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Sherlock Holmes Radio The Malicious Moor Basil Rathbone, Nigel Bruce, Conwa · Meine Liebe zu Hörspielen

• 0:04
  Speaker 1: And now doctor Watson, what about the adventure of the
• 0:07
  malicious More.
• 0:09
  Speaker 2: Well, mister Harris. It began in ninety eight at Stratford,
• 0:12
  on Ava, birthplace of Shakespeare and historic English shribe, and
• 0:17
  specifically it began on the stage of the Shakespeare Memorial Theater,
• 0:21
  from which the Great Bard's plays are annually produced by
• 0:24
  the most gifted dramatic artists of our time. In this year,
• 0:28
  the players were rehearsing a Fellow, with the famed actor
• 0:31
  Rodger Mannering playing the More and his wife Alice portraying Bisdemoto.
• 0:37
  It was the famous deathbed scene in the fifth act
• 0:40
  when the director Albert Forsyth suddenly stop the rehearsal alts
• 0:45
  trumpet week thou no, no, no, hold on Mannering.
• 0:51
  Speaker 3: That's the third time you've forgotten your lines.
• 0:53
  Speaker 2: What's Ronald?
• 0:54
  Speaker 4: I don't know.
• 0:55
  Speaker 5: I just can't seem to concentrate force.
• 0:57
  Speaker 6: You mean you can't play othellow, my dear husband, Alice,
• 1:00
  I want you stop criticizing. They call you, Roger Mannering,
• 1:03
  the great Shakespearean.
• 1:05
  Speaker 2: At stop at Alice, stomach you here.
• 1:08
  Speaker 6: This rehearsal is a mockery. I simply won't go on
• 1:10
  playing opposite.
• 1:11
  Speaker 2: This, this amateur mannering?
• 1:14
  Speaker 6: How can I play?
• 1:15
  Speaker 2: There's the mono? How can you?
• 1:16
  Speaker 5: Indeed, your performance, my dear wife, will be nothing to
• 1:19
  stir their critics.
• 1:20
  Speaker 6: Please don't call me my dear white God. I detest
• 1:23
  the expression, and I detest you.
• 1:25
  Speaker 2: You know very well.
• 1:26
  Speaker 6: I've taken an.
• 1:27
  Speaker 4: Action for separation, Alice.
• 1:31
  Speaker 5: Alice, listen, I'm sorry. The idea of you're leaving me
• 1:35
  driving me out of my mind. That's why I can't
• 1:37
  remember my lines.
• 1:39
  Speaker 4: You know.
• 1:40
  Speaker 5: I can't live without you, my dear, And that's what
• 1:42
  that separation.
• 1:43
  Speaker 4: Surely you don't mean it, Oh but I do. You can't, Oh,
• 1:46
  yes I can.
• 1:48
  Speaker 6: And as for me, partying is such sweet sorrows. That's
• 1:52
  one line out of Shakespeare. You'll remember, my dear Alice.
• 1:55
  Speaker 3: So now you too. This is no time for a
• 1:58
  family quarrel. We've got a rehear to finish, play to
• 2:01
  present mannering.
• 2:02
  Speaker 4: Yes, Forsyth, what is it?
• 2:03
  Speaker 5: Let her go to your.
• 2:04
  Speaker 3: Dressing room and learn your lines. We'll resume this rehearsal
• 2:07
  a little later. I mean, oh it's you, Graham. What
• 2:20
  is it this time?
• 2:21
  Speaker 7: Mister Forsyth. If you'd let me try out for the
• 2:23
  role of Othellow.
• 2:24
  Speaker 3: Oh ridiculous, Graham. You must be out of your mind.
• 2:26
  Speaker 7: Mister Forcyth, I beg of you. Give me a chance.
• 2:29
  I rehearsed the role. I know every line. I can
• 2:31
  play a fellow as no actor has ever played it.
• 2:33
  Speaker 3: For the last time, Graham, stop annoying me. I've already
• 2:36
  given you the part of Rodrigo.
