- 1 day ago
CBS Radio Mystery Theater (a.k.a. Radio Mystery Theater and Mystery Theater) is a radio drama series created by Himan Brown that was broadcast on CBS Radio Network affiliates from 1974 to 1982, and later in the early 2000s was repeated by the NPR satellite feed.
Category
😹
FunTranscript
00:00The CBS Radio Mystery Theater presents...
00:05Come in.
00:23Welcome.
00:25I'm E.G. Marshall.
00:27Welcome to the terrifying world of your own imagination.
00:33One day, a young man named Otis Manley Carter stood before a great work of art in the Metropolitan Museum in New York.
00:42It was a portrait so beautiful that it brought tears to his eyes.
00:48And Otis Manley Carter whispered,
00:51I would give my soul to be able to paint like that.
00:54It was an idle remark, spoken without thinking, on the spur of the moment.
01:00How was Otis Manley Carter to know that someone might be listening?
01:06Where'd you learn how to paint, Otis?
01:08At the Fine Arts Institute.
01:10No.
01:11I spoke to Professor DeMarco.
01:13They flunked you.
01:14You didn't show him any ability at all.
01:17Where'd you learn how to paint?
01:19Oh, come on, Bert.
01:20I was born with it.
01:21It just comes naturally.
01:23I've been painting all my life.
01:25But you're over 30.
01:26How come there are no paintings of yours more than two or three years old?
01:31Where did you learn how to paint, Otis?
01:35Bert, what are you driving at?
01:36Answer this, Otis.
01:40How come all the people whose pictures you painted are dead?
01:46Well, I don't understand.
01:47Where'd you learn how to paint, Otis?
01:49Our mystery drama, A Portrait of Death, was written especially for the Mystery Theater by Sam Dan and stars Nat Poland.
02:08It is sponsored in part by the Kellogg Company, makers of Kellogg Special K cereal, and by new sugar-free Diet 7-Up.
02:16I'll be back shortly with Act One.
02:30At the age of 30, Otis Manley Carter was hailed as the world's foremost living artist.
02:37He towered above his contemporaries.
02:41To describe his work, one had to compare it with the great masters of the past.
02:46No one, but no one, painting today, could breathe life into a portrait to match Otis Manley Carter.
02:53And yet, just one week before his 31st birthday, Otis made the announcement that would stun the civilized world.
03:03He was finished with art.
03:05Never again would his brush touch paint to canvas.
03:09He would neither amplify his statement nor answer questions.
03:13He simply disappeared.
03:15And only two people in all the world knew the reason why.
03:19One, of course, was Otis himself.
03:23The other was a detective on the New York City Police Force, Sergeant Bert Dennison.
03:28Bert!
03:30Bert, what are you doing?
03:32Just having a cup of coffee.
03:33We'll be late.
03:33Late?
03:34All I gotta do is put on my jacket, and that takes all of 15 seconds.
03:37Oh, I'm just so nervous.
03:39Why?
03:39Why?
03:40Do you know who's gonna be there tonight?
03:42Well, sure.
03:43The governor, the mayor, celebrities, the news media, the critics?
03:47Lucy, I'm impressed.
03:48After all, the showing of a new portrait by Otis Manley Carter has the same impact as the World Series or a Super Bowl or a heavyweight champion fight.
03:58If you put brown sugar in coffee, do you save calories?
04:01Do you realize, Bert, that we, that you and I, are gonna be sharing the spotlight with Otis?
04:06Well, you will, that's for sure.
04:08Oh, Bert.
04:09What does he see in me?
04:11Oh, come on, honey.
04:12No, I mean it.
04:13Well, let's see.
04:15You're pretty.
04:16Well, I'm not beautiful.
04:18And you're smart.
04:19But I'm not brilliant.
04:20What can I tell you?
04:22He's an artist.
04:23All artists are crazy.
04:24But the most fascinating women in the world are ready to throw themselves at his feet.
04:29Sis, you're pretty fascinating yourself.
04:34Thanks to you, Bert.
04:35Thanks to me?
04:36You sent me through college.
04:38And there were the trips to Europe.
04:39Well, I had to shape you up before I could marry you off.
04:43And it looks like you got yourself a grand prize.
04:45The great Otis Manley Carter.
04:47Oh, Bert, I want you to like him.
04:49Oh, I like him.
04:50I like him.
04:50He's so sweet, so kind.
04:53Except.
04:55Except?
04:56What do you mean, except?
04:58Well, except every time he paints somebody's picture, it seems to me that person dies.
05:05What are you talking about?
05:07Now, tonight's portrait, that actress, Lila Beaumont, she just died suddenly, didn't she?
05:14But what does that have to do with...
05:15And in the last five years, he painted four other women.
05:20Not one of those women is alive today.
05:22Did you know that?
05:23No.
05:24I didn't know that.
05:26May I ask you how you knew that?
05:29I checked Mr. Otis Carter out.
05:32World famous artist or not.
05:33I ran him through the ringer.
05:34Do you mean you actually investigated Otis?
05:37Do you think I'd let you marry him if I didn't?
05:40Oh, honestly, I don't know anyone who lives his job 24 hours a day.
05:43You never forget you're a policeman.
05:45I'm supposed to be on duty 24 hours a day.
05:48Otherwise, I'm cheating the taxpayers.
05:50Well, what are you trying to imply about Otis?
05:55Nothing.
05:57Nothing at all.
05:59Just an observation.
06:01Idle observation.
06:02Otis, darling.
06:13You're having a triumph.
06:15It's a fantastic success.
06:17Well, what did you think of the painting, Bert?
06:18It's a good picture.
