 Murder by Experts. The Mutual Broadcasting System presents Murder by Experts with your host and narrator, Mr. John Dixon Carr, world-famous mystery novelist and author of the recently published bestseller, The Life of Sir Arthur Conan Doyle. This is John Dixon Carr. Each week at this time, Murder by Experts brings you a story of crime and mystery, which has been chosen for your approval by one of the world's leading detective writers, those experts who are themselves masters of the art of murder and can hold intensity at its highest. This time, our guest expert is the noted mystery novelist, Kelly Roos. From the innumerable thrillers he has read and enjoyed, Mr. Roos has chosen a story by Robert Foster. To quote Mr. Roos, the story is a fascinating study of an ambitious and corrupt man venturing into the unknown and being caught in a whirlpool of violence and death. And now we present Carl Weber in two coffins to fill. The scene nicks place, a popular roadhouse on the west coast. It's early evening and the dimly lit cocktail lounge is empty, save for the bartender and a couple in a corner booth. Roger, we can't go on like this. Why not, darling? I'm tired of meeting you at discreet places, of seeing you only when you can get away from your wife. Just have to be patient, Eve. Patient? It's already a year. How long do you think I'll go on waiting for you? What would you have me do? Leave her. Forget about the money. We can get along. On what? Oh, no, Eve. What do you think you'll get from her? I have plans. It'll take time, but I'm very patient. Well, I'm not. I can't go on waiting, Roger. I won't. I'm sorry. Another drink? Nothing affects you, does it, Roger? War, famine or love. You're a man with only one weakness, money. Why is it that women can never break off without creating a scene? Why, you arrogant fool I've been. All right, Roger. I'll break off without creating a scene. Goodbye, Roger. I'll have another Steve and put a dash of bitters in it. Hello, Thornton. Your friend left in a hurry. You're quite observant, Al. I'm a student of human nature. Nick's having a game in the back tonight. Interested? A game? Booker. Yes. Since my dates walked out on me, I'll play a few hands. Tell Nick I'll be there. It's amazing how one small weakness can disrupt an otherwise orderly and well-thought-out plan. My wife, Frida's first husband, left her with a manufacturing plant and holdings amounting to something like four million. That's a comfortable sum of money. And I'm a man who likes comfort, or I wouldn't have married Frida. She was 40 and tired and no bargain special in the marriage market. But I had plans. Plans that didn't include murder. Not then. I was a patient man. Patient until a weakness occurred and I spent the night playing cards in the back room at Nick's place. That night cost me $30,000, all on my signature. Perhaps that's why Nick's gun-happy friend Al was so insistent a couple of weeks later. I was sitting at the bar in Nick's. Thornton, yes? You busy? That depends. Nick wants to see you in his office. He wants to see me about what? I didn't ask him. I'll tell him I'll drop back after I finish this drink. Make it now. What? I said now, Thornton. All right. All right, let's have it your way. All right, huh? Good evening, Nick. Sit down. Before I sit down, let's have an understanding. I don't like the idea of your man here pushing me around with a gun. A gun? I kept it covered, Nick. And we don't want any trouble, Al. Nobody's seen me. Don't mind Al, Roger. He takes his work seriously. Perhaps someone will take him seriously someday. Al's a good boy for a price. Right, Al? That's right. I'm not interested in the merits of your bodyguard. Sit down, Roger. You're getting red in the face. Al, mix us a drink, will you? Sure, Nick. Coming up. Roger, what about that $30,000, you all mean? I'll pay you when I get it. That's a poor bet, Roger. I've been checking on you. What do you mean, checking on me? You're a punk. That wife of yours has got all the dough. You haven't got a dime. My personal affairs don't concern you, Nick. I'm a right guy. I've never given a right guy a bum break yet. How about that, Al? That's right. I'm a gambler, Roger. When I lose, I pay up. When I win, I aim to collect. Before you start laying down the law, Nick, that happens to be an uncollectable debt. Yeah, yeah. I