Episode Details

This radio drama uses AI-generated writing, voices, music, sound effects and artwork. All spoken performances in this edition use ElevenLabs V4.

A day after his brother is shot dead in Rio de Janeiro, a man calls at Baker Street and begs Sherlock Holmes to act where he officially may not, afraid the killer will "walk free." Why does he fear a killer who has not yet been found?

Read the story and the full transcript: https://matezz.com/episodes/the-case-of-the-midnight-lagoon-rendezvous-sherlock-holmes-the-new-cases/

🎭 Directed Edition — every role cast for this story and every line performed with full voice direction.

In the wet June of 1954, Dr Watson is losing a quarrel with his tax return when a visitor from an embassy calls at Baker Street: Tomás Almeida, the very man Watson beat at billiards that afternoon. Tomás's brother Rubens was shot dead in Rio de Janeiro the night before, and Tomás fears the killer will walk free. Holmes balks at a client who may not officially ask, and at a scene half a world away, yet the odd phrasing nags at him, and soon he and Watson are flying south. On a black hillside above the lagoon, Inspector Figueiredo shows them where Rubens's car was found, its lamps dark and its engine cold, his wallet and watch untouched. Someone, Holmes judges, was expected. Tomás has already settled on a name: Isabel, an eighteen-year-old with no family, whom Rubens meant to marry. In a tall pink boarding house in Botafogo, the widowed owner, her grandson, an Air Force lieutenant, and the grieving girl receive the investigators, and the inspector's own evidence begins to point her way. Is Tomás seeking justice for his brother, or only someone to blame?

From the series Sherlock Holmes — The New Cases: a real crime of the 1950s reimagined as a classic Sherlock Holmes radio mystery, performed by a full multi-voice AI cast, with sound design and a light score that stays under the story.

Loosely inspired by a real event of the 1950s. All names, characters, dialogue and events are fictional; the words, actions, motives and private lives of every character — including a widowed landlady, her family and lodgers, a nightclub singer, a bank clerk, the investigators and the police — are invented for drama, and so is the solution of the mystery. Where a real city, state, public body or newspaper is mentioned, its part in this story is invented; the boarding house, the nightclub and the lagoon road named in it are invented too. This is a work of fiction, not a factual account of any real person or institution. No real person is portrayed, and no real individual, company or organisation is accused of any act shown here.

Setting: London and Rio de Janeiro — June 1954.

Writer v2.7 — the studio's newest writing process: the plot is planned and checked by an AI story editor, then each act is drafted with the whole story in view and edited before a word is voiced — and then cast and performed with our new casting and voice direction.

Chapters:
0:00 Rain and Returns in Baker Street
2:39 A Dark Hillside Above the Lagoon
4:14 The Pink House in Botafogo
5:58 Midday at Police Headquarters
7:33 The Yard Beneath the Tin Awning
8:37 Questions in the Widow's Parlour
9:46 A Letter from London
11:26 A Warrant at the Pink House
12:51 Columns on the Copacabana Terrace
13:59 Dusk at the Garden Gate
15:29 Midnight in the Cells
16:46 First Light Behind Bars
18:38 The Hall and the Staircase
20:05 A Trunk and a Black Dress
21:36 Back on the Midnight Hill
22:47 Evening Callers on the Veranda
24:25 Night Falls on the Veranda
26:05 Baker Street Under Rain Again