06:19Oh, listen to him.
06:20A good picture.
06:21Is that all you can say?
06:23Well, it's certainly lifelike.
06:24I'll say that.
06:25Well, thank you, Bert.
06:26Good evening, Otis.
06:28Professor DeMarco.
06:29May I offer my congratulations?
06:32I'm honored, Professor.
06:33Honored.
06:33May I present my fiancé and my prospective brother-in-law, Miss Lucy Dennison, Detective
06:38Sergeant Dennison, Professor DeMarco of the Fine Arts Institute.
06:41How do you do?
06:42Glad to meet you.
06:43Otis, once again, you forced me to eat crow.
06:47Oh, come on, Professor.
06:48Please.
06:48No, no.
06:49I was wrong about you, Otis.
06:51Wrong.
06:52And I don't care who knows it.
06:54Yeah, but the truth is, Professor DeMarco, you taught me everything I know.
06:58The truth is, you didn't start to paint until after you left me.
07:03Congratulations, Otis, on a double triumph this evening, your painting and your fiancé.
07:09Each is a magnificent work of art.
07:12Thank you, sir.
07:13Now, if you'll excuse me, Sergeant Dennison, Lucy.
07:17Yes, sir.
07:18Well, he never got over it.
07:20And I don't think he ever will.
07:21He said I'd never amount to anything.
07:24Oh, but you're not serious, darling.
07:27How could anyone who knows anything about art?
07:29Oh, there's Eric von Heiden.
07:30The one who's doing the new book about you?
07:32Come on, come on, darling.
07:32I'll introduce you.
07:33Give me a rain check.
07:34I feel the need for a little refreshment.
07:36What?
07:39Excuse me, sir.
07:40I hope I didn't spill that on...
07:42Oh, it's Sergeant...
07:45Dennison, sir.
07:46Of course.
07:48You know, Professor DeMarco, I've been watching you.
07:51What?
07:51That sounds ominous.
07:53Why would a police detective be watching me?
07:56Because I'm curious.
07:57About what?
07:59About the look on your face.
08:01What about the look on my face?
08:04It's the only look of its kind in the house.
08:07How do you mean that?
08:08Well, analyze all the faces around you.
08:10What do you see?
08:11Excitement?
08:12Boredom?
08:12Happiness?
08:13Anxiety?
08:14And what's my look?
08:17I would say puzzlement.
08:22Actually, you look completely confused.
08:25I suppose I am.
08:29I still can't understand what happened.
08:32Otis was my student at the Institute.
08:35And you said he'd never amount to anything.
08:37I did.
08:38And you can see how it's come back to haunt me.
08:42Believe me, he had absolutely no concept whatever of the elementary principles of art.
08:47He had no feeling for line, for color, for form.
08:51I recommended he be dropped from the school.
08:54You not only go out on a limb, you bring your own saw.
08:59Well, six months later, he astounded the entire world with his portrait of that alderman's wife.
09:05The first of the Otis Manley Carter famous portraits.
09:10How do you account for that?
09:12Oh, at first.
09:14I refuse to believe he could paint like that.
09:17And maybe he doesn't.
09:19Maybe it's all done with mirrors.
09:21No, no, no, no, no.
09:22There are no mirrors, no tricks.
09:25I went up to his studio.
09:28He paints.
09:30But where did he learn?
09:33How did he learn?
09:34And from whom?
09:36There must be an answer.
09:38Naturally.
09:40But can you even speculate?
09:43He probably sold his soul to the devil.
09:48You realize that isn't an answer?
09:51Of course.
09:52But it's the only one I can think of at the moment.
10:04Come in.
10:08Hello there, Otis.
10:09Hope I'm not disturbing you.
10:10I was about to take a break.
10:12Uh, coffee?
10:13Oh, sure, sure.
10:16That was quite a bash last night, huh?
10:18A necessary evil.
10:20Well, you seem to enjoy it.
10:21Uh, but that's why.
10:23It's an evil.
10:23It turns your head and wastes your time and keeps you from doing your job.
10:27Which, for me, is to paint.
10:30Where did you learn to paint, Otis?
10:32At the Fine Arts Institute.
10:34Uh, do you touch sugar?
10:36Yeah, one lump thing out, kid.
10:37I don't think you learned how to paint at the Institute, Otis.
10:41Uh, milk?
10:42Yeah, sure.
10:43All righty.
10:45Professor DeMarco and I had a long talk about you last night.
10:49He thought you were a lost cause.
10:51Well, he did.
10:53And I suppose I was for a while.
10:56So?
10:57How did the ugly duckling turn into a swan?
11:01Well, some people are slow learners.
11:04DeMarco claims you just didn't have it.
11:07No, he was wrong.
11:09I always had it, but it was only in my mind.
11:13I was showing him nothing but meaningless blobs and dabs.
11:17They had to drop me from the school.
11:19Mm-hmm.
11:21Where did you study after that?
11:23Nowhere.
11:25I just went to the museum every day.
11:28That's all?
11:29That's all.
11:31And then...
11:33Oh, one morning I was looking at some of the old masters,
11:36just worshipping at the shrine, as it were,
11:39and wishing and hoping and praying that one day I, too, could...
11:45Well, the most remarkable thing happened.
11:49Dad?
11:49Well, suddenly, everything that Professor DeMarco had ever tried to teach me
11:54just began to make sense.
11:57No, no, it...
11:58It was more than that.
11:59It all became a part of the way I feel and the way I think and the way I see.
12:03I...
12:03I was trembling all over.
12:09What did you do?
12:10I went home, picked up my brushes, and from that day on...
12:16I was a painter.
12:18Just like that.
