Join E.G. Marshall as he opens the door to another tale of mystery and suspense in "The Murder Museum." This chilling story takes you on a unique museum tour where the exhibits are not of art or history, but of the most brutal crimes recreated in wax. The narrative unfolds with Lisa Brandon's quest to see the Raymond exhibit, driven by her connection to Vincent Raymond, a tormented artist haunted by his past. As the story progresses, we delve into Vincent's dark history, his nightmares, and the tragic events that shaped his life, culminating in a shocking revelation at the murder museum.
Written by Henry Slusser and starring Michael Wager, this episode explores themes of obsession, art, and the haunting nature of memory. As Vincent grapples with his demons and the legacy of his parents' tragic end, the story raises questions about the ethics of art and the exploitation of personal tragedy. With a gripping narrative and a suspenseful atmosphere, "The Murder Museum" invites listeners to ponder the fine line between art and horror, and the ghosts that linger in the corridors of our minds.
(00:16) Introduction to the Murder Museum
(02:05) Inside the Murder Museum
(05:00) Vincent's Dark Past
(14:22) Vincent's Struggles and Secrets
(25:08) Gallinari's Proposal
(33:54) Vincent's Artistic Breakthrough
(35:29) The Revelation of Gallinari's Intentions
(40:22) Vincent's Destruction and Consequences
(44:33) Conclusion and Reflection
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[00:00:17]
Unknown:
Come in.
[00:00:20] Unknown:
Welcome. I'm E. G. Marshall, opening the door to another tale of mystery and suspense, inviting you to open your ears and mind to the world of terrifying imagination. You're about to be taken on an unusual museum tour. There won't be any Mona Lisa's on this tour, no Greek vases or Roman statuary, because this establishment specializes in only one kind of exhibit. And that's why our story is called the murder museum. You may have been to a murder museum like the one in our story, a house of wax, where the most brutal crimes of the century are recreated in paraffin for the wide eyed enjoyment of the public.
But now you're going to have the unique opportunity of hearing one of the most shocking exhibits of all speak for itself.
[00:01:17] Unknown:
Well, John, please believe me. He means nothing to me. I swear it. Yeah. That's why he was in your bedroom, Ida. Is that what is? Please. You still think of our little boy. Look at Vincent. You're frightening him to death. Yes. That's right, Anna. Yes.
[00:01:35] Unknown:
That is what you deserve.
[00:01:50] Unknown:
Our mystery drama, The Murder Museum, was written especially for the Mystery Theater by Henry Slusser and stars Michael Wager. Our tale begins inside the murder museum itself, the home of Professor Rafael Gallinari's house of horrors.
[00:02:16] Unknown:
There's a fair sized crowd in the museum today.
[00:02:20] Unknown:
As usual, they listen in fascination to the words of their immortalized these criminals and their victims. But there is one person in the crowd who seems reluctant to listen to his words, who hangs back and shields her pretty eyes from the sight of the wax images. Her name is Lisa Brandon.
[00:02:49] Unknown:
To this day, no man knows the true identity of the madman known as Jack the Ripper, but the theory persists that he may well have been a physician or at least a medical student, judging from the skill with which he wielded the instrument you see clutched in this hand as he attached the terrified young woman. And that, ladies and gentlemen, concludes the tour of Professor Gallinari's murder museum. Thank you for your patronage, and please tell your friends about us. Sir, excuse me?
[00:03:19] Unknown:
Yes, miss? Could I ask you a question? Well, yes. Yes. Of course.
[00:03:24] Unknown:
I was curious about the Raymond exhibit, but I see that you haven't opened it to the public. No. No, miss. The Raymond exhibit is still closed for repairs. Well, the truth is it's the only reason I came to the murder museum. I wanted to see the Raymond.
[00:03:37] Unknown:
Oh, well, I'm sorry. The
[00:03:39] Unknown:
exhibit won't be open for another week, at least.
[00:03:42] Unknown:
Now, if you'll excuse me, I'm going out for coffee. But even if it isn't completely ready, I wonder if you'd mind showing it to me. Oh, I'm sorry, miss. I can't do that. Well, I came a long way to see it, all the way from San Francisco. It would be a terrible disappointment. Look,
[00:03:57] Unknown:
I'm willing to pay you. No. Please put that money away, miss. Why is it so important for you to see the Raymond? You,
[00:04:07] Unknown:
any connection with the family? Oh. Well, yes. In a way. I knew Vincent Raymond. I I met him when he lived in San Francisco.
[00:04:15] Unknown:
I see. Look.
[00:04:17] Unknown:
You said you were going out for coffee. Could I come with you?
[00:04:20] Unknown:
Well, sure. I just go to this little coffee shop down the street, but you're welcome to come along. So you knew Vincent Raymond.
[00:04:36] Unknown:
You an artist, too? No. Not really. But my brother owned a small art gallery on Green Street. And sold Raymond's paintings? Well, actually, no. He he didn't really care for Vincent's work. It was so dark and gloomy. Frightening, really. And, but he felt sorry for him and he loaned him some money and and sometimes he let him help out in the gallery. That's how you met him? Yes. That's right. I came home from college and I met Vincent. I didn't know anything about him. Meaning,
[00:05:08] Unknown:
about his parents?
[00:05:10] Unknown:
It took Vincent a long time before he was willing to talk to me about
[00:05:20] Unknown:
them.
[00:05:23] Unknown:
Simpson.
[00:05:24] Unknown:
Yeah? Isn't that music a little loud?
[00:05:28] Unknown:
Sorry. I'll I'll turn it down.
[00:05:31] Unknown:
Are you angry with me or something? No. Why why should I pee? I don't know. You've hardly said two words to me tonight. All through dinner, we I was trying
[00:05:42] Unknown:
to digest that rotten food. Mother told me that restaurant was worth trying. Must have had a secret death wish. I didn't mind it. Had only one thing to recommend it. It was cheap. That's the only criterion I have. You know? You didn't complain, did I? No. You never complain. You just suffer in silence. You think I'm some kind of gifted starving artist who has to be tolerated for his poverty. Oh, you're so hard on yourself, Vincent. Let me tell you something, Lisa. I'm starving,
[00:06:14] Unknown:
but I'm not an artist Well, let's not talk about it tonight Let's just relax
[00:06:21] Unknown:
You know I can't paint Your brother knows it I fill all my canvases with memories of my own nightmares Only you cannot call them art. Vincent,
[00:06:31] Unknown:
why do you paint in such a gloomy style? I've never seen you paint with anything that had any color or lightness. All those blacks and grays and slashes of red. Oh, I know I'm no sort of expert, but can't you talk about your work with me?
[00:06:53] Unknown:
There's a reason, Fort Lisa. There's a reason. For what? I told you my my nightmares, they're all visions in black and gray and slashers of red.
[00:07:07] Unknown:
Well, then if you won't talk about your paintings, why not tell me about your nightmares? You wouldn't enjoy hearing about them,
[00:07:15] Unknown:
rather about it. It? I have only one nightmare, just one. I have it virtually every night. Sometimes it follows me into the daylight. I can close my eyes, and there it is. For years, I've tried to destroy it by painting it. Not its detail, just its colors. But the therapy hasn't worked. Please tell me about it. I've never told anyone before. But why not? I suppose I never met the person I wanted to confide it. Maybe now I have. But if I'm going to do that, this music has to stop. My mother's maiden name might mean nothing to you, but at one time many years ago, was famous among people who loved the theater.
She was an actress. Her name was Ada Krim.
[00:08:21] Unknown:
Ada Krim? I think I do know that name, Vincent. She was born and raised in England.
[00:08:27] Unknown:
She was known as the beautiful Ada. She didn't have a very long acting career because she kept her success on the stage with an even more successful marriage. She became the bride of John Lloyd Raymond. Your father? Yes. My father. He was a wealthy man. My grandfather had left a mayor to one of the largest glass manufacturing companies in the West. Mirrored glass was his specialty. It seemed very appropriate to have our house full of mirrors. Maybe that's how it all started, that problem. What problem? Well, you know, when mirrors are at least after a few years go by, they stop being kind.
And when that happened to my mother, she had to do something about it, something to prove that she was still the beautiful Ada, no matter what the mirrors were beginning to say. And what did she do, Vincent? She took lovers. Lovers are the best kind of mirrors for a bored rich woman.
[00:09:31] Unknown:
Were you the only child? Yeah.
[00:09:34] Unknown:
I was her only child. At first, I was a pampered little boy, one of her favorite placings. Then she became bored with me too. She stopped noticing that I was around. Maybe that's why she never made any attempts to hide her actions from me. She simply didn't know I was there. Vincent,
[00:09:56] Unknown:
who saw these men? I
[00:10:00] Unknown:
I think I've said enough.
[00:10:09] Unknown:
So you never found out what Vincent's dream was all about?
[00:10:15] Unknown:
Not then. I didn't. No.
