 a radio theater starring Pat O'Brien and Lynn Barry in Crack-Up! Ladies and gentlemen, your producer, Mr. William Keely! Greetings from Hollywood, ladies and gentlemen. And tonight we bring you a special favor to the screen, Pat O'Brien, in a new and thrilling drama and for Pat a very different sort of role. In RKO's Psychological Mystery, Crack-Up, he appears as a man whose temporary mental blindness threatens his entire life, turns trust into suspicion, love to doubt. Co-starred with Pat is a talented and beautiful Lynn Barry, who adds a note of romance to this rapid-fire story of murder and conspiracy. Once again, our curtain writers, as we present, act one of Crack-Up! Starring Pat O'Brien as George Steele and Lynn Barry as Terry Cordell, with Lester Matthews as Trayvon. It's 11 o'clock at night and in New York's police headquarters, Lieutenant Detective Cochran is on the telephone. Wait a minute, Johnson, say that over again. Yes, sir. About 20 minutes ago, see? I was just turning the corner at the Manhattan Museum when I see this guy smash the front door and break in. Go on. I go after him, see? He puts up quite a battle and right in the middle of it, he passes out. Drunk? But here, and he's on the staff at a museum. Give us art lectures or something. Who's there with you? I can hear voices. Some of the big shots from the museum. Okay, Johnson, I'll be right over. Just a second if you don't mind. How's the patient doing, Johnson? He still keeps mumbling about a train, Rick, Lieutenant. Well, let me get this much straight anyway. Mr. Barton, you're the director of the museum? I am, sir. And you're Lowell and you're Stevenson? That's Rick, Lieutenant, except it's Dr. Lowell. M.D.? Yes. Dr. Lowell, Mr. Stevenson and I, we were attending a board meeting upstairs. The other trustees left some type of code. We three were still there when this some fortune that incident occurred. You work here, Mr. Stevenson? He's our curator. I see, like Mr. Steele? Mr. Steele's an assistant. He's been lecturing here. I suggest that Mr. Steele change his brand of whiskey. I examine Mr. Steele before you arrive. He's more than drunk. He's really ill. There's no denying the odor of alcohol, but I know he doesn't do that kind of drinking. He keeps talking about a train, Rick. What could he possibly mean? I'll be able to answer that when headquarters calls me back. I trust nothing of this will get to the newspapers, Lieutenant. It would be most embarrassing, a member of our own staff. Surely you can understand. I'll take it. Hello? Yeah? You're sure now? Did you check every railroad line? OK, thanks. Come in. Frank. Oh, hello, Terry. Where's George? What's happening? He'll be all right, Terry. He's lying there on the couch. George, oh, darling. Good evening, gentlemen. Why is this open house? Who's the girl? Who's this man? The young lady is Terry Cordell. She's a magazine writer, a friend of Mr. Steele's. I phoned her to come. And this Lieutenant is Mr. Craben of the English Museum. I was having dinner with Ms. Cordell, and she got wood. Will I be in the world? Are you talking again, Lieutenant? What are you trying to say, dear? What do you mean, were there many killed? The train, Rick. They're plowed right into us, Terry. What other train? George, this is Lieutenant Cochran of the police department. Police? What do they want? Some answers, Steele. Like, where have you been tonight? Was he kidding? What did happen, George? I was in a train, Rick. That's all I know, and I woke up here. And where was the train, Rick? Where were you going? North. Same direction the train was going. I was half an hour out of Grand Central with the rest of the passengers. Is there something unusual about that? The only thing unusual is there wasn't any Rick. That phone call I just received, they've checked every railroad. There wasn't any Rick. You're out of your mind. I was in a wreck, who you're driving at. One of my supposed to have done. Among other things, you kicked in the front door here, and you struck the police officer who was trying to stop you. But let's get back to the wreck that didn't happen. Probably had enough cross-examination. Now it won't help any of us to get excited. You mind if I speak to him? Go ahead, Dr. Steele. Try to remember everything you did today before you took the train. Please, George. Okay. I was here in the museum all day. At five o'clock, I delivered my lecture. I have a few definite opinions about art and hypocrisy, and I said exactly what was on my mind. And at the event, people seemed to enjoy it. But when the lecture was over, Mary said... Wait a minute, who's Mary? Mary Gardner. She's Mr. Barton Sester. And I'm not at all happy with the nature of your lectures, Mr. Steele. I agree to those theories on the basis of your war records and Stevenson's recommendation, but I'm afraid it's not working out. But we're drawing the biggest crowd you ever had while this afternoon... This museum is supported entirely by wealthy patrons, and we cannot afford to antagonize them. The only people who could possibly be antagonized by what I've got to say are the ones who wear culture like a minke coast. People who use this museum on social front, they're such a conditioned mix. It gives you no license