WEBVTT

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Mystery House.

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Mystery House. That strange publishing firm owned by Dan and Barbara Glenn,

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where each new novel is acted out by the Mystery House staff before it is accepted for publication.

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Mystery House.

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Hey, Barb, you said the novel we're acting out for Mystery House tonight has a detective who never even sees the scene of the crime.

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That's technically correct, Dan. At least she never gets on the premises.

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She?

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Yes. The girl's an invalid.

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Oh, that sounds impossible.

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Oh, now don't use that word, Mr. Glenn. Nothing's impossible.

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No, well, I can think of a good many things that nobody's ever been able to do.

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Well, I can remember when people said it would be impossible to make the radio commercials as interesting as the show itself.

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But listen to this.

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Okay, places everybody. Set the scene, will you, Tom?

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Death passed my window.

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A story about a young girl who lives in that section of an industrial city

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where the tenements sit in squalid rows, side by side, with only a few feet between.

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My name is Hope Graves.

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I've been a hopeless invalid for eight years, ever since the night a hit-and-run driver struck me down.

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I lie in my bed now in a dingy room of a crowded, faded tenement.

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My one window stares at a window in another tenement, almost directly opposite.

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That window and the girl who lives behind it have become friends of mine.

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Morning, Hope. How's it back today?

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Much better, thanks, Jenny.

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If you were telling the truth, you'd have the finest back in the world. Always better. Every morning.

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Did Eddie bring you home last night, Jenny?

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Yes, as per usual.

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Why don't you bring him up to your room sometime, Jenny, and get him in front of your window so I can see him?

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Hey, not so fast, Chum. Nice girls don't bring their boyfriends to their room.

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Even when the girl happens to be a nightclub dancer and the boy's a sax player in the dance band.

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I'll bet he's handsome.

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No, I wouldn't say he's handsome, but he's kind of a sweet kid.

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He can sit in a crowded, noisy, smoky nightclub all night long, night after night, and still not be there at all.

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Know what I mean?

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Mm-hmm. The way I go sailing out on the lake in a little racing sloop, like I shop for the beautiful stars on the avenue.

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Poor kid. You were through one little window.

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But I do have one window. You know, Jenny, I sometimes wonder if people realize what wonderful inventions windows are.

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You silly goose.

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Well, I got a lot to do this morning. I've got to sew on some costumes.

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So long.

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Jenny's days and nights are all mixed up, like mine.

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It isn't really morning, but four o'clock in the afternoon.

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Being in bed 24 hours of the day, year after year, you forget about day and night.

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Time is just something to fill the best you can. It goes on, on, and on.

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Night. The hours from ten to three. Those are the hardest.

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Nothing but blackness outside my window. The complete blackness of night.

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Sometimes I wish Jenny wasn't a dancer, but then I'd miss the funny little squeak one of the floorboards always makes when she practices her dance steps.

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Her visits mean so much to me.

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Morning, Hopeful.

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Morning, Jenny.

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Morning, Hopeful.

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What are you reading?

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Hi, Jenny. The new mystery in the honey.

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Oh, I'll bet it's good.

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I'll bet everything in the whole world is good.

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Well, what are you so happy about?

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Take a gander. See? I know it's small, but you can see it from there. Can't you? The weightlessness?

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Oh, it's a diamond ring.

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They wouldn't exactly blind you, but it's real.

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Eddie?

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Yeah, we're going to be married.

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Oh, wonderful.

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It sounds simply terrific.

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Oh, he isn't really cute, but he's nice and a square guy.

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Oh, Jenny, you've got to let me see him.

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I'll just die if you don't.

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I'll bring him over to your room some night.

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Promise?

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It's a promise. Hope will cross my heart.

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And hope to die?

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No, just cross my heart.

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The way I feel now, I think I'd like to live forever.

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Days and nights form a pattern, not all alike,

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but each like some remembered one from the past.

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One I know I've lived before, and one I'll live again.

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Ready for me to turn out your light, dear?

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Yes, thank you, Mother.

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I've brought you something for tomorrow, honey.

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Oh, what?

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It's one of the Flaman stories,

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the case of the insolent din.

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I got it from the rental library.

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Oh, gee, it's a big book.

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Oh, Mother, you're wonderful.

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Good night, dear.

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Night again.

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The hours from ten to three.

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Nothing but black night.

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What?

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Light.

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A light in Jenny's room.

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Jenny!

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Jenny, how come you're home so early?

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She must be opening a wooden box.

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Maybe it's something she doesn't want me to see.

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Jenny!

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Squeaky place in the floor.

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She's fixing it.

