Shadow Of A Doubt by The Lux Radio Theater

Summary

Podcast Summary: Relic Radio Thrillers — "Shadow of a Doubt" by Lux Radio Theater

Date: October 3, 2025
Host: RelicRadio.com

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Overview

This episode of Relic Radio Thrillers presents the Lux Radio Theater adaptation of Alfred Hitchcock's classic 1943 suspense film, Shadow of a Doubt. Featuring William Powell as Uncle Charlie and Teresa Wright as his niece Charlotte, the radio drama delves into the chilling tale of small-town innocence confronted by hidden darkness and familial suspicion. The performance captures Hitchcock's signature suspense, exploring trust, innocence, and evil within the American family.

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Key Discussion Points & Story Highlights

Introducing the Play and Cast

• [00:57] Cecil B. DeMille welcomes listeners, introduces the "Hitchcock" piece and its legacy as a masterful suspense adaptation.
• [01:00] Cast details: William Powell and Teresa Wright starring, with Powell cast against type as the enigmatic Uncle Charlie.

"Tonight we offer these discriminating critics a collected item... so called because the director, Alfred Hitchcock, is a master of suspense. And the universal picture, Shadow of a Doubt, is one of his triumphs."
— Cecil B. DeMille [00:57]

Opening Mystery: Uncle Charlie on the Run

• [04:21–06:39] Suspicion is immediately aroused as two mysterious men look for “Mr. Spencer” (Uncle Charlie) in Newark. Uncle Charlie, sensing danger, abruptly leaves and sends a telegram to his family in California, announcing a visit under the guise of homesickness.

The Newton Family’s Restlessness

• [07:00–08:57] Charlotte (Charlie), dissatisfied with the monotony and lack of vitality in her family, hopes her beloved Uncle Charlie’s arrival can restore excitement and unity to their home.

"Have you ever stopped to think that a family should be the most wonderful thing in the world and that this family's just gone to pieces?"
— Charlotte [07:40]

Uncle Charlie Arrives in Santa Rosa

• [10:32–13:25] Uncle Charlie's arrival brings gifts and initial warmth, but subtle oddities emerge—his evasiveness, his reaction to giving Charlie an old ring inscribed with unknown initials, and secretiveness about his past.

"We're not just an uncle and a niece... I have a feeling that inside you, somewhere there's something. Something nobody knows. Something wonderful. And I'll find it out."
— Charlotte to Uncle Charlie [13:47]

Unease Grows: The Suspicious Newspaper Clipping

• [16:49–20:36] Uncle Charlie’s odd behavior—destroying a page from the local newspaper—raises Charlie’s suspicions. Their confrontation briefly turns physical, highlighting a shift from affection to discomfort.

"Uncle Charlie, you're hurting me."
— Charlotte [19:58]

The "Average American Family" Survey and Investigation

• [23:20–28:59] Two men—posing as journalists but actually detectives—begin investigating the Newtons. Uncle Charlie is immediately hostile toward being photographed and exposed. These scenes reinforce Charlie’s suspicions and gradually draw out family secrets.

Revelation and Emotional Climax

• [30:02–39:33] Charlotte learns from Jack Graham (the “journalist”) that her uncle may be the infamous "Merry Widow Murderer", wanted for the deaths of several wealthy widows. Uncle Charlie and Charlotte have a tense, existential confrontation in a bar, where he tries to manipulate her into silence.

"You go through your ordinary little day. At night, you sleep. You're untroubled. ... Do you know that if you rip away the fronts of houses, you'll find swine? The world is rotten."
— Uncle Charlie [37:02]

The Murderer's Last Stand

• [44:38–49:32] News spreads that the “other suspect” in Maine has been killed, seemingly clearing Uncle Charlie. But Charlotte knows the truth and tensions at home escalate, culminating in a near-fatal “accident” as the garage fills with carbon monoxide while Charlotte is inside.

"It was locked in the garage. I heard the car running. I opened the garage door and she was lying there on the floor." — Anne [49:45]

Final Confrontation: Train Scene

• [52:12–53:55] At the train station, Uncle Charlie attempts to kill Charlotte to ensure her silence as he leaves town, but is himself killed during the altercation. The town remains oblivious to his crimes.

Emotional Resolution

• [54:04–54:56] In the aftermath, Charlotte grapples with her trauma, the secrets she's kept to protect her mother, and ultimately finds hope that “the world gets better. Almost in spite of itself, it gets better. And there's still love in the world.”

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Notable Quotes & Memorable Moments

• Cecil B. DeMille on Hitchcock [00:57]:
  "A piece known to the whodunit fraternity as A Hitchcock, so called because the director Alfred Hitchcock is a master of suspense."

• Uncle Charlie on Disillusionment [15:00]:
  "The whole rotten world's crooked. Give it back to me."

• Charlie’s Realization [31:46]:
  "Police hunt murderer... P S. B M. The Ring. P S. Praise Shenley..."