[00:10:17] Unknown:
But you could have guessed, I suppose, if you knew the history of Ada Krim and John Raymond. Well, yes.
[00:10:23] Unknown:
I I became curious enough to learn the history. I had a friend who worked in the newspaper and she checked into the dead files and found the story for me, the whole terrible story. But but I didn't tell Vincent that I knew about it. It was obvious that he didn't want anyone to know the truth But one day it emerged How? Well, it was a beautiful spring day The first really warm day of the season and Vincent and I went for a walk. Vincent, why don't we walk down to Caradelli Square? We could do some window shopping, maybe have some lunch. Considering the state of my finances, we'd better window shop the restaurants, too. Oh, no. I have money. Good for you. Are you going to be stubborn again? I'll tell you what, Vincent. I'll buy myself some lunch if you want to split a hamburger with a dinner. Wait a minute. I'll get a little more out with my dinner. Well, you get a little hands up. You need a lunch now. Can you get a
[00:11:45] Unknown:
I'm sorry, Lisa. I'm sorry. I I I should have done that. I just went crazy. Why? What made you do it, Vincent? You could have killed that man. I couldn't stop myself when I saw what he was doing and what he was doing. Well, you were a man and wife. Yeah. Man and wife so were my parents Was that the reason?
[00:12:04] Unknown:
Was it because you saw your mother and father's home?
[00:12:09] Unknown:
You think that's all they did? Don't you know the truth yet?
[00:12:14] Unknown:
Yes Vincent. I do know. I didn't want to tell you before, but I know that your father
[00:12:21] Unknown:
murdered your mother. And you know how he murdered her. My father came home early one night, a full day earlier than he was expected. He walked into my mother's bedroom, and that man was quaint old fashioned These are quaint, old fashioned Victorian manor, the kind that still had gas lamps on the wall and fire axes. I used to hear my father joking to his friends about the fire ax on the wall. Don't talk about it. When he saw my mother, he ripped the ax off the wall and he used it. Wait. You read about it, Lisa, but I saw it. You what? I was six years old, a terrified six year old who came to find out what all the noise was about. -Oh, no. -I saw the whole thing happen from the first stroke of the ax to the final blow. -Oh. -Now you know what my nightmare is all about. Oh, the blacks and grays and flashes of red. Oh, you poor man.
[00:13:25] Unknown:
All right.
[00:13:26] Unknown:
Now, I've told you the whole story, so maybe now you know why I can't see you again. What? Don't come near me again. Do you hear me? Simpson.
[00:13:37] Unknown:
Don't come near me ever.
[00:13:46] Unknown:
It's been said that the mind is like a haunted house where the ghosts of the past rattle their chains and cry out their suffering. Of course, that's why we have our psychiatrists and psychoanalysts, and these days, even our exorcists, the house cleaners of the mind. But what will it take to free Vincent Raymond of his demons, or can he ever be freed? We'll find out. And now act two of the murder museum. Lisa Brandon has come all the way from San Francisco to see the Raymond exhibit, but she seems to be having a hard time talking the museum guide into allowing her a private showing. However, she hasn't given up. Upon
[00:14:43] Unknown:
it. Yes.
[00:14:45] Unknown:
I was in love with Vincent Raymond, and I was terribly unhappy when he walked out of my life. You mean you never saw him again? Oh, yes. I I saw him again, but but things weren't the same between us. He was tormented by the memory of what he had seen, and it changed his life.
[00:15:10] Unknown:
The dreams began in the orphanage. They began there and they never stopped. I I woke up screaming in horror every time the dream came to me. I became an outcast without friends, without sympathy. Oh, Vincent. I'm so sorry. That's when I realized that my only hope for any sort of life was keeping my secret. But you're not a child now. No, I'm old, Elisa, but nothing's changed for me. Oh, yeah. There's one thing that's changed. What's that? I'm giving up my so called art. I'm gonna look for a job.
[00:15:49] Unknown:
Well, I'm sorry, Vincent,
[00:15:50] Unknown:
because I did think you had talent. I've got to get some money to live on. My talent won't provide that. Well, I thought you had some savings. They're all gone after that lawsuit. What lawsuit? That man I beat up on the Street. He sued me for damages. He won, of course. His wife stood up in court and verified that I'd beaten him up with no provocation at all. Nothing like a wife's loyalty, is there? But, Vincent, why didn't you let me know? I would have been a witness for you. Well, I thought you mattered. Well, how are you living now? Well, on the welfare rolls, of course. But don't worry about me. Look. If I can lend you any money, it won't No. I have borrowed enough from you and your brother. I don't want any more money or sympathy. Just leave me alone, Lisa. Can't you get that through your head?
Leave me alone.
[00:16:39] Unknown:
He did find a job eventually, waiting on tables down at Fisherman's Wharf. He seemed to sink lower and lower every day. My brother and I tried to help him all we could, but he refused to take any more charity. I tried to sell his paintings by putting them in the window of our little gallery but there was only one person who seemed interested in Vincent's gloomy effort. Effort. Hello? May I help you?
[00:17:12] Unknown:
Yes. I have been looking at the paintings in your window, trying to make out the artist's name. Oh, his name is Raymond.
[00:17:21] Unknown:
Raymond.
[00:17:23] Unknown:
Would that be Vincent Raymond by any chance? Yes. It is.
[00:17:29] Unknown:
Did you like the work?
[00:17:30] Unknown:
It's interesting. Interesting. I'm an artist myself, but, that sort of thing, all those dark colors, it doesn't really appeal to me. Oh, I see. However, I am interested in the artist. I wonder if you could tell me how to reach him. Is he a local resident?
[00:17:55] Unknown:
Yes. He lives in San Francisco. Mhmm. Would you mind telling me your name? Oh, yes. Yes. Of course.
[00:18:02] Unknown:
Here's my card. Rafael
[00:18:05] Unknown:
Delamari.
[00:18:06] Unknown:
You might say that I am a portrait artist.
[00:18:11] Unknown:
Oh, and is that why you want to meet Vincent? To paint his portrait?
[00:18:18] Unknown:
Something like that. Now will you help me?
[00:18:22] Unknown:
Alright. I'll tell you where you can meet him.
[00:18:33] Unknown:
Who is it? Rafael Gallini. Who? Please open the door, mister Avon.
[00:18:42] Unknown:
What do you want?
[00:18:44] Unknown:
May I speak to you for a few moments, mister Avon? I don't know you. I thought perhaps the young lady in the art gallery might have mentioned my name to you. What young lady? Oh, you mean Lisa. May I come in, please? It's about a rather important matter.
[00:19:02] Unknown:
Oh. Alright. Come in. What is it you want, mister what what's that name again? Gallinari.
[00:19:13] Unknown:
Please. My car. What? Are you, some kind of bill collector? No, no, Mr. Raymond. As a matter of fact, I'm an artist like yourself.
[00:19:22] Unknown:
Tough luck for you, Mr. Gallinari, if you're an artist like me. Take a look around. Do you see any canvases in this place?
[00:19:29] Unknown:
I understand that you are working at a restaurant
[00:19:34] Unknown:
these days. That's right. Listen, if it's my work you're interested in or at the gallery Let me be honest with you, mister Raymond.
[00:19:42] Unknown:
It isn't your work I care about. It's mine. Yours? That is correct. You see, I am a portrait artist, a sculptor, actually.
[00:19:55] Unknown:
So what?
[00:19:56] Unknown:
This is how we differ in our talents. Yours is dependent on the quality of imagination, while mine is devoted to verisimilitude. If you would permit me, perhaps I can buy us both some dinner, and we can talk about our art.
[00:20:15] Unknown:
If you hadn't mentioned dinner, Mr. Gallinari, I would have said no.
[00:20:27] Unknown:
You know how it is with an artist. You know how we become obsessed sometimes, obsessed with a certain idea, a certain passion for a subject. No, mister Gallinari.
[00:20:40] Unknown:
I wouldn't know. I lost all my passion for art a long time ago. Ah,
[00:20:45] Unknown:
but if you had the inspiration, if there was one thing you wanted to paint more than anything else in the world, believe me, the passion would come flooding back like the tide.
[00:20:58] Unknown:
And do you do you have such a subject in mind?
[00:21:02] Unknown:
Yes. I do. A subject which has haunted me for years, more years than I wish to count.
[00:21:11] Unknown:
And this has something to do with me?
[00:21:15] Unknown:
Everything to do with you. Do you have another glass of wine?
[00:21:20] Unknown:
Sure. Since you're buying.
[00:21:23] Unknown:
You see, mister Raymond, I am contemplating a certain work, a sculptural project, and one which would be impossible without you.
[00:21:34] Unknown:
How could that be?
[00:21:36] Unknown:
In order to answer that question, I have to bring up a subject which may be painful to you.
[00:21:45] Unknown:
A lot of subjects are painful to me, mister Gallinari.
