A Man Called X - In New York

0:00Robert Marshall has the man called X. Wherever there is mystery, intrigue, romance in all the strange and dangerous places of the world, there you will find the man called X. One person first saw the girl in the lobby of a New York building in which the officers of the Bureau were located. She was pleading with the elevator stalker, pleading in a dazed, frightened manner. The man was known as X. I must speak with him. He was about Majority, you understand? I'm sorry, please. I must speak with him. I... I must!

1:00A few minutes later, the girl sits quietly, a little frightened. In a private office at the Bureau, as Ken talks to her sympathetically. So you want to talk to this man called X? See, see, the man who is X. You know him, senior. I think I can help him find him. If you'll help me, now, suppose you stop answering your name. My... my name, senior? Yes, that's right. But I do not know my name. But his friends, is it not? I do not know my own name. That's not important. It'll come to you. Do you remember why you came here to see him? But I have told you, senior. It is about Majority. You understand, senior? About... about Majority? Majority? No, no, you do not understand. But his man who is X, he will know, see, he must know. Of course, but when we see him, you must tell me where you're from. What is troubling you? But I cannot do this, senior. I do not remember. I can remember nothing. Only that I must see the man called X. About Majority, please.

2:02Perfavor, take me to him, senior. He must help me. Please, please. Yes, I'll take good care of him. Well, if you rest a bit, we are coming with you. Okay. This book, will you see that the senior arena rests comfortably for half an hour or so? I'm getting touched with Dr. Bowen from hospital. I'm on her place to sit care. Sir, please, sir. Here, you come with me over here. Now everything will be all right. Yes, sir. Good, sir. Did you get it on the digital graph, chief? Yes, I got it, Ken. And amnesia case, right? Sounds like it. I think it might be a fake. Dr. Bowen won't tell us. Mind if I use your office to call and choose. I'll go right ahead. Hello, Esmond. Perfect. The start event will sail from Naples, roughly on route to New York. So, Majority Art Collection was aboard. Majority Art Collection. They'll not check on it and see where it is now, will you?

3:03Thanks. So, you think the girl was talking about the Majority Collection, Ken? Could be. What do you know about the collection, chief? Very much, chief. World famous, rooted by the Nazis. Recently recovered. And it's coming over here for some kind of public exhibitionism. That's why it's going to tour the country. Proceeds going to a rehabilitation fund for Italian war often. Yeah. But if that's what the girl was talking about, why should she look for you? The funeral hasn't any interest in an art collection. I think we have, chief. Huh? That collection means a new life for thousands of Italian kids. A chance to dig themselves out of the mist, the war left them in. Well, sure, Ken, but why is the collection as our responsibility? We've got to see that those kids get that chance. That they grow up as the next generation's decent citizens and not its storm troopers. First and here. Yes, first one. Yeah. I see. Thanks. Part event or doctorate of this morning, chief? The Majority Collection went through customs about an hour ago. And what do you want us to do, Ken? Chief.

4:04The truck taken the collection to the notice out there. It was hijacked. The guard and driver killed. And the painting is a gun. Well, are we going anyways, Mr. Feston? Well, I'm not sure you want to go pay on, but the chief thought you might do a little job for the bureau. Mr. Ex, that's out. Definitely positively out. I don't want no jobs for the bureau. That's what I thought. Well, can I drop you anywhere before I get to the notice out gallery? The notice out gallery? Well, that's where the Majority Collection is. That's where we're going to be. The point is stolen. Stolen? But that thing's worth 10 million bucks. Yeah. I'll drop you this corner painting. 10 million simoleons. Should be a pretty good reward for getting the stuff back, eh?

5:04All the insurance come to pay off pretty well, sir. But as long as you're not invested. Why should we be so hasty, Mr. Rex? Naturally, I don't want a job. But I'll be better help you out. Yeah. Just for old-line time, you understand? And 20 bucks a day in expense, of course. What is straight now, Pegos? For sure. Just in. While you talk to the manager, I make like a big shot arctic. Good. Tell the gallery let's go in. There's the office, Mr. Thurston, says Muriel Baldwin, managing.