• Chilling Philosophy [37:02]:
  "You live in a dream. You're a sleepwalker, blind... The world is rotten. What does it matter what happens in it?"

• Uncle Charlie's Menace [35:35]:
  "Cities are full of women, middle aged widows... Proud of their jewelry. Proud of nothing else. Horrible, faded, fat, greedy women... Are they, Charlie? Are they human? Or are they just fat, wheezing animals?"

• Charlie’s Moral Reckoning [54:23]:
  "Hate the world? No. It sometimes needs a lot of watching, I guess. Seems to go to pieces now and then, like him. But it gets better. Almost. In spite of itself, it gets better. And there's still love in the world."

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Important Timestamps

• [00:57] – Cecil B. DeMille's introduction and framing of the story
• [04:21] – Suspicious strangers search for Uncle Charlie
• [10:32] – Uncle Charlie’s arrival in Santa Rosa
• [16:49] – Uncle Charlie destroys a page from the newspaper
• [30:30] – Charlotte confronts Jack Graham, learns truth about the investigation
• [35:35] – Uncle Charlie's disturbing views about widows
• [37:02] – Uncle Charlie’s philosophical confrontation in the bar
• [44:38] – Family gathers, false sense of relief after murder suspect is "caught"
• [49:45] – Charlotte found unconscious in the garage; attempted murder by Uncle Charlie
• [52:12–53:55] – Final confrontation on the train; Uncle Charlie’s death
• [54:23] – Charlie’s closing reflection on love and the resilience of the world

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Tone and Style

The episode captures Hitchcockian suspense: the narrative builds from a tone of familial warmth to tension, suspicion, and psychological dread. William Powell’s Uncle Charlie is charming yet increasingly threatening, while Teresa Wright’s Charlie transforms from an idealistic girl to a traumatized but resilient woman. The interplay of sinister undertones and moments of domestic banality makes for heightened, ever-present unease.

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Special Segments

• Special Guest (Miss America 1943, Jean Bartell): An interlude features Bartell discussing her experience selling war bonds, adding period flavor and a touch of optimism amidst the drama. [41:07–43:50]

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Final Thoughts

Relic Radio Thrillers' presentation of Shadow of a Doubt offers a masterful adaptation steeped in paranoia, small-town Americana, and Hitchcockian cruelty. The episode stands out for its layered performances and faithful recreation of the original film’s psychological tension, making listeners question how well we ever know those closest to us—and whether evil can hide in plain sight.

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For more classic radio suspense and drama, visit relicradio.com.

Transcript

[Narrator/Host 1]

Relicradio.com presents stories of mystery and intrigue, espionage and suspense. Hear tales of ticking time bombs, mysterious crime scenes and cloak and dagger action. This is Relic radio Thrillers.

[Narrator/Host 2]

Welcome back to Relic Radio Thrillers.

[Narrator/Host 1]

Our story comes from the Lux Radio.

[Narrator/Host 2]

Theater this week week it's their adaptation.

[Narrator/Host 1]

Of Alfred Hitchcock's Shadow of a Doubt.

[Narrator/Host 2]

A film released in 1943 starring Joseph Cotton.

[Narrator/Host 1]

This radio adaptation aired January 3rd of 1944. The Lux Radio Theater aired from October of 1934 to June of 1955. Over 900 broadcasts of stage play and film adaptations. Here's Shadow of a Doubt.

[Narrator/Host 2]

Lux presents Hollywood. The Lux Radio Theater brings you William Powell and Theresa Wright in Shadow of a Doubt. And as our special guest, Miss America of 1943, ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. There are connoisseurs of paintings, of wines, of furniture, and of all the other fine art, but none quite so violent in their opinions as the connoisseurs of mystery stories. And tonight we offer these discriminating critics a collected item. A piece known to the whodunit fraternity as A Hitchcock, so called because the director Alfred Hitchcock is a master of suspense. And the universal picture, Shadow of a Doubt is one of his triumphs. Tonight we bring it to you with William Powell and Teresa Wright in the starring roles. We borrowed Bill from the cast of Heavenly Body, the new metro Golden Mayor picture. Bill made the Thin man famous and became one of the screen's most versatile flutes. But this evening, instead of a detective, he. Well, just wait. Those who saw Theresa write on the screen as Mrs. Lou Gehrig and in tonight's play know how fine a performance they may expect from her. Just the fact that she plays a girl named Charlie is a hint of the surprises to come. And speaking of surprises, I imagine it would be a very unpleasant one if you dropped into a store to buy a few cakes of luxe toilet soap and were charged three or four hundred dollars. I have newspaper clipping here sent in by a listener. The paper quotes a missionary in China who says that over there, one cake of lux may cost as much as $120 in Chinese money. Here we take the little comforts of life for granted. But this newspaper should make all of us appreciate buying Lux toilet soap for just a few cents. Now the footlights brighten and the curtain rises on Shadow of a Doubt, starring William Powell as Uncle Charlie and Theresa Wright as Charlotte. Well, did you get any dope on him? Yeah, he's living in a rooming house. 104 East St. Just outside of Newark. What name is he using? Spencer, the landlady. Says he's been there a week. Did you ask to see him? No, he wasn't in. Okay, we'll try it this afternoon. 104 East street, just outside of Newark. Is a mean looking wooden frame building on a mean looking street. Upstairs, in a shabby, cheerless room, a man lies across the iron bedstead. He's fully dressed, his hands clasped behind his head. Through half closed eyes, he gazes steadily at the cracked ceiling above him. Then, hearing a step in the hall, his eyes close and his face becomes an expressionless mask.

