Lux Radio Theatre - Strangers on a Train

Summary

Podcast Summary: Lux Radio Theatre – "Strangers on a Train"

Podcast: Harold's Old Time Radio
Host: Harold's Old Time Radio
Episode Title: Lux Radio Theatre - Strangers on a Train
Date: July 22, 2026

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Episode Overview

This episode of Harold's Old Time Radio features a dramatic presentation of "Strangers on a Train" by Lux Radio Theatre, originally adapted from the famed Alfred Hitchcock film. The play stars Dana Andrews as Guy Haynes, Virginia Mayo as Anne Morton, and Robert Cummings as Bruno Anthony. The story explores the suspense-filled consequences of a chance meeting between two strangers and a sinister murder pact.

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Key Discussion Points & Plot Breakdown

1. The Fateful Encounter (00:51–08:40)

• Setting: Two strangers, tennis player Guy Haynes and charismatic but troubled Bruno Anthony, meet in a train’s club car.
• Introduction: Bruno recognizes Guy and strikes up a conversation, revealing fascination with Guy’s career and personal life.
• Bruno’s Proposition:
  Bruno shares his theory on the “perfect murder” – two strangers “swap murders” so there’s no traceable motive. He suggests Guy’s wife and Bruno’s father as victims, insisting, "You do my murder and I do yours. Crisscross." (07:30, Bruno)
• Guy's Reaction: Guy laughs it off and leaves, not realizing Bruno considers this an agreement.

2. Miriam’s Refusal and Guy’s Frustration (08:40–11:49)

• Meeting Miriam: Guy’s estranged wife Miriam refuses to grant him a divorce, knowing it would prevent Guy from marrying Anne and advancing his social status.
• Tense Exchange: Miriam manipulates the situation for personal gain, toying with Guy’s desperation.

  “I got a big surprise for you. I’m not getting a divorce.” (09:37, Miriam)

• Guy’s Distress: Guy expresses violent frustration to Anne over the phone, saying, “Yeah, I’d like to break her neck. I’d like to break her foul, useless little neck.” (11:18, Guy)

3. The Murder and Blackmail (13:24–19:27)

• Bruno’s Shocking Revelation: Bruno calls Guy, implying he will deal with Miriam. Later, he visits Guy late at night to announce he has murdered Miriam at the amusement park.

  “You didn’t tell me that Miriam wore glasses... It was very quick, Guy. She wasn’t hurt any. It was all over, no time.” (15:08, Bruno)

• Guy’s Horror: Guy is shocked and contemplates contacting the police, but Bruno threatens them both, insisting Guy is now implicated via their arrangement.

  “We planned it on the train together. You wanted it, remember?” (16:20, Bruno)

• Miriam’s Death Confirmed: Guy is summoned to Anne’s home, where he learns Miriam has indeed been killed, as described by Bruno.

4. Investigation and Suspicion (19:27–24:32)

• Police Questioning: Guy is a suspect, as motive and opportunity are clear. His fragile alibi depends on a tipsy stranger’s recollection, which fails.

  “He didn’t remember me at all, Bobby.” (23:25, Guy)

• Pressure Builds: Guy is shadowed by police (Detective Hennessy), causing his world to shrink as he withdraws from tennis and public life, trying to shield Anne and her family from scandal.

5. Bruno’s Deranged Pursuit (27:00–36:43)

• Bruno’s Intrusion: Bruno stalks Guy, Anne, and her circle, making social appearances and concealing his agenda beneath charm and dark humor.
• Notable Scene: At a party, Bruno play-acts strangling a woman, triggering a real faint and panic—he was “demonstrating” murder.

  “Now, just watch what I’m doing. Now, when I nod my head, you just try to cry out. I bet you won’t be able to make a sound.” (32:39, Bruno)

• Anne’s Realization: Anne pieces together the connection between Bruno, Miriam’s murder, and the glasses, confronting Guy, who finally confides the truth.

6. Climax – The Chase at the Amusement Park (43:07–50:00)

• Bruno’s Scheme: Bruno threatens to plant Guy’s monogrammed lighter at the murder scene to incriminate him definitively.
• Race Against Time: Guy flees the authorities and rushes to Metcalf to intercept Bruno at the amusement park.
• Confrontation: A dramatic pursuit leads to a roller coaster climb, where Bruno refuses to surrender and is mortally injured in a fall.

  “They won’t get me. I’ve climbed to the top. I’ll jump before they take me alive.” (48:40, Bruno)

7. Resolution (50:00–End)

• Bruno’s Last Act: As he dies, Bruno clings to the lighter, clearing Guy of suspicion when it is recovered from Bruno’s grip.
• Guy’s Name Cleared: The police accept Guy’s innocence, and he reunites with Anne, refusing to ever again “talk to strangers on a train.”

  “I beg your pardon, but aren’t you Guy Haynes? I’m very sorry, sir, but when I was a very little boy, my mother warned me never to speak to strangers on a train.” (51:48, Guy)

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Notable Quotes & Memorable Moments

• Bruno (on the “swapping murder” idea):
  “Now, each one has somebody they'd like to get rid of. So they swap murders... Crisscross.” (07:30)
• Guy (dark frustration):
  “Yeah, I’d like to break her neck. I’d like to break her foul, useless little neck.” (11:18)
• Bruno (after the crime):
  “It was very quick, Guy. She wasn’t hurt any.” (15:08)
• Anne (emotional realization):
  “There was one horrible moment tonight when the news came through... I kept remembering what you said on the phone from Metcalf after you’d seen her.” (21:05)
• Final line:
  “I’m very sorry, sir, but when I was a very little boy, my mother warned me never to speak to strangers on a train.” (51:48, Guy)

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Key Segment Timestamps

| Timestamp | Event/Topic | |-------------|-----------------------------------------------------| | 00:51 | Opening scene – Guy and Bruno meet on the train | | 07:30 | Bruno unveils the “swap murders” idea | | 09:37 | Miriam refuses divorce, manipulating Guy | | 15:08 | Bruno reveals he killed Miriam | | 19:03 | Guy learns from Anne’s father that Miriam is dead | | 23:13 | Guy’s alibi fails | | 32:39 | Bruno “demonstrates” strangling, woman faints | | 36:43 | Anne confronts Guy, he admits Bruno’s guilt | | 43:07 | Race to Metcalf & confrontation in amusement park | | 48:40 | Bruno cornered on roller coaster, his fatal fall | | 51:48 | Guy refuses to speak to “strangers on a train” |

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Overall Tone & Language

The episode captures the tense, suspenseful, and psychological tone synonymous with Hitchcock’s style. Dialogue is brisk, emotional, and laden with both dark wit and anxiety, especially in Bruno’s erratic speech and Guy’s escalating desperation. The presentation is enriched with period drama flair and sharp exchanges.