6:04Yes. Okay, if I don't see you back in the car. You understand, Mr. Baldwin, that I consider the loss of the Magiotic Collection to be the result of unforgivable negligence on your part. I'm not particularly interested in your thoughts on the subject, Mr. Cameron. Well, as manager of the scouring, you should be. The dividing line between unforgivable and criminal negligence may be a very narrow one. Good aim, Mr. Baldwin. Excuse me, Mr. Thurston. May I come in, Mr. Baldwin? Why not, you're practically in now. Thanks. Did you enjoy your little eaves-goth? Sorry, I didn't mean to move in on a private conversation. That was J.B. Cameron, wasn't it? One of the sponsors of the Magiotic Collection? I'm sure that Mr. Cameron and I don't know nearly as much about you. Oh. My name is Ken Feston. I'm interested in the collection, too. How nice. An official interest? Yes, put it this way. Does the good deal of money tie it up a net that will be lost if it's not recovered? Only an insurance man would be interested in the money involved. I gather that Cameron seems to think that you might be.

7:06What else have you gathered, Mr. Thurston? Only that you're the manager of the gallery and that your name is Maryl Bowen. I'm 28, single, and I've been here ever since I left art school six years ago. And I know absolutely nothing about the robbery. Does that help you? If I could bring an eye on that information? You will have to decide that for yourself, Mr. Thurston. Miss Cruz, Mr. Senor. That is a problem with which perhaps I may assist you. Oh. I am Lucca Rossellis, Mr. Senor. Representing the Italian organization which sent a majority collection over here. No, I don't know you, Rossellis. You're as selling as also a carbon copy of J.B. Cameron in a way, Mr. Thurston. Go ahead, Lucca. Tell the man how dishonest I am. I do not say that, Senor. I accuse no one of anything. I know only that it is a vital import that those paintings be recovered. Do you sound like an art lover? Art? I know nothing about it. I'm here to collect revenue for displaying those paintings. I know only that it is needed badly in Italy for the war. Well, at least someone here will realize that little children will suffer the real loss.

8:06You're a very unusual insurance man, Mr. Thurston. Placing the interests of Italian orphans above that of your company. This is a very unusual case, Mrs. Bowen. Yes, I know. You see, the real insurance man was here 15 minutes ago. That makes your interest in this matter most unusual. All right, Pagan, what blood did you have? You can always depend on his elsewhere. You know the Cameron guy? What about him? He thinks I'm a big shot art collector. You know, he's a collector himself. Specializes in the vintage painting. What's so important about that? Well, maybe I can pick up a bit of change. After all, I've got a friend who paints the winches even better than the winches. I think you can make a better deal with Cameron. I can?

9:06How? Find the magic-only collection for him. That's got two genuine da Vinci's in it. ." Darmin? 😆 Ken, why the hurry up call upon me to come here to the hospital? They're going to get some answers. And she was speaking at me. No, no, Beaumont's given her an extensive examination. She's undergone traumatic shock with lots of memory. Yes, but where does the connection with the Magiori robbery come in? She's unconscious. That girl's mind holds the key to it. We've got one luck in it. But if she's got that measure, Beaumont's going to try sodium pentathol. Sodium pentathol? The stuff the army psychiatrists use for battle fatigue.

10:10Yeah. Let's go and have one amount for the same thing. Some horrible shock will block your mind. But Beaumont's going to get it now. And with a few hours we should have the answers to everything. Oh, oh. Hello Beaumont. All set to go. I'm afraid not, Thurston. What the matter? I went to get that girl a little while ago. Her room was empty. Empty? How'd you get out? I don't know. I ordered a search. I have to turn her up. I'm sorry, Thurston, but that girl's disappeared. Oh. Oh, and then this, I mean, I'm sorry, Thurston, but she's gone. Oh, yeah. Blah! Blah! Blah! Blah! Oh. Blah! Blah! Blah! Blah! Blah! Blah! Blah! Okay. And a Herbert Marshall, a man called Axe, in just a moment.

11:1348, we present, part two of the man called Axe. The Magiori Arts Collection has been stolen. Thousands of Italian war orphans will be without rehabilitation unless it's recovered. And the girl who didn't remember, whose mind holds the key to the mystery, has disappeared. Now and hour later, at the Bureau office, Ken is talking to one of the Bureau's agents over the phone. Yeah, keep an honest guy there, cover that man. I want to report on everything that Millio borne and look at what they do. Right. Call me back with your evidence. Oh, hello chief, anything new? Not a thing, Jan, the girl seems to have dropped off the face of the earth. We've got to find our chief before it's too late. Can you show we're not checking up a big plot of dust over nothing? Those paintings are bound to show up when they're off of the sale. They'll never be sold on the open market. So our collectors will buy them purely for personal satisfaction. Here? Oh, for you, Ken. Thanks. Hello. Hello, Mr. Burson. This is Muriel Bourne.