to discuss it with the public. And your criticisms of surrealist painting really, sir, your behavior's been inexcusable. Well, the people don't seem to think so, nor the newspapers. The trustees are meeting here tonight. We'll see what they have to say. Well, in that case, I hope you'll mention the English exhibit. There are a lot of people who'd like to see those paintings, Mr. Barton, besides the friends of the board of trustees. The paintings are created for shipment back to London. To hang them again is unknown. Expensive and inconvenient. I will say so at the meeting. I will also say that your suggestion about X-ray equipment is ridiculous. Why? Because this is a museum. We're here to show paintings, not to question their authenticity. The Metropolitan and the Moors have used X-ray without any complications. I thought it might be interesting to the public. If we showed them some of those masterpieces under the X-ray, I will do my best to present your position to the board. And tell them to make up their minds whether this place is to be rough or not. It's tea party. Good night, Mr. Barton. Left Barton's office lieutenant. I came downstairs. Met Miss Cordell, and then I... Just a second. Can you verify what he's told us, Mr. Barton? That argument in your office? What he said is true. Why, we've been calling it an document. Okay, Steele. You met Miss Cordell. Then what? She wasn't alone. Mr. Trebin here was with her. I enjoyed your lecture very much, Mr. Steele. Thank you. Say, Terry... You're Captain Steele, aren't you? I was Captain Steele. Yes, you're the lad who turned up all those forgeries in the Nazi art collection. That was a great job. Thanks. Terry, you're free for dinner? Oh, I'm sorry, George. But Mr. Trebin... Why don't you join us? I'm very anxious to hear more about your work on this course some other time. Good night. George! Oh, now, wait a minute. Hey. Well? You're part of the party. Come on, what's the beef? There's no beef. It's only some time I can spare a few minutes. Cut me in, will you? George. I'd like a cocktail. It's early. I can tell Mr. Trebin to pick me up in an hour. Please. Okay. I'll meet you at the door in five minutes. We took you out for cocktails, Miss Cordell. Where? Barclays. It's a sort of restaurant. We eat there quite often. But this time you just drank, is that it? Take it easy. We had one drink. We just sat there talking. Got a nickel, Terry? Because what you have and I have. What do I need a nickel for? Phone call. That's all it takes to break your date with Trebin. I'm tempted, darling. You know, I haven't really seen you for days. I hate to admit it, but I miss you. I miss you. Call for you long distance. Long distance? I'll be right back, Terry. George, is anything wrong? It's from the hospital in Grendy. My mother's sick. I just have to go to the hospital. No, no, no. You go ahead and have your date with Trebin. I love you, Terry. Call me in the morning, darling. Let me know. Except for Grendy. I'm in kind of a hurry. Yes, sir. I'll be here. Hey, mister. Hey, you changed, hey? And he's had a few too many. I'm okay. You know all the best things about you? That fella's trying to help us find the train. Oh, sure. Hey, mister, wait a second. I'll give you a hand. But you got on the train to Grendy. I just have to make a train. Oh, darling, I'm sorry. I'll go to the station. No, no, no. You go ahead and have your date with Trebin. Well, you got on the train to Grendy Steel. The train you think was wrecked. Yes. See anyone you knew on the train, George? No, doctor. I, I sat down and looked out the window. I'd follow at the drop. They sat down right behind me. And I, I tried to read a newspaper. But I couldn't. I was thinking about my mother. Hoping I'd get there in time. Here's a one-pound box of delicious chocolate, perfect bonbon, shortly going on sale at two dollars a pound. Now I'm giving them away absolutely free as a special advertising offer. Of course, there'll be a slight charge of twenty-five cents for boxing and rapping. OK, lady. How many? Just one, please. Yes, ma'am. And thank you. And the gentleman here. How many, mister? Yeah, cigarettes. Maybe you didn't hear me, mister. This trip is candy. All right, I'll go to the next trip. Next trip is corpies, sandwiches, and apples. The next trip is cigarettes. Our folks have gone through this car just once with this patient into the office. Marlon, next. My watch, Lieutenant. When I saw it coming, there was a curve so I could see it through the window clearly. The headlight of another train cutting through the darkness. Brighter and brighter and brighter. It was my imagination that had to be, but it wasn't. That other train was on our track. I wanted to shout some kind of warning, but I couldn't. I just had their watching, watching, and then, then it happened. Everything exploded in front of me. There were screams. That's all I remember till I woke up here. Quite a story. Can you think of some way to prove it? Yes. Where's my coat? Don't bother. You haven't got a ticket, Stubb. We went through all your pockets. Oh, Johnson. Yeah, Lieutenant? Call the hospital in Glenby. Check on a Mrs. Steele. Mrs. Albert Steele. Okay. I don't get it. I just don't get it. George, you've been working