[Narrator/Host 1]

Mr. Spencer?

[Narrator/Host 2]

Yeah.

[Narrator/Host 1]

Mr. Spencer, I hate to bother you, but I thought you'd like to know there were two men here asking for you. They were sorry you wasn't in. I said you weren't.

[Narrator/Host 2]

Did they say they'd be back?

[Narrator/Host 1]

They didn't say exactly. Maybe I should have let him in. Only you said not to disturb you.

[Narrator/Host 2]

Yes, thank you, Mrs. Martin.

[Narrator/Host 1]

You look kind of tired to me. I think maybe you need a real rest. That's what I think.

[Narrator/Host 2]

Yes, I could stand a rest.

[Narrator/Host 1]

Those friends of yours told me not to say they'd called. Wanted to surprise you. But I thought you'd like to know.

[Narrator/Host 2]

Of course. And if they come back, let me show them up.

[Narrator/Host 1]

Yes.

[Narrator/Host 2]

You know, it's a funny thing. Very funny thing. Up to now, those two friends of mine have never seen me. Every time they call, I've been out. We've been at other places. Isn't that odd, Mrs. Martin?

[Narrator/Host 1]

Well, yes, it is odd.

[Narrator/Host 2]

Well, now I'll have to meet them. I suppose I might even go to meet them. And then again I may not. Not yet.

[Narrator/Host 1]

Well, you just go ahead with your nap.

[Narrator/Host 2]

Yes, thank you.

[Narrator/Host 1]

If you want anything, you just call.

[Narrator/Host 2]

What do they know? They can't know anything. They're just plotting. They haven't got a thing on me. Not a thing.

[Narrator/Host 1]

Mrs. Spencer. Mr. Spencer. Mr. Spencer. They're here again. There he. Why, he's gone. Well, for lamb's sakes, he's gone.

[Narrator/Host 2]

Hello. Hello, Western Union. I'm in a pay station. I want to send a telegram. Yes, I've got change. It's the Mrs. Joseph Newton. Santa Rosa, California. Here's the message. Ready. Homesick for you all. Stop. Coming to stay a while. Stop. Right. Thursday. Love to everybody. And a kiss for little Charlie from our Uncle Charlie. Yeah, that's the signature. Uncle Charlie.

[Narrator/Host 1]

Hello. The Newton resident. A telegram. Well, who is this for? Mrs. Henderson. Well, Mother, isn't home yet, so maybe she better call you back. Goodbye.

[Narrator/Host 2]

Hello, Anne. Where's your mother?

[Narrator/Host 1]

Oh, good evening, Father. She's out.

[Narrator/Host 2]

Out where?

[Narrator/Host 1]

Well, I really don't know, Father.

[Narrator/Host 2]

How about a kiss?

[Narrator/Host 1]

Of course, Father.

[Narrator/Host 2]

That's the girl. Say, you better not read in here, Anne. The light's bad.

[Narrator/Host 1]

Well, I've got to finish this book before dinner.

[Narrator/Host 2]

And ruin your eyes. Where's Roger?

[Narrator/Host 1]

Oh.

[Narrator/Host 2]

How about Charlotte?

[Narrator/Host 1]

Upstairs in her room, thinking.

[Narrator/Host 2]

Thinking? What's she thinking about?

[Narrator/Host 1]

I'm afraid you have to ask Charlotte, Father.

[Narrator/Host 2]

All right, you know what I meant. Charlotte. Charlotte. Why doesn't she answer? Charlotte.

[Narrator/Host 1]

Who is it?

[Narrator/Host 2]

It's me. Who do you suppose?

[Narrator/Host 1]

Come in. Papa.

[Narrator/Host 2]

What's the matter? Don't you feel well?

[Narrator/Host 1]

Oh, I'm perfectly well. I've just been thinking for hours, and I've come to the conclusion that I give up. I simply give up.

[Narrator/Host 2]

What are you going to give up?

[Narrator/Host 1]

Have you ever stopped to think that a family should be the most wonderful thing in the world and that this family's just gone to pieces?

[Narrator/Host 2]

We have?

[Narrator/Host 1]

Of course we have. We just sort of go along and nothing happens. We eat and sleep and that's about all. We don't even have any real conversations.

[Narrator/Host 2]

We just talk and work.