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Conclusion

This Lux Radio Theatre adaptation of “Strangers on a Train” delivers a tightly plotted psychological thriller, with memorable performances capturing the tension and moral ambiguity of the original. The episode is riveting for fans of classic radio drama and suspense, and the archetypal theme—never trust a stranger—resonates through to the chilling end.

Transcript

[Narrator/Announcer]

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[Guy Haynes]

Away from home, from Hollywood. The Hollywood Radio Theater, Starring Virginia Mayo, Dana Andrews and Robert Cummings in Strangers on a Train. Ladies and gentlemen, your producer, Mr. Irving Cummings. Greetings from Hollywood, ladies and gentlemen. There is no question that travel is an excellent way to seek adventure. But I doubt that anyone would wish to experience the faithful meeting in tonight's play, Strangers on a Train. And as our stars, we have that sensitive actor, Dana Andrews, glamorous Virginia male and in an unusual role, talented Robert Cummings. An excellent trio to bring you this engrossing Warner Brothers screen hit which was directed by that master of suspense, Alfred Hitchcock. Now act one of Strangers on a Train, starring Robert Cummings as Bruno Anthony, Dana Andrews as Guy Haynes, and Virginia Mayo as Anne Morton. A few moments ago, an offbound train left Washington, D.C. among the passengers settling down in the club car are two young men. I. I beg your pardon? Oh, I hate to interrupt your reading, but aren't you Guy Haynes? That's right. Well, I'm quite a tennis fan. I saw your match last season in South Orange against Saturday. No, that was one of my lucky days. Oh, I certainly do admire people who do things. Oh, by the way, my name's Anthony Bruno Antony. How do you do? Well, I guess you want to get back to your book and read, don't you? Well, go right ahead. Thanks. So, you know, it must be pretty exciting to be so important. A tennis player isn't so important. Oh, but people who do things are important. Now, me, I. I never seem to do anything. I suppose you're going to Southampton for the double, huh? You read the sport page, don't you? I wish I could be there to watch you, but I've got to be back in Washington tomorrow. Cigarettes? Not now, thanks. You don't have to have a match, do you? Yeah. Oh, thanks. Well, what an elegant writer. From grave 2A to G. I'll bet I can guess who A is. Ann Morton. Wait a minute.

[Commercial Voice]

It's simple.

[Guy Haynes]

You see, sometimes I turn the sports pages and look at the society section. She's very beautiful. Said it to Morton's daughter. You're quite a reader, Mr. Anthony. Yes. Yes, I am. Ask me anything. I got the answer. Even about people I don't even know. Like. Like who would like to marry whom when his wife gets a divorce. Maybe you read too much. There I go again. I meet somebody I like and admire so much and I. I say the wrong thing. Forget it. I guess I'm just a little jittery. When's the wedding? What, like you and Ann Morton. The wedding. It was in the papers. But it shouldn't have been unless they legalized bigamy. It's wonderful, you know, having your company all the way to New York. As a matter of fact, I'm getting off at Metcalf. Metcalf? Who'd want to stop at Metcalf? Well, it's my hometown. Oh. Oh, I guess a little chat with your wife about the divorce. Well, how about having lunch in my compartment? Well, thanks, but I think I'll go to the dining car. No. No seats there for about 20 minutes. Well, how about lunch in my compartment? Wouldn't think of it. Come along, Mr. Hayes. Oh, say, this. This is a real pleasure. And so, all told, I went to three different colleges. Got kicked out each time. Drinking and gambling. All I'd show I'm a bum. Who said you were? My father. He hates me. With all the money he's got, he thinks I ought to punch a times like somewhere and work my way up. Well, I think possibly he's got. I hate him too. I tell you, I get so sore at him sometimes, I. I want to kill him. No, I don't think you know what you want. Well, I want to do something in everything. You know, I've got a theory that you should do everything before you die. Have you ever driven a car blindfolded at 150 miles an hour? Well, no, not lately. Well, I did. I flew in a jet plane too. Man, what a thrill. Almost blew the sawdust out of my head. What are you trying to prove anyway? Well, you see, I'm not like you guys. I mean, you're lucky. You're smart. First of all, you wonderful tennis player. On top of that, you've got a swell job, Assistant to a United States senator. On top of that, you're going to marry the boss's daughter. Well, that makes a nice shortcut to a career, doesn't it? Marrying the senator's daughter has nothing to do with it. Take it easy, Guy. I'm your friend, remember? I like you. I. I'd do anything for you. We'll be stopping soon. I got to change trains, you know. Oh, yes, that's right. Next time. What did you say her name was? Your wife? Miriam. Miriam. Played around a lot, huh? Keep it, Bruno. Okay. Say, you want to hear one of my ideas for perfect murder? Murder? Isn't that against the law? What's a lifeitude? Some people are better off dead anyway. Someone like your wife and my father, for instance. Now, let's say that you'd like to get rid of your wife. You know, we got quite a sense of humor. No, no, no, no, I'm serious. No, let's say that. That you had a very good reason to want her dead. But you'll be afraid to kill her. You know why? Because you'd be caught. And what would trip you up? The motive. Now, here is my idea. I'm afraid I don't have time to listen to you, Bruno. But it's so simple. Look, two fellows meet accidentally like you and me here on the train. Now, there's no command connection between them at all. Never even saw each other before. Now, each one has somebody like to get rid of. So they swap murders. Swap murders? Yeah. Each fella does the other fella's murder and then there's nothing to connect them. Each one has murdered a total stranger. Like you do my murder and I do yours. We're coming into my station now. Yeah. For example, your wife and my father. Father. Crisscross. Well, thanks for the lunch, Bruno. Well, I'm glad you enjoyed it. And you think my theory is okay, huh? You like him? Sure, sure. You've got some great ideas. Nice meeting you, Bruno. Yeah. Good luck at Southampton, Guy. You bet. I've got some great I. Oh, hey, Guy, your lighter. You forgot your cigarette light from agency. Well, I'll send it to him sometime. Yeah, I must send it to him sometime.