pretty hard, you know? Of course I have. I've been overseas, Dr. Low. I've got a lot of time to make up. Did you have any, uh, unusual experiences overseas? Yes. One day I got a letter I could read. I didn't mean to sound unsympathetic, but it's possible that your war experiences, plus overwork, would be the answer. Lieutenant, what are you going to do? Right now, I'm going to have a smoke. George, tell me. Do you recall ever being in a railroad wreck or having some similar experience when you were a child? Yes, I'm Lieutenant. Thanks, Draven. Dr. Low is working on him. Yeah, you played that quite well inside. I'm not obliged. The museum, Barton, do they really know why you're in New York? I don't think so. Would you mind better much turning Steele loose? I can't do that. He's ripe for a psych award. He'd be much safer there, but I'd rather have him running around for a while, it might help. What's your guess? That he's mixed up in this thing you're working on? That's what I'd like to find out. How? I was wondering if I could battle a couple of young men to put on his trails. It won't look very good on the records if somebody gets hurt. Well, I'll try and see if nothing happens. Well, let's get back in there. Now, it's just a matter of facing the facts realistically, George. All right, all right. I'm psychopathic. Sure, I was frightened by a train when I was six years old, only I don't remember it. George, please, dear. Did you get to hospital, Johnson? Yes, sir. They got a lot of patients, but no one named Mrs. Steele. I thought so. Go on, then. Lock me up. Mr. Barton, you willing to forget the damages to your front door? Please, my only concern, Lieutenant, is to avoid publicity. How about you, Dr. Low? How do you feel about it? The friend's here. Would you want to help him? I'll polish him. OK. I'm probably making a mistake, Steele, but I'm letting you go. Lay off that vinyl. And don't take any more train rides so you're liable to wind up and belt you. Here's to your coat, George. Better put it on. Thanks. Mr. Barton, I'm sorry about this. I can't understand, but I'll make up for it. From now on, my lectures will be conservative and dull. The Board has already tentatively considered canceling your lectures. I think under the circumstances, we'd better make the decision final. I see. Let's get you home, George. You need to rest. Sure. I'll find a cab, Miss Cordell. Good night, gentlemen. Thank you. Yeah. Thanks. George, how can you just stand here smiling? Well, look. Your whole apartment's been wrecked. Furniture, papers. Have a chair, Mr. Traven. Just pick anyone off the floor that you like. George. Maybe I wrecked the place. Sure, maybe I did it. Well, if I can dream up train wrecks, why not this? Except you didn't. I couldn't have. The police probably. One of Cochrane's men while he was about to the museum. We'll change check up. I mean, well, they're just notoriously untidy. It's strange, but your Americans are always fighting an undeclared war against your police. Your cops are only human. They might respond to a little respect and affection. George, these papers here. They're part of my file in the German forgeries. I wonder why they didn't arrest the police. Well, I hope you'll feel better after a little rest. Good night, Mr. Steele. Let me know if there's anything I can do. Yeah, sure. Well, you coming, Miss Cordell? Later. I want to talk to George. Thanks for being such a help. That's all right. Good night. Terry, what do you think? What is happening? All of a sudden, I don't know myself. Everything has become unfamiliar. It'll clear up. Well, of course, we'll deal lots since I've been back home, haven't I? You've been normally jealous? I've seen a lot of good guys crack up in this war. Cool, composed cookies one day and the next snapped like a tight violin string. But the ones here everybody had, they kept thinking it might happen to me. There's nothing wrong with your mind, so stop it. Your ego is a little bruised because for once you don't know all the answers. But there's nothing wrong with your mind. Guys still don't know whether I've been in a train wreck or not. I've got to find out. All right. Do handstands. Knock your head against the wall. Show your muscles. Do anything you like. What's wrong, darling? What's going on? Sorry, I'm mad, I guess. Confused. A little scared. Last night in Barclays for the first time in three years, I began to sense what life could be like again. You and I, and then... Oh, I don't know what happened any more than you do, darling. I don't really care. I just resent it. How's the dinner with Trayvon? Do you have any fun? No. George, I... I'm going home. Will I see you tomorrow? Oh, I hope so. How about Barclays? How's your car? Six will be fine. Now, come here, you big lug, and kiss me goodnight. We're supposed to be engaged, remember? Now, I remember, darling. Don't worry, Terry. I'll get to the bottom of this and soon, too. I called your apartment. I called the museum. I... Oh, darling, what's the matter? You wouldn't be working with Conklin, would you, Terry? Don't be silly. He could have told you where I've been. See that fella at the bar? I'm on the raincoat, I mean. He's been on my trail all day, followed me everywhere. And I mean