[Narrator/Host 1]

Yes. Poor Mother. She works like a dog. Just like a dog.

[Narrator/Host 2]

That's what I came up to ask. Where is she?

[Narrator/Host 1]

She's out. When she comes back, it'll be the same thing. Dinner, then dishes, then bed. I don't see how she stands it.

[Narrator/Host 2]

What were you thinking we can do about it?

[Narrator/Host 1]

Oh, nothing, I suppose. I guess we'll just have to wait for a miracle or something. Oh, Jo.

[Narrator/Host 2]

Oh, here she is. I'm in Charlotte's room.

[Narrator/Host 1]

Mamie, for heaven's sake. You lying down? Charlotte, what's the matter? Jo, what's the matter?

[Narrator/Host 2]

Well, it's.

[Narrator/Host 1]

Oh, I've just become a nagging old maid. And you went downtown in that awful old hat you promised me you'd throw away. Me? Goodness. What on earth does it matter what hat I put on? Yes, Roger, I. I don't see why you let that child yell at you like that. Mother, if he has something to say.

[Narrator/Host 2]

I'll take care of him. Roger, stop yelling like that.

[Narrator/Host 1]

Charlie, dear, what is it? Mama? Mama, I'm going downtown and send a telegram. Why, Charlie, who do you know to send a telegram to? I know just the person to come and save us. A wonderful person will come and shake us all up so we'll be good and dignified and intelligent again. Charlie, have you gone crazy? What do you mean, save us? All this time there's been the one real right person to save us. Mama, what's Uncle Charlie's address? Charlotte, you're not going to ask Uncle Charlie for money? No, no, that wouldn't help us. I just want him to come. Oh, but think of asking a busy man like that to come all this way for nothing. He comes for me. I'm named after him. With each present, he sends me a special little message. Besides, we're the only relatives he has in the. Mrs. Henderson, I'd like to send a telegram. Why, hello, Charlotte. I just called up your house. Telegram to your mother from your uncle, I think. My uncle? My Uncle Charlie. That Tim, he's coming to visit you. Arrives Thursday. Oh, Mrs. Henderson, do you believe in telepathy? I ought to. It's my business, not telegraphy. Mental telepathy, like. Well, suppose you have a thought. And suppose a thought's about someone who's in tune with you. And then over thousands of miles that someone knows what you're thinking and he answers you and it's all mental. I don't know what you're talking about. I send telegrams the normal way.

[Narrator/Host 2]

There he is. Isn't that Uncle Charlie down there?

[Narrator/Host 1]

Hey, Charlie. Papa, Papa, look. He's sick. Uncle Charlie must be sick. The porter's helping him off the train. Uncle Charlie.

[Narrator/Host 2]

Uncle Charlie. Hiya, sir. Feeling okay, sir? Yes, yes, thank you. Ain't been much of a trip for you, sir. Lying sick in a made up birth all the way. You've been very kind. Here, this is for you. Thank you. Why, thank you, sir. Thank you.

[Narrator/Host 1]

Uncle Charlie. Oh, Uncle Charlie.

[Narrator/Host 2]

Charlie. Well, little Charlie. Hello.

[Narrator/Host 1]

Are you? Let me look at you. You aren't sick, are you?

[Narrator/Host 2]

Me? Me, sick? Well, certainly not.

[Narrator/Host 1]

But I thought the porter was helping you, Uncle Charlie. That was the funniest thing.

[Narrator/Host 2]

Oh. Well, little Charlie. Glad to see me, huh?

[Narrator/Host 1]

Oh, yes, yes.

[Narrator/Host 2]

Hello, Charles. Well, Joe. Say, how are you? You haven't changed a bit. How are you, Charles? You're looking great.

[Narrator/Host 1]

Hello, Uncle Charlie.

[Narrator/Host 2]

And this is Anne. I'll bet you don't remember me, Anne.

[Narrator/Host 1]

Oh, I ain't envious, sort of. But you look different. Sort of.

[Narrator/Host 2]

Where's Roger? Roger, come here. Hello there, Roger.

[Narrator/Host 1]

Hello.

[Narrator/Host 2]

Well, we better get started. Emma's got dinner almost ready.

[Narrator/Host 1]

I've got your suitcase, Uncle Charlie.

[Narrator/Host 2]

Oh, say, now, wait. That looks pretty heavy for you.

[Narrator/Host 1]

Oh, it's nothing. I love to carry you. Have some more land, Charles, won't you?

[Narrator/Host 2]

Well, Emmie, it's Pretty good. What were you saying about your boat, Charles? Well, that's about the finish of it, Joe. She was a beauty. That boat had some fine times on it, but all that's over and done with. It's a different world these days. We might as well face it. That's the truth, Charles. Say, I've been forgetting something all this time. I brought a few things back with me. There you are, Joe. This is yours. For me? I didn't know you had one, Joe. Well, you didn't have to think of me, Charles. Presents are all right for the children. Say, a wristwatch. Why, I've never had a wristwatch. The fellows at the bank will think I'm quite a sport. One for you, Emmy. You just try this on, Charles.