12:20Well, in psychology, there is such a thing as the delayed reaction.
12:24Yeah, yeah, I know.
12:27Bert, Lucy and I want you to join us for dinner tonight, hmm?
12:29I never refuse an invitation to dinner.
12:33Otis...
12:33Hmm?
12:34Your latest portrait of Lila Beaumont.
12:37Poor Lila.
12:38She never really saw it.
12:40She died the day it was finished.
12:42What, uh...
12:43What did she die of?
12:46I don't know, Bert.
12:50I don't think anybody does.
13:01Sergeant, I wasn't her regular physician.
13:04Who was, Doctor?
13:05I don't think she had one.
13:07She seemed to be one of those fortunate, healthy people who never needed medicine.
13:12Mm-hmm.
13:13Where did she die, Dr. Caswell?
13:15In Mr. Carter's studio.
13:17And since my office is just next door...
13:19Was she alive when you got there?
13:21Just barely.
13:23She seemed to show all the signs of utter exhaustion.
13:27So, that's what I wrote on the death certificate.
13:30Afterward, I thought about it, and...
13:33I asked for an autopsy.
13:35Why?
13:36I simply couldn't believe it.
13:39What did the autopsy reveal?
13:42Nothing.
13:43I was right in the first place.
13:45But I still don't believe it.
13:48Again?
13:49Why?
13:50Well, how could she change so radically...
13:52...in such a short time?
13:54What do you mean by change?
13:56Have you seen the portrait Carter painted of her?
14:00Yes, I have.
14:01It's just brimming with robust, good health.
14:04It's exactly how she looked.
14:06Just about two months before she died, I saw her get out of the cab that first time she came to Carter's studio.
14:14And?
14:15Two months later, I was shocked.
14:19Why?
14:20As I said, I'd never witnessed such a rapid decline.
14:25She was losing a lot of weight.
14:27Her color was gone.
14:30She looked so tired.
14:32What did you think was happening?
14:34I didn't know what to think.
14:36I decided to speak to Otis.
14:39After all, I knew him when he was just a starving young artist.
14:43One morning, I walked up to his studio.
14:46Well, what can I do for you, Doctor?
14:49Busy, Otis?
14:50Well, Lila Beaumont will be here any minute.
14:52Well, that's what I want to talk to you about.
14:55Is she under medical care?
14:58Well, why?
14:58Why should she be?
15:00Can't you see why?
15:02What are you talking about?
15:04Otis, she looks terrible.
15:06Oh, she looks great.
15:07She's becoming dangerously thin.
15:09She has no color.
15:10Doctor, are you serious?
15:12Are you serious, Otis?
15:14Well, I don't understand what you're trying to say.
15:16You mean you can't see anything wrong with Lila Beaumont?
15:20She looks better than ever.
15:22Ah, good morning, Lila.
15:24Hello, Otis.
15:25Well, you're looking just sensational, as usual.
15:28Lila, I'd like you to meet Dr. Caswell.
15:30How do you do?
15:31Oh, Otis, I'm so tired this morning.
15:35Could I have a cup of coffee?
15:37Well, coming up, I just have to heat it.
15:39Miss Beaumont, I hope you're seeing a doctor.
15:43Yeah?
15:43Why?
15:45Look in the mirror.
15:47You're very perceptive, Dr. Caswell.
15:51Perceptive?
15:52It's obvious.
15:54The one thing you're losing, your looks.
15:57Oh, yes.
15:59Your looks, your livelihood.
16:01Shouldn't you want to do something about it?
16:04What can I do?
16:06There's a...
16:08a man, and...
16:10he no longer loves me.
16:11But a doctor could prevent this ravaging.
16:14There's no way a doctor can help me.
16:17But you need special treatment.
16:19I would say, Miss Beaumont, that right now, you should be in a hospital.
16:23Oh, you may be right, doctor.
16:27I don't care anymore.
16:31I just don't care anymore.
16:33Is that the reason she died, Dr. Caswell?
16:36Because some guy gave her the gate?
16:38They say you can die of a broken heart.
16:42What do you say?
16:44Well, I just can't see a vital and perfectly healthy woman like Lila Beaumont simply withering away in so short a time.
16:51But if her appearance had changed so drastically, how come Otis didn't see it?
16:58You'll have to ask Otis.
17:01You still haven't told me, Dr. Caswell.
17:05What did she die of?
17:07But I did tell you.
17:09I don't know.
17:11Nobody knows.
17:12Well, what did she die of?
17:21And what, if anything, can it have to do with Otis Manley Carpenter?
17:26Detective Sergeant Dennison has a nagging, indefinable feeling.
17:31That's just the trouble.
17:33In most of the murder cases Bert has solved,
17:35the solution always began with a nagging, indefinable feeling.
17:40We'll see where this feeling leads when I return shortly with Act Two.
17:57Sergeant Bert Dennison has always been an intuitive detective.
18:02He trusted his instincts.
18:05He played his hunches.
18:06He followed his theories wherever they led him.
18:10Usually to the right answer.
18:12But this time, he has absolutely no idea of how to arrive at the answer.
18:18As a matter of fact, at this point, he can't even formulate the question.
18:24You really should skip dessert, Bert.
18:27I'll only have one helping.
18:28Well, do you want to tell him, Lucy?
18:29No, darling, I think you should be the one.
18:32Somebody's supposed to tell me something?
18:33I hope the wedding hasn't been canceled.
18:35Oh, no, no, Bert.
18:36Sunday, right on schedule.
18:38Otis has something to say to you, Bert.
18:40Uh-huh.
18:40We have a wedding gift for you, Bert.
18:43Me?