everywhere. George, don't. Whatever you're going to do, don't. I've got to find out what happened last night. How can you? Where would you begin? Well, for one thing, if I could lose that Joe, I could get on the same train. Keep my eyes open. I've got to find somebody or something to tip me off to what went on. Just leave it alone. What would that accomplish? Excuse me, Terry. I'll be right back. So, they're at the end of the bar soon. He just got up. Tell him Lieutenant Conklin wants him on the phone. Go away then, here. This is for you. Oh, thanks, Steve. I'll tell him. Hey, take it apart, okay? Where'd that man go? The one you were just talking to. Now, the washroom, Terry. Oh, you want it on the phone? Lieutenant Conklin, sir. How do you know who I am? The man on the phone. He said you'd be wearing a gray raincoat. Okay, thanks. He's been on his mindwaters. Whatever it is, he wants to do it alone. Don't worry. We'll be hearing from Steele again. Pat O'Brien and Lynn Barry will follow in a moment. Of America into music. Has been Robert Russell Bennett's great gift to America. Speaking of his armed forces suite, he said, What we've tried to do is to enjoy the spirit of the music we know to have been in the hearts of the men in the armed forces over the years, and in the hearts of those who loved them and cheered them on. His Four Freedom Symphony, inspired by Norman Rockwell's Four Freedom's paintings, is a graphic example of how what depth he is at translating the visual into the musical. The Four Freedom Symphony is by no means a copy. It is instead an interpretation of the birthrights of the American people. Bennett painted another American musical picture in his Abraham Lincoln, a likeness in symphonic form. Considering his impressive list of compositions, it's amazing that Bennett has found time for other endeavors. Yet he has long been the most sought after of all orchestral arrangers for musical comedies. And his techniques are apparent in works by Rodgers and Hammerstein, Jerome Kern, Harold Arlen and others. Robert Russell Bennett is without a doubt one of America's musical spokesmen. So accurately and with such feeling, does he portray our nation's greatness. William Keely. We continue with Act Two of Crack Up, starring Pat O'Brien as George Steele and Lynn Barry as Terry. In the events that he was involved in a train wreck, George Steele tries desperately now to retrace his steps of the night before. A game in Grand Central Station, he hopes to find his first clue at the ticket window. Next, please. Sound kept at Glendly. Glendly? Yes, sir. Say, were you on duty last night? Yes. The same window? I don't know, mister. We switch around. I bought a ticket here last night. I left some change. I wondered if you might have remembered me. Say, buddy, I got a train to catch. I see hundreds of faces every day, mister. I can't remember them all. Okay, thank you. What is it, the game? Give me a round of tips, all. Cigarettes and candy. I got cigar boats. I got cigarettes and candy. I'm pasting through the car just one... There you are, sir. Yes, sir. Cigarettes. What kind? What kind did I get last night? Are you kidding, Joe? What do you think? I keep books? You don't remember? Get this guy. You want me to remember what kind of butt you smoke? It is important. Please, try to remember. What a character. Cigarettes and candy. Right. Doctor? Yes, sir. Do you recall seeing me on this train last night? I sat right here, in the same seat. Oh, sorry, mister. I can remember a name, but I can never remember a face. Marlon next. Marlon. None of us. But I remember that the window I saw was coming. I saw it coming towards the gun. We're going to crack it off. Marlon. Yes. That's the place. I'll get off. I'll get off at Marlon. No, I didn't want a ticket. Are you the Space Master? Sure am. Do you remember if anyone got off the train here last night? What train? The same train I just got off. Well, now I don't know. Here's five bucks. Will that help your memory? Well, that's a funny thing. What? You're a private detective. You're checking on Mrs. Anderson's husband. Anderson? Mr. Anderson gave me five dollars, too. Just to tell her if he gets off the train with a certain party. Well, did he? Did anyone get off? Yeah, but not Mr. Anderson. A couple of fellas got off. They were carrying another fella. So full of liquor he couldn't even walk. Look at me. Could I have been the man they were carrying? Could I? They didn't know this, mister. Sorry. Where'd they take me? Where'd they take this man? Put him in a car. What kind of a car? Mr. I ain't been able to tell one kind of a car from another since 1924. Anything else I can tell you? No, no, not now. Thanks very much. George, where are you? No, come on up. I was on that train last night, and the drunk behind me was a plant. Go on. Well, I was slugged. Hit on the head when that other train rushed by. Then they took me off at Marlin. It looked, well, looks like two fellas helping a drunk. Oh, but why would anybody want to discredit me? Make it look like I was a dipsaw or crazy or both. I'm in somebody's way, Frank. And it connects with the museum. But how do you count for swearing you were in a train wreck? Or for trying to break into the museum last