• 2:37
  Speaker 7: Roderrigo Roderrigo, a secondary role, a few lines, a weak character.
• 2:42
  Let me play the more, mister Forsyth, and I'll show
• 2:45
  you that I'm the greatest actor in England.
• 2:46
  Speaker 3: Get out, Graham, but I get out of here. You're
• 2:48
  presumptuous fool.
• 2:50
  Speaker 2: You play a fellow?
• 2:52
  Speaker 3: Why you couldn't shine Roger Mannering's boots? Now get ready
• 2:56
  for rehearsal, and let's have no more nonsense.
• 2:59
  Speaker 7: So I can't shine Mannering's boots eche, Well, we'll see
• 3:03
  about that.
• 3:05
  Speaker 8: A pity, mister Graham.
• 3:07
  Speaker 4: A pity.
• 3:08
  Speaker 7: Oh if you rand the caretaker, Ay.
• 3:10
  Speaker 8: It's me the caretaker who said many an Othellow done right,
• 3:14
  and trapper I heard him tell you up through the
• 3:17
  door while I was sleeping at the corridor.
• 3:20
  Speaker 2: He won't give me a chance. Rand.
• 3:21
  Speaker 7: Of course, I won't even try me out as a fellow.
• 3:24
  Speaker 8: And you could do it, Lad, I've heard you speak
• 3:27
  the lines, and you could do it.
• 3:28
  Speaker 4: There's many an.
• 3:29
  Speaker 8: Actor which hasn't had justice, and many a writer too.
• 3:33
  There's stevere in this business like any other.
• 3:35
  Speaker 7: I'll show them, Rand, I'll show them all somehow, I'll
• 3:38
  have my chance to play a fellow.
• 3:51
  Speaker 6: Alice, Oh, Roger, what are you doing in full makeup
• 3:55
  and a black beard at this hour?
• 3:57
  Speaker 4: Alice?
• 3:57
  Speaker 5: I want to rehearse our fifthbac scene alone here on
• 3:59
  the stake before the others get here.
• 4:01
  Speaker 6: Isn't that just a little silly?
• 4:02
  Speaker 4: Please, Alice, let's go through the scene just once. I
• 4:05
  want to make sure of my liones. Please very well.
• 4:09
  Speaker 5: I'll start the scene well into the scene on that
• 4:11
  the Iago lion you ready noes Theemona. His mouth has stopped, honestly,
• 4:18
  I have taken order fort.
• 4:19
  Speaker 2: It, Oh my fear, interpret what is he dead?
• 4:24
  Speaker 4: And all his hair has been lives? My great revenge
• 4:27
  and stomach for them all us.
• 4:29
  Speaker 9: He's betrayed, and I undone strumpet we stow fall into
• 4:34
  my face, vanish my lord, but kill me, oh, stramp
• 4:39
  kill me tomorrow, let me live tonight.
• 4:41
  Speaker 2: Nay if you try half now being done, there is
• 4:45
  no pause while I say one prayer strump di. I
• 5:00
  can't read that. I can't read that. Not dead, not
• 5:04
  quite dead? I that am cruel, am your merciful?
• 5:08
  Speaker 4: I would not have the linger in my pain? Well?
• 5:15
  Speaker 2: Well, just amna a.
• 5:31
  Speaker 4: Mister.
• 5:32
  Speaker 1: I am Sherlock Holmes, and this is doctor Watson, my
• 5:34
  confidant colleague.
• 5:35
  Speaker 3: Yes, mister Holmes, I was informed by the theater board
• 5:38
  that you've come to supplement the investigation of the official police.
• 5:41
  Speaker 1: When you've been misinformed, my dear sir, I take quite
• 5:44
  the opposite you.
• 5:44
  Speaker 2: I should say, sir. The fact is the official police
• 5:47
  usually supplement.