got a lawyer, too. When you say, uncollectable, Roger, you want to figure all the angles. What angles? Al, what do you figure this guy's worth? About $30,000. Which way? Either way. What are you talking about? What do you mean, either way? Tell him, Al. Sitting up or laying down? Now, see, see here, Nick. I can see, Roger. And I want you to see me tomorrow. With $30,000. I said I'd pay you. Tomorrow. I don't know if I can get it that soon. I don't like punks like you, Roger. You're crummy. With all that dough you're tied up to, you're still crummy. Well, I'll do the best I can. When I said tomorrow, Roger, I wasn't kidding. Was I Al? You sure wasn't, Nick. I didn't like Nick calling me crummy. Whatever I was, I wasn't Nick's kind of cramp. I was furious with myself for becoming so stupidly involved with him in that card game. And Frida. Frida had me tied down as if I were a child, making me account for every nickel. If I'd had her, then I... I could have killed her. I'd have to have a talk with Frida. When I got home, she was in the library. You're late, Roger. I stopped for a drink. Don't you have your cocktails here at home? You said you were going to the doctor's. I did go. Well, I thought you'd be late. Not this late. Is this going to be another session, Frida? No, it's not going to be another session. Roger, we're growing apart, aren't we? Oh, for heaven's sake. Now, please, Roger. You'd stop treating me like a child. Do you know what someone called me today? Do you, Frida? No. Crummy. He called me crummy because I'm... well, because I'm tied to your apron strings. Oh, now, Roger. How do you think I felt? Vice president. I signed my name to half a dozen letters, and that makes me a vice president. Oh, I'm sick of it. I'm sorry. You're sorry? Did you marry me so you could push a button and have me come running? Now, don't be absurd, Roger. Why am I? Put yourself in my place. I have put myself in your place. Tonight, while I was waiting for you. What do you mean, Frida? Well, I thought it'd be nice if we could spend the weekend at the lodge. A mountain. Yes, Roger. Why? Oh, we could... we could talk things over. Oh, why can't we talk it over now? A weekend vacation together would be nice. Oh, then you didn't have anything to talk over. It's only a ruse to get me up to the lodge. No, no, no, it wasn't a ruse. You've been wanting to handle the advertising for the plant. I wanted to surprise you. You mean you're... you're turning the advertising over to me? Yes. I'll control the whole department. Everything? Everything. Why? Why, that's wonderful, darling. Of course it's a surprise. A charming surprise. Does it make you happy, Roger? Of course it does. I have something to do and something I can stick my teeth into. Then will you go up to the lodge for the weekend? Well, why don't you run up by yourself this time, Frida? You need the rest, you know, and I have something important to tend to. I wanted you to go. Of course you did, dear. But next time, Frida. Next time. I promise you. Frida's act was more considerate than she realized. Having access to some funds, I could pay Nick, write it off to advertising. For a moment I felt almost kindly toward Frida. But then, as I stared at her, long and hard, wondering if I could care for her even remotely, my thoughts were revolted. I hated her for condescending to place me in charge of the advertising department. I knew I could no longer tolerate her, standing in the way of everything I was waiting for. Not until the next day did I conceive the plan. I was ready when Nick's bodyguard, Al, came into my office. Nick sent me over. I didn't think it was a social call. I don't like jokes. You're very business-like, aren't you, Al? I work for a living. When you work, you work hard, and when you play, you play hard, is that right, Al? That's right. Could you use, say, 5,000 to play with? I don't like chisellers. Chisellers? You heard me. Oh, you think I'm trying to buy you off because of the money I owe Nick? What am I supposed to think? I see. Well, here's a check for Nick. What do you think now? Very grand. How do I know this is good? You're smarter than that, Al. Okay. Okay, what's on? What's 5,000 worth to you, Al? Could be worth anything. Maybe. Maybe. Nick doesn't come in on this? No, no, no. This is just between us. How hard is it? Maybe a