[00:21:49] Unknown:
This one, I think, has left the deepest Wait a minute. Yes, mister Raymond. I mean your parents. How do you know who I am? Did Lisa tell you Oh, no. No. No. No. No. I assure you, the young woman at the gallery said nothing at all to me about you. And how did you know, Cabot? Because I made it my business to find you. Believe me, it's taken a very long time. The last address I had for you was in the Midwest. Then I ran across one of your paintings in a a travelling exhibit, the Moorland exhibit. Yeah. That was the only show I'd been in, and
[00:22:27] Unknown:
nothing sold.
[00:22:28] Unknown:
I found out that you were in San Francisco from the proprietors of the exhibit. Finally, I saw your work in a little gallery on Green Street. Your style is unmistakable. Wroughten, but unmistakable. Mister Raymond, I remember the beautiful Ada. Go on. I'm quite a few years older than you. I have a very clear memory of how your mother looked on the stage before her retirement. I thought then that she was the most beautiful woman I had ever seen.
[00:23:11] Unknown:
Beauty is very fleeting, mister Gallinari, like life itself.
[00:23:17] Unknown:
Yes. I know that. But then, that's why artists are born, aren't they? To capture that fleeting beauty and imprison it on canvas or in clay or in what
[00:23:32] Unknown:
or in other media. Why don't you get to the point, mister Galenari?
[00:23:37] Unknown:
Your mother's beauty is the point. If I had been a sculptor then that I am now, I would have carved her image then.
[00:23:47] Unknown:
But, alas, I was only a boy. I still don't know what you want from me.
[00:23:52] Unknown:
I want to sculpt your mother's image, mister Raymond. But there is only one drawback. I have no mother to work from.
[00:24:04] Unknown:
There's nothing I can do about that. My mother's been dead for twenty five years. I know there are some faded old newspaper photographs of her, but that's not
[00:24:12] Unknown:
really helpful, not to someone who insists on their similitude. I don't see why it's so important. Who cares what
[00:24:19] Unknown:
Ada Krim looked like? But I care
[00:24:22] Unknown:
very much. You see, I've already started the project.
[00:24:29] Unknown:
You have? Yes.
[00:24:31] Unknown:
I've been using the crude photographs of her as a guide. I have obtained a sort of likeness. Look, I cannot stop you from doing what you please, Mr. Gallinari. If you're asking for my permission Well, in a way, yes, I suppose I am. It does seem like a slight invasion of privacy. All right.
[00:24:52] Unknown:
If your conscience bothers you, I'll tell you what you can do. You can order another bottle of wine.
[00:24:58] Unknown:
Mister Raymond, I would gladly order you a case if you would give me one more permission.
[00:25:08] Unknown:
What's that?
[00:25:10] Unknown:
To sculpt your father, too.
[00:25:16] Unknown:
My father?
[00:25:18] Unknown:
As I said, this is a form of obsession with me, but from the moment I began work on the statue of Adar Khrim, I felt that I couldn't stop until I had also done the head of Lon Lloyd Raymond.
[00:25:38] Unknown:
He's dead, mister Galenai. I have no way to prevent you from sculpting him or painting him or anything else. But I'll tell you one thing.
[00:25:46] Unknown:
You won't get me to talk about him. Oh, no. No. No. No. I would not dream of it. But, you see, I have a peculiar problem. While there are some likenesses of ada cream available, in the case of your father, well, I cannot find a single photograph. I have searched and come to a dead end. And what I was wondering and I know I know I know this is an imposition. If there is something in your possession
[00:26:20] Unknown:
You think I have a picture of him?
[00:26:25] Unknown:
It was only a hope. I know his memory is painful, but you were his son, and sometimes, well, there are souvenirs one hates to discard. Well, mister Raymond?
[00:26:45] Unknown:
I have pictures of him.
[00:26:48] Unknown:
You do?
[00:26:50] Unknown:
I won't give them to you. Please don't be so hasty. I won't give them to you, but I'll sell them to you.
[00:26:59] Unknown:
Oh, ho, ho. Yes, of course. I'm perfectly willing to pay.
[00:27:04] Unknown:
I owe Lisa Brandon and her brother exactly 127 That's the price.
[00:27:11] Unknown:
Done, Mr. Raymond. One hundred and twenty seven dollars and I'll still throw in that case of wine.
[00:27:27] Unknown:
Vincent told me about mister Gallinari's visit when he paid me back the money that we'd loaned him. He didn't really care about those photographs he had. He was happy to have gotten rid of the debt, but there was only one thing wrong. I I think you must know what I mean.
[00:27:46] Unknown:
Yes. I think I do. Rafael Gallinari didn't tell Vincent Raymond the whole truth. No.
[00:27:54] Unknown:
He didn't tell him the truth. He didn't tell him what kind of a sculptor he was, or what use he would make of his work after it was completed.
[00:28:07] Unknown:
And obviously he didn't tell him the medium he would use to carve the statues.
[00:28:13] Unknown:
No. He didn't tell him that the medium would be wax.
[00:28:19] Unknown:
And that the subject would be murder.
[00:28:29] Unknown:
And what happened when Vincent Raymond learned of the duplicity of Raphael Gallinari? Or was it really duplicity? Gallinari said he was a sculptor. Gallinari said he believed in authenticity. And, of course, Gallinari paid for the privilege of using Vincent's photographs as a model. But has Gallinari paid enough? And now here's act three of the murder museum. For Vincent Raymond, all nights are the same a dark passage into yesterday, a grim return trip to the past. But men must sleep, and sleepers must dream, so there's no escape for him.
[00:29:29] Unknown:
Anna. Joan, please believe me. Anna. He means nothing to me. I swear it. And that's why he was in your bedroom, Ada. Please. Is that why? Please. Please. Think of our little boy. Ada. Look at Vincent. You're frightening him to death. Death. That's right, Ada. Death. That's what you deserve. Oh,
[00:30:01] Unknown:
Oh, dear God. When will it stop? When will that dream stop?
[00:30:16] Unknown:
Who is it? It's Levinson. It's Lisa.
[00:30:20] Unknown:
Lisa? Oh, wait a minute.
[00:30:25] Unknown:
Hey, what is it?
[00:30:27] Unknown:
What are you doing here, so early? I just couldn't wait. I've got wonderful news for you, Vincent. What about? The painting, the large one in the window.
[00:30:35] Unknown:
It's been sold.
[00:30:37] Unknown:
Sold? You're joking. Who would buy it? Oh, please. Let me come in. All right. All right. Just let me get a robe
[00:30:45] Unknown:
on. It happened. First thing this morning, the galley wasn't open more than ten minutes, and this man walked in
[00:30:51] Unknown:
wearing a Hamburg
[00:30:52] Unknown:
bin. I didn't think people wore Hamburgs anymore. He did. Who was he? What was his name? He gave me a card. Oh, wait a minute. It's right here. I've got my purse. It wasn't someone named Gallinari, was it? What? Rafael Gallinari. Calls himself a sculpture. No. No. That no. It wasn't him. It's, his name is here it is. Charles
[00:31:11] Unknown:
Mulholland. Does that mean that No. Holland. That's that's Mulholland Gallery in Chicago.
[00:31:16] Unknown:
High price. Oh, no. I doubt there's any connection. Well, anyway, he bought it, Vincent, without any quibble about the price. And in fact, Heath was surprised that it was so low. Miracles never cease, do they? Oh, Vincent. Vincent, if he really is somebody,
[00:31:32] Unknown:
then maybe your work will start to be recognized. Oh, forget it, Lisa. There isn't any more work for me. Just waiting on tables. That's my art, and I'm getting better at it all the time. -But, anyway, here's your money. It's all in $50 bill. -Right now? That's the full 300. What about the gallery's commission? -Oh, wait. Don't be technical, Vincent. You need the money more than we need the commission. No, sir. You've got to accept one third of it. It wouldn't be fair otherwise. I knew you'd feel that way. You can't believe it. It's the first painting I've soldie. Do you realize that? I told you you had talent. That'll teach you to listen to me. You're right. I should always listen to you, Lisa. Listen, I've got an idea. Have you had breakfast yet? Oh, I had coffee. Have you what? I'm gonna get dressed and we'll go celebrate with champagne and eggs, Benedick.
And then we're going out tonight. I'm going to buy you the fanciest dinner in San Francisco. -Well, Vincent, you can't spend all the money in one day. -Why not? It's probably the first and last money I'll ever make for my paintings. Let's put it to good use.
[00:32:41] Unknown:
Well, it seems that Vincent had more talent than anyone realized. Those dark and gloomy paintings seem to have the qualities of genius. At least, that's what mister Mulholland said in his letter.