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And I wish she wouldn't.

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I'll miss it.

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A lighted cigarette stub being thrown out of the window.

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And Jenny doesn't smoke.

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Why didn't Jenny answer me?

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I guess she brought Eddie up to fix the squeaky board.

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She didn't want me to know he was there.

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But I didn't mean to be nosy.

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She has a right to a little privacy.

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I just won't say anything to her about it.

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Time of the morning, Hopeful.

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Hello, Jenny.

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When are you going to bring Eddie around?

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Gosh, honey, I've been so doggone busy.

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I see you finally got around to fixing the squeaky board in your floor.

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You could hear that squeaky board way over your place?

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Of course.

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It must have fixed itself then.

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I didn't do anything.

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Oh, I guess lots of things do fix themselves at that.

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Work hard last night?

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No harder than usual.

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But we have a late show tonight.

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Got to practice a little.

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We see you, Hopeful.

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Twelve o'clock.

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And Jenny's light just went on again.

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Oh, this is wrong.

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Before the pattern lost its form, it was never like this.

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Never.

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It's not right, Eddie.

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Oh, you jittery, hon.

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Your imagination's working overtime.

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I don't imagine things, Eddie.

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I wouldn't have asked to get off early tonight and come back here just for imagination.

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I'm afraid.

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Oh, Jenny.

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Eddie, let's get married tonight.

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Tonight? At this hour? Why, nobody's around.

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We could find someone.

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When you and I get married, we'll do it right, for keeps.

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Come here.

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Oh.

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That better?

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I...I guess so.

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Well, I'd better be going now.

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I didn't have any right up here.

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Oh, just a minute before you go.

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Hope? Hope, you awake?

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Oh, sure, Jenny. I just woke up.

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You been home long?

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No. Stick your head over in front of the window, Eddie.

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Hello. I can't see you, but if you're a friend of Jenny's, I like you.

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Hello, Eddie.

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That's Hope Graves. You know, the girl I was telling you about.

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Glad to know you, Hope.

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Well, I have to be running along now.

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Will you...will you do something for me before you go, Eddie?

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Sure, kid. Anything you say.

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Well, will you kiss Jenny goodnight in front of the window?

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Sure.

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How was that, Hope?

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It was beautiful.

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Four o'clock in the afternoon.

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Time for Jenny to pull up her shade and start her day.

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That's really nice.

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It's funny.

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I've never been jealous of Jenny's dancing feet, but today I am.

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She has a prince charming, and I'll never have one.

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I'll go on getting excitement from books, but I'll think of Jenny and her Eddie.

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I'll think of the misty sparkle in her eyes when Eddie kissed her last night.

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I'll think of it because it was so wonderful.

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And because I...I can't have it.

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Ever.

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Funny that Jenny hasn't raised her window shade yet.

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Probably dreaming of Eddie.

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But she should be up now.

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Jenny?

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Jenny?

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Jenny, you lazy bones, get up. It's time for you to get up.

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Oh, Jenny.

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Jenny, is something wrong?

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Answer me, please.

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Jenny, I'm worried about you. Say something, please.

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Jenny!

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All right, open up, miss. You've got your landlady worried.

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It's Emmett Bryant, Virginia, you know, the cop on the corner.

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Come on now, open the door like a good girl.

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Out of the house, ordinarily, she is, but it's time, Officer Bryant.

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I called and called, and it don't do no good.

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Virginia, are you opening the door now? Enter me.

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You got a passkey, Mrs. Shultz?

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No, these doors all got good spring locks, and the key to this one is locked.

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All right, stand back there, Mrs. Shultz. There's nothing for it but the bust in the door.

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Oh, my God.

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The saints have mercy on her soul.

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Poor little kid, her head all caved in with a hammer.

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Wait a minute. What's this?

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Why, it looks like a long, heavy, luxe necklace.

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Yeah, but it's got a snap hook on it.

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No, it ain't a necklace, Mrs. Shultz.

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What is it then?

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I think maybe it's something that's going to hang a man.

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No, Officer Bryant, no. You're all wrong.

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I know what that thing is, and you're wrong.

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Oh, I am, am I?

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Oh, yes.

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Well, what is it then?

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It's a thing saxophone players wear around their necks to hold their instruments.

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Yeah, that's what I thought it was.

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Oh, but it couldn't be, Eddie. It just couldn't be.

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Oh, Eddie, huh?

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So Virginia had a boyfriend named Eddie, and he left a saxophone card in her room.

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You know when he left it?

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Oh, I... No. No, I don't.

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You know his last name. You know where he lives.

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No.