18:43Why?
18:43I'm not getting married.
18:44Well, that's why you need a gift.
18:47Now, on Sunday, Lucy is leaving your house forever.
18:50That sounds kind of stuffy, doesn't it?
18:52Yeah.
18:53Keep going, darling.
18:54You're doing fine.
18:55And so, therefore, to make sure you never forget what she looks like...
18:58How can I forget what she looks like?
19:00Please, Bert, don't interrupt.
19:02We decided that I would paint a portrait of Lucy and present it to you.
19:08Isn't that wonderful?
19:10Uh...
19:10Can you imagine that you're going to own an original Otis Manley car?
19:14Yeah, yeah, but, uh...
19:16Well, what is it?
19:19Well...
19:19These things are valuable.
19:21You just can't afford it.
19:22Oh, a million dollars couldn't buy all the wonderful things you did for your sister,
19:26and I'm grateful.
19:27Bert, what's on your mind?
19:30Well, isn't it, uh...
19:32And bad luck for an artist to paint a picture of his own wife?
19:37Oh, now, where did you ever hear that?
19:38They all did it.
19:39Bert, something is bothering you.
19:42Yeah, yeah, well, I, uh...
19:44I might as well say it.
19:46I don't want to hurt your feelings.
19:48But I couldn't accept the gift.
19:51Bert!
19:52Why?
19:52I, uh, I just can't explain it.
19:55Now, Otis, you want to give me a gift I'd really like?
19:58Well, of course.
20:01Well, just promise me you'll never paint a picture of Lucy.
20:06Never.
20:07Now, what kind of nonsense...
20:08I'm asking him, Lucy.
20:11What about it, Otis?
20:13Well, one of the reasons I'm marrying her is so that I can always have her near me,
20:17so that I can always capture those fantastic expressions and moods and...
20:22Oh, really?
20:23I thought you fell in love with my mind.
20:25I did.
20:26I did.
20:27It's your mind that gives animation and me...
20:29What about it, Otis?
20:32I wish you'd tell me why.
20:34I wish I could.
20:37But I don't think I can.
20:39How about it, Otis?
20:41Will you promise?
20:44All right, Bert.
20:46I promise.
20:55Homicide, Lieutenant Callahan.
20:57Oh.
20:58Oh, nothing, dear.
20:59Just sitting around.
21:01Hmm?
21:02Albany?
21:03Just Bert Dennison?
21:05Oh, no.
21:06He used to be a million laughs.
21:08He isn't anymore.
21:09Just stares into space all day.
21:13That's all.
21:14All right, I'll tell him.
21:17You ought to get married, Bert.
21:19Puts a little zing in your life.
21:21And now that your sister's gone, you've got no excuse.
21:23Why don't you get off my back?
21:25Jenny was downtown this morning.
21:26She told me she ran into your sister.
21:28I'll even buy you a...
21:29What did you say?
21:31Jenny saw your sister Lucy in one of the stores.
21:34She couldn't have seen my sister.
21:35Lucy and Otis are on a trip to Mexico.
21:39See?
21:40You don't know everything.
21:41Maybe they came back.
21:43As a matter of fact, maybe that's why they came back.
21:46What are you talking about?
21:48Jenny said Lucy didn't look too good.
21:50She what?
21:52Hey, Bert, where are you going?
21:54Come on.
22:03Bert!
22:03Yes, it's Bert.
22:05You never told me you were back.
22:07Oh, we...
22:07We meant to.
22:09We...
22:09We just got in this morning and we haven't even unpacked.
22:12Of course not.
22:13How could you unpack when you never packed in the first place?
22:17Well, your clothes are in the closet.
22:18Bags are up on the shelf.
22:19You didn't go anywhere, did you?
22:21Oh, we...
22:21Oh...
22:22I want you to call a doctor.
22:23What?
22:24It's Dr. Caswell.
22:24He's just next door.
22:25Well, why do I need a doctor?
22:26You look terrible.
22:27Oh, well, it's...
22:28You've lost about five pounds.
22:30There's no color in your face.
22:31Oh, it's absolutely true.
22:33I lost five pounds because I'm on a diet.
22:36And if there's no color in my face, it's because I don't have my makeup on.
22:40You sound tired.
22:41Well, we were up late last night.
22:44Why did you want me to think you were in Mexico?
22:47Bert, you and I, we've been very close.
22:51We've shared a home.
22:52You've practically raised me.
22:54Never mind all that.
22:55What are you leading up to?
22:57Well, we'd see each other every day and talk to each other and actually have no lives away from each other.
23:03I wasn't aware of that.
23:04So, I thought that since I'm a married woman, now we'd...
23:09We'd just have to get used to a...
23:11A different kind of relationship.
23:13Uh-huh.
23:15You can tell when I'm lying.
23:17I can tell when you're lying.
23:20Otis broke his promise, didn't he?
23:22What promise?
23:24His promise never to paint your picture.
23:26How can you say that?
23:27What did I ask you?
23:28You can't ask him.
23:29He isn't home.
23:30All right, I'll wait.
23:30But he may be gone all day.
23:32Who rang the bell just before?
23:34Oh.
23:35Hi, Bert.
23:36How are you?
23:37I'm just fine.
23:38I'm just fine.
23:39You've been painting, I see.
23:40Anyone I know?
23:42Well, I haven't been painting exactly.
23:44I've been cleaning brushes, things like that.
23:46You know, chores.
23:47Why don't we go inside and see?
23:49Bert.
23:50Bert.
23:50If you walk into that studio, I'll never talk to you again as long as I live.
23:56If I don't walk into that studio, you'll be dead in a month.