night and still not knowing? Oh, yes. I don't know yet. Something's going on at the museum. You know. I want you to tell me. OK. This is strictly confidential, George. You remember that painting by Gaines Burr we had in the museum? The one that was lost at sea in the mix- Yeah, of course I do. Well, Barton got a letter from a friend of his in London named Montague. Telling him that it was not an accident. Not an accident? That's all I know. Barton's been suspecting everybody ever since. Frank, you've got to get me into the museum tonight. Tonight? But why? Check the files. You have a key. I've got to find out if anybody connected with the museum has a house in Marlin. Oh, you can't risk going near the museum. The police is... Oh, yes. I guess maybe you're right. I'll go. You wait here. I'll get your information and call you within the hour. The one in my car and the way here. The description's bouncing out of every loudspeaker in town. I'll keep out of it. Cochrane, get this out in the open. All right. That's about as smart as splitting my own throat to get some fresh air. I'm behind a lot of iron. There are a lot of things to do and I've got to be free to do them. About that Gaines Burr painting that was lost at sea. Tell me what I read in the papers. It was destroyed in an accidental explosion. The insurance company paid off. It wasn't an accidental explosion. How do you know? Stevenson told me. And I know that's why he wanted me to meet him at the museum. He must have run into something because he did. I phoned Mr. Traven George. I told him I was meeting you here. Oh, that's swell, Terry. Did you send for Cochrane, too? George, you can't handle this alone. She's quite right, you know. You need help. Suppose you tell me how all this concerns you. I'll tell you what I can at the moment. The only reason you went arrested last night after you broke into the museum was because I was able to intervene with Cochrane. My very Godfather, why? I'll get to that. You're in pretty deep now. A man's been murdered. Your life is in danger, too. You haven't answered my question. You'll have some information I need. And I know a number of things of great interest to you. Now, let's get Cochrane and put the pieces together. Hmm. I thought I'd see the hook eventually. Darling, please be reasonable. I am overwhelmed. Everybody has my interest at heart. Everybody wants to take me to the cops. No, we're only asking you to come. Well, I'd like to think it over. You know, it isn't every day that a man can be booked as a psychopathic killer. George, you've got to trust it. I'm not trusting anybody this week. For Terry's sake. I'm the sake of your own sake. I'm afraid I must insist. There's a police officer just outside. Oh, man. Okay. You win, Trayvon, now. George! He's a sucker for writing the soul effects so long, baby. What man, what? We're gonna drag you down here this time of night but we couldn't very well discuss it on the telephone. Your audacity. Ordering me to meet you here at the waterfront. And why did it come? Your wonderful murder. I should have notified Lieutenant Cochran. But we both know why you didn't. Cochran's liable asked you some embarrassing questions, Mr. Barton. I think I mentioned that when I phoned you. He might want to know what you were doing at the museum when Frank Stevenson was killed. I was going through my papers. I've had some personal things on my mind. I've been very upset. Because of that Gainsbury? Yes. Well, first of all, Mr. Barton, the Gainsbury destroyed at sea by an accidental explosion was not the original. It was the forgery. What? What? Now, it's your turn to tell me something. Your friend in London, Mr. Montague, did he tell you how they discovered the forgery? They examined some of the pieces of canvas found after the explosion. The pigment, it was obviously not the original. Hmm, it must have been quite a blow to someone. Someone who has the original in possession now. Someone who had the forgery painted and then arranged for destruction. Who is it, Mr. Barton? I don't know. Stevenson had found something when he was killed. How do you know? Because. He had opened some of the packing cases in the vault. There's been another forgery, Mr. Barton. One of those paintings, you're shipping back to England. Don't you think I know that? Why do you think I've pleaded with Stevenson to let Metta go home? I am supposed to be an expert at spotting forgeries. I don't want it exposed. Hasn't there been enough tragedy, enough scandal? Whatever painting it is and whoever wants it, let them have it. Don't you realize my whole career is at stake? So is my life! My guests will try the same tricks that fall with the Gainesboro. Another accident of some kind. Well, I've got to spot that forgery before I leave this country. That means you've got to get me into the museum tomorrow night. I refuse, definitely. It's too dangerous. Is one of you so interested in my health? Besides, I can't possibly be at the museum tomorrow night. I'm giving the reception for Mr. Traypin in my apartment. Oh, yes. I heard something about that. Well, you're going to have two more guests. What are you talking about? I want Miss Cordell there. Traypin will be very happy to take her. She may learn something. I'll