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You don't know or you just won't tell me?

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I said I didn't know.

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I heard you, but I've been around this neighborhood too long to be fooled all the time.

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Now, if you do know anything, kid, you should tell it fast.

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Why?

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If you know something that would pin a murder on somebody,

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that somebody would try another murder to keep me from getting the answer.

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And you wouldn't be able to defend yourself very well.

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Is Officer Brian right?

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Yes. Will the murderer strike again?

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And now, act two of death past my window

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opens at the battered door of the murdered girl's apartment.

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Somebody is knocking.

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Ginny, you're late for work.

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What's the matter, honey?

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Ginny. Ginny.

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What? What's the devil?

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A cop? What are you doing here?

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Where's Ginny?

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She's down at headquarters, kid.

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Oh, no. She hasn't done anything.

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Take me to her right away.

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It ain't a bad act, kid. You almost convinced me. Almost.

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What are you talking about?

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Sit down.

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I want to see Ginny. She's late for work right now.

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She ain't going to work, kid. Ever.

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What? What are you trying to say?

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You already know.

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I don't know a thing.

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Quit torturing me. You've got to tell me.

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Something's happened. What is it?

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Well, Virginia's had an accident, Eddie. A bad accident.

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Her head was all caved in with a hammer early this morning.

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Oh, no. No, you're lying.

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No. No. It isn't true. It isn't true. It isn't true.

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This is death I've met.

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It passed my window, not 20 feet away.

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And yet, invisible.

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In detective stories, death is always exciting.

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This was Ginny, my friend.

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And it isn't exciting at all. It's just horrible.

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Where were you at 4 o'clock this morning, Eddie?

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I...I don't know.

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Did you bring Virginia home?

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Yes. Yes, I did.

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How did you get into her room?

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I didn't get into her room.

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Eddie, no. Brian knows you were there.

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He found your saxophone cord.

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Hope, tell him. Tell him I didn't kill Ginny.

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I've already told him, Eddie.

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You mean you told me you didn't see him do it.

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But that doesn't mean he couldn't have.

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All right, come on, Eddie.

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Where?

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Down to the police station.

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You're making a mistake, Officer Brian.

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Don't worry, Eddie. Everything will come out all right.

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Worry? I'm through worrying.

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There's nothing to worry about or hope for or dream about anymore.

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And everything won't come out all right.

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It's no good, kid.

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Goodbye, Eddie. I'm sorry.

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I'm sorry, Hope.

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Hope. That's a good one, that is.

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Brian caught the murderer, huh?

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Took him to the station. Ah, such goings on.

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What are you doing in Ginny's room, Mrs. Shultz?

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Brian told me I could move her things to the basement storage.

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Mrs. Shultz, will you call Officer Brian for me?

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What for?

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Tell him I want to talk to him, that I have some important information.

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But you have already told him all you know.

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No, no, there's a great deal more.

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There is an old proverb, Hope.

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Murder, though it have no tongue, will speak.

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No. People who look for trouble usually find it.

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Officer Brian, will you do what I ask then?

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Well, now that all depends.

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No, that won't do. You'll have to promise.

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I'm making no promises.

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You wouldn't want to convict an innocent man, would you?

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No.

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Promise?

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All right.

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It'll involve some irregular procedure, maybe illegal.

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Here now, that's not fair. You promised.

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Yes, all right, all right.

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What is it you want me to do?

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I want you to go over next door and rip loose one of the moldings on a window

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in every apartment on the fourth floor, except Ginny's.

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What?

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Does Brian go back on his word?

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Eh, well, I know one thing.

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After this, one Brian will learn to say no.

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Did you get them all, Officer Brian?

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Yeah, fake phone calls to get people out, breaking and entering, destruction of property.

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And me a policeman, too.

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I got every apartment on the fourth floor.

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And may Captain Ohulihan never hear of it.

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Well, thanks, Brian.

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Now, all you have to do is wait.

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Wait? Sit over here in this room all by myself and wait?

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Wait for what?

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Just wait.

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And don't worry about being alone.

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We can visit.

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Hey, listen.

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Some of my destruction's being repaired.

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Yes. That's apartment 4D, isn't it?

19:36.000 --> 19:37.000
It sounds like it.

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Mr. and Mrs. Gutowsky.

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He's a section hand, and he's not the one.

19:42.000 --> 19:43.000
Not the one?

19:43.000 --> 19:44.000
What are you talking about?

19:44.000 --> 19:45.000
Never mind.

19:45.000 --> 19:46.000
Just wait.

19:46.000 --> 19:59.000
Try to have patience.