12:14Yeah, I recognize your voice. How flattering. How do you get this number? At the life of friends of yours, the art collector. He's a famous salesman. I might have known. Don't feel too badly about it, Mr. Burson. You see, I don't have to bother about the Magiori collection anymore. Oh, why not? Because there was just been churned in the gallery not five minutes ago. Don't bother trying to get into the gallery, Mr. Burson. Nobody's home. What are you doing here, Pagan? All I just came back to get Mr. Cameron's address. I got a painting to sell him.

13:14A brand new invention. Particularly if I'd have my job for the brewery, you understand? Yeah, well, forget about it. Your job is over. Huh? The Magiori print paintings have been returned. They're in the gallery now. Oh, no, they're not. What do you mean? I was just inside there. By accident, the key I just happened to have in my pocket fitted the back door. And I know a millennial DaVinci when I see one, and I didn't see one. Let's get to that rear door. Sure. It's right down in the back of this driver. There it is, Mr. Burson. It's right where that big truck is parked. Yeah, let's take a look at that truck. That's a truck, so what? The closed panel, John. There's a few bullet holes in it. That's the wreck. Yeah. This is the truck that was hijacked. Hey. Then maybe the paintings are still in there. Who, Mr. Wicks? Are they? No, they're from the houses. Huh? What? A bureau eight and eight in the end of the month.

14:16That bullet needs head. Yeah. Here for... Huh? It's the first time. May I come in here, will you? My... The first Mr. first time. I'm honored. Thank you. I, uh... I told you to stop by about that telephone call. An explanation, my help. It was merely a stupid mistake. One of the attendants told me the truck had been returned. I must understand thinking you met the paintings. I called you before I checked. Yeah, that could have happened to anyone. You should have told me you were going to drop in.

15:17I'd have had the apartment more presentable. Oh, you wouldn't have been here at all. Why Mr. first and how can you face such things? Well, suitcases and half-packed clothes said them first. Oh, the evil finger of suspicion that rules it right. And still spelled my name. Why not write? You raise it again. Never erase a line once and draw on seeking perfection. The line may be improved, but the soul of art destroyed. My art teacher taught me that once. Art school? When a piece and Picasso on your wall? Painting means a lot to you, doesn't it, Maryl? You've uncovered my scarlet secret, Mr. Beston. Yes. It means almost everything. My job at the Norris gallery. I wonder if you can understand how I feel about it. Although it were a sort of trust. I can understand that. And can you understand how I felt when the Magiore collection was stolen? A collection I was responsible for. You can't run away from responsibility, Maryl. There's no law that says a person is a criminal

16:18because they can't face his own conscience. Well, but there is a law against kidnapping. Kidnap? Nothing that's as uniform on the devil's fault. Too bad you didn't get it back before I came in. Where's the girl, Maryl? In the bedroom? Yes, can. Yes, she is. The girl. Think of it, Mr. Cameron. Or else could you pick up such a bargain? A genuine da Vinci. And for all the, as you'll be say, a five-thoucens box. That is quite a bargain, Mrs. Oceanant. Why let it go so reasonably? The nail on the hammer, Mr. Cameron. You know how it is when you need some ready-can.

17:18All need to get rid of a stolen painting. Stolen? But I swear by the father of my father. No, what about that, assembly? It's just eventually part of the Marjorie collection. Senior Camelan, that painting was never in any collection. You're so right, Senior Rosili. It must pass down in my family. From him to mouth, you understand? I... You're pardon, Mr. Camelan. There's a Mr. Camel person to see you. Oh, no. You sure mean, please, will you? Yes, sir. This way, please, Mr. President. Thank you. So, could I mind my apology in any way like this, Mr. Camelan? No, not at all, Mr. Person. You're the insurance man Rosili was telling me about, aren't you? I'd like to talk to you about the collection. Oh, yes, of course. Rosili dropped in for the same reason. Frankly, we got nowhere, and we're just amusing ourselves listening to her sales talk about this Da Vinci copy. Da Vinci, and a fool would know that, Bell Smith. We'll have to look at the necklace on the portrait. The links from several places are not even drawn. How do you think that Da Vinci would ever make a mistake like that? But the copy is bound to put a shabby concurred of the payees you have here, Camelan. Yes.