24:00Bert.
24:03Oh, Bert.
24:04We wanted so much for you to have a portrait of me.
24:08Yeah, so I see.
24:09No, not yet you don't see.
24:10It's nowhere near finished, but you can just sense what it's going to be like.
24:16Bert, it's going to be my finest work because it's for you.
24:19Oh, darling, don't be unreasonable.
24:21You can't finish that painting, Otis.
24:23Tell me why.
24:24Why?
24:24Otis.
24:28For some reason, you kill the people you paint.
24:33Don't interrupt me.
24:34It's not easy to say this.
24:36And I can imagine what it must sound like, but...
24:40Otis, you've painted the portraits of five women.
24:43Every one of them is dead.
24:45But there's nothing to do with one...
24:46Each one died on the day you finished the portrait.
24:49Bert, have you any idea what you're saying?
24:51I know what I'm saying.
24:53And it gets worse.
24:55But it's true.
24:56What's true?
24:57Otis, the truth is you're not a painter.
25:01How can you say that?
25:02This isn't easy, sis.
25:05Just thank God there were three people who love each other and can solve our problem together.
25:11Bert, how can you say I'm not an artist?
25:13DeMarco said you had absolutely no talent.
25:16DeMarco?
25:17He's a jealous old fraud.
25:18But he's right.
25:19When you came to him, you had absolutely no ability, no talent.
25:23How do you account for the fact that I create so many...
25:24You don't paint, Otis.
25:26Bert.
25:26Hear me out, please.
25:29Somehow, and I don't even think you're aware of it,
25:32you have the ability to drain the life out of your subject
25:38and project it onto the canvas.
25:42Well?
25:45I just don't understand what you're saying.
25:47You're not aware of it.
25:49You didn't notice that Lila Beaumont was actually dying before your eyes,
25:54just as the others did before her.
25:56Bert, tell me this is a joke.
25:58No, it isn't a joke.
26:01Look at Lucy, Otis.
26:03She doesn't look ill.
26:06I honestly can't see anything wrong.
26:08Lucy, look in the mirror.
26:11Look.
26:12And then tell me there's nothing wrong with you.
26:15I don't have to look.
26:17I know.
26:18Then what I have been saying...
26:20It's just that...
26:21Well, I've been worried.
26:23About what?
26:24About Otis.
26:25Darling, why?
26:27Oh, I'm afraid one day you'll get tired of me.
26:30Lucy.
26:31There's so many women who are after you.
26:33But you're the only woman I want.
26:34You know that.
26:35Yes, I know.
26:37But sometimes I can't sleep at night,
26:39and that's the reason that I'm not looking my back.
26:42No.
26:42No.
26:43The painting's the reason.
26:45And, Otis, you must promise to destroy that painting.
26:48I can't do that.
26:48Then I will.
26:49Bert, put down that knife.
26:50Take your hand off me, Otis.
26:51Bert, don't hit him.
26:53I won't let you destroy my painting.
26:54And I won't let you kill my sister.
26:57Otis.
26:58Otis.
27:01Bert.
27:02Don't do that.
27:03Lucy.
27:04Lucy, stop him.
27:07That takes care of them.
27:08Bert, you're crazy.
27:09Get up, Otis.
27:10I didn't hit you that hard.
27:11Look at what you did to my painting.
27:13Do you know what you've done?
27:14Yes.
27:14I destroyed the canvas.
27:16And look.
27:17Look at your wife.
27:18Look at yourself, Lucy.
27:20Your color is back.
27:21Bert, you're a fool.
27:22If my color is back, it's because I'm furious.
27:25No.
27:25No.
27:25You've got your old vitality and strength.
27:28You'll be all right now, Lucy.
27:30Bert.
27:30There's really nothing we can talk about.
27:32I did what I had to do.
27:33And now let's forget it.
27:35Except for one thing, Otis.
27:40Promise me your word of honor that you'll never try to paint Lucy's portrait again.
27:47But I can't promise.
27:48I'll put it this way, Otis.
27:50If you ever try to paint her portrait, I'll kill you.
28:05Hi, Bert.
28:08Callahan.
28:10Thought I'd find you down here in the range.
28:13Good cluster, except for that one shot off to the left.
28:16Probably a faulty cartridge.
28:17Sure.
28:18It's never the shooter.
28:19It's always the show.
28:21What is it you're getting out of your system tonight?
28:24Nothing.
28:25Nothing at all.
28:26Want to sit down and talk for a minute?
28:29About what?
28:30About you and me.
28:32All right.
28:33What is there to say?
28:37We have to decide what I'm going to do about you.
28:42Why?
28:43Because Otis and Lucy were in my office this afternoon.
28:47They're two very scared kids.
28:50They've got nothing to be scared of.
28:51Not for themselves.
28:53For you.
28:56Why?
28:56Oh, come on.
28:57Bert, you know why they told me everything.
29:01Oh, that's nice.
29:02It's my own sister.
29:04She only did it because she loves you.
29:06Yeah, yeah.
29:07She told you how all of them die when he paints their portraits?
29:10Yeah.
29:13Well, what do you think?
29:15Here's what I think.
29:17I just put in this application.
29:19Application?
29:20For your leave of absence.
29:22But I'm not leaving.
29:23Yes, you are.
29:24It'll all be done quietly, and when you're better, you can come back to duty as if nothing happened.
29:31Where am I supposed to go?
29:33There's a private sanitarium.
29:36Absolutely the top doctor.
29:37Callahan!
29:39I'm not crazy.
29:40Of course not.
29:41You just got this temporary little quirk.
29:43But...
29:44And it can be ironed out easily.
