08His name is
31:09Here it is
31:10Charles Mulholland
31:12Does that mean anything to you?
31:13Mulholland?
31:13That's
31:13That's Mulholland Gallery in Chicago
31:15High price
31:17Oh, no, I doubt if there's any connection
31:19In any way
31:19He bought it, Vincent
31:20Without any quibble about the price
31:22And
31:22In fact, Heath was surprised
31:24That it was so low
31:25Miracles never cease, do they?
31:28Oh, Vincent
31:29Vincent
31:29If he really is somebody
31:31Then maybe your work will start to be recognized
31:35Oh, forget it, Lisa
31:36There isn't any more work for me
31:38Just
31:38Waiting on tables
31:40That's my art
31:40And I'm getting better at it all the time
31:43Well, anyway
31:43Here's your money
31:44It's all in $50 bills
31:46Wait now
31:46That's the full $300
31:48What about the gallery's commission?
31:50Oh, don't be technical, Vincent
31:51You need the money more than we need the commission
31:54No, sir
31:54You've got to accept one third of it
31:56It wouldn't be fair otherwise
31:58I knew you'd feel that way
31:59You can't believe it
32:01It's the first painting I've sold
32:03Do you realize that?
32:04I told you you had talent
32:06That'll teach you to listen to me
32:07You're right
32:08I should always listen to you, Lisa
32:10Oh, Vincent
32:10Listen, I've got an idea
32:11Have you had breakfast yet?
32:13Well, I had coffee
32:14Tell you what
32:15I'm going to get dressed
32:16And we'll go celebrate with
32:17Champagne and eggs, Benedict
32:20And then we're going out tonight
32:22I'm going to buy you
32:22The fanciest dinner in San Francisco
32:25Well, Vincent, you can't spend all the money in one day
32:28Why not?
32:28It's probably the first and last money I'll ever make for my paintings
32:31Let's put it to good use
32:33Well, it seems that Vincent had more talent than anyone realized
32:46Those dark and gloomy paintings seem to have the qualities of genius
32:52At least that's what Mr. Mulholland said in his letter
32:57Lisa, listen to this
32:59Just listen to this
33:01Go on, I'm listening
33:02The Mulholland Gallery would be most interested in arranging an exhibition of your work
33:06Listen, they're willing to pay all the cost of carding and insuring the paintings
33:10They'll even pay my fare and expenses to Chicago
33:12So I can attend the opening
33:14Lisa, can you believe it?
33:16Oh, Vincent, it's the most wonderful thing I ever heard
33:19Well, it's not a one-man show, nothing
33:20That grant with the Mulholland Gallery
33:23That's one of the best, Lisa
33:24One of the most prestigious
33:26Do you know when you'll be leaving?
33:28As soon as I can get all the stuff crated and shipped
33:30I guess the sooner the better
33:31Lisa, why don't you come with me?
33:34Oh, I couldn't do that
33:35I still have to be at the...
33:36Your brother can take care of it for a week or so
33:39That's all the time it'll take
33:40Oh, I just couldn't do it, Vincent
33:42But when you have that big one-man show
33:45I promise to be there
33:47And that was when Vincent Raymond went to Chicago
33:57Yes, that was his reason for going there
34:00A very happy reason
34:02Was the show a success?
34:03Oh, it was
34:04The press reception to Vincent's work was very good
34:08Far better than the evaluation he received back home
34:10I guess it's true what they say
34:13About a prophet being without honor in his own country
34:17In this case, in his own state
34:20There were a dozen paintings in all the exhibits
34:23And at least half of them were sold in the first week
34:26And for the first time
34:28Vincent was a happy man
34:30He sent me just one letter
34:32And it contained a very good piece of news
34:35Perhaps even more important than the news of his artistic success
34:39Dear Lisa
34:41Just a quick note to tell you that I'm well
34:45And spending money like a drunken sailor
34:47I've bought two new suits
34:50Yes, I said suits with matching pants and jacket
34:53Believe it or not
34:54But more important, I'll tell you one other thing
34:57That seems to have happened to me
34:58For the last three nights I've slept without a dream
35:02I think you must realize the importance of that, Lisa
35:07Three nights of dreamless sleep
35:10The most precious three nights of my existence
35:14But those dreamless nights didn't last very long
35:18Because the very next morning at breakfast
35:21In his hotel room
35:23Vincent opened the local paper
35:25And saw a strangely familiar name
35:28Gallinari
35:30Gallinari, what's that all about?
35:34Announcing the opening of Gallinari's murder museum
35:37Oh no, that can't be the same man
35:40The murder museum
35:42World's most terrifying house of wax
35:44Vivid recreation scenes of crime
35:46Passion and horror never before
35:47Witness
35:47Oh, it can't be the same man
35:50It can't be
35:52Where's that phone number?
35:53Hello
36:03Is this the murder museum?
