# Nick Carter: Death Behind the Scenes (EP1266)

An episode of [Great Detectives of Old Time Radio Volume 2|Mystery Audio Dramas](https://invisiblenetwork.ai/podcast/1696519927), 23 Jul 2026, 33 min.

Audio: https://dts.podtrac.com/redirect.mp3/pdrl.fm/f90a09/api.spreaker.com/download/episode/57359940/gd1266.mp3

Release Date: May 22, 2014 Nick Carter is called in when an actor has faced a series of perilous accidents. Original Air Date: March 25, 1945 Support the show monthly at https://patreon.greatdetectives.net Support the show on a one-time basis at https://support.greatdetectives.net Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715 Take the listener survey at https://survey.greatdetectives.net Check out all our social media links and connect with us at https://www.greatdetectives.net

## Transcript

[0:28] Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This
[0:34] is your host, Adam Graham. If you have a comment, send it
[0:38] to me Box thirteen at Great Detectives dot net and follow us on Twitter at
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[0:49] Radio Detectives. Today's program is brought to you by the financial support of our
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[0:58] We'll send access to the premium side we do with all donations of seven dollars
[1:02] or more, and you may support the show at support dot Great Detectives dot
[1:07] net. All right, well, now it's time for today's episode of Nick
[1:11] Carter. The tititle is death Behind the Scenes Matter. What is It's another
[1:29] case for Nick Carter, Master Detective. Yes, it's another case for that
[1:37] most famous of all manhunters, the detective whose ability at solving crime is unequaled
[1:41] in the history of detective fiction, Nick Carter, Master Detective, presented by
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[2:08] Mystery of the Persecuted Actor. In just a moment, we'll hear how Nick
[2:17] Carter solved the mystery of the persecuted actor and prevented death behind the Scenes from
[2:22] becoming a grim reality. But now a word to the women millions of homemakers
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[3:15] now for Today's mysterious Adventure with Nick Cutter. As today's story begins, we're
[3:23] backstage at the Republic Theater, where Charles Forrest is directing a rehearsal of his
[3:27] new play Lord Byron. But it will not be possible for us to live
[3:30] our lives as we want to. We must slip for those nearest and dearest
[3:35] to us. You're right, my darling, I see it all now.
[3:38] Nothing that may happen to us going to never change the fact that I love
[3:40] you, Love you with every fiber of my being, love you with a
[3:45] depth I never thought possible. Nothing will ever change that. And I feel
[3:49] the same way Robert and I always. Well, well, go on,
[3:53] miss David. She can't go on, mister Forest. That Hyma's Q.
[3:57] The letter as usually isn't here. Oh oh, that's a cue. I
[4:00] don't see why. We also have to wait until Paul Wymar condescends to honor
[4:03] us with his presence. We spend more time waiting for him to pick up
[4:06] his cues. The way to want aharse it, Take it easy, Dick,
[4:09] you don't have to go grinving about Whimer all the time. Oh,
[4:13] on stage, please, we're waiting for you. Coming, mister Forest.
[4:15] Just a moment coming, mister Forest. Why can't he stay here the way
[4:19] the rest of us? Do you forget it? Mister Paul Wyma is a
[4:23] great foreign start. Oie you're coming, Paul. Sorry to give you waiting,
[4:27] mister. Oh, what's happened? It's happened again. It's happened again.
[4:31] I can't go on? What is it, Paul? Another accident again?
[4:35] Someone tried to kill me? This time is a sand bag that drops
[4:39] almost on my heads badly? What's going on up there? Oh, mister
[4:42] Forest? Why holy sandbag? Must come on tied, I'll take care of
[4:46] I'm through. I give up. Things break when I sit in them,
[4:47] things fall over on me. And no, no, this bag drops on
[4:50] my head. I'm sure it was an accident. Paul. Come on,
[4:53] let's get on with this scene. We open in three days or why do
[4:56] not open in three days? Or ever? I'm through? Look, Paul,
[4:59] you can't quit on men now, it's too late. We're almost ready
[5:00] to Oh. I will not stay here and get killed, Paul. Suppose
[5:03] I get Nick Carter to come down here and find out what's going on.
[5:06] He can stop all these accidents you've been having. Well, that's satisfy you.
[5:11] You will get the great Nick Carter to make an investigation. I will.
[5:14] If you'll stay with me, he'll see that nothing more happens to you.