• 5:48
  Speaker 1: Us a home quite But now, mister forsythe let us
• 5:51
  get the facts as I understand it. Alice Smaannering and
• 5:54
  her husband rehearsed the scene from Othello in private. Later,
• 5:58
  when the cast came to the stage, they found Desdemona
• 6:01
  indeed smothered to death and my husband missing. Is that correct, Yes,
• 6:04
  mister Holmes, that is correct. A few moments later, a
• 6:07
  man was seen rushing from the theater. He leaped on
• 6:09
  a carriage whipped up the horses and escaped.
• 6:11
  Speaker 3: Yes, yes, the official police are looking for Roger Mannering now,
• 6:15
  as well as Hugh Graham, do Graham? Yes, doctor Watson.
• 6:19
  Graham was part of our company, but he had ambitions
• 6:22
  to play a fellow. He was well somewhat unbalanced on
• 6:26
  the subject.
• 6:26
  Speaker 2: I see the outcome of all this is a greater
• 6:29
  tragedy than Shakespeare and Soul they were bargain for.
• 6:32
  Speaker 1: Yes, quite Watson, quite. But now I should like to
• 6:35
  go outside the theater and examine the road.
• 6:45
  Speaker 2: Well hops. We saw the carriage tracks at the front
• 6:48
  entrance of the theater. You yourself said it was the
• 6:50
  carriage in which the killer made his escape. Yes, and
• 6:52
  why the devil? We examining the drive here near.
• 6:54
  Speaker 1: The rare entrance, because, my dear fellow, I believe in
• 6:57
  an exhaustive methodon a ha are eh. The same carriage
• 7:02
  tracks only in multiple prints. That means that the escape
• 7:05
  vehicle waited here at the rear entrance on numerous occasions.
• 7:09
  Would note too, that this is not the stage entrance,
• 7:11
  which is on the other side of the building.
• 7:13
  Speaker 2: What of it holds? You sound as though you'd found
• 7:15
  something significant?
• 7:16
  Speaker 1: Perhaps I have Watson, Perhaps I have suppose we look
• 7:21
  for the caretaker.
• 7:22
  Speaker 2: Now the caretaker, what.
• 7:24
  Speaker 4: I should like him to.
• 7:24
  Speaker 1: Show us Roger Mannering's dressing room.
• 7:33
  Speaker 5: So this is Mannering's dressing room, may ran by mister
• 7:36
  arms him that strangled his wife out on stage.
• 7:38
  Speaker 2: It seems to be in some disarray home.
• 7:40
  Speaker 4: S Watson.
• 7:41
  Speaker 1: Note the makeup jars, they're all open, and the grief
• 7:44
  chained for they untidily smeared on the dressing table.
• 7:48
  Speaker 2: Huh what is it?
• 7:48
  Speaker 1: Host that huge costume trunk in the corner, What about it?
• 7:52
  There's a spot of blood on it.
• 7:53
  Speaker 4: Blood, mister arms Slier then ran, yes, sir, you have
• 7:57
  a key to this trunk?
• 7:58
  Speaker 8: I why no, sir, But mister madam, I always kept
• 8:00
  a key on a hook over the mirror.
• 8:02
  Speaker 4: Ah, yes, here it is. Now what scene supposed we
• 8:05
  unlocked this trunk and look within it?
• 8:07
  Speaker 2: By all means? Who? Good law?
• 8:15
  Speaker 4: There's a buddy in the trunk, mister arms.
• 8:18
  Speaker 1: Abots it's yes, friends, I'm missing a pillow. Roger Mannering
• 8:33
  shades of William Shakespeare, Doctor Watson.
• 8:35
  Speaker 2: But this is some adventure, yes, mister Harris, and I
• 8:38
  might add their exciting events still to follow, but before
• 8:42
  I relate them to you, I know you have something
• 8:44
  to say about clipper Craft cloth.
• 8:46
  Speaker 1: I'd like to suggest to you listeners that you do
• 8:49
  some Sherlock calm snooping yourself. When you shop for clipper
• 8:52
  Craft clothes. Your clue is the famous clipper Craft Lady,
• 8:56
  your guarantee of quality and value. And just as the
• 8:59
  market sterling represents finest silver, the clipper Craft label stands
• 9:04
  for the finest clothes that the lowest possible prices better get.