[Anne Morton]

I hope you don't mind meeting in the park, Guy.

[Guy Haynes]

No, Miriam, not at all. This is fine.

[Anne Morton]

I couldn't very well meet you in the store, could I? I need to take my lunch hour later.

[Guy Haynes]

So you're looking well, Miriam.

[Anne Morton]

So are you. You got a nice tan playing tennis with all your rich friends.

[Guy Haynes]

When can we see your lawyer?

[Anne Morton]

But you're hurried, Guy.

[Guy Haynes]

I hurried? You're the one who's in a hurry, aren't you?

[Anne Morton]

Well, you wouldn't give me the divorce right away. I sort of hoped it was because you were a little bit jealous.

[Guy Haynes]

I got over being jealous a long time ago.

[Anne Morton]

You know, I think you're handsomer than ever.

[Guy Haynes]

Pretty late now to start fighting with a discarded husband. Let's see your lawyer and get this thing over with.

[Anne Morton]

Did you bring the money? Lawyers are expensive.

[Guy Haynes]

And there's envelopes.

[Anne Morton]

Yes, thanks. You know, if I'd known that you'd start doing so well, I wouldn't have run out on you.

[Guy Haynes]

What are you trying to say, Miriam?

[Anne Morton]

I got a big surprise for you. I'm not getting a divorce.

[Guy Haynes]

But it's what you wanted, that's all. You've been hopping about for over a year now.

[Anne Morton]

It's a woman's privilege to change her mind. Now I can buy some pretty clothes. I wouldn't want you to be ashamed of me in Washington.

[Guy Haynes]

What's that supposed to mean?

[Anne Morton]

Don't look so mad. You always smile when you have your picture taken to the newspapers. Especially when Ann Morton's hanging on your arm.

[Guy Haynes]

Let's not talk about Ann Morton.

[Anne Morton]

You can throw all your little dreams about her right in the ash can. Make a real pretty story, wouldn't it? The senator's daughter all involved with a married man.

[Guy Haynes]

What's happened, Miriam? Your boyfriend run out on you?

[Anne Morton]

No man runs out on me, Guy. Not even you. So think it over.

[Guy Haynes]

I never want to see or hear of you again. I'm warning you, Miriam. Either we go ahead with this divorce or.

[Anne Morton]

I wish I had time to listen to you. But I got to get back to work. I'll see you in Washington in two weeks.

[Guy Haynes]

Hello? Hello, Operator?

[Anne Morton]

I have your party now, sir. Go ahead, please. Hello? Guy, is that you?

[Guy Haynes]

Hello, darling.

[Anne Morton]

Where are you?

[Guy Haynes]

I'm in Metcalfe.

[Anne Morton]

Well, then you've seen Miriam. Guy. Did everything go all right?

[Guy Haynes]

No, everything went all wrong. She doesn't want the divorce, Guy.

[Anne Morton]

Oh, but. But it's unbelievable. I mean, after all these months. But what did she say?

[Guy Haynes]

Did it make any difference what she said? Oh, I'm sorry, Anne. Except that I. I feel so.

[Anne Morton]

Yes, darling, I know how you must feel, but you sound so savage, Guy.

[Guy Haynes]

Yeah, I'd like to break her neck. I'd like to break her foul, useless little Neck.

[Anne Morton]

There's no use talking like that, dear.

[Guy Haynes]

I know. I suppose I'd try to see her again, but I've got to get to Southampton. My train leaves here in a few minutes.

[Anne Morton]

Just don't worry, darling. We waited this long, we can wait a little longer.

[Guy Haynes]

I don't know what I'd do without you.

[Anne Morton]

I love you guys.

[Guy Haynes]

Well, I've got to rush now, dear. My friend's coming.

[Anne Morton]

I'll see you on Thursday.

[Guy Haynes]

Yeah, sure.

[Anne Morton]

Good luck, darling.

[Commercial Voice]

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[ZipRecruiter Advertiser]

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[Guy Haynes]

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[ZipRecruiter Advertiser]

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[Anne Morton]

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[ZipRecruiter Advertiser]

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[Guy Haynes]

Hello, Guy, this is Bruno. How are you, Guy? Who? What did you say? This is Bruno. Bruno Anley. Don't you remember? On the train? Oh. Oh, yeah. I would have called you sooner, but the operator had a little trouble finding you in Southampton. Would you mind telling me why you're phoning? How are the matches going, Guy? I don't play till the morning. Oh, Guy, about your visit in Metcalf. Are you getting a divorce? Oh, now wait a minute, Bruno. Won't give it to you. Right. Miriam won't give you a divorce? No. He double crossed you. Are you going to see her again, Alec? Bruno, why don't you. I told you I like your guy. I'm your friend. We should never forget that. You just leave Miriam to me. What are you talking about? You'll find out. Guys, just be patient, that's all. You just be patient. I don't care what Bruno's doing. I said I want to talk to him. If you're talking about me, Father, I had to call a friend of mine long distance.

[Anne Morton]

Really, Charles, must you always take this tone with Bruno?

[Guy Haynes]

It's all right, Mother. I'm used to his tone by now. You can wipe that engine look off your face right now. You were out last night, weren't you? I'm a big boy, Father. I go out at night all the time. You had another accident. You hit another car. Now it's hit and run driving. And you knew about it all the time.

[Anne Morton]

But here it was a parked car. No one was in it.

[Guy Haynes]

Why don't you tell that to the police?

[Anne Morton]

They. They won't do anything to be.

[Guy Haynes]

This was the last time. You must to help me. I'll never lift a finger for him again. It's all right, Mother. No, no, dear. You know I can't stand to see you crying. Is there anything else you want to say to me, Father? Yes. Get out of my sight. Get out of my sight before I. I'll be back tomorrow, Mother.

[Anne Morton]

Bruno, where are you going?

[Guy Haynes]

Oh, just a little trip, Mother. Something for a friend of mine.

[Anne Morton]

You just don't understand him, Charles.

[Guy Haynes]

What's he going to do next? Tell me, what's he going to do next?

[Anne Morton]

Nothing. Nothing at normal.

[Guy Haynes]

Not normal. If it's the last thing I do, I'm going to have that boy taken care of. If necessary, put under restraint.

[Anne Morton]

I'll never permit it. Never.