29:46Subconsciously, I guess you just missed not having Lucy around the house.
29:51Well, thanks for everything, but I'm not going.
29:54In, uh...
29:56In light of what happened in the studio this morning, I'm afraid your choices are limited.
30:02Callahan!
30:02Is it the quiet private sanitarium, or do we have to put you into the city hospital for observation?
30:10Callahan, what are you telling me?
30:11I'm telling you to hand over your revolver.
30:14Who was it who wrote,
30:22Heaven keep me safe from my well-meaning friends?
30:26It's certainly a sentiment that's shared right now by Detective Sergeant Burt Dennison.
30:31All he wants to do is prevent a terrible tragedy.
30:35And who's trying to stop him?
30:37Those people who truly love him.
30:40We're going to meet more well-meaning people
30:43when I return shortly with Act Three.
30:55The best mirror is the face of an old friend.
31:01Sergeant Dennison stares at Lieutenant Callahan.
31:03Dennison stares at the look on Callahan's face.
31:09It's a strange look.
31:11A look that's a mixture of pity, concern, and fear.
31:17And suddenly, Dennison realizes that this must be the same look that showed so often
31:25when he knew he had to arrest a suspect who might turn out to be criminally insane.
31:32I have to have your service revolver, Burt.
31:36You want to put the cuffs on me too, Callahan?
31:38Cut it out.
31:39Why not?
31:40It's a pinch, isn't it?
31:41It's nothing of the sort and you'll know it.
31:44Now look.
31:45Let's go to your apartment,
31:47pick up some stuff,
31:48and I'll drive you to this place myself.
31:49Tell me something.
31:50Tell me something, Callahan.
31:52Don't you want to hear my side of it?
31:54Burt, you slugged your brother-in-law.
31:56You slashed the painting.
31:57Mm-hmm.
31:58So?
31:58That's violence.
31:59You and me,
32:00we never used violence in the line of duty?
32:02Justified for it.
32:03Slice it anyway.
32:05Why am I wrong this time?
32:06Because what you say is crazy.
32:09Callahan,
32:10you and me,
32:11we're not the new breed of college cops who know everything,
32:14but still,
32:15we're very careful about that word crazy.
32:17You mean you really believe
32:19Otis kills people by painting their portraits?
32:21Yeah, yeah.
32:22Quit fighting me.
32:23Work with me.
32:24How?
32:26Let's go out.
32:27And get some expert testimony.
32:38What's here?
32:39This is the doctor who attended Lila Beaumont just before she died.
32:43And he's completely stumped by the whole thing.
32:50Yes, I was dissatisfied with the cause of death.
32:53Dr. Caswell,
32:55you said
32:55you didn't believe
32:57she could change so radically
32:58in so short a time.
32:59I did say that.
33:01You also said
33:02you couldn't see
33:03how a splendid physical specimen
33:05like Lila Beaumont
33:06could just
33:06wither away.
33:08Yes,
33:08I remember.
33:09I did say that too.
33:11And even though you signed
33:12a death certificate
33:13which listed exhaustion
33:14as the cause of death,
33:16nobody really knew
33:17what she did die of.
33:18well,
33:19I've since
33:20I've since
33:22come to believe
33:23that she really
33:24could have died
33:25of exhaustion.
33:26But you said
33:27exhaustion
33:28plus
33:29loss of the will to live.
33:31But you were convinced
33:32there was a mysterious cause.
33:34I didn't use that word.
33:36But doctor,
33:37you led me to believe
33:38I was merely
33:39ventilating
33:40some doubts,
33:41some misgivings.
33:42But the other women
33:42who died?
33:44I wasn't there.
33:45I don't know.
33:52You told me,
33:53Professor DeMarco,
33:55that Otis had no concept
33:57of the basic principles
33:58of art.
33:58I did.
33:59No feeling for line,
34:00form,
34:01color.
34:02I think I said
34:03something like that.
34:04And since those things
34:06can't be learned,
34:07there was no way
34:08he could become a painter.
34:10It's a relative thing.
34:12Well, you even went
34:13so far as to say
34:14the only way
34:15he could have learned them
34:16was if he'd sold
34:18his soul to the devil.
34:20That was a figure of speech.
34:22He never did learn
34:23to be a painter.
34:25Something happened.
34:26He found a way
34:27or was given a way,
34:29who knows,
34:30to draw the vital essence
34:32from a living thing
34:33and put it on canvas.
34:36I don't think
34:37I could agree with...
34:38I can prove it.
34:40Look at everything
34:40he's done.
34:41He's never painted
34:42an inanimate object.
34:43Just the face,
34:44the body,
34:44but no clothes,
34:45no furniture,
34:46no jewels,
34:47no decorations.
34:49I'm sorry
34:50if I gave you
34:50the wrong impression.
34:52Maybe...
34:53Maybe I was jealous.
34:55Jealous of what?
34:57You said he had
34:58no talent.
34:58Maybe that was
34:59a lie I told myself.
35:01Maybe I resented
35:03his youth,
35:04his promise.
35:06After all,
35:07I never fulfilled
35:08fulfilled mine.
35:11Yeah,
35:11sure.
35:13And besides,
35:13you really don't want
35:14to be remembered
35:15as the art teacher
35:16who flunked
35:17Otis Manley Carter.
35:19I guess that's
35:20the simple answer.
35:22I wish there were
35:23such a thing
35:24as a simple answer.
35:25Well, Bert,
35:33you've got to admit
35:33it's really
35:34a comfortable room
35:35with a great view
35:35of the ocean
35:36and you've even
35:37got a refrigerator.
35:38Yeah.