[Narrator/Host 1]

Charles, is it? Oh, no. Silver. Far. Charles, I've wanted one all my life.

[Narrator/Host 2]

It's what you should have.

[Narrator/Host 1]

Oh, it's beautiful.

[Narrator/Host 2]

And now your little present, Charlie.

[Narrator/Host 1]

Well, I don't want anything right now. I have enough. Before you came, I didn't think I had anything. But now I don't want another thing. I'll go get the car. Charlotte. She's crazy. Yes. Me, I think she's putting on.

[Narrator/Host 2]

She's not crazy. Smartest girl in her class at school. She's got brains. Well, she likes us when she sees it. Now, you folks just sit here and I'll take it to her.

[Narrator/Host 1]

Tell her the sugar and cream around the kitchen table. Charlie.

[Narrator/Host 2]

All right, Charlie. What's the matter? Here, here, here. Now, you just put those dishes down a minute.

[Narrator/Host 1]

I meant it. Please don't give me anything.

[Narrator/Host 2]

Nothing.

[Narrator/Host 1]

Why? I can't explain. You came here and Mother's happy and I'm glad that she named me after you and that she thinks we're both alike. I think we are too. I know would spoil things if you should give me anything.

[Narrator/Host 2]

Well, you're a strange girl, Charlie. Why would it spoil things?

[Narrator/Host 1]

Because we're not just an uncle and a niece. I know you. I know that you don't tell people a lot of things. I don't either. I have a feeling that inside you, somewhere there's something. Something nobody knows. Something wonderful. And I'll find it out.

[Narrator/Host 2]

It's not good to find out too much, Charlie.

[Narrator/Host 1]

But we're kind of like twins, don't you see? We have to know.

[Narrator/Host 2]

Yes. Give me your hand. Now, you wear this ring. You wear it for me, you hear?

[Narrator/Host 1]

Thank you.

[Narrator/Host 2]

But you haven't even looked at it.

[Narrator/Host 1]

I don't have to look at it.

[Narrator/Host 2]

Let me show it to you. It's a good emerald, a really good one. And good emeralds are the most beautiful things in the world.

[Narrator/Host 1]

Oh, you've had something engraved on it.

[Narrator/Host 2]

No, I haven't, but I will if you'd like me to.

[Narrator/Host 1]

But you have, Uncle Charlie. You have. It's very paint. I can just read it. It says, P. S. From DM What? They must be someone else's initial.

[Narrator/Host 2]

Jeweler rooked me. He rooked me.

[Narrator/Host 1]

Oh, it doesn't matter. Really, it doesn't.

[Narrator/Host 2]

Second hand. He rooked me. The whole rotten world's crooked. Give it back to me.

[Narrator/Host 1]

Well, but I like it this way. Someone else was probably happy with this ring.

[Narrator/Host 2]

The world's rotten. Give it back to me. Have that taken off.

[Narrator/Host 1]

No, it's perfect the way it is. I'm going to keep it. Uncle Charlie, it's a beautiful ring. You're too good, Charles.

[Narrator/Host 2]

Well, nothing's too good for my favorite meat.

[Narrator/Host 1]

Cocky. Uncle Charlie.

[Narrator/Host 2]

Thanks.

[Narrator/Host 1]

Charles, why can't you stay here forever?

[Narrator/Host 2]

I've been thinking about that Emmy. You know, I'd like to open up a new chapter in my life. New surroundings. Everything new.

[Narrator/Host 1]

What is that thing I'm humming? Anybody know? Thing at the table. You'll marry a crazy husband.

[Narrator/Host 2]

Yes, I've been thinking about transferring some of my money out here from the East. I suppose you take money at your bank, Joe, that's one thing we do. All right, rake in the dough. Can't promise to give it back. Well, I'll go down tomorrow morning and open an account. A 30, 40,000 just to start things off right. Hey, that's a lot of money.

[Narrator/Host 1]

I can't get that tune out of my head. If somebody will tell me what it is, maybe I'll stop. It's a waltz, dear. Of course it's a waltz. But what waltz? You know, it's the funniest thing. But sometimes I think of a tune and then pretty soon I hear somebody else humming it. I think tunes jump from head to head. What is it, Uncle Charlie? What is it?

[Narrator/Host 2]

Why, I don't know.

[Narrator/Host 1]

Oh, I know what that is. It's always right on the tip of my tongue.

[Narrator/Host 2]

No, it's. It's. It's the Blue Danube Walked.

[Narrator/Host 1]

Of course that's what it is. Oh, no, it isn't, Uncle Charlie. It's not the Blue Danube. It's the Merrywit.

[Narrator/Host 2]

Oh, now look what I did. A whole cup of coffee. I'm terribly sorry, honey. Hand me a napkin, Anne.