be the second guest. How do we see? With your help, I should be able to find a nice cozy spot on the fire escape. Maybe I'll learn something, too. And what is your discovered? Oh, that would be a pity. But I know you won't turn me in, Mr. Barton. You have held too much information from the police. Be at my apartment early. I'll do what I can. I've been trying to get you along all evening. I'm sorry, Dr. Lowell. I'm always at the loss when it comes to playing host. Stevenson's death, it's absurd. You've upset all of us. I would have cancelled the reception, of course, except Mr. Traypin's stealing. By the way, in the years of the fugitive, George Stevens, there's no news. I am sure you would have heard this from the guy. You're much too nervous, man. I'm going to stop by my office tomorrow. I'll give you some champagne, Terry. Thanks, Mr. Traypin. Well, here's luck. It seems so cruel. Super Champagne and not knowing where George is or what happened to him. Well, Carlton has his best man on key spots all over the city. They won't let him get into too much trouble, so I repeat, here's luck. Oh, I dig your fault, Mr. Traypin. Yes? The telephone call here, sir. You can take it right here on the extension. Thank you. Yes? What? You're sure that's the painting? But it wasn't to be shipped until next week. What vessel? Yes? Yes? What time does she sail? Right. This is Arcadia Pier 31 North River. Thanks. Terry, do you suppose you could take me for a fast drive? No. What happened? Come with me while I find Mr. Button. What effect would that be, Mr. Traypin? Excuse me, I better close the door. I said, by whose orders is the adoration of the Kings being shipped out tonight? Tonight? Mr. Button, it's my job to seal the collection of English paintings on loan to your museum and return safely to England. The adoration of the Kings is to leave next week aboard the Regency. Of course. But I just had word it's been taken aboard the Arcadia sailing at one o'clock tonight. Why were the arrangements changed? Nothing's been changed. He's facing the stealing of the museum. He better be. Call the museum at one speed and tell the watchman that I'm coming right over with Miss Cordell. I swear I know nothing about it. He must be mistaken. Then I must be nuts because I think you're telling the truth. Miss Cordell's driving him to the museum? Yes. They're wasting their time. Where are you going? To the SS Arcadia Pier 31 North River. I'm calling Pat O'Brien and Lynn Barre in a moment. A recent seminar revealed that not all informal informants were homeless outsiders nor were they blackmailed nor enticed by proclas in their countries who quite simply chose treason as a way of life. Nevertheless, the mission of all agents and informers is to gather classified information any way they can. The outcome of wars and the history of the world has changed because people who should have known better. Where is Mr. Keely at the microphone? Here's Act 3 of crack-up starring Pat O'Brien as George and Lynn Barre as Terry. Pier 31 North River, the steamship Arcadia is making ready-to-way anchor. Through the crowd of passengers and weld-wishers that lie in the deck, a figure emerges from the hold, loses itself in the thong and slips out of sight in the shadows of the war. Well, Lieutenant Carteron, there goes Mr. Steele. Yeah, with the adoration of the King's under his coat, he's got that painting, Clayton. Undoubtedly. The painting was not at the museum. It must have been aboard the ship. Steele found it. And you're letting him walk off the dock with it. Steele's not the man we're after. I'm getting a little tired of hearing that. I'm using Steele as bait. I have to. If we're ever going to learn who's behind all this... What about that girl, Miss Gardell? She's at the end of the dock. She's waiting in her car. For you or for George Steele? You're beginning to catch on, Lieutenant. Oh, I trust your men will be trailing him. I'd really hate to see Steele get into any more trouble. It's better than the subway. Except I can trust the subway. I used to think you worked on a magazine, Cherry. What's your real racket? What do you do for a living? I drive around in cars picking up plycopathic killers. Oh, sometimes you make me some... I was at a party at Barton. All of a sudden, things started to happen. I drove Trayvon to the museum and then down here. Yeah, I know. And I spotted him on the ship. Cochran too. Did they see you? They gotta be here. They're dead. Look, as far as I'm concerned, we can sit here in the car all night unless you have some dim idea of what you're doing and want me to help you out. All right, let's get out of here. Oh, that's the British Museum. No, from Scotland Yard. And we're sent here to check on the missing games bar. Oh, I am. Oh, I am. And I've got something hanging on my coat. Oh, I know this. Except I'm not supposed to have questions, am I? Canvas. Canvas might have stolen it. Supposed to be during the iteration of the King's. I think it's a phony. How did you get it? Oh, our friend Trayvon is as nimble as you think he is. I got aboard the arcade. He went down on the hold and found a real Mars-bounded cargo. And nobody stopped you. One guy tried to do a sailor. At least he was dressed like a