• 9:08
  When you buy clipper Craft, you get double assurance the
• 9:11
  reputation of your Clippercraft dealer plus the clipper Craft label,
• 9:15
  and you get superb styling, flawless tailoring, luxurious long wearing fabrics. Yes,
• 9:20
  the concentrated purchasing power of more than twelve hundred of
• 9:24
  America's fine independence doors gives you truly fine clipper Craft
• 9:28
  quality at remarkable Clippercraft savings. For instance, a really expensive
• 9:33
  looking Clippercraft top cote or overcoat comes to only forty
• 9:37
  to forty seven fifty, and the price tags on Clippercraft's
• 9:40
  new zipper lining topcoats are marked so low only by
• 9:45
  seeing them when you believe them. That's why men who
• 9:47
  know insist on clipper Craft clothes bearing the clipper Craft label.
• 9:52
  So be sure to visit the clipper Craft store in
• 9:54
  your city.
• 9:55
  Speaker 10: These leading stores in the metropolitan area are proud to
• 9:58
  add their names to clipper Craft in your suits, top coats,
• 10:01
  and overcoats. In Manhattan, Sacks thirty fourth Broadway at thirty
• 10:05
  four John Wannamaker men Stores Broadway at eighth and sixty
• 10:09
  seven Liberty Street. In Brooklyn, Abraham and Strauss in Newark,
• 10:13
  New Jersey Boulevard Men's Shop, Presgy Newark. And in Jamaica,
• 10:17
  the B and B Clothes Shop, one sixty four oh
• 10:19
  eight Jamaica Avenue.
• 10:26
  Speaker 1: And our doctor Watson, you were relating to us the
• 10:28
  adventure of the malicious Moor.
• 10:31
  Speaker 2: So I was, mister Harris, so I was? The news
• 10:35
  naturally swept through the theater like wildfire. Meanwhile, Hugh Gray
• 10:39
  and the actor was apprehended in the Birmingham Tabor and
• 10:41
  brought back to the theater. Holmes, however, seemed interested in
• 10:44
  Manarin's body lying in the truck. The corpse had a
• 10:48
  knife in its chest and the stripped of a fellow's costume,
• 10:52
  but Manarin's face was still in maker a grisly swarthy
• 10:57
  death masque, and my friend Holmes summed up what an
• 11:00
  happened in his usual terse fashion to forsythe and myself.
• 11:05
  Speaker 1: It is quite obvious what is transpired here, gentlemen. A
• 11:08
  killer came into Roger Mannering's dressing room and made himself
• 11:11
  up hastily but expertly. Then, dressing in the dead man's costume,
• 11:15
  he impersonated the Moor, played the deathbed scene with Missus
• 11:18
  Mannering and strangled her.
• 11:21
  Speaker 4: Then he ran off, leaving them both precisely.
• 11:24
  Speaker 3: But mister Holmes, who could this focus a fellow be?
• 11:27
  Speaker 1: It's plain foresight that the killer was an actor, and
• 11:29
  a very good one too.
• 11:31
  Speaker 4: And speaking of actors, suppose we have a look at
• 11:33
  Hugh Graham.
• 11:34
  Speaker 1: I understand the police are interrogating him at this very moment.
• 11:44
  Speaker 3: Well, mister Arms, in my opinion, we've got Graham here
• 11:46
  dead to rights.
• 11:47
  Speaker 7: No, no inspector.
• 11:48
  Speaker 2: I tell you I didn't do it. I swear to it.
• 11:50
  Speaker 7: It's true I wanted to play a fellow in Mannering's place,
• 11:53
  but I tell you I didn't kill him or Missus.
• 11:55
  Speaker 2: Mannering look at her.
• 11:56
  Speaker 3: Graham, you hurried away from strapperd and Ivan just I'm
• 12:00
  of these murders. I'd call that a suspicious circumstance.
• 12:03
  Speaker 2: Now, wouldn't you. I I don't know. I was frustrated.
• 12:07
  Speaker 7: I left in a half, That's all there is to it.