35:40What happens
35:41now, Callahan?
35:42Well,
35:43starting tomorrow
35:44the doctors
35:45will begin
35:45working with you.
35:46You'll be
35:47straightened out
35:48in no time.
35:48I see.
35:49I'm the one
35:50who has to be
35:50straightened out.
35:51That's how it is.
35:52Even if I happen
35:53to be right.
35:54Those are the rules
35:55of the game, Bert.
35:55But I'm not crazy, Callahan.
35:57You and I
35:58know what crazy is.
35:59Crazy is when
36:00most people
36:01don't agree with you.
36:02You're a big help.
36:03I'll come up
36:04and see you this weekend.
36:05I can hardly wait.
36:07I better
36:08ring for the guy
36:09to come let me out.
36:10What do you mean
36:11you got a ring?
36:12Well,
36:13uh,
36:14doors locked
36:15from the outside.
36:16Huh?
36:17It doesn't mean anything,
36:18Bert.
36:18It's just routine.
36:19I mean...
36:20Yeah, I know
36:20what you mean.
36:22I might as well
36:23be in jail.
36:32You wanted something,
36:33Sergeant?
36:33Yeah, yeah, Jerry.
36:35How can I make
36:36a phone call?
36:37Yeah, I can't.
36:38What do you mean
36:38I can't?
36:39Well, the first
36:40couple of weeks
36:41you can't.
36:41It's like you gotta
36:42get your interviews
36:43and orientation.
36:44But I have to
36:44make a phone call.
36:45The doctor says...
36:46Forget what
36:46the doctor says.
36:48Look, part of the
36:48treatment is to
36:49isolate you
36:50completely
36:50from your
36:51former environment.
36:52But I have to
36:53know if my
36:53sister is okay.
36:54She's okay.
36:55How do you know?
36:55Because if she
36:56wasn't, you'd be
36:57told about it.
36:58Yeah, yeah, yeah.
37:00Uh, listen, uh...
37:01I know, I know
37:02I can't make
37:03a phone call.
37:04But if I could,
37:06where would I
37:06make it from?
37:07There's a phone
37:07outside.
37:08The end of the hall.
37:09There is, huh?
37:11Jerry, I want
37:12to show you
37:12something.
37:13What?
37:13That...
37:14Come on, Lucy.
37:25Answer it.
37:27Answer it.
37:31Hello?
37:32Lucy.
37:33What?
37:34Lucy.
37:35Yes, I'm Lucy.
37:38Who is this?
37:39It's me, Bert.
37:41Who?
37:41Bert!
37:42No.
37:43Bert is...
37:44Bert isn't here.
37:45Could you call
37:46back later?
37:47Lucy!
37:49Oh, my good
37:50Lord.
37:57Lucy!
37:59What?
38:00Who?
38:01He's painting
38:01your picture again.
38:03I've got to
38:03destroy that canvas.
38:05Don't move, Bert.
38:05Otis!
38:06Don't make me
38:07shoot, Bert.
38:07Now, listen, Otis.
38:08You don't want
38:09to kill me.
38:09No.
38:10I'd only want
38:11to hit you in the
38:11foot, but I'm a
38:12bad shot.
38:13Now, please, Bert,
38:13just stand still.
38:14What are you doing
38:15with the gun, Otis?
38:16That's not your style.
38:18Callahan called us.
38:19He said you'd
38:20broken out of
38:20the sanitarium.
38:21He wants me to
38:22phone him if you
38:22show up here.
38:23You're killing
38:24Lucy.
38:25Look at her!
38:26Bert, I...
38:26I don't know
38:27what's gotten
38:27into you.
38:28Is the painting
38:28almost finished?
38:30What business
38:31is that of yours?
38:32What more
38:32has to be done
38:33on the painting?
38:35I just have
38:36to finish her mouth.
38:37And when you do,
38:38she's going to die.
38:40How can you believe...
38:41Do you love her,
38:42Otis?
38:43You know I love her.
38:45Destroy the painting.
38:47I can't.
38:48I can.
38:49I'm warning you, Bert.
38:50I'm going to walk
38:50into your studio,
38:52and I'm going to
38:53destroy that painting.
38:54You take one step,
38:55and I'll shoot you.
38:55I'll just have
38:55to take the chance.
38:58I've still got
38:59five bullets in the gun.
39:00All of them can't miss.
39:01Otis,
39:03look at Lucy.
39:05Look at her!
39:07She's dying!
39:08That isn't true.
39:09You don't want to see it.
39:10If I could prove
39:11you're killing her,
39:12would you destroy
39:13the painting?
39:13How could you prove that?
39:14Would you destroy
39:15the painting?
39:18Yes.
39:20Let's go back
39:21into the studio, Otis.
39:22No, no.
39:23It's a trick.
39:23You've got the gun, Otis.
39:25What are you afraid of?
39:27Come on.
39:31I'd you just stand
39:32near the wall.
39:33You keep far away
39:34from my painting.
39:36It's beautiful.
39:38Then why do you
39:39want me to destroy it?
39:42Because it is Lucy.
39:46Why did you bring me
39:46in here to prove?
39:48That you kill
39:49a living thing
39:50when you paint it.
39:52On the windowsill, Otis,
39:53that flower,
39:54that geranium,
39:54paint it.
39:55Sure.
39:56I'll put the gun down
39:57and pick up the brush
39:58and you'll jump.
39:59You're afraid.
39:59You're scared.
40:00You're crazy.
40:01What you're saying
40:01is crazy.
40:02Here's your chance
40:03to prove it, Otis.
40:04Paint that flower.
40:06And if nothing happens
40:06to it, I promise,
40:08I'll go away quietly.