[Narrator/Host 1]

Now, it's nothing to make a fuss about. Just sit down, Anne. And, Charles, while we do the dishes, you go in the living room and read the evening paper. You look tired.

[Narrator/Host 2]

All right, I will. Thanks, Emmie.

[Narrator/Host 1]

Uncle Charlie, when I get finished with the paper, will you give me the funnies?

[Narrator/Host 2]

Oh, you can have now if you want. I can worry anytime you say. Nothing much to read these days, Rogers. Nothing but trouble. You know, sometimes I think.

[Narrator/Host 1]

What's the matter? What's the matter? Uncle Charlie? What are you looking at? Say, you better not do that to Papa's paper. He gets mad.

[Narrator/Host 2]

Oh, Roger. Roger, come here.

[Narrator/Host 1]

Huh?

[Narrator/Host 2]

Look. Did you ever make a house out of newspapers? You see what I mean? Now, first you stretch them all out on the floor, see? And then you look, you cut out a door, see? Now, this is the doorway.

[Narrator/Host 1]

Hey, Roger, Papa wants the paper.

[Narrator/Host 2]

Here you are, Anne. And look what we've got. A real Eskimos igloo.

[Narrator/Host 1]

You've got Papa's paper.

[Narrator/Host 2]

Say. Oh, I guess I should have thought of that. Well, we'll. We'll fold it up again and your father won't know the difference.

[Narrator/Host 1]

Can you make hats, Uncle Charlie?

[Narrator/Host 2]

Hats? Let's see. No, I don't think I can make hats. You show me how. Roger.

[Narrator/Host 1]

What are you all up to? Why, Anne. Roger, that's Papa's pace.

[Narrator/Host 2]

It's my fault. I began it. I was showing them a game, and I never thought about the paper.

[Narrator/Host 1]

Well, it's all right. Let's see. Page one, two, page five. Where's page three? Where is it, Ann? Did you go out in the porch with it somewhere? I just came in here.

[Narrator/Host 2]

Yeah, that's funny.

[Narrator/Host 1]

Page three and four. Where are they? Well, we never touched it. Uncle Charlie's the only one who touched it. Well, Papa may not notice it. We fold it very neatly, see? And very even.

[Narrator/Host 2]

Oh, that's fine, Charlie. You're a lifesaver. Come in. Hello. Well, you still up?

[Narrator/Host 1]

I remembered you'd like to get your water by your bed. Here you are.

[Narrator/Host 2]

Oh, thank you, dear. You're very thoughtful. And I guess I ought to thank you for giving up your room to me, too.

[Narrator/Host 1]

Oh, I'll be comfortable in with Anne.

[Narrator/Host 2]

Well, good night. Sweet dreams.

[Narrator/Host 1]

Oh, Uncle Charlie, I know something. I know a secret that you don't think I know.

[Narrator/Host 2]

What secret?

[Narrator/Host 1]

Well, remember I said you couldn't hide anything from me? Well, now I know there was something in the evening paper about you.

[Narrator/Host 2]

About me? In the evening paper about you.

[Narrator/Host 1]

Please show it to me. I won't tell a soul.

[Narrator/Host 2]

Now, how do you know it was something?

[Narrator/Host 1]

Well, that's why? You played that game with Roger and Ann. You didn't want us to know, and you wanted to tear it out of the paper. So now that I know, you've got to tell me.

[Narrator/Host 2]

Well, I guess you have me. But it wasn't about me.

[Narrator/Host 1]

Is that the page there on the dresser?

[Narrator/Host 2]

Well, look, now, just don't bother you, Kate, about it.

[Narrator/Host 1]

I want to see it.

[Narrator/Host 2]

No, no, no.

[Narrator/Host 1]

But I want it.

[Narrator/Host 2]

It's none of your business. Give it to me. Let go. Let go, you hear?

[Narrator/Host 1]

Uncle Charlie, you're hurting me. Your head.

[Narrator/Host 2]

Oh, I'm sorry. Give me the paper, Charlie.

[Narrator/Host 1]

Hurt my wrist.

[Narrator/Host 2]

Oh, Charlie, I. I didn't mean to. I guess I must have grabbed you harder than I thought. I was just fooling about it, you know. It was some gossip. Not too pretty, but someone I met up with once. There's nothing you to read. Forget it, Charlie. Don't look at me like that. It's nothing, really.

[Narrator/Host 1]

Nothing.

[Narrator/Host 2]

Of course not. Good night.

[Narrator/Host 1]

Good night, Uncle Charlie. Pleasant dream.

[Narrator/Host 2]

In just a few moments, Mr. DeMille presents William Powell and Theresa Wright in Act 2 of Shadow of a Doubt.

[Narrator/Host 1]

Mr. Kennedy?

[Narrator/Host 2]

Yes, Sally?

[Narrator/Host 1]

Isn't it nice that there's still time to make a New Year's resolution?

[Narrator/Host 2]

Yes. I guess January 3rd is still under the line. Why, Sally, have you something special in mind, may I ask?