[00:32:58] Unknown:
Lisa, listen to this. Just listen to this. Listen. Go on. I'm listening. The Mulholland gallery
[00:33:04] Unknown:
Gallery would be most interested in arranging an exhibition of your work. Oh. Listen, they're willing to pay all the cost of carding and ensuring the paintings. They'll even pay my fare and expenses to Chicago so I can attend the opening. Liza, can you believe it? Oh, Vincent, it's the most wonderful thing I ever heard. Well, it's not a one man show. Nothing that grand, but the Mulholland Gallery. That's one of the best, Lisa. One of the most prestigious. Do you know when you'll be leaving? As soon as I can get all the stuff crated and shipped. I guess the sooner, the better. Lisa,
[00:33:33] Unknown:
why don't you come with me? Oh, I couldn't do that. I I still have to be at the time. No, brother can take care of it for a week or so. That that's all the time it'll take. Oh, I I just couldn't do it, Vincent. But but when you have that big one man show, I promise to be there.
[00:33:55] Unknown:
And that was when Vincent Raymond went to Chicago. Yes. That was his reason for going there.
[00:34:01] Unknown:
A very happy reason. Was the show a success? Oh, it was. The press reception to Vincent's work was very good, far better than the evaluation he received back home. I guess it's true what they say about a prophet being without honor in his own country. In this case, in his own state. There were a dozen paintings in all the exhibit and at least half of them were sold in the first week and for the first time, Vincent was a happy man. He sent me just one letter, and it contained a very good piece of news, perhaps even more important than the news of his artistic success.
[00:34:41] Unknown:
Dear Lisa, just a quick note to tell you that I'm well and spending money like a drunken sailor. I bought two new suits. Yes. I said suits with matching pants and jacket, believe it or not. But more important, I'll tell you one other thing that seems to have happened to me. For the last three nights, I've slept without a dream. I think you must realize the importance of that, Lisa. Three nights of dreamless sleep, sleep, the most precious three nights of my existence.
[00:35:16] Unknown:
But those dreamless nights didn't last very long because the very next morning at breakfast in his hotel room, Vincent opened a local paper and saw a strangely familiar name.
[00:35:29] Unknown:
Gallinari. Gallinari. What's that all about? Announcing the opening of Gallinari's murder museum. Oh, no. That can't be the same, man. The Murder Museum, world's most terrifying house of wax, vivid recreation scenes of crime, passion and horror never before, wouldn't it? Oh. Oh, it can't be the same. It can't be with a phone number Hello? Is it the murder museum? Yes. I know you're not open yet. Listen. I want to ask you a question. This man, Gallinari, I want to know his first name. Rafael. What time are you open? No earlier than that? Then tell me where I can find, mister Gallinari. Yes. It's important. No. My name does not matter.
[00:36:23] Unknown:
Hawaii. Alright.
[00:36:26] Unknown:
First show, 02:00. Oh, dear God, don't let it be true.
[00:36:40] Unknown:
And here, ladies and gentlemen, you see the notorious mass murderer of Huntersville, Nebraska, who not only dispatched his victims with poison, but then mutilated their bodies in the dreadful fashion you see before you. Oh, no. And now if you'll step to the next exhibit, you will see the latest addition to Professor Gallinari's world famous murder museum. For the first time in any house of wax, the horrifying axe murder of one of the most glamorous women ever to appear upon the American stage. They called her the beautiful Ada. And, yes, Ada was beautiful, as beautiful as she was faithless.
And one day her wealthy manufacturer, husband John Lloyd Raymond,
[00:37:25] Unknown:
returned home to the business address. I've got to ask you something. Excuse me, sir. But I'm still here with this. I I Where is he? Does he have an office at this museum? Well, now, please. I gotta see him. Make make him remove this. Abomination. Well, now his office is in the rear. I don't know if he's No. No. Wait. No. Just here. Come back here.
[00:37:46] Unknown:
Who is this? Open up, Gallinari. Open the door. Yes? What is it? Let me in. I have to talk to you. I'm sorry. I'm quite busy at the moment, and I Raymond? Is that you?
[00:38:01] Unknown:
Yes. Vincent Raymond.
[00:38:04] Unknown:
What are you doing in Chicago?
[00:38:06] Unknown:
The question is, what have you done?
[00:38:09] Unknown:
Now, be calm, young man. There is nothing to get so excited about. That's your art out there, Gallenaire. Arie. Out there.
[00:38:18] Unknown:
That's the very similitude you were talking about. Yes. Yes. That's right.
[00:38:23] Unknown:
I tried to be faithful to the original. I'm not ashamed. You liar. You thief. Now, come, come, come. I've stolen nothing. I've imitated life, but stolen nothing. Now, please, sit down. Calm yourself.
[00:38:38] Unknown:
Let me offer you You lied to me. You pretended to be something you weren't. You never told me you're gonna create that
[00:38:44] Unknown:
horror out there. I told you only the truth, that I wish to do a sculpture of your mother and father. I only neglected to tell you the medium. Some artists work with clay and marble. I chose wax.
[00:39:04] Unknown:
Is that so wrong? You know it's wrong. You made a public spectacle out of it. And now you're going to do something about it. You're gonna get rid of
[00:39:13] Unknown:
that that thing out there. I am afraid that's impossible. They really took months to create. They all do. I hope The investment in time and money I assume you. I will make you destroy it. Mister Eamonn, don't make unnecessary problems for yourself. Murder
[00:39:32] Unknown:
is in the public domain. There has to be some way to make you tear it down, and I will. I swear it. I won't let that thing
[00:39:42] Unknown:
stand. Of course, I know myself what happened next because I was there in the murder museum the night that your friend Vincent Raymond returned.
[00:39:55] Unknown:
Oh, please. Can you tell me about it? I never did know the details.
[00:39:59] Unknown:
Well, from what I understand, he went to a lawyer the very next day to see if there was some legal means to get Galla Mary to destroy the exhibit. He must have gotten some idea how difficult it would be to get an injunction against the museum, because that's when he decided that the only recourse was to destroy the sculpture itself.
[00:40:22] Unknown:
Yes. That would be like Vincent.
[00:40:24] Unknown:
What he did was very simple. He came back to the museum for the last show of the day, but during the tour, he slipped away from the crowd and hid behind one of the curtains until everyone had gone, and then he walked up to the exhibit and stopped in front of it. Of course, the instrument he needed to destroy the exhibit was already there. The fire axe was real, like the clothes of the wax figures in the furnishings of the room. All he had to do was take the axe out of the hands of his father's statue, and that's what he did. Destroy destroy
[00:41:05] Unknown:
What? Be destroyed.
[00:41:08] Unknown:
And so I'm standing there as still as the wax figures themselves. And I froze in my doorway too, afraid to move because I saw his eyes. And I was afraid to become a victim too. And then I heard him sobbing.
[00:41:26] Unknown:
He should have done it. He should have done it.
[00:41:32] Unknown:
I saw him turn the
[00:41:56] Unknown:
wax figure of his mother. No. I don't did it.
[00:42:05] Unknown:
That was when Professor Delamirie himself came out of his office.
[00:42:09] Unknown:
Stop it. Stop it. Stop it.
[00:42:13] Unknown:
Raymond brought the ax. The destruction of the wax figure complete. But Gallinari was infuriated and threw his arms around his throat. Raymond struggled with him. They fell in the heat to the floor.
[00:42:24] Unknown:
Stop it. You don't say anymore, please. I I I'm sorry. I I just can't bear to hear anymore.
[00:42:34] Unknown:
Does that mean that you don't want to see the Raymond exhibit now?
[00:42:39] Unknown:
No. I I still want to see it. But I'm taking the next flight back to San Francisco, so I suppose there's no use.
[00:42:48] Unknown:
Well, I guess it's only fair that I show it to you, miss Brandon, since you came all this way. We keep the curtain closed whenever we're fixing up an exhibit or preparing to show something new.
[00:43:10] Unknown:
This is really very kind of you. No. That's alright.
[00:43:14] Unknown:
I just hope that you don't find the exhibit too depressing.
[00:43:19] Unknown:
Is it a very good likeness?
[00:43:22] Unknown:
Yes, I think it's very good. But judge for yourself. As you can see, the figures are all ready, but the furnishings need some work still. Well, what do you think?
[00:43:40] Unknown:
It's horrible. Oh, I'm sorry. I know I shouldn't say that. I I did ask you to show it to me.
[00:43:54] Unknown:
Yes. I was afraid you'd feel that way, miss, because the likeness is really very good. It was Gallinari's brother who did the statue of the professor. Naturally, he'd get that right. But
[00:44:08] Unknown:
that's Vincent too. Yes. It's just like him.
[00:44:13] Unknown:
It's a very good likeness of Vincent Raymond.
[00:44:18] Unknown:
That's just
[00:44:25] Unknown:
murder museum.