sailor. He was in the hold playing with matches. I put him out first and then the fire. He gasped the same thing all over again, except for the games where it was an explosion. This time they were trying arson. That sailor. Oh, what you want me to do? Take him to Trayvon? I had to leave him there. I'm wanted for murder and I've just stolen the painting. You know, it's a funny thing. That night on the train, the fellow with the drunk, I could almost swear he and the sailor are one of the same guy. I'm driving uptown. Is that okay with you? Yes. This painting, I've got to get an x-ray tonight. Make sure it's a phony. There's no laboratory open this time of night. Well, I've got an idea. I'm phoning Mary. Mary? What in second? Yeah, he's just a kid, but he's all right. And I know she's got a girlfriend who works in the contemporary institute. They've got all kinds of x-ray equipment. Come on, let's find a telephone. Where'd she go, Mary? Your friend. Dorothy thought she'd better wait in the corridor, Mr. Steele. She's terribly worried. She's no right to let us in here, you know, and using the laboratory. No, tell her I think she can stop worrying. I'm about to finish. George. I x-rayed the canvas. You take a look, Terry. Here, I'll put the x-ray in the machine. Well, what do you see? I don't know. What am I supposed to see? What you're supposed to see, what you do see is the forgery of the adoration of the king. The painting I brought here tonight is the Scola copy. Scola was one of the cleverest foragers in the 18th century. Fine artist, but not as good as dear. But how can you tell this isn't your painting? Well, the re-adoration of the king's has been x-rayed before. When you're painted it, use an oral canvas, a canvas on which he had once started to paint something else, the landscape. Now, if this were the genuine adoration, you'd see plenty of evidence of the landscape in this x-ray plate. But Mr. Steele. Yes, Mary. If that's true, then the painting we had at the museum was a phony. Sure, this is it, the Scola copy. Well, I'll tell Dorothy you're finished. I'll need a couple of minutes to clean up. George, finding this out, does this clear you? No, but with what I know now, I can take my chances. You were expecting a forgery. Yes. Frank Stevens and Beth gave me that lead. You mean just knowing was enough to get him killed? Plenty. Whoever engineered this isn't kidding. But they already had the original. This forgery was bound to be discovered. No, no, not that we're destroyed. No one would suspect it was a forgery. And even if they did, how could they prove it from a pile of ashes? Well, I'd better put in a call for Cochrane. Mr. Steele. Dorothy heard someone upstairs. It may be the watchman. Can't we go now? Well, already. Let's go, Jerry. Dorothy says we'll have to go out the same way, the back way, to the park. I hope Dorothy found a taxi. I don't know why she wouldn't let us drive her home. Oh, you mustn't be ashamed of either of you, but the things she can forget having seen you tonight to bear her. Well, at least we can take you home, Mary. What would be the quickest way to... Wait a minute. What? Right there, back in those bushes. Walk ahead with Mary. I mean, don't move. Either of you. Mary. Yes, I'm talking to you, Miss Cordell and Mr. Steele. I've got a gun. And if necessary, I'll use it. This way, Dr. Lowell. Hurry, please. In here, Miss Cordell, if you don't mind. Where's George, Dr. Lowell? What have you done to him? He's been on the sofa. I'm sorry, but it was necessary to render him unconscious. What place is this? My home just outside of Marlon. I'm not at all happy to find you involved in this, Miss Cordell. But we just have to make the best of it. Oh, Mary. Yes? Could you keep that with all of our handy, please? Miss Cordell, I sincerely hope you and George will cooperate with me. By doing what? I have only one simple question for you to answer. Who else knows the school of copy who substituted for the illusion of the adoration of the kings? If I tell you, then what? You might as well tell me. I have a very valuable gains, Burrow, and a very valuable dure in my possession. I intend to keep them. A fact which Stephen since death should have compressed upon you. Who else knows? George mentioned a sailor on the Arcadia. Oh, yes, yes. One of my employees has his mirror here. That sailor is now standing guard outside. All right. The police know. George phoned Cochran as soon as he found out. George couldn't have known himself until he X-rayed the forgery. Mary was with you all the time. He didn't call anybody. She's lying. Why not ask Mary if she left the lab while George was working? Did you marry? Yes, I did. Of course she did. She left another time to talk to her friends. I know she did. This is a hypodermic needle, Miss Carbello. This, uh, narcosynthesis. Something quite new. Small injection in the brain is illuminated with accuracy. It also acts as an hypnotic. You're doing fine. Your heart's just fine. Have you open around the morning? I'm going to give you a little injection now. Don't have. It would mean everything to me. Tom, no one on certain these days. You'll forgive my waiting, though. Gunshots set this time of night. When the injection wears off. But I'm afraid