[5:15] Yes, mister ymer, mister Carter will protect Oh shut up? To
[5:18] take this is serious? Will you get to work? If I get caught
[5:21] down here, Paul, very well, I will cry it once more.
[5:26] But if there are any more of these accidents that nearly kill me, I
[5:29] shall go home and stay there. Carter or no Carton, All right,
[5:31] Patty, take over the rehearsal. I'm going to get Nick Carter right now.
[5:45] You say you're having trouble with a new playfest, I certainly am Carter.
[5:48] It's supposed to be the life of Lord Byron the Poet. So to
[5:51] play the lead. I brought an act river from Paris, a man named
[5:55] Paul Weimer. Looks almost exactly like Byron, and he's a good actor.
[5:59] Doesn't sound like troubles so far? Wait, never, since we started rehearsals,
[6:02] one accident after another has happened to Wimer. So that by this time
[6:05] he's getting so generated that I'm afraid he won't be able to go on with
[6:09] a play. Well, what kind of accident has posed Well? One time
[6:12] a heavy door almost fell on him, just missed him. Another time a
[6:15] chair he was sitting and collapsed under him, and send him to the hospital
[6:17] for three days with arranged back and so on. Today the final straw,
[6:21] a heavy sand bag counterweight, fell in almost on top of him as he
[6:26] crossed the stage. I don't blame him for being jittery, any idea.
[6:29] What's behind all these things? Either one of two things. Either somebody is
[6:32] trying to kill Paul or they're trying to scare him out of the show.
[6:35] There's only one person, as far as I know, who'd profit by getting
[6:39] rid of Paul. And who's that Richard Rowland, my American star. He
[6:43] was so upset at not being given the part of Baron that he swore he'd
[6:45] never like for me again, and suddenly he agreed to play the second lead.
[6:48] Who'd surprised me, even though it is a pretty fat role. And
[6:53] if Paul Weimer had to give up the role for any reason, I suppose
[6:56] Rowland would automatically step into the park. Yes, of course, it certainly
[6:59] gets rolling. Will you take the case? Nick? If you don't,
[7:02] I'm afraid Whimo will walk out on me. Contract or no contract. Why
[7:08] do you have your next rehearsal tomorrow morning at eleven o'clock If the rest of
[7:11] the scenery is hung and ready, all right, I'll be there ten thirty
[7:14] to look over the ground. Will you say to it that everything? I'll
[7:16] take it, Nick, Nicholas Krodg office. Yes, he's here just a
[7:23] minute. It's for you, mister p for me. Oh thanks? Hello?
[7:30] What? No, don't let anybody get away. Keep everything just as
[7:33] it is when we get there. Yes, I'm bringing him with me.
[7:38] Yes, yes, yes, right away. Goodbye. That was Betty,
[7:41] my assistant stage manager. Roland is supposed to fire a shot at Paul in
[7:44] the second leg, but when he fired just now, it wasn't a blanket,
[7:46] was real. That's why am I hurt? No? Fortunately, did
[7:49] the bullet missed him? Another accident? Yes? Another one? Heaven only
[7:54] knows what Wymy will do. Now let's get down there immediately. I want
[7:57] to start working on this before it's too late. Who wrote this day?
[8:13] You're doing this as one of the best known writers. But Lava, oh,
[8:16] very rich Man, a successful playwright write for his own amusement, didn't
[8:22] I read somewhere that he doesn't smoke, good drink and that he never married.
[8:24] Let's ride. He's a peculiar duck. What no weaknesses? No,
[8:30] there's a reason for that, Carter. He had a younger brother who went
[8:33] to Parish for training in art. He met a wild crew there, got
[8:35] to drinking and carrying on, and ended up in an insane asylum, where
[8:39] he died a year or two later. Lavan has never touched liquor or tobacco
[8:43] from that day to this well, I've enjoyed life for many years without smoking
[8:46] or drinking. This is later, yes, and they've spread my dormond waiting
[8:50] for us. Read. This is mister Carter, he's in charge now.
[8:56] I've read. Has anybody left here since the shoot? No, mister carr
[9:01] By, I've been out or in and through this way, Miss Cutter.
[9:09] Quiet fire, please, everybody, ladies and gentlemen. This is mister Nick
[9:13] Carter. He's in charge here now, and whatever he says goes. And
[9:18] that's Paul Weymer over there, mister Carter and Richard Rowland next to him.
[9:22] How are you doing? At first? I forget the facts, Roland.