[Guy Haynes]

Never. It can't go on. You. Things like this just can't go on. Guy. Over here, Guy. Well, hello. Who's that? Bruno? Yeah, that's right. Guy. How are you? What are you doing here? And at this time of night? I was waiting for you to get back to Washington. I thought of meeting you at the station, but then I figured this might be better. Here? In front of your apartment? Now look, it's one o' clock at night and I don't seem very pleased to see me. Guy, would you mind telling me what this is all about? I. I just come back from next to Guy. I brought you a present. See? Pair of glasses. You didn't tell me that Miriam wore glasses. You've seen Miriam? It was very quick, guys. She wasn't hurt any. It was all over no time. What are you trying to tell? I knew you'd be surprised. And there's nothing for us to worry about either. Nobody saw it. Only Miriam. I was very careful, gal. Even when I dropped your cigarette lighter, I went right back and picked it up. Cigarette lighter? What? You maniacal. We planned it on the train together. You wanted it, remember? Where are you going? Where do you think I'm going? I don't believe you. But I'm going to call the police anyway.

[Anne Morton]

But you can't die.

[Guy Haynes]

We'd both be arrested for murder. You're in this just as much as I am. We planned it together. Kristoff, you crazy fool. You think you can get away with that? All come now, Guy. Now why should I go to Metcalf to kill a total stranger? Unless it was a part of the plan that you were in on. You're the one who benefits, Guy. I didn't even know the girl. But if you're going to the police now, while you're just be turning yourself in as an accessory. You see, you had the motive. You're insane. Now listen. Let me tell you about my father. I've done my part now, and you'll do yours. I've got the plan of the house here all drawn up now, as soon as you shut up. But Guy, we've got you a room. Get away from me before I give you the same thing you gave Mary. You're not yourself, Guy. Now, when you think things over you, you'll see that I'm right. Tomorrow we. I don't know you. I never saw you before and I never want to see you again. Your lighter, Guy. The one you gave an. You know, you left it on the train. Did you miss it? Give that to me. Bruno, give me that lighter. I. I don't have it, Guy. That is, I. I don't have it with me, you see. Well, as I said, we can arrange everything tomorrow. Hello. Oh, and I'm sorry, darling, but I just got in. Of course I'm all right. But you sound upset. Anything wrong? All right, darling. I'll come over right away.

[Anne Morton]

Thanks for coming over, darling.

[Guy Haynes]

And what is it? You're trembling.

[Anne Morton]

I. I wonder if you know how much I love you. Come along, Guy. Father and Barbara? They're waiting in the library.

[Guy Haynes]

I thought it was nice to be alone, Guy, but Anne insisted and so did Barbara.

[Anne Morton]

Now, really Daddy, if I'm going to be Guy's sister in law, the least

[Guy Haynes]

I can do and keep quiet. Guy, we wouldn't have called you at this hour if it weren't important. It's. It's about your wife, Miriam. What about it? I'm sorry to be the one to tell you. She's been killed, Guy. Murdered.

[Anne Morton]

The police have been trying to locate you everywhere.

[Guy Haynes]

You're to call headquarters in Metcalf, Maryland. Murdered?

[Anne Morton]

Tonight, about nine o'. Clock.

[Guy Haynes]

He.

[Anne Morton]

She was strangled.

[Guy Haynes]

20 minutes ago on a street corner. Guy Haynes listened to Bruno Anthony tell an incredible story of how he had murdered Guy's wife. But now, in Senator Morton's home. Guy, the uncle. That Bruno's fantastic report is completely true. It happened in an amusement park, Guy. Some sort of lover's lane, I believe.

[Anne Morton]

She'd gone there, apparently with. With some other people. Two of the young men found her. It was done by someone else. They don't even have a suspect, Guy. Except you, probably.

[Guy Haynes]

Barbara, I wish you'd keep quiet, but

[Anne Morton]

the police will say the Guy wanted Miriam out of the way so he could. Marianne.

[Guy Haynes]

She's right, Senator.

[Anne Morton]

But if you've got an alibi, you have nothing to worry about. You can tell them where you were at about 9 o'clock tonight.

[Guy Haynes]

I was on my way here. I was on the train. Well, there you are.

[Anne Morton]

Who saw you? Did you speak to anyone? You need a witness?

[Guy Haynes]

Yes. Yes, I did speak to someone. He was the only other passenger in the club car.

[Anne Morton]

Someone you. You know?

[Guy Haynes]

No, I didn't know him. He said his name was Collier or Collins or something like that. He said he was a professor at Delaware Tech. He had been drinking. Drinking? Yes. He'd been to some meeting and had a couple of drinks.

[Anne Morton]

Well, he was on the train. Saw you. Then everything is all right. You still have to answer some questions.

[Guy Haynes]

It's a dreadful business. Dreadful. Poor, unfortunate girl.

[Anne Morton]

Miriam was rocky.

[Guy Haynes]

She was a human being.

[Anne Morton]

Father's getting late. Guy looks so tired.

[Guy Haynes]

Of course.

[Anne Morton]

Well, you two, now you can be married right away. Think of it. You're free.

[Guy Haynes]

You won't forget to phone the Metcalf police, Guy. Captain Shirley. Yes, sir. Good night, Senator. Good night. Good night, Barbara.

[Anne Morton]

I still think it'd be wonderful to have a man love you so much he'd kill for you. I kept saying over and over again. I was being silly, Guy. But there was one horrible moment tonight when the news came through. I kept remembering what you said on the phone from Metcalfe after you'd seen her.

[Guy Haynes]

That I thought I could break her neck.

[Anne Morton]

No. Don't even say it. Forget you ever said it. And there was something even more terrifying than the murder itself. The horrible thought that if you had anything to do with it.

[Guy Haynes]

Anything to do with it.

[Anne Morton]

We'd be separated, perhaps forever. I couldn't stand that, Guy. I couldn't bear it.

[Guy Haynes]

Dan, you don't think that I am.

[Anne Morton]

Oh, darling, no. Northwest? Of course not. Just hold me, Guy. Just hold me.