bit difficult. But 10 grand I might see. 10,000? Is it yes or is it no? Well, I don't know yet, Al. I'll give you a ring tomorrow at Nick's. I have to make some arrangements. Frida? Yes, Roger? You're still planning to go to the mountains for the weekend? No, not without you. Well, I've been thinking, you do need a rest, you know. Oh, I can rest just as well right here. Yes, yes, I realize that. But I thought I might come up to the lodge with you. Oh, Roger, do you really mean it? Of course, dear. Oh, I was so glad you decided to go with me. Oh, there's just one thing, Frida. Yes? I won't be able to come up until later Saturday evening. Oh, I don't mind driving up late. You don't understand, Frida. I expect you to drive up early. Why, Roger? Well, you can check over the repair work that needs to be done on the lodge. Repair work? Yes, I ran into an old friend of mine today, Frida. Carpenter, Al Gray. Well, he's a bit down on his luck. You know, the lodge could stand some work. Oh, that's perfectly all right with me, Roger. But must I go up early? Well, we don't want him hanging around, do we? No. No, of course not. Good, good. Then I'll ride up with Al. Now, when we get there, we can discuss the repairs. He'll look things over, and then he'll drive on back in his own car. And you want me to go up early so I can make a list of the things to be done? Yes, yes, Frida. That's it. Do you mind about the carpenter, I mean? Of course I don't mind, Roger. I'm just so happy that you want to go. Thanks for the drink, Sergeant. You haven't answered my question, Al. Now, I'm thinking. Thinking what? Murder's quite a wrap. Had your proposition. If you want to forget it, I didn't say that. Then we'll do it. When's the pay off? A thousand now. Nine thousand Saturday night. You want it done about nine o'clock just so it happens before I get there? And I get a ride back with you. Yes, yes. Maybe you try to pull something like the cups. I couldn't risk bringing the police in. You're smart enough to know that. Smarter than you think, Thornton. All right, now. Now, it has to look like a struggle and robbery. Leave that to me. Is everything okay with her wife for me to ride her up there? It will be. Saturday morning. Oh, this is Mr. Thornton. Oh, good morning, sir. May I speak to Mrs. Thornton? Very well, sir. She's right here, sir. Oh, I was afraid you might have left for the lodge already. No, no, not for an hour yet. Frida, I wonder if you'd mind doing something. What is it? Al Graves, the carpenter who is going to drive me up. Yes? His car is broken down. It's in the garage. Would you mind terribly taking Al up with you? Oh, and, Roger, really, I... He could look over the repairs himself that way. Well, when will you come up? As soon as I'm finished working at the office, I'm working on the new advertising program. Well, I suppose I could have Richard take Al and myself up in the sedan. Oh, you don't have to bother Richard. Why not take your convertible? Oh, couldn't we have that carpenter come up some other time? All right, all right. Let's just forget the whole thing, Frida, if you wish. You can go on up alone. Now, now, Roger, you know that... Things must always go your way. Well, will you drive up in your car? Yes. Al can use it to return to town. Well, all right. Where'll I pick him up? On the corner of Hawthorne and Orange. Hawthorne and Orange. Yes, I'll tell him to watch for the convertible. All right, Roger. I'll see you at the lodge tonight, darling. Things for the past few days have moved so amazingly fast and remarkably well that I had little time to reflect upon my emotions. Frida's surprising agreement to my wishes I knew was merely a new tack in her attempt to draw me closer to her. And yet, as I drove through the lane to the lodge in the evening, I had an unaccountable fear. The wind whined through the trees and the eerie sound disturbed me. I parked the car and sat for a few moments watching the lights in the lodge. It was ten o'clock. Al should have been finished long ago. I got out of the car, walked to the veranda, and opened the door. You finally got here. Yes. Well, how's it look? You satisfied? I said to make it look like a struggle. Don't it? I guess it's all right. If you got the dough, where is she? In the bedroom. Go in, take a look. Turn on the light. No, no. Ah, I can