[00:44:33] Unknown:
If you are contemplating a visit to a wax museum, we pass on this advice to you. One, don't go during a heat wave. Two, make sure that you can stand the sight of wax. And three, be certain you don't have any murderous ancestors who just might show up in one of the exhibits. We hope you enjoyed tonight's tour through the murder museum. We hope that you'll always come back through the creaking door of the Radio Mystery Theater because it's the one place you can enter where your imagination provides the real thrill. Tonight, we tried to aid that imagination with the voices of Michael Wager, Marion Seldes, Robert Dryden, and Leon Janney.
The entire production was under the direction of Hyman Brown. This is E. G. Marshall inviting you to return to our mystery theatre for another adventure in the macabre. Until next time, pleasant dreams. The preceding mystery theater program was furnished by the CBS radio network.
Come in.
[00:00:20] Unknown:
Welcome. I'm E. G. Marshall, opening the door to another tale of mystery and suspense, inviting you to open your ears and mind to the world of terrifying imagination. You're about to be taken on an unusual museum tour. There won't be any Mona Lisa's on this tour, no Greek vases or Roman statuary, because this establishment specializes in only one kind of exhibit. And that's why our story is called the murder museum. You may have been to a murder museum like the one in our story, a house of wax, where the most brutal crimes of the century are recreated in paraffin for the wide eyed enjoyment of the public.
But now you're going to have the unique opportunity of hearing one of the most shocking exhibits of all speak for itself.
[00:01:17] Unknown:
Well, John, please believe me. He means nothing to me. I swear it. Yeah. That's why he was in your bedroom, Ida. Is that what is? Please. You still think of our little boy. Look at Vincent. You're frightening him to death. Yes. That's right, Anna. Yes.
[00:01:35] Unknown:
That is what you deserve.
[00:01:50] Unknown:
Our mystery drama, The Murder Museum, was written especially for the Mystery Theater by Henry Slusser and stars Michael Wager. Our tale begins inside the murder museum itself, the home of Professor Rafael Gallinari's house of horrors.
[00:02:16] Unknown:
There's a fair sized crowd in the museum today.
[00:02:20] Unknown:
As usual, they listen in fascination to the words of their immortalized these criminals and their victims. But there is one person in the crowd who seems reluctant to listen to his words, who hangs back and shields her pretty eyes from the sight of the wax images. Her name is Lisa Brandon.
[00:02:49] Unknown:
To this day, no man knows the true identity of the madman known as Jack the Ripper, but the theory persists that he may well have been a physician or at least a medical student, judging from the skill with which he wielded the instrument you see clutched in this hand as he attached the terrified young woman. And that, ladies and gentlemen, concludes the tour of Professor Gallinari's murder museum. Thank you for your patronage, and please tell your friends about us. Sir, excuse me?
[00:03:19] Unknown:
Yes, miss? Could I ask you a question? Well, yes. Yes. Of course.
[00:03:24] Unknown:
I was curious about the Raymond exhibit, but I see that you haven't opened it to the public. No. No, miss. The Raymond exhibit is still closed for repairs. Well, the truth is it's the only reason I came to the murder museum. I wanted to see the Raymond.
[00:03:37] Unknown:
Oh, well, I'm sorry. The
[00:03:39] Unknown:
exhibit won't be open for another week, at least.
[00:03:42] Unknown:
Now, if you'll excuse me, I'm going out for coffee. But even if it isn't completely ready, I wonder if you'd mind showing it to me. Oh, I'm sorry, miss. I can't do that. Well, I came a long way to see it, all the way from San Francisco. It would be a terrible disappointment. Look,
[00:03:57] Unknown:
I'm willing to pay you. No. Please put that money away, miss. Why is it so important for you to see the Raymond? You,
[00:04:07] Unknown:
any connection with the family? Oh. Well, yes. In a way. I knew Vincent Raymond. I I met him when he lived in San Francisco.
[00:04:15] Unknown:
I see. Look.
[00:04:17] Unknown:
You said you were going out for coffee. Could I come with you?
[00:04:20] Unknown:
Well, sure. I just go to this little coffee shop down the street, but you're welcome to come along. So you knew Vincent Raymond.
[00:04:36] Unknown:
You an artist, too? No. Not really. But my brother owned a small art gallery on Green Street. And sold Raymond's paintings? Well, actually, no. He he didn't really care for Vincent's work. It was so dark and gloomy. Frightening, really. And, but he felt sorry for him and he loaned him some money and and sometimes he let him help out in the gallery. That's how you met him? Yes. That's right. I came home from college and I met Vincent. I didn't know anything about him. Meaning,
[00:05:08] Unknown:
about his parents?
[00:05:10] Unknown:
It took Vincent a long time before he was willing to talk to me about
[00:05:20] Unknown:
them.
[00:05:23] Unknown:
Simpson.
[00:05:24] Unknown:
Yeah? Isn't that music a little loud?
[00:05:28] Unknown:
Sorry. I'll I'll turn it down.
[00:05:31] Unknown:
Are you angry with me or something? No. Why why should I pee? I don't know. You've hardly said two words to me tonight. All through dinner, we I was trying
[00:05:42] Unknown:
to digest that rotten food. Mother told me that restaurant was worth trying. Must have had a secret death wish. I didn't mind it. Had only one thing to recommend it. It was cheap. That's the only criterion I have. You know? You didn't complain, did I? No. You never complain. You just suffer in silence. You think I'm some kind of gifted starving artist who has to be tolerated for his poverty. Oh, you're so hard on yourself, Vincent. Let me tell you something, Lisa. I'm starving,
[00:06:14] Unknown:
but I'm not an artist Well, let's not talk about it tonight Let's just relax
[00:06:21] Unknown:
You know I can't paint Your brother knows it I fill all my canvases with memories of my own nightmares Only you cannot call them art. Vincent,
[00:06:31] Unknown:
why do you paint in such a gloomy style? I've never seen you paint with anything that had any color or lightness. All those blacks and grays and slashes of red. Oh, I know I'm no sort of expert, but can't you talk about your work with me?
[00:06:53] Unknown:
There's a reason, Fort Lisa. There's a reason. For what? I told you my my nightmares, they're all visions in black and gray and slashers of red.
[00:07:07] Unknown:
Well, then if you won't talk about your paintings, why not tell me about your nightmares? You wouldn't enjoy hearing about them,
[00:07:15] Unknown:
rather about it. It? I have only one nightmare, just one. I have it virtually every night. Sometimes it follows me into the daylight. I can close my eyes, and there it is. For years, I've tried to destroy it by painting it. Not its detail, just its colors. But the therapy hasn't worked. Please tell me about it. I've never told anyone before. But why not? I suppose I never met the person I wanted to confide it. Maybe now I have. But if I'm going to do that, this music has to stop. My mother's maiden name might mean nothing to you, but at one time many years ago, was famous among people who loved the theater.
She was an actress. Her name was Ada Krim.
[00:08:21] Unknown:
Ada Krim? I think I do know that name, Vincent. She was born and raised in England.
[00:08:27] Unknown:
She was known as the beautiful Ada. She didn't have a very long acting career because she kept her success on the stage with an even more successful marriage. She became the bride of John Lloyd Raymond. Your father? Yes. My father. He was a wealthy man. My grandfather had left a mayor to one of the largest glass manufacturing companies in the West. Mirrored glass was his specialty. It seemed very appropriate to have our house full of mirrors. Maybe that's how it all started, that problem. What problem? Well, you know, when mirrors are at least after a few years go by, they stop being kind.
And when that happened to my mother, she had to do something about it, something to prove that she was still the beautiful Ada, no matter what the mirrors were beginning to say. And what did she do, Vincent? She took lovers. Lovers are the best kind of mirrors for a bored rich woman.
[00:09:31] Unknown:
Were you the only child? Yeah.
[00:09:34] Unknown:
I was her only child. At first, I was a pampered little boy, one of her favorite placings. Then she became bored with me too. She stopped noticing that I was around. Maybe that's why she never made any attempts to hide her actions from me. She simply didn't know I was there. Vincent,
[00:09:56] Unknown:
who saw these men? I
[00:10:00] Unknown:
I think I've said enough.
[00:10:09] Unknown:
So you never found out what Vincent's dream was all about?
[00:10:15] Unknown:
Not then. I didn't. No.
[00:10:17] Unknown:
But you could have guessed, I suppose, if you knew the history of Ada Krim and John Raymond. Well, yes.
[00:10:23] Unknown:
I I became curious enough to learn the history. I had a friend who worked in the newspaper and she checked into the dead files and found the story for me, the whole terrible story. But but I didn't tell Vincent that I knew about it. It was obvious that he didn't want anyone to know the truth But one day it emerged How? Well, it was a beautiful spring day The first really warm day of the season and Vincent and I went for a walk. Vincent, why don't we walk down to Caradelli Square? We could do some window shopping, maybe have some lunch. Considering the state of my finances, we'd better window shop the restaurants, too. Oh, no. I have money. Good for you. Are you going to be stubborn again? I'll tell you what, Vincent. I'll buy myself some lunch if you want to split a hamburger with a dinner. Wait a minute. I'll get a little more out with my dinner. Well, you get a little hands up. You need a lunch now. Can you get a
[00:11:45] Unknown:
I'm sorry, Lisa. I'm sorry. I I I should have done that. I just went crazy. Why? What made you do it, Vincent? You could have killed that man. I couldn't stop myself when I saw what he was doing and what he was doing. Well, you were a man and wife. Yeah. Man and wife so were my parents Was that the reason?