18:19They are pretty fine, aren't they? Yes, they're France Houses, for instance. One of the best I've ever seen. I practically had to kidnap the owner in Amsterdam to keep the prick collection from getting it. And that's the curl. I don't think he's ever had a finer feeling for the haze of twilight than enough one. No. No, it cost me $10,000 more than I wanted to pay. Old man Carpenter was bidding against me. But I got this in your place. This is all very interesting. But we should be discussing the majority collection. Art is not as important as this time as those children in Italy. You're right, Cinebus, haven't you? And I've got this for you. You found a young girl, an amnesia case. We'll find you know all about it. Why, that's wonderful, first and. But if she has amnesia, how could she tell you anything? She's going under sodium pendofoil at the hospital tonight. I think she's going to tell us all we need to know. Hurry up. Hurry up.

19:366.65 8.65 Sixty-two. Sixty-two. Sixty-two. Sixty-two. Sixty-one. Sixty-two. Sixty-three. Lights, blazing earth. All right, persons, we're ready. We can begin. We want to stand up for safety. We have to make a face to the thing that brought on the traumatic shot. Bring it out in the open. You're here because the man called X is the one thing she's clinging to. So when she talks directly to you, answer her. When we reach the point where the trauma began, I'll take over and reconstruct the situation with her. I understand. Good. I'll ask her if she can hear you. Can you hear me, Senior Vina? This is the man called X. Can you hear me? I can hear. It's no X. You were looking for me, Senior Vina?

20:38Yes. I was looking for you. Friends. Friends. Friends of your coach about me? Sure. My brother. You have a look at that. Ask her why she needed help. Do you need help, Senior? He is about my choice. How about my choice? Not really. Not a collection. It depends. I've come for the cure. Nothing can happen. Nothing. You're not there. You're not there. Help with what? What help do you need? Where? The boat. The boat's from there. It's cold. Help. It's cold. You're about the boats, Senior Vina. You understand the boat? No. No.

21:38You're about the boats, Sally, from Naples to the United States. A boat, the boat, with the majority of them. No. You cannot do it. You cannot do it. Why can't I do it? The children. Nothing can happen to them. Nothing. What do I care about the children? What do they mean to me? Sarah, you have all these clothes. How can you say it? Those children mean nothing to me. Only those paintings matter. You do not believe you. No. After the world. What we've been through together. You cannot stand it. You cannot. I'm going to steal it. You hear me. I'm going so you can't stop me. No. I will not let you. I will not let you. What do you care whether I steal those paintings or not? Sarah, can you say it? Who do you? What does it matter to you? I don't care. Are we not? Why do you care? Why do you care? How can you say it? Look at me, Patelos. Look at my own brother.

22:40How can you say it? No. For the secrets of the life. Keep quiet, your will and the angel of patience will fail. Don't worry. Your own will be fed by an accomplished moon. Who knows? Who knows, come here, but that's what my own brother feeling. All right, all right. There's nothing to be afraid of. Quiet now. Everything's all right. Just rest. No, they're not moving, they're person. I would not hesitate to use this gun. I know, but, S实, just like you use it on airsman, when you call to driving the truck back from the gallery to post a special miracle. It is unaffordable that you discovered my sister, Otherwise, you would have suspected on this in getting the boy. No, Westerly, you gave yourself away. I'd find too hard to convince me you knew nothing about art. And we're only concerned about money for the children. But you spit when you told Pega why his copy of Da Vinci was a fake. No amateur would have known it. You're your suspect of the two in getting the boy, yes. That's why she tried to be cut and eat out of town.

23:40She was afraid you'd find her in color to keep up and talking. And you would have two wouldn't you, Westerly? She's a fool, Singapore. Why should I not kill two? Oh, what a little murder from better money. Aspen your sister thousands of kids in Italy whose future depends on those paintings. Well, you're not going to get away with it, Westerly. Oh, great words, you know, first. But words will not stop me from pulling this trigger and disposing of all of you. I figure that. OK, keep telling the lights. You bet, Dan. Yes? How old is men? What is it? Sheep, he's going to shoot. Nice going, Ken. Trap worked out perfectly. That's all the proof we need. Except one thing. He didn't tell us where the paintings are. I think we'll find a Cameron, chief. Cameron? Yeah. And some secret guy waiting in seven glows over them. They didn't represent after him any more than they did to their selling. To one possession, the other money. That's all over, Ken. No, she's just beginning. So thousands of kids in Italy.

24:40You know, those kids are like a blank canvas. And where are the painters? Well, we put into that canvas for the Germany's future. Maybe a masterpiece of the second itself for generations. Maybe a worthless smear or wind up in the junk pile of the world. I wonder what it's going to be. That's the man called X on the golden age of radio theater, first broadcast, August 15, 1948. Just moment will be back to.