see. Satisfied, Thornton? She's... She's partly under the bed. Yeah, she got scared. She tried to hide. I had to follow her. Shut the door. I said to shut the door. You're a funny guy. Why? You figure all this out and can't stomach your own stuff. Let's... Let's sit down and have a drink. Sure. You got the dough? Yes, sure. There should be some glasses here. On that shelf. I'll fix the drinks. When I get that drink, we're going to blow. Where's her car? Garage. Want to see it? No. Here you are. You needed worse than I do, Thornton. Where do you go from here, Al? A trip, maybe. Well, you have nothing to worry about from me. Then I know, Thornton. How was it? How was it done? Done. Did you leave it? I'll get rid of it. Well, here's to you, Al. Yeah. All right, Thornton. Now let's have the dough. Certainly, sir. I've got it right here. I've been thinking about you, Thornton. I think Nick's right. You're crummy. Oh, now, you shouldn't feel that way, Al. I had to do it over. You won't. Say, I'm sick. I mean, what you putting that drink on? Nothing, Al. You double-crossing, I'll kill you, Al. Will you, Al? I poured some of the liquor on Al and dipped the bottle over. Then I carried him out of the lodge across the carpet of pine needles to the bluff a hundred yards away. I placed one of Frida's expensive bracelets in his pocket and almost a money in articles of lesser value. I dropped him over the bluff and heard his body strike the rocky streambed 300 feet below. I went quickly to my car and drove away. I drove rapidly for an hour till I passed an all-night diner. I wheeled the car out in the highway, pointing it back in the direction I'd come. Then I ran the car into a ditch hard. The front fender crumpled against the wheel and the tire blew out. I couldn't have wished anything better. This was it, my alibi. I walked a mile up the road to the diner. As I opened the door, a car pulled up. When I entered the cafe, a girl got out of the car and followed me in. Where'll it be, folks? Coffee, please. And you, mister? Coffee. Say, is there a tow truck around? A tow truck? I blew out a tire and went into the ditch about a mile down the road. And Jim Parson has a tow truck. Come in, Daly. Won't be back till Monday. Here you are, miss. Nice. Wreck your car bad. Smash the wheel. I don't have a spare. Oh, that's too bad. Going far? My lot. About 50 miles up the Thornton Place. Roger Thornton. Maybe you know it. Thornton? No, can't say I do. My wife's there. But I'm sure she's all right. You don't stand much of a chance of getting a ride going that way this time of night. I suppose not. You can use a phone there. Reverse the charges. Oh, no. The phone's disconnected up at the launch. You might be able to hitch there, L.A. Once in a while, there's a car going that way. That's an idea. Anything else for you, miss? No thanks. How much? 10 cents. Thank you. Good night. I reckon the young lady didn't want a passenger. So it seems. Say, I think I will use your phone. Help yourself. Have you got that straight, Charles? Yes, sir. I'm to call the auto club. Have them pick up your car. It's quite a way to the lodge, so I'm going to try to get a ride back to town. Were you hurt, sir? I'm perfectly all right. It may be rather late before I get in, so leave a light in the library. Very well, sir. Good night, Charles. Is that all, sir? Why? Yes. Yes, that's all. Thank you for the use of the phone. No, that's okay, mister. Could you use a drink? He'd never been known to turn one down. I've got a bottle in my car. That's quite a waltz. It's nice out, and I could use a drink myself. Suit yourself. Don't mind if I sit around after I get back. Maybe I can pick up a ride. Glad to have you. I'm open the whole night. Good, good. I'll be right back. Sir? Yes? Do you say you wanted a ride to L.A.? Why, yes, yes, if you're going that way. Hop in. Well, thank you very much. I would have asked you in there, but I didn't want to give the counterman the wrong idea. Mr. Thornton. How did you know my name? You told the counterman. Oh. Oh, of course. I was just going to get a bottle out of my car. I already got it. You got it? Sure. Nice car. Thirsty girl. I had a hunch. How long were you with the car? Long enough to find the bottle and see your name on the steering post. I thought you heard me tell the counterman. Good. So then I knew you as a