[Narrator/Host 1]

Well, I've been thinking. How many women must have made up their minds that they're really going to do right by their own good looks and look their prettiest during 1944?

[Narrator/Host 2]

A very fine resolution, Sally, and one that should make life brighter for everybody.

[Narrator/Host 1]

But it's one thing to decide you ought to do that and another thing to do it. So here's one simple, easy way I've thought of that will help any woman to be lovelier.

[Narrator/Host 2]

Aha. Something involving luxe toilet soap, maybe, Sally.

[Narrator/Host 1]

Of course, if every woman who really wants her skin to be softer, smoother, more appealing would say to herself, I'm not going to neglect my luxe soap facials for even a single day. And if she should stick to that.

[Narrator/Host 2]

Resolution in a very short time, she'd be delighted at how much nicer her skin looks.

[Narrator/Host 1]

You bet she would. Daily facials with luxe toilet soap give complexions real beauty care. Famous green stars depend on that rich, active lather to give their skin protection it needs.

[Narrator/Host 2]

Right, Sally? Nine out of ten Hollywood stars use luxe toilet soap. It's so gentle and mild, they say, and it leaves skin feeling soft and smooth. And now I'm going to ask the Ladies in our audience to take your tip, Sally. They'll find they never made a wiser beauty resolution than to use this fine white soap regularly. Day by day, it helps skin to be lovelier. Recent tests show actually three out of four complexions improved with regular Lux Toilet Soap care. Why not ask for Lux Toilet Soap tomorrow? And if your dealer is out of stock due to wartime conditions, he's sure to have more soon. Remember, Lux Toilet Soap, the beauty soap of the stars, is worth waiting for. And now Mr. DeMille returns to the microphone. Act two of Shadow of a Doubt, starring William Powell as Uncle Charlie and Theresa Wright as Charlotte. It's the following morning, and Emmy has just brought Uncle Charlie his breakfast. He sits up in bed, the tray on his knees, smiling genially at his sister. Oh, I can't face the world in the morning. I must have coffee before I can speak.

[Narrator/Host 1]

Well, I don't mind cuddling you your first morning.

[Narrator/Host 2]

What are you all up to today?

[Narrator/Host 1]

Well, a young man came about an hour ago, said his name was Graham, and he wants to interview everybody in the house.

[Narrator/Host 2]

Interview everybody?

[Narrator/Host 1]

Yes. He's been sent around the country by a magazine or something, and he's to pick out representative American families and ask them questions.

[Narrator/Host 2]

How'd he have to pick this family?

[Narrator/Host 1]

Well, he said he looked around and asked around, and he decided that we were the ones he wanted.

[Narrator/Host 2]

Well, if he's going to ask a lot of questions, he can leave me out of it.

[Narrator/Host 1]

Why, you'd have more to tell him than any of us. He's going to take our pictures too.

[Narrator/Host 2]

Pictures?

[Narrator/Host 1]

Yes. You see, There were really two young men. One takes the pictures.

[Narrator/Host 2]

Oh, there were two of them?

[Narrator/Host 1]

Yes. But Mr. Graham was the nicest, though.

[Narrator/Host 2]

Emmy, women are fools. They fall for anything. Why do you let two strangers come into your house and turn the place upside down? Why expose your family to a couple of snoopers? I thought you had more sense.

[Narrator/Host 1]

Oh, but, Charlie. Good morning, Uncle Charlie.

[Narrator/Host 2]

Oh, good morning. Your mother's just been telling me about the Newtons being picked for All American Suckers. Now, look here, Emmy. I won't have anything to do with it. I'm just a visitor. My advice to you is slam the door in their faces.

[Narrator/Host 1]

Oh, I couldn't do that. I think it's kind of exciting to take a photograph of you. And then we could have it. It would be free.

[Narrator/Host 2]

Oh, thank you. I've never been photographed in my life. I don't want to be.

[Narrator/Host 1]

Why, Charles, what makes talk that way? I had a picture of you. I Gave it to Charlie.

[Narrator/Host 2]

Oh, I tell you, there are none.

[Narrator/Host 1]

Well, I guess you've forgotten all about it.

[Narrator/Host 2]

Get it, Charlie.

[Narrator/Host 1]

It's right here. I think you're cute, Uncle Charlie.

[Narrator/Host 2]

Let me see. Well, I don't remember this at all.

[Narrator/Host 1]

You were nine, Charles. You had it taken to Christmas. You got your bicycle just before your accident. Uncle Charlie, you were beautiful. Wasn't he, though? But I always said Papa should never have bought you that bicycle, Charlotte. He took it right out on the icy road, and he skidded into a streetcar. We thought he was going to die. I'm glad he didn't. Why? He had a fractured skull and was laid up so long. And when he got well, there was no holding him. It was as though all that rest he got was too much for him. And he had to get into all sorts of mischief to blow off steam.

[Narrator/Host 2]

The whole world rotten. Whole world's changed. Everything's different.