19:59.000 --> 20:02.000
Young lady, did you have me tear loose all those moldings

20:02.000 --> 20:05.000
just so you could hear the hammer serenade?

20:05.000 --> 20:07.000
Well, that's three been fixed so far.

20:07.000 --> 20:13.000
And all you say is, that's not the one.

20:13.000 --> 20:14.000
That's not it either.

20:14.000 --> 20:15.000
Oh, that's not it either.

20:15.000 --> 20:16.000
That's not it either.

20:16.000 --> 20:19.000
How long do you expect me to sit in this room

20:19.000 --> 20:21.000
listening to people pounding nails?

20:21.000 --> 20:23.000
That's four moldings fixed.

20:23.000 --> 20:25.000
Only two to go.

20:25.000 --> 20:26.000
Oh, sure.

20:26.000 --> 20:29.000
I rip loose the window moldings and the people fix them.

20:29.000 --> 20:31.000
That's supposed to prove that the saxophone player

20:31.000 --> 20:33.000
didn't murder the girl.

20:33.000 --> 20:40.000
Maybe I'm nuts.

20:40.000 --> 20:42.000
Brian, that's it.

20:42.000 --> 20:44.000
What apartment is it coming from?

20:44.000 --> 20:45.000
4C across the hall.

20:45.000 --> 20:46.000
Get him, Brian, quick.

20:46.000 --> 20:48.000
Get him before he runs away.

20:48.000 --> 21:01.000
He killed Ginny.

21:01.000 --> 21:02.000
Yeah, who's that?

21:02.000 --> 21:04.000
Officer Brian, open up.

21:04.000 --> 21:06.000
Well, you don't have to be tough about it.

21:06.000 --> 21:07.000
What do you want?

21:07.000 --> 21:09.000
I want you to step across the hall.

21:09.000 --> 21:10.000
The room where the bank got murdered?

21:10.000 --> 21:12.000
No, thanks, pal, not me.

21:12.000 --> 21:17.000
Come on.

21:17.000 --> 21:19.000
Just step over here by this window, mister.

21:19.000 --> 21:20.000
What for?

21:20.000 --> 21:22.000
Hope, is this the man?

21:22.000 --> 21:23.000
Yes.

21:23.000 --> 21:25.000
Yes, it has to be him.

21:25.000 --> 21:26.000
Say, what kind of a gag is this?

21:26.000 --> 21:28.000
I've never seen this girl before in my life.

21:28.000 --> 21:29.000
How about that Hope?

21:29.000 --> 21:30.000
Oh, he's quite right.

21:30.000 --> 21:32.000
I've never seen him before either.

21:32.000 --> 21:33.000
See, copper?

21:33.000 --> 21:35.000
But he killed Ginny, and I can prove it.

21:35.000 --> 21:37.000
You don't look too healthy, sister,

21:37.000 --> 21:39.000
but it's less healthy to make cracks like that

21:39.000 --> 21:40.000
if you can't back them up.

21:40.000 --> 21:41.000
First, Officer Brian,

21:41.000 --> 21:44.000
there's a wide pine floor in that room, isn't there?

21:44.000 --> 21:46.000
I've never seen it.

21:46.000 --> 21:48.000
Yeah, that's right, wide pine.

21:48.000 --> 21:51.000
Lie down on the bed, Brian, and then get up.

21:51.000 --> 21:55.000
What? Oh, all right.

21:55.000 --> 21:57.000
Okay.

21:57.000 --> 21:58.000
Your foot, Brian.

21:58.000 --> 22:01.000
Keep it right there on the board it touched when you got up.

22:01.000 --> 22:03.000
Mark the board with your pencil.

22:03.000 --> 22:04.000
What goes, sister?

22:04.000 --> 22:06.000
You ain't gonna rope me in on any funny business.

22:06.000 --> 22:08.000
Getting interested, mister?

22:08.000 --> 22:11.000
All right, Brian, get a hammer and pry up that board.

22:11.000 --> 22:13.000
Well, it still sounds crazy to me,

22:13.000 --> 22:14.000
but I might as well, I guess.

22:14.000 --> 22:15.000
Oh, no, you don't.

22:15.000 --> 22:16.000
Copper, stay right where you are.

22:16.000 --> 22:17.000
Put down that gun, you.

22:17.000 --> 22:18.000
You'll get a bullet from it

22:18.000 --> 22:20.000
right through your thick head if you make a move.

22:20.000 --> 22:22.000
I'll keep your hands in the air while I take your gun.

22:22.000 --> 22:24.000
And don't get any ideas.