[9:26] Suppose you tell me what happened? Well? In the second scene in the
[9:28] second act, Lord Byron is threatened by the husband of the lady to whom
[9:33] Byron's making love. I play the husband, and I'm supposed to shoot him.
[9:37] Instead of the old fashioned pistol we'll actually use in the play, we've
[9:39] been using a small automatic with blanks. When I fired it just now,
[9:43] it wasn't a blank, but a real bullet, fortunately, Miss Weimar.
[9:46] But I'm sorry to say. It's like a stage hand who just happened to
[9:48] be in the line of fire. Why is it badly hurt? No,
[9:50] it just scratched his cheek. Why's the gun you used right here on the
[9:54] table? H only one shell on it, and that's been fired. Rolling
[10:01] to his charge of this gun before it's given to you, Rogers the property
[10:05] man, get him, please, Rogers Rodgers on stage. Well, everybody,
[10:09] please take the same positions now that you were in when the shot was
[10:13] fired. This is about the way we were, mister Cartter. Good everybody
[10:22] here now with Betty, Betty, Betty righty here I saw stage making a
[10:26] full call and rolling fires. I'm staying outside now, okay, stay there
[10:31] for now? Where's the property man? Rodgers? Where are you here?
[10:33] I am Rogers? Where were you when the gun was fired in my property
[10:37] room? What can you tell us about this? Nothing? I loaded the
[10:41] gun same as usual with the plank. Anybody say you do it? Sure?
[10:45] Bradley the stage ham was with me. Then I left the gun on
[10:46] the table and went out to talk to Fred the doorman. And while you
[10:50] were gone, someone took out the blank and put in a real bullet.
[10:52] Could be I wouldn't know anybody see anyone near the property room while Rogers was
[10:56] not there? Oh, come on, speak up? Did you see anyone
[11:01] near the gun after it was loaded? Now listen, if you know something,
[11:05] speak up. This isn't acting. It's murder, mister Carter. Did
[11:09] you see anyone near the property room after the gun was loaded? Well,
[11:11] yes I did. My girlfriend and I were having a smoke behind one of
[11:15] the wings and we saw we saw well gone. Who went in there?
[11:20] I want in that to find a match. But I didn't touch the gun.
[11:22] Oh you did it on purpose, you jealous cattle whim. I don't
[11:24] stop calling me, You followed me on purpose. You want to play the
[11:28] leading roles? Do you think Roland could have done it? Me? No,
[11:31] it's too right Now, I'd like to have a look at the bullet
[11:35] that was fired from the gun. How could you find it? It could
[11:37] be anywhere in here? Oh no, it couldn't we care. It started
[11:41] from where Roland is standing, went across the stage to where the stage are
[11:43] understanding, must have gone through those two flats behind him and into the wall.
[11:48] Come on, now, we line up Roland and the holes in these
[11:56] plants. We should find sure, Nick, there it is in that big
[11:58] wooden. Yes, let me get my tweezers. I'll have that bullet out
[12:05] of there before you can see. That was easy, wasn't it, Patty?
[12:11] Look here, this bullet is a thirty eight. The stage gun is
[12:15] a thirty two. I mean that bullet didn't come from Rowland's gun. No,
[12:18] Petsy, whoever fired this bullet stood off stage and used the sound of
[12:20] Rowland's the gun to cover his own shot. That would be me, yes,
[12:24] Patsy, cold blooded, deliberate murder. How much longer you want these
[12:28] people, Miss Conna, Oh, let can go. I'm through with them
[12:31] for now. It's over to day Everyonemorrow morning at eleven shop. Mister Carter.
[12:39] Do you think I'll be safe now? Yes, you're safe enough for
[12:41] now, however, and I suggest you go to your hotel. I'll see
[12:43] you there later. I shall do it, thank you very much, mister
[12:46] cart Before you go, Carter, i'd like to have you meet our author
[12:50] all right, first, it was either one in the stage box on the
[12:52] other side. Yes, come on over, you'll like him. Mister Levan.
[13:00] I'd like you to meet mister Nick Carter gotter live on. How do
[13:03] you do? I don't oil. Have you learned anything, mister Carner?
[13:07] Yes, the gun Roland Huws was not the gun that fired the bullet that
[13:11] I know definitely. That means the shooting wasn't an accident. It means as
[13:15] the one who did the shooting had been a better marksman, wim, I
[13:16] would be dead right now. What's your next step, mister Carder. I
[13:20] think I'll go back to the office for a while and do a little thinking,
[13:22] and I'll drop in on Paul Weimar and see what his side of the
[13:24] story is. Shall we have dinner first? An excellent idea, Carter.