[Guy Haynes]

Sin. Turley. Mr. Haynes. Good of you to come down here so quickly. I'm just as anxious as you are, Captain. Well, we've managed to locate the gentleman you spoke with on the train. Now, professor, this is Mr. Haynes. I. I can't tell you how foolish I feel, Captain. I really don't remember meeting this gentleman. You don't remember? But you were. Just a moment, Mr. Hayes. Unfortunately, I remember very little of my trip. You see, we. We had a little celebration. I'm not a drinking man and. Well, just one or two drinks. But we were sitting right opposite each other. You were going over some speech you made about calculus, mathematics or something. I'm very sorry, mister. I. I certainly must have been celebrating. If you'll wait outside, Professor. I guess. Is it so important whether he remembers me or not? Surely. The important thing is I've been able to name one man who was on that train with me. You've been able to find him. Isn't that proof enough that I was there last night? Yes, I'd say you were in the clear. But there is a little more checking I'd like to do. But if I'm. I'm in the clear. What? You take it easy, Mr. Haynes. You're free to go back to Washington right now. Thank you, Doctor.

[Anne Morton]

Then the police verified his alibi, Father, and said he could go. Isn't that about it, dear?

[Guy Haynes]

Yes, except that when an alibi is full of Scotch, cast a little doubt.

[Anne Morton]

Then the professor was boiled.

[Guy Haynes]

He didn't remember me at all, Bobby.

[Anne Morton]

But you knew he was on the train. Wasn't that enough to prove that's where you were?

[Guy Haynes]

Wish I knew for sure. I mean. Oh, everything's all right, Anne. The police are just being thorough. What's your next move, Guy? Whatever it is, the police will know all about her. Let's take a look out the window. My guardian angel.

[Anne Morton]

Why, Guy, you're being tailed.

[Guy Haynes]

That is Detective Leslie Hennessy. He works 16 hours a day. And somebody named Hammond takes over for the next eight. As a matter of fact, Hennessy seems like a very nice fellow for Your own piece of mind, Guy. Perhaps. Well, perhaps if you worked here at the house for the next few days, well, it would be less embarrassing for you. It would be less embarrassing for you, wouldn't it, sir, if I resigned as your assistant?

[Anne Morton]

That's ridiculous.

[Guy Haynes]

Of course it is.

[Anne Morton]

Besides, don't you have to play in the tennis tournament?

[Guy Haynes]

I'm withdrawing from that, Father. But wouldn't it look awkward if you suddenly canceled all your plans?

[Anne Morton]

Father's right, Guy. You've got to go on as as much nothing had happened. Escorted by Mr. Hennessey. I beg your pardon? What is it, Betsy? It's telephone from Mr. Haynes, miss. They say it's urgent. You can take it right over there, Guy.

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[Guy Haynes]

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[Guy Haynes]

Oh, yes. Yes. Hello? Hello, Guy. This is Bruno. I was hoping you'd call me before I.

[Anne Morton]

What's the matter, boy?

[Guy Haynes]

It must have been some mistake. It wasn't for me.

[Anne Morton]

I'm learning more and more things about you, Guy. I never dreamed you were so interested in painting.

[Guy Haynes]

I feel a very warm attachment for this art gallery. For the first time all week, we've actually been alone for an hour.

[Anne Morton]

By the way, where's Hennessy?

[Guy Haynes]

Oh, he's waiting out front.

[Anne Morton]

Hadn't we better be leaving?

[Guy Haynes]

Yes, I suppose so. I wonder if we'll ever. Hi. Do you have a minute, Guy? Come on. We'll get Hennessy and find a cabin.

[Anne Morton]

But that man. He's calling you, Guy.

[Guy Haynes]

Oh, excuse me, dear. I'll tell you what he wants. I'm sorry to have follow you here. Guy, will you stop butchering me? You never even answered my note the last time. Who knows? Spoiling everything. You're making me come out in the open. Why didn't you call me? My father's leaving for Florida next week with not much time. Like a detective outside. He'll see us together. Isn't that Ann Morton you're with? Slight improvement over Miriam, huh? Guy, I'm telling you to stay awake from this.

[Anne Morton]

Who is he, Guy?

[Guy Haynes]

Oh, just some tennis fan. I never saw him before.

[Anne Morton]

Well, that's funny.

[Guy Haynes]

Funny?

[Anne Morton]

I mean, I. I saw him yesterday.

[Guy Haynes]

Where?

[Anne Morton]

He was at the tennis club watching you practice. Oh, he was sitting with Mr. And Mrs. Darvill. He must be very amusing. He had them in stitches most of the time.

[Guy Haynes]

Who are the Darvills?

[Anne Morton]

Well, he's connected to the French Embassy. We'll meet them tomorrow night, darling. They'll be at the party.

[Guy Haynes]

Oh, yes, about that party. An. Do you really think I should be there?

[Anne Morton]

But I thought we settled that, dear. Of course you should be there. Who's watching this, Guy? That man.

[Guy Haynes]

Come along, D. Let's go home. Who is he, Father? That young Frenchman with the d. Oh,

[Anne Morton]

he's not French, Daddy. They just introduced me to him. His name's Anthony. Bruno Anthony. Doesn't he look interesting?

[Guy Haynes]

Why is he looking at you, Daddy?

[Anne Morton]

Not so loud. He's coming over here. Oh, this is my father, Mr. Anthony.

[Guy Haynes]

Oh, I'm delighted to meet you, Senator. How do you do? Yes, it's a wonderful party, sir. You know, sometime I'd like to talk to you about my idea for harnessing the life force. It'll make atomic power look like a horse and buggy. Well, I'm sure I'm already developing my faculty. Foreseeing millions of miles, Senator. Can you imagine being able to smell a flower on the planet Mars? Well, I'd like to have lunch with you someday soon, sir, and tell you more about it. I'll see you later, won't I? That'll be fine. Later. Yes. I still don't remember inviting that young man.

[Anne Morton]

I told you, Daddy, the Darvills just brought him along.

[Guy Haynes]

Just a minute, Barbara. Where are your glasses?

[Anne Morton]

My glasses?

[Guy Haynes]

You're supposed to wear glasses, Bob.

[Anne Morton]

Oh, but Daddy, even at parties.

[Guy Haynes]

Not another word. Get your glasses and put them on.

[Anne Morton]

What are you so concerned about, Guy? If the Darvels brought him. Well, what difference does it make?

[Guy Haynes]

He shouldn't be here.

[Anne Morton]

But you said you don't even know him.

[Guy Haynes]

Well, I just don't like his look. I don't like the way he keeps tearing at Barbara either.

[Anne Morton]

I'm not so sure I blame him. Barbara's very cute, especially when she wears glasses. Besides, he seems to be talking to Judge Donahue right now.

[Guy Haynes]

Judge Donahue?

[Anne Morton]

Now, come on, let's see how.