• 12:10
  Speaker 3: Well, mister Olmes, we're old and Grahame here on suspicion
• 12:12
  of murder.
• 12:14
  Speaker 2: I suppose you want to question the suspect.
• 12:15
  Speaker 1: Now, no inspector, I have no desire to interrogate him,
• 12:18
  no question.
• 12:19
  Speaker 4: That is precisely what I said.
• 12:21
  Speaker 2: But Holmes, what the juice? This isn't at all like you.
• 12:24
  Speaker 4: My dear Watson.
• 12:25
  Speaker 1: One has only to look at Graham here to ascertain
• 12:27
  his participation in these crimes. Suppose we put our time
• 12:30
  to much better use by talking to Rand the caretaker.
• 12:40
  Speaker 2: Oh hoes, caretaker doesn't seem to be in his office.
• 12:43
  Speaker 4: Deep in matt case. Watson will wait for him.
• 12:47
  Speaker 1: HM, unusual fellow, this man Ran, what do you mean?
• 12:51
  Seems to be a literary fellow. Not these bookshelves, they
• 12:54
  are full of volumes, and all by one author. Bacon Bacon,
• 13:00
  Sir Francis Bacon, the contemporary of Shakespeare.
• 13:04
  Speaker 2: Holmes in view of these ghostly crimes, isn't this interest
• 13:07
  of yours in literature somewhat inconsequential?
• 13:10
  Speaker 1: Certainly not? What's my many point out? Ah the caretaker,
• 13:13
  he's coming up to corridor. Oh you know it's Rand elementary, myea,
• 13:16
  Watson elementary. The steps are ponderous, heady, Rand is a
• 13:19
  big man. Ah, good morning Rand, Oh mister Olmes.
• 13:24
  Speaker 2: Dr Watson, you do you were out and we thought
• 13:27
  we'd wait.
• 13:27
  Speaker 8: I don't get much time in my office these days,
• 13:30
  I don't. It's been pretty actic in the theater here.
• 13:33
  What would the play opening tomorrow night? And the arrangements
• 13:35
  and all, and poor mister Firsight is near out of
• 13:38
  his mind casting in you a fellow and a new
• 13:40
  gus the morning before the curtain rises.
• 13:42
  Speaker 1: Yes, yes quite. But now, Rand, I should like to
• 13:44
  request the favorite of you. I'm mister Romes, my friend here.
• 13:47
  Dr Watson will be staying the night at the Red
• 13:49
  Horse Hotel of the village. However, I must return to
• 13:52
  London on rather urgent business.
• 13:54
  Speaker 4: Would you be good enough to arrange for a conveyance
• 13:56
  to the next train.
• 13:57
  Speaker 8: I'm mister Robbs, ask you to a carriage, right away.
• 13:59
  Speaker 4: Thank you?
• 14:00
  Speaker 2: What is all this? Why are you going to London?
• 14:03
  Speaker 4: First? Watson?
• 14:04
  Speaker 1: I shall have a pipe at Baker Street and indulge
• 14:06
  in a little quiet reading. After that, I believe I
• 14:10
  should go to the theater, leaving Watson.
• 14:19
  Speaker 2: Well, hose you're back?
• 14:20
  Speaker 4: Yeah, I am indeed caught the afternoon train back to Stratford.
• 14:23
  And I hope I'm in time, in time, time for what?
• 14:25
  In time? To prevent a new Shakespearean taggeredy?
• 14:28
  Speaker 1: At what time does Othello open at the Shakespeare Theater tonight?
• 14:33
  Speaker 2: Quarter past it?
• 14:34
  Speaker 4: Now? Quick, get your hat and come along with me.
• 14:36
  Speaker 1: We must cut it at the theater at once, Watson.
• 14:43
  The theater's crowded to night with admirers of Shakespeare. There's
• 14:46
  not an empty seat left in the face.
• 14:48
  Speaker 2: Never minded crowd. Where are we going? Now?
• 14:50
  Speaker 4: The caretaker's office? Again, here we are?