[13:28] I'll pick up my coat and be right with you. I'll let my things
[13:31] in the box I was sitting, and I'll get them. Enjoying you.
[13:33] I see outside, all right, Patsy, just have a look around while
[13:37] I wait? What is it? What's the shover corner? Pull over?
[13:48] Something? No, something fell over me. I started across stage and something
[13:52] knocked me over, almost knocked me out. What's going on in here?
[13:56] Mister Carter's had an accident? Another than accidents. That flop? What was
[14:00] on top of that pedestal? For some reason? The whole thing fell over
[14:03] on you? You all right? Color? Yes, yes, So let's
[14:05] get out of here before the roof falls in on us. Are you see,
[14:20] Patsy? It has to be that way? You say, every member
[14:22] of the cast is on stage when the shot was fired. Yes, they're
[14:24] all in plain sight of each other. And leave's only four persons as far
[14:28] as we know, who were backstage and who could have fired the off stage
[14:30] gun. Rogers, the property man, Fred the dorman, Bury, the
[14:33] stage manager, and the stage hand Bradley and Francis. Rogers was talking to
[14:37] him near the entrance, which gives both of them an alibi. Badly and
[14:41] Barry says he was telephoning, and we've found that a call was made from
[14:43] that phone at that time. It seems to let him out. And Bradley
[14:46] was shot by the bullet, so he couldn't have fired it. No,
[14:48] which accounts are all four of them? Which means there's something somewhere we don't
[14:52] know yet. That's one reason I want to talk to Wymar. He may
[14:56] be able to throw some light on the subject. Oh here you are,
[14:58] driver, Oh clerk Paul Reymers in two seven nine, isn't he? Yes?
[15:13] Shall I say? It's called? Well, never mind announcing this,
[15:16] we're expected. What the name is? You must be announced? The name
[15:20] is Nick Carter, and don't denounce it. But it's a road we can
[15:24] walk, Patty, it's only the second floor. Why didn't you want to
[15:26] be announced? Just second nature? They don't know why I'm coming to see
[15:30] them. They can't get ready to receive me. I like the element of
[15:33] surprise when I go calling officially room two seven nine. That must be right
[15:37] here? Well, Paul Weymer seems to attract trouble as honey attracts will be
[15:52] What has happened? Now? Are his unfortunate accidents not confined to the theater.
[15:56] After all, how is Nick going to unravel this tangled thread? And
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[17:23] And now back to our story. We left Nick and Patsy racing toward
[17:29] Paul Wymer's hotel room, from which are coming cries for help. We're going
[17:34] to get in there. He's in trouble. If I can open this door,
[17:38] hurry. You told me I wouldn't be safe here. What's happened?
[17:47] Man broke in through the window, try to strangle resin. Now he he
[17:52] heard you at the door. He ran into the bedroom, went out by
[17:53] the fire skate and here a fine thing. Even my tell I'm not safe.
[18:00] You never seen before? And he describe me, No, no,
[18:03] it was all too sudden. How long is this going on? I can
[18:06] stand it no more. Every days is something you will say you never saw
[18:08] the man? Who? What's that? That's only the telephone, mister Wymer.
[18:11] I want answer it? I want, I want it might be trouble.
[18:14] You better answer. Take the message Hello, mister Wymer's room is mister
[18:18] Wimer? There yes, but he can't answer the phone. Just now,
[18:22] May I take a message? Yes, telling mister Forrest called and wants mister
[18:26] Wimer to meet him and mister Wymer's dressing room at the theater at eight thirty
[18:30] tonight tonight. Are you sure of that? Yes? He was very specific,
[18:34] said something about some revisions in the play that had to be made tonight
[18:37] to be ready for rehearsal tomorrow. All right, I'll tell him, thank
[18:41] you? Or was it that news quick? Oh not at all, mister
[18:44] Wimer. That was the cliff downstairs. He said, mister Forrest wants to
[18:48] see you in your dressing room tonight at eight thirty, something to do with
[18:51] revisions in the play, and it must be tonight. Oh that does you
[18:53] relief? I must prepare myself to leave. You will excuse me. That's
[18:57] quite all right, mister Weimer. That's I must be running along anyway,
[19:00] see you tomorrow at rehearsal. Good night, good night, and thank you
[19:04] good night. Oh splendid, splendid. I could never range it better myself,
[19:11] Like, are you feeling all right? I'll never better, Patsy,
[19:12] never better. But why all the unconcealed jaw I'd expected this case would come
[19:17] to a head faster now that I was in it. But I hadn't hoped
[19:18] it would come quite so fast. The end is no one site passy.