[Guy Haynes]

Dah. And there's something else I'd like to ask you, Judge Donahue. Now, after you've sentenced Amanda the chair, is it rather difficult to go out and just eat your dinner right away? Really, young man, I. Well, when a murderer has been convicted, he must be sentenced. When he's sentenced to death, he must be executed. Oh. Oh, it's quite impersonal, isn't it? Well, besides, it doesn't happen every day. So few murderers are caught. If you don't mind, I. I believe I'm being paid.

[Anne Morton]

Well, Mr. Anthony. You see very interested in the subject of murder.

[Guy Haynes]

No, no more than anyone else. No more than you, for instance.

[Anne Morton]

Me? Oh, I'm not interested in murder.

[Guy Haynes]

Oh, come now. Everyone's interested. You sure you're not going to tell me that there hasn't been a time that you didn't want to dispose of someone Good Hayden. No. You mean to tell me that there wasn't a. A tiny moment when you were made very active, angry? And then what did you say? Well, there you are, you see. There you are now. Now, you've decided to commit a murder. How would you plan to do It. I didn't get your name.

[Anne Morton]

Mrs. Cunningham.

[Guy Haynes]

Well, Mrs. Cunningham, come on. How would you do it?

[Anne Morton]

Well, I suppose I'd have to get a gun from somewhere.

[Guy Haynes]

Oh, no, miss. Is Cunningham. No. Bang, bang, bang, all over the place. Blood everywhere, all night.

[Anne Morton]

Well, how about a little poison?

[Guy Haynes]

Poison? Yes, yes, poison. That's better, Mr. Cunningham. But poison could take anywhere from 10 to 12 weeks. That is, if you wanted to be careful. If poor Mr. Cunningham is going to die from natural causes.

[Anne Morton]

Well, what's your idea, Mr. Anthony?

[Guy Haynes]

I have the best way and the best tool. My two hands. Oh, yes, it's simple, silent, very quick.

[Anne Morton]

Oh, why, of course. You must be very strong, Mr. Anthony.

[Guy Haynes]

Yeah. Let me just show you what I mean.

[Anne Morton]

Yes, you.

[Guy Haynes]

You don't mind if I borrow your neck for a moment, do you?

[Anne Morton]

Oh, this is so silly and. Very well, then, go ahead.

[Guy Haynes]

Now. Now, just watch what I'm doing. Now, when I nod my head, you just try to cry out. I bet you won't be able to make a sound.

[Anne Morton]

I'm ready.

[Guy Haynes]

All right, now, just relax. Just wait till I nod my head.

[Anne Morton]

She'll be all right. Father, Mrs. Anderson's with her and Judge Donahue. They're up in the bedroom.

[Guy Haynes]

What happened? How could he have choked her?

[Anne Morton]

I don't know for sure. Mrs. Anderson thinks they were playing some sort of game. Then when Bessie screamed, he just fainted.

[Guy Haynes]

Where is he? Where's Anthony?

[Anne Morton]

A Guy took him in at the study.

[Guy Haynes]

Then tell Guy to get him out of here and as soon as he can. This is a nice item for the gut. Well, I'd better get back to the Gift.

[Anne Morton]

Oh, Anne. Barbara. What's the matter? She was awful. I saw him. What was he trying to do to her? You saw him? I was standing in the doorway. His hands were on her throat, but he kept staring at me. And he was strangling me. What do you mean? He thought he was murdering me. But why, Ann? Why me? Don't be silly, dear. You're upset, that's all. Now, go find Father.

[Guy Haynes]

What happened, Guy? I fainted, didn't I? I started getting so. So dizzy. Mad. Crazy. Maniac. You ought to be locked up. Will you get out of here? Now, let me alone.

[Anne Morton]

The Guy.

[Guy Haynes]

I like you. And we've got to talk about my father. You. You promised to. You shouldn't have done that, Guy. You shouldn't have hit me. Maybe that'll knock a little sense into you. Do you have a car here? Yes. It's our time down the block. Come on, we'll go out the back door.

[Anne Morton]

Guy. Did he leave?

[Guy Haynes]

Oh, An.

[Anne Morton]

I didn't mean to startle you, dear. He has left?

[Guy Haynes]

Yes. Anne, why did you come out here?

[Anne Morton]

I had to talk to you, Guy. Yesterday at the art gallery. That wasn't the first time you met Bruno, was it?

[Guy Haynes]

What makes you say that?

[Anne Morton]

I don't know. Guy, what did Miriam look like?

[Guy Haynes]

I've told you.

[Anne Morton]

I want you to tell me again.

[Guy Haynes]

Well, she was dark, not too tall, very pretty.

[Anne Morton]

What else?

[Guy Haynes]

What else is there?

[Anne Morton]

She wore glasses, didn't she?

[Guy Haynes]

Yes.

[Anne Morton]

Barbara wears glasses, too. And Barbara looks something like Miriam, doesn't she?

[Guy Haynes]

No.

[Anne Morton]

Doesn't she?

[Guy Haynes]

No. No, not at all.

[Anne Morton]

How did you get him to do it, Guy?

[Guy Haynes]

I get him to do it?

[Anne Morton]

Bruno Anthony killed Miriam, didn't he? Tell me, didn't he?

[Guy Haynes]

Yes. This man's a maniac. I met him on the train going to Metcalf. He had some crazy scheme about exchanging murders. If I do his murder, he'd do mine.

[Anne Morton]

What do you mean, your murder?

[Guy Haynes]

Well, he'd rather about me in the papers. He knew about Miriam. He knew about you.

[Anne Morton]

Oh, you must have known he was talking nonsense.

[Guy Haynes]

But he wasn't. Of course. I didn't give it another thought. And now a lunatic wants me to kill his father. It's too fantastic.

[Anne Morton]

You. You mean you've known about Miriam all this time?

[Guy Haynes]

It's the first night he showed me her glasses.

[Anne Morton]

Well, why don't you call the police

[Guy Haynes]

and have them say what you just did? Mr. Haynes, how did you get him to do it, then? Bruno would say we planned it together.

[Anne Morton]

We'd better get back before Hennessy starts looking for you.

[Guy Haynes]

Now do you see, Anne? This is why I didn't want you to know anything about it. I wanted to protect all of you. Barbara and your father. Now that you know, you're acting guilty too.

[Anne Morton]

Guy, what are we going to do?