• 14:55
  Speaker 2: It's not here, Hose the office was empty.
• 14:59
  Speaker 4: And so are the bookcases.
• 15:01
  Speaker 1: Nope, but there isn't a volume of Bacon's words left
• 15:04
  from the shelves produce.
• 15:05
  Speaker 2: Is so strange about that?
• 15:06
  Speaker 4: Wait? You detect a faint acrid odor in this room? Oh?
• 15:14
  Speaker 2: I don't you sure?
• 15:16
  Speaker 1: Positive, My dear fellow, My olfactress, since his farmer developed
• 15:18
  in yours.
• 15:19
  Speaker 4: And I assure you what is it now?
• 15:22
  Speaker 1: On the table here these tiny shavings of strings string
• 15:25
  precisely string with a characteristic twist or weed. Come on,
• 15:28
  we better hurry, hurry, hurry where outside the theater? Man?
• 15:31
  Speaker 4: And quickly?
• 15:38
  Speaker 2: Oh you know, I'm completely battled by your strange conduct.
• 15:41
  Why the juice will be lurking outside the Memorial theater?
• 15:44
  Here Watson is lu over there the rear entrance.
• 15:50
  Speaker 1: He is a man in the shadow, Yes, the caretaker
• 15:53
  Rand whose you mean?
• 15:56
  Speaker 4: I do?
• 15:56
  Speaker 1: Indeed, Watson Rand is the malicious more who murdered both
• 15:59
  men and his wife. But he's not yet completed his
• 16:02
  Shakespearean tragedy.
• 16:04
  Speaker 2: He seems to be bending OVERSI now is just lit
• 16:08
  a match?
• 16:08
  Speaker 4: What Watson after him? Hum? Drop that match, Ran, Although
• 16:13
  you don't.
• 16:14
  Speaker 1: Look out home, My arm, my arm, before you go.
• 16:19
  Speaker 2: Good work, hos you threw the bounder right over your shoulder.
• 16:23
  You stunned it.
• 16:23
  Speaker 1: The trick of jiu jitsu, My dear, Watson's quite useful
• 16:26
  at times.
• 16:26
  Speaker 2: What the devil was this fellow doing.
• 16:28
  Speaker 4: Trying to blow up the theatre? Watson?
• 16:29
  Speaker 1: You look sharp, you'll note a long fuse and a
• 16:31
  keck of gunpowder against the wall.
• 16:33
  Speaker 2: Yes, by Jove, the fragments of string came from the fuse,
• 16:36
  all right, and the odor was gunpowdercisely.
• 16:39
  Speaker 1: And the fact that the volumes of bacon were missing
• 16:41
  was also significant. This man considered them a great value
• 16:44
  and removed them so that they wouldn't be destroyed in
• 16:46
  the glass.
• 16:46
  Speaker 2: Omes Rand must be met and doubted it.
• 16:49
  Speaker 1: But I must correct you on one point, Watson. His
• 16:52
  name is not Rand, it's Bacon Bacon. It's John Bacon,
• 16:57
  a direct descendant of Sir Francis Bacon. I discovered that
• 17:00
  pertinent fact in a rare genealogical volume I have at
• 17:03
  Baker Street. Was then, Watson, I obtained a hint of
• 17:06
  the motive. You are aware of the Bacon Shakespeare controversy.
• 17:09
  Speaker 2: It is zion. Indeed, it's famous in English literature.
• 17:12
  Speaker 1: Quite there any number of people who claimed, through one
• 17:14
  pbious two or another, that the great plays of William
• 17:17
  Shakespeare were not written by the Bard, but by Sir
• 17:20
  Francis Bacon instead. This school of Deirconians had been quite
• 17:24
  fanatic on the subject, claiming that Bacon had never been
• 17:26
  given his rightful due among literary immortals.
• 17:29
  Speaker 2: Said this man here, rare er Bacon.
• 17:31
  Speaker 1: Quite his idea of justice for his ancestor was to
• 17:34
  stop the playing of Othellow, blow up the theater if necessary,
• 17:37
  rather than let Shakespeare live on.