[19:22] You go back to the office and wait for me. Where are you going
[19:23] to the theater? And I must get there before Wymar does if his life
[19:26] is to be safeguarded. Ay right, Rather keep the chaining, mister Carnor,
[19:45] Why Fred? What are you doing here this time of night? You
[19:48] have to guard the door twenty four hours a day, No, sir.
[19:52] Mister fire said he was expecting some crops about supper time, but they ain't
[19:56] come yet. Told me to wait for him, and I'm waiting. I
[19:59] say, go ahead. Oh has anybody been here recently? I know Brad
[20:03] was here about a half hour ago, but he only stayed a couple of
[20:07] minutes long enough to get something he forgot, that's all. Mister Forrest hasn't
[20:11] come down yet. No, he hasn't. Was he coming back tonight?
[20:14] I understood so, but I may be wrong. Oh is it okay to
[20:17] go in? I want to have a look at something, sure thing.
[20:18] I want some lights? No, thanks, I have my flash. Okay,
[20:22] watch yourself. Though this ought to be why I was dressing room A
[20:36] Caney was carrying a rehearsal this afternoon. Seems to be no concealed bombs of
[20:42] booby trips. I'm okay for now. Nothing to do now, but wait
[20:49] until he arrives. Mister cor What are you doing here? I'm here protecting
[21:03] your life, mister Wammer, whether you know it or not. But mister
[21:07] Forest, mister first knows nothing about this. The call you got came from
[21:11] the would be murderer. I wanted to get you down here so we could
[21:12] finish his job tonight. Finish his job. How what do you mean?
[21:17] That's what I want you to tell me. Or before you touch anything or
[21:19] sit down, look around this dressing room. What do you see that doesn't
[21:23] look natural? In here? Not look natural? What do you mean?
[21:27] Or anything out of place? Something here that shouldn't be here? Something missing?
[21:32] Oh? I see no? Yes, yes, someone who's been smoking
[21:38] my cigarettes. I left nearly a fresh peck here I remember. Now,
[21:41] Look there are only two cigarettes left. Yes, I might have expected that.
[21:47] Will you have one? No? Neither wi you unless you want to
[21:48] die fast? I don't understand. Wait, yes, these cigarettes have been
[21:57] treated with a deadly drug. One's so rare that he could only get enough
[22:02] for two cigarettes. That's why the rest of the pack is missing, so
[22:03] he'd be sure to be killed almost at once. That, mister Wimer,
[22:07] was why you received the message to beat mister Forrest in your dressing room.
[22:11] You'd smoke at least one cigarette while you waited, and that one would be
[22:15] your finish. But who wants to do this to me? And why?
[22:18] I know the answer now, but I'd rather not say until I can produce
[22:21] the killer himself. As soon as I can. You win a hearing metal,
[22:23] you'll never leave. Sorry, I had to shoot out the lights,
[22:30] but I didn't want him to hit you here. Mister Carter, are you
[22:32] there? What is it that this happens to here? Wimmer? You're safe
[22:34] for the moment. I want to stop that man or just ran off.
[22:37] Your life's in danger as long as he's Where are you going, mister cart
[22:38] Sit tight, I'll be right back pret prett. Yes, mister Carter,
[22:42] did I hear some shoes? Did it? Who was it? Just ran
[22:45] out here? Nobody? But he went out some way. I heard him
[22:48] slam the door. He must have gone out that little back door up behind
[22:51] the dressing room. Mean, this isn't the only way out of this theater
[22:52] backstage? Oh no, there's that other little door, but that's supposed to
[22:55] be get locked all the time, and that leads out to the other street.
[22:57] Oh I see, Well, where's your telephone right there in the office,
[23:03] mister Carr. Good, Let me make one phone call and I'll show
[23:06] you a what be killer? But I tell you you can't do this to
[23:22] me. Maybe we can't, but we are, so just hype down.
[23:26] Why won't you tell me what I'm accused of? Because I don't know.
[23:29] I'm acting under orders from that is I'm doing what Nick Carter is a kissed
[23:33] and Nick's a pretty clever guy, if I do say so. So you
[23:37] get those kind words, Raley, Well, where the juice have you been?