36:05Yes, I know you're not open yet
36:06Listen, I want to ask you a question
36:08This man, Gallinari
36:10I want to know his first name
36:11Raphael
36:12When he is
36:14Listen, what time are you open?
36:16No earlier than that?
36:17Then tell me where I can find Mr. Gallinari
36:19Yes, it's important
36:20No, my name does not matter
36:21All right, all right
36:23First shout
36:26To a clock
36:28Dear God
36:30Don't let it be true
36:32And here, ladies and gentlemen
36:41You see the notorious mass murderer
36:43Of Huntersville, Nebraska
36:45Who not only dispatched his victims with poison
36:48But then mutilated their bodies
36:50In the dreadful fashion you see before you
36:52Oh, no
36:53And now, if you'll step to the next exhibit
36:56You will see the latest addition
36:57To Professor Gallinari's world-famous murder museum
37:01For the first time in any house of wax
37:04The horrifying axe murder
37:06Of one of the most glamorous women
37:08Ever to appear upon the American stage
37:10It's true
37:11They called her the beautiful Ada
37:13And yes, Ada was beautiful
37:16As beautiful as she was faithless
37:19And one day
37:20Her wealthy manufacturer
37:22Husband, John Lloyd Raymond
37:24Returned home
37:26Let's look at the business
37:26I've got to ask you something
37:27Excuse me, sir
37:28But I'm still not true with this
37:30I, I
37:30Where is he?
37:31Does he have an office at this museum?
37:32Now, please, Sarah
37:32Look, I've got to see him
37:33Make him remove this
37:35Abomination
37:36Well, no, his office is in the rear
37:37I don't know if he's there
37:38Out of my way!
37:39Now, just here
37:40Come back here
37:41Who is this?
37:47Open up, Gallinari
37:48Open the door
37:49Yes, what is it?
37:51Let me in
37:52I have to talk to you
37:53I'm sorry
37:54I'm quite busy at the moment
37:55And I
37:56Raymond
37:58Is that you?
38:00Yes, Vincent Raymond
38:02What are you doing in Chicago?
38:06The question is
38:07What have you done?
38:08Now
38:09Be calm, young man
38:11There is nothing to get so excited about
38:14That's your art
38:15Out there, Gallinari
38:16Out there
38:17That's the very similitude
38:19You were talking about
38:20Yes
38:20Yes, that's right
38:22I tried to be faithful
38:23To the original
38:24I'm not ashamed
38:25You liar
38:26You liar, you thief
38:27Now, come, come, come
38:28I've stolen nothing
38:29I've imitated life
38:31But stolen nothing
38:33Now, please
38:34Sit down
38:35Calm yourself
38:37Let me offer you a drink
38:39You lied to me
38:39You pretended to be something you weren't
38:41You never told me you were going to create that
38:43That horror out there
38:45I told you only the truth
38:48That I wish to do a sculpture of your mother and father
38:52I only neglected to tell you the medium
38:56Some artists work with clay and marble
39:00I chose wax
39:03Is that so wrong?
39:05You know it's wrong
39:05You made a public spectacle out of it
39:08And now you're going to do something about it
39:11You're going to get rid of that
39:12That thing out there
39:13I am afraid that's impossible
39:16The exhibit took months to create
39:18They all do
39:19The investment in time and money
39:22I'll show you
39:22I will make you destroy it
39:24Ah, Mr. Raymond
39:25Don't make unnecessary problems for yourself
39:29Murder is in the public domain
39:32There has to be some way to make you tear it down
39:34And I will, I swear it
39:35I won't let that thing stand
39:37Of course, I know myself what happened next
39:46Because I was there in the murder museum
39:50The night that your friend Vincent Raymond returned
39:54Oh, please
39:55Can you tell me about it?
39:57I never did know the details
39:59Well, from what I understand
40:00He went to a lawyer the very next day
40:03To see if there was some legal means
40:05To get Gallinari to destroy the exhibit
40:08He must have gotten some idea
40:10How difficult it would be
40:11To get an injunction against the museum
40:13Because that's when he decided
40:16That the only recourse was
40:18To destroy the sculpture itself
40:21Yes
40:21That would be like Vincent
40:23And what he did was very simple
40:25He came back to the museum
40:27For the last show of the day
40:29But during the tour
40:31He slipped away from the crowd
40:33And hid behind one of the curtains
40:34Until everyone had gone
40:36And then he walked up to the exhibit
40:40And stopped in front of it
40:42Of course, the instrument he needed
40:45To destroy the exhibit
40:46Was already there
40:47The fire axe was real
40:50Like the clothes of the wax figures
40:51In the furnishings of the room
40:53All he had to do
40:55Was take the axe
40:56Out of the hands
40:57Of his father's statue
40:59And that's what he did
41:00Destroy
41:02Destroy
41:04Let me
41:06Destroy
41:06I saw him standing there
41:09As still as the wax figures themselves
41:12And I froze in the doorway too
41:14Afraid to move
41:15Because I saw his eyes
41:18And I was afraid
41:20To become a victim too
41:21And then I heard him sobbing
41:24You should have done it
41:27You should have done it
41:30I saw him turn the axe
41:32Toward the figure of his father
41:34But then a strange thing happened
41:36He began to shake
41:39From head to foot
41:40He seemed unable
41:43To bring the axe down
41:45On the figure of John Lloyd
41:46No!