gentleman. Have you drunk much of that bottle? Enough. Hey, you shouldn't be driving if you've been drinking too much. Scared? No, no, it's for your own good. I'm celebrating. You might have waited till you got in Los Angeles. Mr. Thornton. Yes? Why'd you turn your car around and run it into that ditch? What? I know all about you, Mr. Thornton. Who are you? What's your name? Della. Della what? Just Della. Look out! You nearly turned us over. Either stop this car and let me drive or... Or what, Mr. Thornton? Stop this car. When we get to Nick's... Did you... Did you say Nick's? I'm Al's girlfriend. No. Didn't you think Al could have a girlfriend? Why did you pick me up? Because I'm not half as tight as you think I am. Then what do you want? Al was a punk, a nice punk. But punk's come cheap, Mr. Thornton. I want that $9,000. Do you think I'd carry that kind of money around? And did you think Al was stupid enough not to have somebody cover him at the lodge? You there? You saw it? Yes, I was there. And I saw it. You're a very brave girl, Della. Threatening me. I don't scare easy. I know your kind. I know you. This is a gun, Mr. Thornton. I'm not afraid to use it. You're a very stupid child. If you try anything, I'll wreck this car. What's that curve? I think that goes... Now stop that car or I'll kill you. No, you won't. I'll hold that wheel. Let go. She told me she'd seen me kill Al. I went out of my head. I didn't know what I was doing. I shouldn't have killed her. I'm stupid, but I couldn't help it. I couldn't stop. I drove the girl's car into town and left it on the side street. I dropped the gun down a sewer and caught a bus home. It was almost daylight. I was tired and sick. It was all over. It was all over. I unlocked the front door. Quietly entered the house. My house. I was too keyed up for sleep. What I needed was a bracer. I went into the library. Good morning, Roger. Rita! Who did you expect? Rita. What are you doing here? I've been waiting since you telephoned Charles. I killed him. I killed him both. You killed him? Al and the girl and you're here. You're right here. Stop it, Roger. Roger, stop it. I'm so sorry for you. I had it all figured out. I did. That man Al, the carpenter, he told me everything, I had to pay him. You paid him? And it was the girl I saw. She was in the bedroom. Pretending to be you, pretending to be dead. Al framed the whole thing as a shakedown. He never intended to kill you. Oh, I'm so sorry for you. You said that! You said that! Who are you to feel sorry for me? I love you. I'm going to miss you, Roger. Love? Then why didn't you do something? Why didn't you tell me? I didn't know. I stayed home hoping you'd come here You know what I've done? That's why I'm so sorry for you. You say that once more, once more, Frieda. It was greed, wasn't it, Roger? Greed for my money. I hate you, Frieda. I know. And I love you. Isn't it strange, Roger? It's pathetic. What I wanted to tell you at the lodge, Roger. Or if I'd only told you sooner. What do you mean? Frieda, what do you mean? I'll tell you. But it's too late now, Roger. You've killed two people. And you'll hang. I'll let you. What are you doing with that gun? I haven't any money, Roger. I've been wiped out. That's what I wanted to tell you. You needn't have killed them. No, Frieda. No. But I still love you. No! No! And I won't let you hang. Goodbye, Roger. And so the curtain falls on two coffins to fill, which was chosen by guest expert Kelly Rose, whose latest mystery is murder in any language. Next week at this time, Murder by Experts brings you a story of intrigue and surprise of a beautiful Hollywood actress and of a man who died twice. Selected for your approval by the famous mystery novelist Miss Helen McCloy. Until then, this is your host, John Nixon Carr, hoping you'll be with us next week at this time. In the cast of Two Coffins to Fill, which was written by Robert Foster, were Carl Weber, Eleanor Phelps, Jimmy Stevens, Miriam Wolfe, and Maurice Tarplin. Music was under the direction of Emerson Buckley and was composed by Richard DuPage. Murder by Experts is produced and directed by Robert A. Arthur and David Cogan. All characters in our story were fictitious, and any resemblance to the names of actual persons was purely coincidental. This is Phil Tarkin speaking. This is the Mutual Broadcasting System.