[23:40] We've been waiting here in my office. Yes, I know, I
[23:42] know, I know. I came as soon as I could. I got
[23:45] in a little traffic jam. Well there he is. He picked him up
[23:48] just as he came in his hotel. Love me just like you said.
[23:51] Now, what do we do with him? He's the man who's been trying
[23:52] to kill Paul Weimer and almost excited tonight that's a lie, isn't What did
[23:59] they have in his pockets? Rally? Oh will you hear it? You
[24:00] sneak use the usual stuff, Yes, the usual stuff, but not with
[24:08] the usual implications. Yeah, never mind those two dollars words here? What
[24:12] do you see there that's so interested? These lose cigarettes? For instance,
[24:15] there must be about ten or twelve there, about half a pack, and
[24:18] that Paul Weimer's brand We're too hot, and this little box. Rally,
[24:23] if you'll have your chemist examine these two cigarettes that were left in Wymer's dressing
[24:27] room, I believe you'll find them full of the same drug that was in
[24:30] this box. Londartly find traces of it there, now, sure we'll know
[24:34] you begin to make send. This is all a pack of lies, a
[24:37] frame up. It isn't either, and you know it. I am willing
[24:41] to bet that your fingerprints around the door knob with the little back door where
[24:44] you made your hasty exit from the theater tonight listen, together with a few
[24:47] prints belonging to your assistant, Bradley the stage hand. And I imagine that
[24:51] Bradley will be very willing to talk when he finds he's up on an attempted
[24:55] murder charge. All right, color you win? I did it. I
[25:00] hate that man Weimar, But why should you hate him? Sold missus Levan
[25:04] because he was the leader of the gang in Paris who helped my brother drink
[25:07] himself into the insane asylum in the grave. He was more to blame than
[25:11] my poor brother, who knew no better. I wrote this play, Lord
[25:15] Byron, just to get him over here where I could work on him.
[25:18] I suggested him to Forrest as the man for the part, and Forrest fell
[25:21] for us. Why didn't you kill him and be done with it? I
[25:22] wanted him to suffer as my brother suffered. But when you got into the
[25:26] case, Carter, I knew I had to finish it up quicker because Bradley
[25:30] let you into the theater night to the little back door, didn't he?
[25:32] Yes, it was Bradley who phoned the message to Wyman to get him to
[25:33] come down to the theater. And it wasn't yes. And it was Bradley
[25:37] who worked the backstage accidents after you had planned them, wasn't he Yes?
[25:40] Yes, yes, he thought it was all part of a practical joke.
[25:42] He didn't know I intended to kill it all right, all right, what's
[25:47] your language? Now? Who's the needy prisoned you? I thought everybody forgotten
[25:49] about me being over here in the corner. I was just sitting here listening.
[25:53] You fired that shot during the rehearsal, didn't you, Levan? Yes?
[25:56] And I wished I had aimed straighter. How come you hit the stage
[26:00] hand pure accident. I didn't even see him until after i'd fired, and
[26:03] in away it saved us from suspecting he had a hand on these things,
[26:07] because it didn't make sense that he should get shot if he was in it.
[26:11] But after a while, when I we got to see things where they
[26:12] were going, I saw it could be nobody but you working with his help.
[26:17] Nick. Yes, Betsy, I ask a question, Oh, yes,
[26:21] Patsy one, little one. Did you see who shot at Wymer in
[26:23] the theater tonight? No, it was all too fast. And how did
[26:26] you know it was mister Levane? Well, even before I got to Wymar'
[26:30] dressing room tonight, I felt quite sure that Levan was guilty. And then
[26:33] when I entered the room and found that it smelled very strongly of that highly
[26:36] scented odor cologne that Levan uses, I was positive. Ah, they gunning
[26:40] you right here, Ni sui. He smells like a perfume counter with the
[26:44] fa and Dame decidedly that was the first thing I noticed about him when I
[26:48] met him earlier today. That was his only weakness, wasn't it his excessive
[26:52] use of that scented out of cologne. Well maybe so, Patsy, But
[26:56] as far as I'm concerned, attempted murder is also a weakness, one that
[26:59] has to be punished. In just a moment, Nick and Patsy will bring
[27:11] you a preview of next week's exciting case. You want to take it a
[27:15] little easier than listen. Everybody's days are busy. We've all filled our daily
[27:21] schedules full to overflowing, doing our own home front jobs and helping with the
[27:25] all out effort towards victory in every way we know how so we appreciate more
[27:29] than ever before what it means to relax and how much easier it is to
[27:33] relax when a home is pleasant and inviting. American homemakers are learning how much
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[27:41] Brightness, for example, they're learning that Linux cream Polish restores the original handsomeness
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[27:56] Linux cream polish for fine furniture at actually cleans as it polishes, saving one
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[28:18] It's the streamlined way to furniture care. You'll find all three great Linax Home
[28:23] brighteners at your nearest hardware, paint or department store. And now let's hear
[28:36] from Nick Carter himself. Well, Nick, what's your story about next week?