40:09I...
40:10Well?
40:14I will.
40:14Well, there.
40:25It's a quick sketch.
40:26How do you like it?
40:27It's beautiful.
40:28All right, now look
40:29at the windowsill.
40:29Look at the geranium.
40:31Go on, look at the ger...
40:33Oh.
40:34Oh, now, Bert, what...
40:38What happened to it?
40:42You can see what happened.
40:46I can't believe it.
40:47But it's true.
40:49The color is gone.
40:50It's wilted, withered.
40:52It's dead.
40:53No.
40:54They're all dead.
40:55Lila Beaumont.
40:56Those other women.
40:57And Lucy is dying.
41:00Before it's too late, Otis,
41:01you know what you have to do.
41:03No.
41:03Otis!
41:04You...
41:05You do it for me.
41:06No.
41:07You have to destroy
41:08that canvas yourself.
41:09Why?
41:10Because I can't keep watching you
41:12guarding my sister forever.
41:15You have to put an end
41:16to it yourself.
41:16I promise.
41:17I won't paint, Lucy.
41:18You must never paint anybody.
41:21I...
41:22I don't know
41:22if I can give it up.
41:23But you're not really
41:24a painter, Otis.
41:26Somehow you...
41:26You stumbled into
41:27some sort of mysterious power.
41:29And now you've got
41:30to give it up.
41:31Destroy the painting.
41:34I'll go back to Lucy.
41:36How do you know
41:37I just won't finish it?
41:38How can you trust me?
41:39I trust you.
41:41I trust you
41:42because you love Lucy.
41:52Lucy?
41:54Lucy?
41:55Mm-hmm.
41:56Who is...
41:57Lucy.
41:58Oh!
41:59Oh, Bert.
42:00How...
42:00I must have been napping.
42:03Oh, I feel so refreshed.
42:06Yes, you're looking better.
42:07Bert, what are you doing here?
42:09You're supposed to be...
42:09I know, I know.
42:10I'm supposed to be crazy.
42:12I don't worry about it.
42:14Otis!
42:14Bert's here.
42:15Shouldn't we...
42:16No, no, no.
42:17No, no.
42:18Everything's all right.
42:21I better go straighten
42:22everybody out.
42:23Especially Callahan.
42:26The painting?
42:26Is it my imagination or...
42:29What happened to the painting?
42:34I, um...
42:35Decided to give it up.
42:38Otis, how could you?
42:39Will you...
42:41Will you love me
42:42even if I'm not a famous painter?
42:44But, darling, I...
42:45Sure she'll love you, Otis.
42:48She'll love you even more.
42:49She'll love you even more.
42:57There's a lot of truth to that, Otis.
43:00A woman in love with a famous man
43:02has a problem.
43:03She wants him all to herself.
43:05But she is forced to share him
43:07with the entire world.
43:10And you ladies in our audience
43:11might think about it, too.
43:14If you're married to a man
43:15who doesn't seem to be going
43:17anywhere special,
43:18look on the brighter side.
43:20Just think.
43:21You can have him all to yourself.
43:23I'll be back shortly.
43:36What killed those women?
43:39A coincidence of real
43:40and fancied illness?
43:41Or can an artist
43:44really drain the life
43:46from a living creature
43:47and transform it to canvas?
43:50Certain primitive tribes agree.
43:53It's taboo to create a likeness.
43:56Maybe they know
43:57what they're talking about.
43:59Our cast included
44:01Nat Poland,
44:02Marion Seldes,
44:03Jack Grimes,
44:04Jackson Beck,
44:05and Roger DeKoven.
44:06The entire production
44:08was under the direction
44:09of Hyman Brown.
44:11And now,
44:12a preview
44:13of our next tale.
44:17I told you,
44:18I burned it.
44:19And you know
44:20that's a fairy tale
44:21that no one will believe.
44:22I don't care whether
44:22you believe it or not.
44:23Now, are you coming with me?
44:25Where?
44:25To talk to your Colonel Blake.
44:27He won't see you.
44:28Oh, I think he will.
44:29Goodbye, Carol.
44:30It was nice knowing you.
44:31I think...
44:32You will kindly step back
44:33into your room,
44:34as you're feeling.
44:35Now, wait a minute.
44:36Move.
44:37I am Major Samunovic.
44:39Oh.
44:40Of the Gay Payu
44:41or the NKVD?
44:42It does not really matter.
44:45What matters
44:45is that you and I
44:47have something to discuss.
44:48I warned you.
44:49Yeah, sure you did.
44:50I do so dislike
44:52dealing with amateurs.
44:53This is strictly a business.
44:55You mean you want
44:56to make a deal with me?
44:57Correction.
44:58I mean you would find it wise
45:00if you wanted
45:01to make a deal with us.
45:03For the paper?
45:03Exactly.
45:05Where is it?
45:06No, no, not so fast.
45:07Not so fast.
45:08You spoke about a deal?
45:10You give us the paper,
45:12we give you your life.
45:14Radio Mystery Theater
45:15was sponsored in part
45:16by Anheuser-Busch Incorporated,
45:19brewers of Budweiser.
45:20This is E.G. Marshall
45:22inviting you to return
45:23to our mystery theater
45:24for another adventure
45:26in the macabre.
45:27Until next time,
45:30pleasant dreams.
45:34Vinat Von Gautan
45:36Money
45:39who games
45:41is the best
45:42альные
45:43and
45:44who ones
45:44are
45:45only
45:47they are
45:47even
45:48in the
45:48fantasy
Recommended
43:27
|
Up next
3:36
1:24
0:36
0:31
Be the first to comment