[Guy Haynes]

I don't know. I don't know. There's nothing like the American Express Platinum card. Find out your welcome offer after you apply, which could be as high as175,000 points. Learn more and find out your offer at american express.comexplorer-platinum Terms apply.

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[Guy Haynes]

Go easy.

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[Guy Haynes]

No.

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[Guy Haynes]

Okay, that's fair.

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[Guy Haynes]

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[Guy Haynes]

Bruno, this is Guy. I've decided to do what you want. About your father? Yes, I want to get it over with. Detective. Don't worry about Hennessy. There's a way out across the roof here to the next apartment. Does anyone know you've come home? Then you'd better go out again and stay out till after daylight. I. I'll be there in 40min. To Guy Haynes. There's only one way out now. In the quiet of the night, Guys entered the Anthony home with the key and the map of the house that Bruno sent him. Guy has no trouble finding the bedroom. Mr. Anthony. Mr. Anthony. Me? Don't be alarmed, but I've got to talk to you about your son. About Bruno. Mr. Anthony. Wouldn't you feel more at home with the light on? Guy? Bruno, my father isn't home. Guy. I was about to tell you that over the phone, but you made such a quick decision. I wondered why. I thought your father would be interested to know he has a lunatic for a son. Then you have no intention of going ahead with our little arrangement? I never had. We want to. Look, you're a terribly sick man. I don't know much about these things. But why don't you go where you can get some kind of treatment? Not only for your own sake, but you can't go on just causing more. I don't like to be double cross, Guy. I have a murder on my conscience. I killed your wife. But it's not just my murder. It's yours too, isn't it? I guess there's no use trying to talk to you, Bruno. I'll leave now. Yes, yes. That man from the police who's supposed to be watching you. You mustn't let him get suspicious, Guy. You can put that gun away, Bruno. Oh, don't worry. I'm not going to shoot you, Guy. It might disturb my mother. I'm a very clever fellow. I'll think up something much better than that. Good night, Guy. Where did he go? Hennessy? Where did Haynes go? Take it easy, Ham. And if I know where he went, I wouldn't be waiting here for you to relieve me. I didn't even know he gave me the slip until I heard his phone ringing. Well, nothing keeps ringing for 10 minutes. Nobody sleeps that time. So I woke up the gentle. Let me in. No, Haynes. We'll probably hear of another dame murdered I'll go back to the office and put in a call to Metcalf. Captain serving. I think this calls for more questioning in Mr. Haynes. Questioning? Let's take them in. Look, you're a good company cop, Hammond, but how many times do I got to tell you? We don't have a thing on Hanes. There's no evidence that he was even in Metcalf when his wife wasn't killed. So we just let him come back here and go to bed, huh? That's right, Hammond. We just wait it out.

[Anne Morton]

And no one knows I've come here, Mrs. Anthony. But I simply had to talk to you and me, Ms. Morton, really. I know Bruno's been in some very awkward rapes, but nothing so ridiculous as a murder. But you have to make him do something about this. Don't you see that just one word from him would get Guy out of this dreadful situation? How can you take this so seriously? It's just some practical joke, dear. Bruno's so terribly irresponsible. You don't seem to understand. Your son is responsible for a woman's death. Did Bruno tell me this? No, of course not. But I. Well, there you are. Well, now, it was very nice of you to call, Ms. Morton. Do come and see us again sometime, won't you?

[Guy Haynes]

I'm afraid Mother wasn't very much help, was she?

[Anne Morton]

If you don't mind, I think I'd better leave.

[Guy Haynes]

Mother hasn't been too well for some time. She's a little house like that, confused, you know. I'm very upset. He shouldn't have sent you.

[Anne Morton]

Guy doesn't know I'm here.

[Guy Haynes]

Mr. Anthony, he's at the tennis club, isn't he?

[Anne Morton]

He will be, yes.

[Guy Haynes]

He's playing Reynolds after a very important match. Oh, but he must be very desperate to try to involve me.

[Anne Morton]

Try to involve you?

[Guy Haynes]

Well, I've been protecting Guy ever since he told me how much he hated his wife. Do you know, Ms. Morton, that guy tried to get me to go back to that amusement park some night at the dock to look for his cigarette light.

[Anne Morton]

What's his cigarette lighter got to do with this?

[Guy Haynes]

Why, he dropped it there right after. Well, right. You see, all the police are waiting for is just one piece of evidence to convict Guy for the murder. I can't tell you how worried I am.

[Anne Morton]

Please.

[Guy Haynes]

No, Ms. Martin, I do sympathize with you, but I just couldn't do what he asked. Why, that would make me an accessory.

[Anne Morton]

Then I left his house and came straight here to the club.

[Guy Haynes]

Guy, you shouldn't have gone there, darling.

[Anne Morton]

Bruno told me if the police ever found your lighter there. That's all they need. Something to prove you were there when she was murdered.

[Guy Haynes]

Bruno has my lighter.

[Anne Morton]

I know.

[Guy Haynes]

You told me that lie about wanting him to get it back. That means that he's going back to Mexico, back to the amusement park. You're going to drop it there somewhere where they'll be sure and find it.

[Anne Morton]

Oh, Guy, I wanted so much to help, but I'm afraid all I did is make things worse.

[Guy Haynes]

He said last night he'd think of something. Give him credit. He certainly has.

[Anne Morton]

Well, you've got to get to Metcalf before he does. You haven't time to play. You better tell them now.

[Guy Haynes]

No. If I try to avoid this match, Hennessy's bound to get suspicious. I haven't been out of his sight all day.

[Anne Morton]

Then I'll go. There's a train in an hour.

[Guy Haynes]

Well, you stay here. I'll try to give Henness to the slip right after the match.

[Anne Morton]

Oh, but darling, that'll be too late.

[Guy Haynes]

Didn't Bruno say I wanted him to go there some night after dark?

[Anne Morton]

Yes.

[Guy Haynes]

He won't expose himself in the daylight. If I can finish off this match, I'll still have time. All ready, Guy? Go on a couple of minutes. I'll. I'll be right there. Now, look him. Here's what you better do. Get hold of Barbara. And just. One thing, Hammond. The same fellow plays a pretty good game at tennis, huh? Now, look, Hennessy, if Captain Turley said pick him up for questioning, let's pick him up. Nah, let's let him have a chance. If the boys hear about this, they'll send us orchids.

[Anne Morton]

Isn't he wonderful, Mr. Hennessy?