[28:41] Next time, Ken, I'm going to tell you about an experience that
[28:44] Patsy and I had in one of the great movie studios. Set it out
[28:48] very simply, when the studio lost a reference book containing information about all kinds
[28:52] of poisons. You could look in that book and find out just what poisons
[28:55] to use for anything you wanted. It was much too dangerous a book to
[28:57] be at large. The unfortunate part of it was that I was called in
[29:00] too late to save the man, whose body we found a few minutes later.
[29:03] But we did save the old man, Nick. That hadn't been for
[29:07] you, he'd save me been killed. That's true enough, Betsy. What
[29:08] do you call a story, Nick, I call it Death at the Studio
[29:11] or the Mystery of the Murder Book. That's all for now. So long,
[29:15] So long everybody, and so long to both of you until next week.
[29:19] We'll look forward to seeing you then, same as usual next week.
[29:37] At the same time, listen to another curious experience of Nick Carter Master Detective
[29:42] entitled Death at the Studio or Nick Carter and the Mystery of the Murder Book.
[29:55] Nick Carter Master Detective is featured in Street and Smith magazines. Long Clark
[30:00] is starred as Nick with Helen Chotis Patsy. Original music is played by Lou
[30:03] White, and the programs are written and directed by Jock McGregor. Nick Carter
[30:10] Master Detective is presented at this time and over these same stations each week by
[30:14] the three great Linax Home Bright News, Linux Clear Gloss, Vanish Linux Cream
[30:18] Polish and Linax Self Polishing Wax created by ACME America's great producer, backme fine
[30:26] quality paints. This is Ken Poul speaking for the thousands of Linux dealers all
[30:30] over in America and saying so long until next week. This is mutual welcome
[30:48] back. I could have sworn that I'd heard Nick mentioned smoking somehow in this
[30:55] episode. That may reflect a change in writers and also of you that with
[31:03] kids in the audience, you may not want to be seen as promoting smoking,
[31:07] which is an interesting thing because a lot of people had that idea even
[31:12] prior to Surgeon General warnings. George Reeves, who played Superman, famously gave
[31:18] up smoking because he didn't want to set a bad example for kids. Now
[31:25] on to some listener comments and feedback, and we'll go ahead, and we'll
[31:27] start with Jill who writes in thank you for the wonderful entertainment. Thanks so
[31:33] much, Jill. And also Joan emailed in with a question said, I
[31:41] cannot remember what the name of the series with the man who played the man
[31:44] who looked like Shakespeare. Well, the series as the Adventures of le Auditus
[31:49] Witherall and the actor was mister Walter Hamden, a very great New York actor.
[31:56] Also had justin say the Thinmoves who asked the thin Man series movie series
[32:06] started from radio. I've seen all the Thinman movies and I love miRNA Lloy
[32:12] and William Powell duo. Well, thanks to the question, Justin, and
[32:17] answer to your question. Thinman actually began from a book by Dashel Hammett and
[32:24] then subsequently became a movie and then went on to radio. And we have
[32:31] all the radio episodes of The Thinman. We did those at the start of
[32:35] season two, so you can check those out in our archives at the archives
[32:39] dot Great Detectives dot net, the same place you can find the Adventures of
[32:44] Leatitis Witherall. All right, well, that will do it for today.
[32:46] We will be back tomorrow with yours truly, Johnny Doller, and then join
[32:52] us back here next Thursday for Nick Carter. In the meantime, send your
[32:55] comments to Box thirteen at Great Detectives dot net, follow us on Twitter or
[33:00] Radio Detectives, and become one of our friends on Facebook, Facebook dot com,
[33:04] slash Radiodetectives. From Boise, Idaho, this is your host, Adam
[33:07] Graham's son and off

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