he'll think he's been in another train wreck. Were they brought in the first time? Yes. Lowell drugged him that time, too. Under the hypnotic, it wasn't hard to convince George that he'd been in a train wreck. The train's roaring by here helped the illusion. Devilishly brilliant plot to make George seem insane. Well, Mary, anything to say? We want those paintings. The original Gainesboro and the original Dürer. If you don't help us, we'll see that you're tried as an accessory to Stevenson's murder. Come on, sister, you heard him. They'll take you over the mantle. What are you trying to pull, even I know that's not a Gainesboro. Well, help me get it down, Corkin. Take care of the dame, Wilson. Yes, sir. It's way mid. It'll be fine. Better take it slowly. How long have you been here? Oh, uh, 15 minutes. All the time this was going on? Easy now, Corkin. What's the mantle? The lieutenant here was right behind you, Jerry. I was attained a little, taking care of that tailor outside. Well, why didn't you stop Lowell? I was under the impression that I had. No, I mean before. You could have. Yes, I could have, but I didn't have the paintings. I waited until the last possible moment for Lowell to reveal them. He didn't. But I couldn't let him shoot both of you, could I? Hence our melodramatic entrance. There you are, Corkin. Hidden in the back of the frame. Number one, a Gainesboro. Who knew from the beginning that there was a forgery in the museum that the jury had been switched in the war? Yes, I knew. Number two, the adoration of the kings. No doubt about it, those boys could paint. You might have told me. I was supposed to have been helping you. You've been a great help, Terry. But the forgery is one thing I couldn't tell you. It's obvious from ten paces that you're in love with George, and I couldn't take the risk if you're telling him. Had he known, he might have stopped running about and working on the mystery. And Mr. Barton, he knew nothing about it? If you mean Lowell, no. Barton's been just an unhappy old gentleman trying desperately to avoid a scandal. The crane. We're going to crash. We're going to crash. This is where I came in, remember? It's all right, darling. It's all right. Terry! What place is this? What's been... Traven? Now, don't tell me you've been in another train wreck. Yes, yes I have. We want to make out of it. Well, I say I've been somewhere, I've been somewhere. This time I could prove it. Terry was with me, weren't you? Yes, dear. We were in a train wreck, a big one. Enormous. There, you see? No. No, you weren't with me. No, of course not, darling. I was here all the time. Everybody's nuts around this place but me. Well, I... I won't deny I'm slightly dizzy about you. What? She should make a wonderful wife, Steve. No, no, wait a minute. The nuts happen, I don't know about it. Don't tell me we got married. My darling, that's the sweetest proposal I've ever heard. Well, I give up. Come on, honey. As long as I need a keeper, you've got the job for life. Many of us live our lives and never get to know the Congress of the United States. It is a place of weakness as well as strength, of delay as well as decision, of much talk as well as great actions. But this place is also something else. It's a human institution, not a museum, a workshop for the present, and a planning board for the future. Great men have let something here which is irreplaceable the giving of themselves toward the governing of our country. Through these chambers, Webster and Lincoln and so many others once walked, it is the indisputable link between our country's past, present and future. In Congress there is often humor, sometimes tragedy, and always high endeavor and horse trading. It is confused and tired, industrious and energetic, and all the while no more weak nor strong than our citizens as a whole. When the tumult and the shouting has died, it is the people's place, our first and last voice in the almost 200-year-old republic that is the United States of America. We'll return you now to William Keely. Here's the last curtain call as we bring our stars back to the footlights to receive our thanks. Pat O'Brien and Lynn Barry. It was great work with you again. Do you have some time, Pat? Yes, and I'm sure our audience would like to hear about your trip to England. Naturally, it was quite a thrill. What did you do personally, Pat? Well, I did a Bert Williams number, a poker game in Panama. Oh, I remember that number. I'm sure your audience enjoyed it. After the performance, didn't you travel quite a bit? What do you mean, I had to get out fast? Yes, we slipped over to Ireland, saw the happy player. And of course, you kissed the Blondie Stone. No, Pat, I don't. Sounds like a highly eventful trip. What was the first thing you did when you got back? Well, the first was to catch Lynn Barry in a new RKL picture. Oh, that's three to few, Pat. This is William Keely, saying good night to you from Hollywood. Now, cast tonight were Lester Matthews as Trayvon, John McIntyre as Dr. Lowell, Herbert Butterfield as Barton, and Cliff Clark, Stanley Waxman, June Whitley, Eddie Maher, Norman Fields, Dick Ryan, Charles Fields, Ed Emerson, Tyler McVeigh, and Franklin Parker. Our music was directed by Louis Silver.