22:24.000 --> 22:25.000
What are you gonna do?

22:25.000 --> 22:27.000
First, I'm gonna do what the bright girl suggested.

22:27.000 --> 22:29.000
I'm gonna pry up that board.

22:29.000 --> 22:32.000
Then I'm gonna nick you enough so you won't follow me.

22:32.000 --> 22:34.000
And then take it on the land.

22:37.000 --> 22:38.000
Money.

22:38.000 --> 22:40.000
I've never seen so much money in my life.

22:40.000 --> 22:42.000
About 30 grand, Copper.

22:42.000 --> 22:45.000
You're nice, crisp, folding doll.

22:45.000 --> 22:47.000
Yeah, but the checks, all them checks, what about them?

22:47.000 --> 22:49.000
Ah, don't be dumb all your life, Copper.

22:49.000 --> 22:50.000
That's a racket.

22:50.000 --> 22:53.000
The checks are hot, lifted out of mailboxes.

22:53.000 --> 22:56.000
I got kids shoving hot checks all over town.

22:56.000 --> 22:58.000
I rented the room across the hall.

22:58.000 --> 23:00.000
Because I knew the dancer wasn't home nights

23:00.000 --> 23:01.000
when I'd be collecting dough

23:01.000 --> 23:03.000
and passing out the stolen check to my shills.

23:03.000 --> 23:06.000
I needed a sure safe hiding place for the stuff.

23:06.000 --> 23:08.000
Yeah, and Virginia was working with you.

23:08.000 --> 23:10.000
She didn't even know there was such a guy as me.

23:10.000 --> 23:12.000
Until she came home early with Eddie.

23:12.000 --> 23:13.000
Yeah, yeah, that's right.

23:13.000 --> 23:15.000
She found cigarette ashes on her floor

23:15.000 --> 23:17.000
on a ground out stop right in front of my door.

23:17.000 --> 23:20.000
And she was dumb enough to start asking questions.

23:20.000 --> 23:22.000
I couldn't have her asking questions.

23:22.000 --> 23:24.000
You'll never get away with this, lad.

23:24.000 --> 23:25.000
Get back, Copper, or I'll shoot.

23:25.000 --> 23:26.000
I mean business.

23:26.000 --> 23:28.000
Hey, my eyes, my eyes. I can't see.

23:28.000 --> 23:30.000
You'd better shoot me, will you?

23:30.000 --> 23:32.000
Lay off me, Copper.

23:32.000 --> 23:34.000
You don't have to be so rough up on it.

23:34.000 --> 23:35.000
I'll be rough all right.

23:35.000 --> 23:37.000
I can't see you, Brian. Is everything all right?

23:37.000 --> 23:38.000
Here, honey.

23:38.000 --> 23:40.000
Thanks to your place in that mirror in this guy's eyes,

23:40.000 --> 23:42.000
he'd have shot me sure if you hadn't blinded him.

23:42.000 --> 23:44.000
I won't forget Danny the sister.

23:44.000 --> 23:47.000
Ah, well, what you remember or forget

23:47.000 --> 23:49.000
ain't going to be of much importance, lad.

23:49.000 --> 23:55.000
I've got a feeling that you ain't going to be around long.

24:04.000 --> 24:08.000
Yes, my name is Still Hope Graves.

24:08.000 --> 24:11.000
I'm still a bedridden impolite.

24:11.000 --> 24:14.000
Yet somehow I don't feel at all like the same person

24:14.000 --> 24:17.000
who started to tell this story.

24:17.000 --> 24:21.000
The pattern has shifted back to its usual form,

24:21.000 --> 24:25.000
but for me, things will never be the same.

24:25.000 --> 24:28.000
I'll always know it can change,

24:28.000 --> 24:31.000
that my routine isn't set in a drab,

24:31.000 --> 24:34.000
colorless schedule that will never vary.

24:34.000 --> 24:48.000
Life, even for me, can be exciting.

25:04.000 --> 25:07.000
I'm still a bedridden impolite.

25:07.000 --> 25:11.000
Yet somehow I don't feel at all like the same person

25:11.000 --> 25:14.000
who started to tell this story.

25:14.000 --> 25:17.000
The pattern has shifted back to its usual form,

25:17.000 --> 25:20.000
that my routine isn't set in a drab,

25:20.000 --> 25:23.000
colorless schedule that will never vary.

25:23.000 --> 25:26.000
I'll always know it can change,

25:26.000 --> 25:29.000
that my routine isn't set in a drab,

25:29.000 --> 25:32.000
colorless schedule that will never vary.

25:32.000 --> 26:00.000
consciously