• 17:39
  Speaker 2: As with whom you said, the killer had to be
• 17:40
  an actor, this man is a canty.
• 17:43
  Speaker 1: On the contrary, Watson, Bacon here is a fine and
• 17:45
  accomplished actor with a special talent for mimicry and facial imitation.
• 17:49
  I received that information in London this morning from my
• 17:52
  very good friend, mister upperm manager of Covent Garden.
• 17:54
  Speaker 4: Oh what's my man coming to this?
• 17:58
  Speaker 11: It's a lie, Francis Bacon wrote a fellow Romeo and
• 18:03
  Juliet to fight all the rest me a rubb seated
• 18:07
  and robbed by Shakespeare shakes.
• 18:10
  Speaker 4: A second rate actor, that's what he was, Watson. I
• 18:14
  believe you'll find a police inspector.
• 18:17
  Speaker 1: I'll watch Bacon here while you get him, and after
• 18:20
  that you'll go and see your fellow. I believe the
• 18:23
  curtain's going up and I should enjoy a little Shakespeare.
• 18:42
  Speaker 2: Well, Holmes, we'll be in London soon.
• 18:45
  Speaker 4: Yes, what's the move?
• 18:46
  Speaker 2: Am I say? I? Still don't know how you first
• 18:48
  respected Rand Bacon.
• 18:50
  Speaker 4: And obvious production.
• 18:51
  Speaker 1: My dear Watson, you remember the multiple carriage tracks we
• 18:55
  saw at the rear entrance, the carriage in which Bacon
• 18:57
  made it get away, as I do, But what they
• 18:59
  indicated that the owner was some kind of menial since
• 19:01
  he entered the rare entrance on so many occasions. Hence
• 19:05
  the caretaker was a possibility. And my theory was strengthened
• 19:08
  later on by another clue.
• 19:10
  Speaker 4: What true host the murdered of.
• 19:11
  Speaker 1: Fellow Roger Mannering was a big man, so too was Bacon.
• 19:15
  Obviously the bogus Othello had to be a bigot stature
• 19:18
  to deceive Missus Mannering into thinking it was her husband.
• 19:21
  As for Roger Graham, he's a man of small bill. Therefore,
• 19:24
  I dismissed his participation with a single look, and Bacon,
• 19:28
  along with his knowledge of make up and his gift
• 19:30
  the military, succeeded in deceiving the luckless Desdemona.
• 19:33
  Speaker 2: I see, Will Holmes. I must say this is the
• 19:37
  first time we've ever ended an adventure by witnessing the
• 19:40
  Shakespearean play.
• 19:41
  Speaker 4: Yes, I put the performance was superb.
• 19:46
  Speaker 1: However, I could never quite believe the character of a
• 19:49
  fellow no, why not hurt? You'll forgive me what smiss
• 19:52
  I seemed to be irreverent, But to my mind a
• 19:55
  fellow was rather on the stuted side.
• 19:58
  Speaker 4: Certainly, any man.
• 19:59
  Speaker 1: With a no will, respect the facts and an element
• 20:02
  pH knowledge of logic would never have been deceived by
• 20:04
  Iago and have murdered his wife.
• 20:06
  Speaker 4: As the moona.
• 20:08
  Speaker 1: Then, Watson, I'm not a playwright. I'm merely a private investigator,
• 20:24
  Doctor Watson. That was certainly an interesting adventure.
• 20:27
  Speaker 2: Thank you, mister Harris. And I inscribed it the pleasure
• 20:30
  to my memoirs, being a lover of the theater, as
• 20:34
  you know.
• 20:34
  Speaker 1: Yes, and now, doctor Watson, what adventure will you relate
• 20:37
  to us next week?
• 20:38
  Speaker 2: Next week, mister Harris, I shall tell you of the
• 20:41
  Knife of Vengeance. It concerns a gentleman who is an
• 20:45
  itinerant knife shot. What is distinctive about him is that
• 20:50
  he only sharpens knives to be used for cutting throats.