[Guy Haynes]

Oh, how are you, Barbara? Oh, this here's Mr. Hammond. Mr. Hammond. This here's the senator's other daughter. Hi.

[Anne Morton]

Oh, yes, I've seen Mr. Hammond outside the house. He's a detective, too. You and he take turns, don't you?

[Guy Haynes]

Yeah, something like that.

[Anne Morton]

But if he's your relief man, why would the two of you be together?

[Guy Haynes]

Look, you're a nice kid, Barbara. Now, watch him hit the little ball and don't ask me any questions.

[Anne Morton]

All the rain stand. The cab's outside waiting to take Guy to the station. I gave him $10. What about those detectives? Well, they're still over there near the dressing rooms waiting for Guy to finish the match. Gosh, I've never seen Guy play so fast in my life. He's got to get on that Train, Barbara. Now, once again, as soon as the match is over, Guy's going to run out through the clubhouse. Just do your best to delay those who detect it from coming after us. All Guy will need is a few seconds. Oh, just leave it to me, Anne. Oh, I'm real good at getting into.

[Guy Haynes]

Looks like we're out of luck. Alan Haynes beat us to it by about two minutes. Guy said he bought a ticket on Metcalf. What are we waiting for? If the train just pulled out, we

[Anne Morton]

can still have him flag it down.

[Guy Haynes]

Relax. Let him go to Metcalf. We'll phone Captain Shirley and let them take over at that end. Oh, that nutty little Dane. Barbara's a nice kid. Maybe it was an accident pushing you in the fish pond. Guess what thing I tried? What's hen's big rush to get back to Metat? What's he going back for? Come on, Hennessy, let's phone Turley. Here you are, folk. Here you are. Get them while they're hot. They're fresh roosted folk. They're jumbos. What time? But you hurry, Janet. Here, folks. Get the fresh crusader. What time does it get dark? I say hang around, bud. Hang around. You'll find out. They sure doing business down at this end of the part, are they? Oh, day and night. Ever since that girl got murdered. People want to see the scene of the crimes. Oh, well. Well, where did it happen? Right over there. Them picnic grounds across the lagoon. Lovers Lane. Yes, sir. They sure been cleaning up. I don't think it's a very nice way to make money. These folks gotta eat too, ain't they? For a while. The smooches wouldn't go near the place, I'm afraid. I don't know what a smoocher is. Okay, so I ain't educated. Hey, wait a minute, mister. You got a match? No. Well, you got a lighter? You keep fooling with that lighter here but yourself about the mat characters. The place is full of characters. Hello? Hello. This Sergeant Adams? Phone in from the station. Put Captain Turley on the phone. This is Turley. Oh, well, Haynes just got off the train, so he took a cab. Told the driver to take him to the amusement park. Okay, good. Pick up your men and go to the park. I'll take a couple group from here. We'll be waiting for him. All right. That's all, Adam. Hello, Bruno. I've been looking all over for you. You shouldn't have come here, Guy. This could be very dangerous for you. It would be more dangerous if I left you here alone, wouldn't it, Bruno? This is where it happened, Guy. This is really where it happened.

[Narrator/Announcer]

Happened?

[Guy Haynes]

They try to make people believe it happened nearer the concessions. They figured they'll make more money that way. I came after my cigarette lighter. I want that lighter, Bruno. Don't be foolish, Guy. You're just proving a theory for them. The murderer returning to the maybe before you are. Hey, where you are? I got the man you want right here. He. Stop him. Stop him. You get away. Don't make a move. Haynes. Over there, too. He's getting away. I can't get him. Let him get away.

[Anne Morton]

This way.

[Guy Haynes]

Captain Curly. The roller coaster. They ran toward the roller coaster. Just watch your fire. There are too many people. Keep those people back. Captain Curly, this man here, he says Haynes isn't the one we want. It's the other one.

[Anne Morton]

The one who ran.

[Guy Haynes]

What do you mean? It isn't Haynes? I remembered him. I seen him here that night when the girl was killed. Two young fellas was with her. And this one, he kept following. He kept looking at her. I remember reading, playing. You realize what you're saying? I was talking to him before. I asked him for a match. It's the same one human around the area. Over here, Captain. Over here. Stay where you are, Guy. Now, don't come any closer. Well, you run too much now, Bruno. They're all around here. The police. They won't get me. I've climbed to the top. I'll jump before they take me alive. You're sick, Bruno. You belong in a hospital. They know about that. But tell them the truth. Tell them you don't care about me. You don't care what they do to me. Get down from there. The cars are coming. I won't come down. I stopped. You better stop talking, Haynes. Now, what's this all about? He had my cigarette lighter. He came back here tonight to plant it. Spend the whole thing on me. Cigarette lighter, huh? Let me talk to him, please. Take it easy now. Over here. He's in a pretty bad way, Captain. Well, can't you lift that stuff off of him? We've done everything we can until the crane comes. Well, hello, Guy. Who's that with you? This is Captain Charlie Bruno.

[Anne Morton]

Police.

[Guy Haynes]

Oh, so they. They got shit last Guy. Tell him, Bruno. Tell him. You have my lighter. Oh, but I haven't got it, Guy. It must still be over there where you dropped it that night. He dropped it, huh? I'm sorry, Guy. I. I want to help you. I don't know what I can, Captain. Can I go through his pocket. No, of course you can't. Besides, he says he hasn't got it. But if he dies before this man is dead. Captain. Hold his hand. He's got something in his hand. See what it is, Max. The lighter, Captain. A cigarette lighter. Here, let me see that. From A to G. Yes. From Ann to Guy. Looks like you were right, Haynes. Well, I better keep this for a while. How about staying in town overnight? I imagine there's a lot you may want to tell me, huh? I imagine there is. Captain. May I. May I use a telephone? Yeah, sure. There's one up near the entrance. Say, who was he, mister? That Guy. His name was Bruno Anthony. A very clever, clever fellow.

[Anne Morton]

Oh, yes, Sky. Yes, darling, and thanks for phoning. Well, of course I'll be there. I leave right away. Father. Barbara, it was Guy. He's safe. He's safe and he's free. Guy? That man across the aisle. He keeps looking at you. Oh, he's a minister. I didn't know you knew any ministers.

[Guy Haynes]

I beg your pardon, but aren't you Guy Haynes? I'm very sorry, sir, but when I was a very little boy, my mother. Mother warned me never to speak to strangers on a train.