[00:12:04] Unknown:
Was it because you saw your mother and father's home?
[00:12:09] Unknown:
You think that's all they did? Don't you know the truth yet?
[00:12:14] Unknown:
Yes Vincent. I do know. I didn't want to tell you before, but I know that your father
[00:12:21] Unknown:
murdered your mother. And you know how he murdered her. My father came home early one night, a full day earlier than he was expected. He walked into my mother's bedroom, and that man was quaint old fashioned These are quaint, old fashioned Victorian manor, the kind that still had gas lamps on the wall and fire axes. I used to hear my father joking to his friends about the fire ax on the wall. Don't talk about it. When he saw my mother, he ripped the ax off the wall and he used it. Wait. You read about it, Lisa, but I saw it. You what? I was six years old, a terrified six year old who came to find out what all the noise was about. -Oh, no. -I saw the whole thing happen from the first stroke of the ax to the final blow. -Oh. -Now you know what my nightmare is all about. Oh, the blacks and grays and flashes of red. Oh, you poor man.
[00:13:25] Unknown:
All right.
[00:13:26] Unknown:
Now, I've told you the whole story, so maybe now you know why I can't see you again. What? Don't come near me again. Do you hear me? Simpson.
[00:13:37] Unknown:
Don't come near me ever.
[00:13:46] Unknown:
It's been said that the mind is like a haunted house where the ghosts of the past rattle their chains and cry out their suffering. Of course, that's why we have our psychiatrists and psychoanalysts, and these days, even our exorcists, the house cleaners of the mind. But what will it take to free Vincent Raymond of his demons, or can he ever be freed? We'll find out. And now act two of the murder museum. Lisa Brandon has come all the way from San Francisco to see the Raymond exhibit, but she seems to be having a hard time talking the museum guide into allowing her a private showing. However, she hasn't given up. Upon
[00:14:43] Unknown:
it. Yes.
[00:14:45] Unknown:
I was in love with Vincent Raymond, and I was terribly unhappy when he walked out of my life. You mean you never saw him again? Oh, yes. I I saw him again, but but things weren't the same between us. He was tormented by the memory of what he had seen, and it changed his life.
[00:15:10] Unknown:
The dreams began in the orphanage. They began there and they never stopped. I I woke up screaming in horror every time the dream came to me. I became an outcast without friends, without sympathy. Oh, Vincent. I'm so sorry. That's when I realized that my only hope for any sort of life was keeping my secret. But you're not a child now. No, I'm old, Elisa, but nothing's changed for me. Oh, yeah. There's one thing that's changed. What's that? I'm giving up my so called art. I'm gonna look for a job.
[00:15:49] Unknown:
Well, I'm sorry, Vincent,
[00:15:50] Unknown:
because I did think you had talent. I've got to get some money to live on. My talent won't provide that. Well, I thought you had some savings. They're all gone after that lawsuit. What lawsuit? That man I beat up on the Street. He sued me for damages. He won, of course. His wife stood up in court and verified that I'd beaten him up with no provocation at all. Nothing like a wife's loyalty, is there? But, Vincent, why didn't you let me know? I would have been a witness for you. Well, I thought you mattered. Well, how are you living now? Well, on the welfare rolls, of course. But don't worry about me. Look. If I can lend you any money, it won't No. I have borrowed enough from you and your brother. I don't want any more money or sympathy. Just leave me alone, Lisa. Can't you get that through your head?
Leave me alone.
[00:16:39] Unknown:
He did find a job eventually, waiting on tables down at Fisherman's Wharf. He seemed to sink lower and lower every day. My brother and I tried to help him all we could, but he refused to take any more charity. I tried to sell his paintings by putting them in the window of our little gallery but there was only one person who seemed interested in Vincent's gloomy effort. Effort. Hello? May I help you?
[00:17:12] Unknown:
Yes. I have been looking at the paintings in your window, trying to make out the artist's name. Oh, his name is Raymond.
[00:17:21] Unknown:
Raymond.
[00:17:23] Unknown:
Would that be Vincent Raymond by any chance? Yes. It is.
[00:17:29] Unknown:
Did you like the work?
[00:17:30] Unknown:
It's interesting. Interesting. I'm an artist myself, but, that sort of thing, all those dark colors, it doesn't really appeal to me. Oh, I see. However, I am interested in the artist. I wonder if you could tell me how to reach him. Is he a local resident?
[00:17:55] Unknown:
Yes. He lives in San Francisco. Mhmm. Would you mind telling me your name? Oh, yes. Yes. Of course.
[00:18:02] Unknown:
Here's my card. Rafael
[00:18:05] Unknown:
Delamari.
[00:18:06] Unknown:
You might say that I am a portrait artist.
[00:18:11] Unknown:
Oh, and is that why you want to meet Vincent? To paint his portrait?
[00:18:18] Unknown:
Something like that. Now will you help me?
[00:18:22] Unknown:
Alright. I'll tell you where you can meet him.
[00:18:33] Unknown:
Who is it? Rafael Gallini. Who? Please open the door, mister Avon.
[00:18:42] Unknown:
What do you want?
[00:18:44] Unknown:
May I speak to you for a few moments, mister Avon? I don't know you. I thought perhaps the young lady in the art gallery might have mentioned my name to you. What young lady? Oh, you mean Lisa. May I come in, please? It's about a rather important matter.
[00:19:02] Unknown:
Oh. Alright. Come in. What is it you want, mister what what's that name again? Gallinari.
[00:19:13] Unknown:
Please. My car. What? Are you, some kind of bill collector? No, no, Mr. Raymond. As a matter of fact, I'm an artist like yourself.
[00:19:22] Unknown:
Tough luck for you, Mr. Gallinari, if you're an artist like me. Take a look around. Do you see any canvases in this place?
[00:19:29] Unknown:
I understand that you are working at a restaurant
[00:19:34] Unknown:
these days. That's right. Listen, if it's my work you're interested in or at the gallery Let me be honest with you, mister Raymond.
[00:19:42] Unknown:
It isn't your work I care about. It's mine. Yours? That is correct. You see, I am a portrait artist, a sculptor, actually.
[00:19:55] Unknown:
So what?
[00:19:56] Unknown:
This is how we differ in our talents. Yours is dependent on the quality of imagination, while mine is devoted to verisimilitude. If you would permit me, perhaps I can buy us both some dinner, and we can talk about our art.
[00:20:15] Unknown:
If you hadn't mentioned dinner, Mr. Gallinari, I would have said no.
[00:20:27] Unknown:
You know how it is with an artist. You know how we become obsessed sometimes, obsessed with a certain idea, a certain passion for a subject. No, mister Gallinari.
[00:20:40] Unknown:
I wouldn't know. I lost all my passion for art a long time ago. Ah,
[00:20:45] Unknown:
but if you had the inspiration, if there was one thing you wanted to paint more than anything else in the world, believe me, the passion would come flooding back like the tide.
[00:20:58] Unknown:
And do you do you have such a subject in mind?
[00:21:02] Unknown:
Yes. I do. A subject which has haunted me for years, more years than I wish to count.
[00:21:11] Unknown:
And this has something to do with me?
[00:21:15] Unknown:
Everything to do with you. Do you have another glass of wine?
[00:21:20] Unknown:
Sure. Since you're buying.
[00:21:23] Unknown:
You see, mister Raymond, I am contemplating a certain work, a sculptural project, and one which would be impossible without you.
[00:21:34] Unknown:
How could that be?
[00:21:36] Unknown:
In order to answer that question, I have to bring up a subject which may be painful to you.
[00:21:45] Unknown:
A lot of subjects are painful to me, mister Gallinari.
[00:21:49] Unknown:
This one, I think, has left the deepest Wait a minute. Yes, mister Raymond. I mean your parents. How do you know who I am? Did Lisa tell you Oh, no. No. No. No. No. I assure you, the young woman at the gallery said nothing at all to me about you. And how did you know, Cabot? Because I made it my business to find you. Believe me, it's taken a very long time. The last address I had for you was in the Midwest. Then I ran across one of your paintings in a a travelling exhibit, the Moorland exhibit. Yeah. That was the only show I'd been in, and
[00:22:27] Unknown:
nothing sold.
[00:22:28] Unknown:
I found out that you were in San Francisco from the proprietors of the exhibit. Finally, I saw your work in a little gallery on Green Street. Your style is unmistakable. Wroughten, but unmistakable. Mister Raymond, I remember the beautiful Ada. Go on. I'm quite a few years older than you. I have a very clear memory of how your mother looked on the stage before her retirement. I thought then that she was the most beautiful woman I had ever seen.