41:47No, it wasn't your father
41:49It was hers!
41:51Hers!
41:52And suddenly he turned around
41:53And brought the axe down
41:55On the wax figure of his mother
41:57You're the one who did it!
42:00You did it!
42:01You're the one who did it!
42:03That was when
42:06Professor Gallinari
42:07Himself came out of his office
42:08Stop it!
42:10Stop it!
42:13Raymond dropped the axe
42:14The destruction of the wax figure
42:16Complete
42:16But Gallinari
42:17Was infuriated
42:18And threw his arms
42:19Around his throat
42:19Raymond struggled with him
42:21They fell in a heap
42:22To the floor
42:22Stop it!
42:24Don't say any more
42:25Please!
42:28I'm sorry
42:29I just
42:31Can't
42:31Bear to hear anymore
42:33Does that mean
42:34That you don't want to see
42:36The Raymond exhibit now?
42:39No, I
42:39I still want to see it
42:42But I'm taking the next flight
42:44Back to San Francisco
42:45So I suppose
42:46There's no use
42:47Well, I guess
42:49It's only fair
42:50That I show it to you
42:51Miss Brandon
42:52Since you came all this way
42:54We keep the curtain closed
43:05Whenever we're fixing up
43:06An exhibit
43:07Or preparing to show
43:08Something new
43:09This is really
43:11Very kind of you
43:12Oh, that's all right
43:13I just hope
43:15That you don't find
43:16The exhibit
43:16Too depressing
43:17Is it
43:19A very good likeness?
43:21Yes
43:22I think it's very good
43:23But judge for yourself
43:26As you can see
43:30The figures are all ready
43:32But the furnishings
43:33Need some work still
43:34Well, what do you think?
43:40It's horrible
43:41Horrible
43:43Oh, I'm sorry
43:47I know I shouldn't say that
43:49I did ask you
43:52To show it to me
43:53Yes, I was afraid
43:54You'd feel that way, miss
43:55Because the likeness
43:57Is really very good
43:58It was Gallinari's brother
44:00Who did the statue
44:01Of the professor
44:02Naturally, he'd get that right
44:05But
44:05That's
44:07Vincent, too
44:09Yes
44:10Just
44:11Like him
44:12It's a very good likeness
44:15Of Vincent Raymond
44:15That's just
44:18How he looked
44:19When he strangled
44:20The life
44:20Out of Professor Gallinari
44:22Right here
44:24In the murder museum
44:26If you are
44:34Contemplating a visit
44:35To a wax museum
44:36We pass on
44:38This advice to you
44:39One
44:40Don't go
44:42During a heat wave
44:43Two
44:45Make sure
44:46That you can stand
44:47The sight of wax
44:48And three
44:50Be certain
44:51You don't have
44:52Any murderous ancestors
44:54Who just might show up
44:56In one of the exhibits
44:57We hope you enjoyed
45:10Tonight's tour
45:11Through the murder museum
45:13We hope that you'll
45:14Always come back
45:16Through the creaking door
45:17Of the radio mystery theater
45:18Because it's the one place
45:21You can enter
45:22Where your imagination
45:23Provides the real thrills
45:26Tonight we tried
45:28To aid that imagination
45:30With the voices
45:31Of Michael Wager
45:32Marion Seldes
45:33Robert Dryden
45:34And Leon Janney
45:36The entire production
45:38Was under the direction
45:39Of Hyman Brown
45:40This is E.G. Marshall
45:42Inviting you to return
45:43To our mystery theater
45:44For another adventure
45:46In the macabre
45:47Until next time
45:50Pleasant dreams
45:53To our mystery theater
45:57To our mystery theater
45:58To our mystery theater
45:58To our mystery theater
45:59To our mystery theater
45:59To our mystery theater
46:00To our mystery theater
46:00To our mystery theater
46:01To our mystery theater
46:01To our mystery theater
46:02To our mystery theater
46:02To our mystery theater
46:02To our mystery theater
46:03To our mystery theater
46:03To our mystery theater
46:03To our mystery theater
46:04To our mystery theater
46:04To our mystery theater
46:05To our mystery theater
46:05To our mystery theater
46:06To our mystery theater
46:06To our mystery theater
46:06To our mystery theater
46:07To our mystery theater
46:07To our mystery theater
46:08To our mystery theater
46:08To our mystery theater
46:09To our mystery theater
46:09To our mystery theater
46:10To our mystery theater
46:10To our mystery theater
46:11To our mystery theater
46:11To our mystery theater
46:12To our mystery theater
46:12To our mystery theater
46:13To our mystery theater
46:14To our mystery theater
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