[00:23:11] Unknown:
Beauty is very fleeting, mister Gallinari, like life itself.
[00:23:17] Unknown:
Yes. I know that. But then, that's why artists are born, aren't they? To capture that fleeting beauty and imprison it on canvas or in clay or in what
[00:23:32] Unknown:
or in other media. Why don't you get to the point, mister Galenari?
[00:23:37] Unknown:
Your mother's beauty is the point. If I had been a sculptor then that I am now, I would have carved her image then.
[00:23:47] Unknown:
But, alas, I was only a boy. I still don't know what you want from me.
[00:23:52] Unknown:
I want to sculpt your mother's image, mister Raymond. But there is only one drawback. I have no mother to work from.
[00:24:04] Unknown:
There's nothing I can do about that. My mother's been dead for twenty five years. I know there are some faded old newspaper photographs of her, but that's not
[00:24:12] Unknown:
really helpful, not to someone who insists on their similitude. I don't see why it's so important. Who cares what
[00:24:19] Unknown:
Ada Krim looked like? But I care
[00:24:22] Unknown:
very much. You see, I've already started the project.
[00:24:29] Unknown:
You have? Yes.
[00:24:31] Unknown:
I've been using the crude photographs of her as a guide. I have obtained a sort of likeness. Look, I cannot stop you from doing what you please, Mr. Gallinari. If you're asking for my permission Well, in a way, yes, I suppose I am. It does seem like a slight invasion of privacy. All right.
[00:24:52] Unknown:
If your conscience bothers you, I'll tell you what you can do. You can order another bottle of wine.
[00:24:58] Unknown:
Mister Raymond, I would gladly order you a case if you would give me one more permission.
[00:25:08] Unknown:
What's that?
[00:25:10] Unknown:
To sculpt your father, too.
[00:25:16] Unknown:
My father?
[00:25:18] Unknown:
As I said, this is a form of obsession with me, but from the moment I began work on the statue of Adar Khrim, I felt that I couldn't stop until I had also done the head of Lon Lloyd Raymond.
[00:25:38] Unknown:
He's dead, mister Galenai. I have no way to prevent you from sculpting him or painting him or anything else. But I'll tell you one thing.
[00:25:46] Unknown:
You won't get me to talk about him. Oh, no. No. No. No. I would not dream of it. But, you see, I have a peculiar problem. While there are some likenesses of ada cream available, in the case of your father, well, I cannot find a single photograph. I have searched and come to a dead end. And what I was wondering and I know I know I know this is an imposition. If there is something in your possession
[00:26:20] Unknown:
You think I have a picture of him?
[00:26:25] Unknown:
It was only a hope. I know his memory is painful, but you were his son, and sometimes, well, there are souvenirs one hates to discard. Well, mister Raymond?
[00:26:45] Unknown:
I have pictures of him.
[00:26:48] Unknown:
You do?
[00:26:50] Unknown:
I won't give them to you. Please don't be so hasty. I won't give them to you, but I'll sell them to you.
[00:26:59] Unknown:
Oh, ho, ho. Yes, of course. I'm perfectly willing to pay.
[00:27:04] Unknown:
I owe Lisa Brandon and her brother exactly 127 That's the price.
[00:27:11] Unknown:
Done, Mr. Raymond. One hundred and twenty seven dollars and I'll still throw in that case of wine.
[00:27:27] Unknown:
Vincent told me about mister Gallinari's visit when he paid me back the money that we'd loaned him. He didn't really care about those photographs he had. He was happy to have gotten rid of the debt, but there was only one thing wrong. I I think you must know what I mean.
[00:27:46] Unknown:
Yes. I think I do. Rafael Gallinari didn't tell Vincent Raymond the whole truth. No.
[00:27:54] Unknown:
He didn't tell him the truth. He didn't tell him what kind of a sculptor he was, or what use he would make of his work after it was completed.
[00:28:07] Unknown:
And obviously he didn't tell him the medium he would use to carve the statues.
[00:28:13] Unknown:
No. He didn't tell him that the medium would be wax.
[00:28:19] Unknown:
And that the subject would be murder.
[00:28:29] Unknown:
And what happened when Vincent Raymond learned of the duplicity of Raphael Gallinari? Or was it really duplicity? Gallinari said he was a sculptor. Gallinari said he believed in authenticity. And, of course, Gallinari paid for the privilege of using Vincent's photographs as a model. But has Gallinari paid enough? And now here's act three of the murder museum. For Vincent Raymond, all nights are the same a dark passage into yesterday, a grim return trip to the past. But men must sleep, and sleepers must dream, so there's no escape for him.
[00:29:29] Unknown:
Anna. Joan, please believe me. Anna. He means nothing to me. I swear it. And that's why he was in your bedroom, Ada. Please. Is that why? Please. Please. Think of our little boy. Ada. Look at Vincent. You're frightening him to death. Death. That's right, Ada. Death. That's what you deserve. Oh,
[00:30:01] Unknown:
Oh, dear God. When will it stop? When will that dream stop?
[00:30:16] Unknown:
Who is it? It's Levinson. It's Lisa.
[00:30:20] Unknown:
Lisa? Oh, wait a minute.
[00:30:25] Unknown:
Hey, what is it?
[00:30:27] Unknown:
What are you doing here, so early? I just couldn't wait. I've got wonderful news for you, Vincent. What about? The painting, the large one in the window.
[00:30:35] Unknown:
It's been sold.
[00:30:37] Unknown:
Sold? You're joking. Who would buy it? Oh, please. Let me come in. All right. All right. Just let me get a robe
[00:30:45] Unknown:
on. It happened. First thing this morning, the galley wasn't open more than ten minutes, and this man walked in
[00:30:51] Unknown:
wearing a Hamburg
[00:30:52] Unknown:
bin. I didn't think people wore Hamburgs anymore. He did. Who was he? What was his name? He gave me a card. Oh, wait a minute. It's right here. I've got my purse. It wasn't someone named Gallinari, was it? What? Rafael Gallinari. Calls himself a sculpture. No. No. That no. It wasn't him. It's, his name is here it is. Charles
[00:31:11] Unknown:
Mulholland. Does that mean that No. Holland. That's that's Mulholland Gallery in Chicago.
[00:31:16] Unknown:
High price. Oh, no. I doubt there's any connection. Well, anyway, he bought it, Vincent, without any quibble about the price. And in fact, Heath was surprised that it was so low. Miracles never cease, do they? Oh, Vincent. Vincent, if he really is somebody,
[00:31:32] Unknown:
then maybe your work will start to be recognized. Oh, forget it, Lisa. There isn't any more work for me. Just waiting on tables. That's my art, and I'm getting better at it all the time. -But, anyway, here's your money. It's all in $50 bill. -Right now? That's the full 300. What about the gallery's commission? -Oh, wait. Don't be technical, Vincent. You need the money more than we need the commission. No, sir. You've got to accept one third of it. It wouldn't be fair otherwise. I knew you'd feel that way. You can't believe it. It's the first painting I've soldie. Do you realize that? I told you you had talent. That'll teach you to listen to me. You're right. I should always listen to you, Lisa. Listen, I've got an idea. Have you had breakfast yet? Oh, I had coffee. Have you what? I'm gonna get dressed and we'll go celebrate with champagne and eggs, Benedick.
And then we're going out tonight. I'm going to buy you the fanciest dinner in San Francisco. -Well, Vincent, you can't spend all the money in one day. -Why not? It's probably the first and last money I'll ever make for my paintings. Let's put it to good use.
[00:32:41] Unknown:
Well, it seems that Vincent had more talent than anyone realized. Those dark and gloomy paintings seem to have the qualities of genius. At least, that's what mister Mulholland said in his letter.
[00:32:58] Unknown:
Lisa, listen to this. Just listen to this. Listen. Go on. I'm listening. The Mulholland gallery
[00:33:04] Unknown:
Gallery would be most interested in arranging an exhibition of your work. Oh. Listen, they're willing to pay all the cost of carding and ensuring the paintings. They'll even pay my fare and expenses to Chicago so I can attend the opening. Liza, can you believe it? Oh, Vincent, it's the most wonderful thing I ever heard. Well, it's not a one man show. Nothing that grand, but the Mulholland Gallery. That's one of the best, Lisa. One of the most prestigious. Do you know when you'll be leaving? As soon as I can get all the stuff crated and shipped. I guess the sooner, the better. Lisa,
[00:33:33] Unknown:
why don't you come with me? Oh, I couldn't do that. I I still have to be at the time. No, brother can take care of it for a week or so. That that's all the time it'll take. Oh, I I just couldn't do it, Vincent. But but when you have that big one man show, I promise to be there.
[00:33:55] Unknown:
And that was when Vincent Raymond went to Chicago. Yes. That was his reason for going there.
[00:34:01] Unknown:
A very happy reason. Was the show a success? Oh, it was. The press reception to Vincent's work was very good, far better than the evaluation he received back home. I guess it's true what they say about a prophet being without honor in his own country. In this case, in his own state. There were a dozen paintings in all the exhibit and at least half of them were sold in the first week and for the first time, Vincent was a happy man. He sent me just one letter, and it contained a very good piece of news, perhaps even more important than the news of his artistic success.
[00:34:41] Unknown:
Dear Lisa, just a quick note to tell you that I'm well and spending money like a drunken sailor. I bought two new suits. Yes. I said suits with matching pants and jacket, believe it or not. But more important, I'll tell you one other thing that seems to have happened to me. For the last three nights, I've slept without a dream. I think you must realize the importance of that, Lisa. Three nights of dreamless sleep, sleep, the most precious three nights of my existence.
[00:35:16] Unknown:
But those dreamless nights didn't last very long because the very next morning at breakfast in his hotel room, Vincent opened a local paper and saw a strangely familiar name.
[00:35:29] Unknown:
Gallinari. Gallinari. What's that all about? Announcing the opening of Gallinari's murder museum. Oh, no. That can't be the same, man. The Murder Museum, world's most terrifying house of wax, vivid recreation scenes of crime, passion and horror never before, wouldn't it? Oh. Oh, it can't be the same. It can't be with a phone number Hello? Is it the murder museum? Yes. I know you're not open yet. Listen. I want to ask you a question. This man, Gallinari, I want to know his first name. Rafael. What time are you open? No earlier than that? Then tell me where I can find, mister Gallinari. Yes. It's important. No. My name does not matter.
[00:36:23] Unknown:
Hawaii. Alright.
[00:36:26] Unknown:
First show, 02:00. Oh, dear God, don't let it be true.
[00:36:40] Unknown:
And here, ladies and gentlemen, you see the notorious mass murderer of Huntersville, Nebraska, who not only dispatched his victims with poison, but then mutilated their bodies in the dreadful fashion you see before you. Oh, no. And now if you'll step to the next exhibit, you will see the latest addition to Professor Gallinari's world famous murder museum. For the first time in any house of wax, the horrifying axe murder of one of the most glamorous women ever to appear upon the American stage. They called her the beautiful Ada. And, yes, Ada was beautiful, as beautiful as she was faithless.
And one day her wealthy manufacturer, husband John Lloyd Raymond,
[00:37:25] Unknown:
returned home to the business address. I've got to ask you something. Excuse me, sir. But I'm still here with this. I I Where is he? Does he have an office at this museum? Well, now, please. I gotta see him. Make make him remove this. Abomination. Well, now his office is in the rear. I don't know if he's No. No. Wait. No. Just here. Come back here.
[00:37:46] Unknown:
Who is this? Open up, Gallinari. Open the door. Yes? What is it? Let me in. I have to talk to you. I'm sorry. I'm quite busy at the moment, and I Raymond? Is that you?
[00:38:01] Unknown:
Yes. Vincent Raymond.
[00:38:04] Unknown:
What are you doing in Chicago?
[00:38:06] Unknown:
The question is, what have you done?
[00:38:09] Unknown:
Now, be calm, young man. There is nothing to get so excited about. That's your art out there, Gallenaire. Arie. Out there.
[00:38:18] Unknown:
That's the very similitude you were talking about. Yes. Yes. That's right.
[00:38:23] Unknown:
I tried to be faithful to the original. I'm not ashamed. You liar. You thief. Now, come, come, come. I've stolen nothing. I've imitated life, but stolen nothing. Now, please, sit down. Calm yourself.
[00:38:38] Unknown:
Let me offer you You lied to me. You pretended to be something you weren't. You never told me you're gonna create that
[00:38:44] Unknown:
horror out there. I told you only the truth, that I wish to do a sculpture of your mother and father. I only neglected to tell you the medium. Some artists work with clay and marble. I chose wax.
[00:39:04] Unknown:
Is that so wrong? You know it's wrong. You made a public spectacle out of it. And now you're going to do something about it. You're gonna get rid of
[00:39:13] Unknown:
that that thing out there. I am afraid that's impossible. They really took months to create. They all do. I hope The investment in time and money I assume you. I will make you destroy it. Mister Eamonn, don't make unnecessary problems for yourself. Murder
[00:39:32] Unknown:
is in the public domain. There has to be some way to make you tear it down, and I will. I swear it. I won't let that thing
[00:39:42] Unknown:
stand. Of course, I know myself what happened next because I was there in the murder museum the night that your friend Vincent Raymond returned.
[00:39:55] Unknown:
Oh, please. Can you tell me about it? I never did know the details.
[00:39:59] Unknown:
Well, from what I understand, he went to a lawyer the very next day to see if there was some legal means to get Galla Mary to destroy the exhibit. He must have gotten some idea how difficult it would be to get an injunction against the museum, because that's when he decided that the only recourse was to destroy the sculpture itself.
[00:40:22] Unknown:
Yes. That would be like Vincent.
[00:40:24] Unknown:
What he did was very simple. He came back to the museum for the last show of the day, but during the tour, he slipped away from the crowd and hid behind one of the curtains until everyone had gone, and then he walked up to the exhibit and stopped in front of it. Of course, the instrument he needed to destroy the exhibit was already there. The fire axe was real, like the clothes of the wax figures in the furnishings of the room. All he had to do was take the axe out of the hands of his father's statue, and that's what he did. Destroy destroy
[00:41:05] Unknown:
What? Be destroyed.
[00:41:08] Unknown:
And so I'm standing there as still as the wax figures themselves. And I froze in my doorway too, afraid to move because I saw his eyes. And I was afraid to become a victim too. And then I heard him sobbing.
[00:41:26] Unknown:
He should have done it. He should have done it.
[00:41:32] Unknown:
I saw him turn the
[00:41:56] Unknown:
wax figure of his mother. No. I don't did it.
[00:42:05] Unknown:
That was when Professor Delamirie himself came out of his office.
[00:42:09] Unknown:
Stop it. Stop it. Stop it.
[00:42:13] Unknown:
Raymond brought the ax. The destruction of the wax figure complete. But Gallinari was infuriated and threw his arms around his throat. Raymond struggled with him. They fell in the heat to the floor.
[00:42:24] Unknown:
Stop it. You don't say anymore, please. I I I'm sorry. I I just can't bear to hear anymore.
[00:42:34] Unknown:
Does that mean that you don't want to see the Raymond exhibit now?
[00:42:39] Unknown:
No. I I still want to see it. But I'm taking the next flight back to San Francisco, so I suppose there's no use.
[00:42:48] Unknown:
Well, I guess it's only fair that I show it to you, miss Brandon, since you came all this way. We keep the curtain closed whenever we're fixing up an exhibit or preparing to show something new.
[00:43:10] Unknown:
This is really very kind of you. No. That's alright.
[00:43:14] Unknown:
I just hope that you don't find the exhibit too depressing.
[00:43:19] Unknown:
Is it a very good likeness?
[00:43:22] Unknown:
Yes, I think it's very good. But judge for yourself. As you can see, the figures are all ready, but the furnishings need some work still. Well, what do you think?
[00:43:40] Unknown:
It's horrible. Oh, I'm sorry. I know I shouldn't say that. I I did ask you to show it to me.
[00:43:54] Unknown:
Yes. I was afraid you'd feel that way, miss, because the likeness is really very good. It was Gallinari's brother who did the statue of the professor. Naturally, he'd get that right. But
[00:44:08] Unknown:
that's Vincent too. Yes. It's just like him.
[00:44:13] Unknown:
It's a very good likeness of Vincent Raymond.
[00:44:18] Unknown:
That's just
[00:44:25] Unknown:
murder museum.
[00:44:33] Unknown:
If you are contemplating a visit to a wax museum, we pass on this advice to you. One, don't go during a heat wave. Two, make sure that you can stand the sight of wax. And three, be certain you don't have any murderous ancestors who just might show up in one of the exhibits. We hope you enjoyed tonight's tour through the murder museum. We hope that you'll always come back through the creaking door of the Radio Mystery Theater because it's the one place you can enter where your imagination provides the real thrill. Tonight, we tried to aid that imagination with the voices of Michael Wager, Marion Seldes, Robert Dryden, and Leon Janney.
The entire production was under the direction of Hyman Brown. This is E. G. Marshall inviting you to return to our mystery theatre for another adventure in the macabre. Until next time, pleasant dreams. The preceding mystery theater program was furnished by the CBS radio network.
Introduction to the Murder Museum
Inside the Murder Museum
Vincent's Dark Past
Vincent's Struggles and Secrets
Gallinari's Proposal
Vincent's Artistic Breakthrough
The Revelation of Gallinari's Intentions
Vincent's Destruction and Consequences
Conclusion and Reflection