[Narrator/Host 1]

Oh, you were a wonderful boy.

[Narrator/Host 2]

Really, Charles, what's the use of looking backward? But he's looking ahead. Today's the thing. That's my philosophy. Today.

[Narrator/Host 1]

Well, Charles, today's the thing. You'd better get your clothes on, get to the bank. Joe will be waiting. He's going to take you into Mr. Green. He's the president.

[Narrator/Host 2]

Did you say $30,000, Mr. Spencer? Yes. 30, maybe 40. Green. Yes. I thought I might settle down here for a while. Great country. Great country. We think so. What have you been doing, Mr. Spencer? Well, I suppose you call me a promoter. Real estate, shipping, South America. It's not hard to make money, Mr. Green. The only trouble I find is that once I make it, I'm not interested in it. Not interested in money?

[Narrator/Host 1]

Well, Harry, I wonder. Oh, dear, I didn't know you were busy. I could come back.

[Narrator/Host 2]

Come in, Ella, now that you're here. Come in. Mr. Spencer, this is Mrs. Potter.

[Narrator/Host 1]

Oh, Emma's brother. Oh, we've heard so much about you, Mr. Spencer.

[Narrator/Host 2]

How do you do, Ms. Potter?

[Narrator/Host 1]

Oh, no, Mrs. Potter. I'm a widow.

[Narrator/Host 2]

Oh, I'm sorry. There was something about you that made me think. What did you want, Ella?

[Narrator/Host 1]

Oh, well, I was going shopping and I only had $5, and I thought.

[Narrator/Host 2]

There you are. I'll make out the withdrawal slip later.

[Narrator/Host 1]

There is something to being a Widow, isn't there, Mr. Spencer? One doesn't have to ask a man for money. Anyway, Goodbye.

[Narrator/Host 2]

Goodbye, miss. Mrs. Potter. Now, Mr. Spencer. Where were we? Very attractive woman, that, Mrs. Potter. A widower? Yes. Potter left her quite a bit of money. You don't say.

[Narrator/Host 1]

Okay.

[Narrator/Host 2]

Sanders, go ahead and get some pictures of the upstairs room. Right. And then we'd like one of you, Miss Charlotte.

[Narrator/Host 1]

All right. Should I change my dress, Mr. Graham?

[Narrator/Host 2]

No, no. Just as you are, please.

[Narrator/Host 1]

Funny you happen to choose our family. Why did you?

[Narrator/Host 2]

Oh, we looked around, asked some questions. Thought you were just about what we wanted. And why not choose your family? You haven't got any skeletons in your closet, have you?

[Narrator/Host 1]

Of course we haven't. I wish we did have a few. We're pretty prosaic. You know, your picking us out as an average family gave me kind of a funny feeling.

[Narrator/Host 2]

What kind of a funny feeling?

[Narrator/Host 1]

Oh, I don't know. I guess I don't like to be an average girl in an average family.

[Narrator/Host 2]

Average families are the best. Look at me. I'm from an average family.

[Narrator/Host 1]

As averages ours.

[Narrator/Host 2]

Sure. Besides, I don't think you are average.

[Narrator/Host 1]

That's because you're seeing me now. You should have seen me a few days ago. I was in the dump, and then Uncle Charlie came. And he's so wonderful. He's waked us all up. He makes me feel wonderful too.

[Narrator/Host 2]

But he only got here last night. You haven't seen him in a long time. Maybe you just think.

[Narrator/Host 1]

I don't think. I know. It's funny. When I try to think how I feel, I always come back to Uncle Charlie. Are you trying to tell me not to think he's so wonderful?

[Narrator/Host 2]

Why would I do that? I haven't even seen him.

[Narrator/Host 1]

He's not interested in the survey, Mr. Graham. I promised him he wouldn't be bothered.

[Narrator/Host 2]

But you see, the whole idea of.

[Narrator/Host 1]

This thing, when someone asks for privacy, he should have it.

[Narrator/Host 2]

Okay, Miss Charlotte. I'll take the roll of film, please. What's the matter? I only wanted.

[Narrator/Host 1]

Uncle Charlie. What's the matter?

[Narrator/Host 2]

Hey, Graham. I took some shots of the upstairs hall and this guy was there and he went. I said, give me that film. I don't like to be photographed. Give it to me, please. Give it to him, Fred. Okay. Too bad, though. Mrs. Newton's on this roll too. Yeah. Thank you. Sorry to trouble you. It's all right. Oh, Miss Charlotte, I wonder if you'd show me around to town this evening. I'd like to pick up some atmosphere.

[Narrator/Host 1]

Why, of course.

[Narrator/Host 2]

Thanks. I'll drop around about eight. Come on, Saunders.

[Narrator/Host 1]

I can't get over your breaking your.

[Narrator/Host 2]

Arm when you were 10.

[Narrator/Host 1]

Am I breaking my arm when I was 10? In exactly the same place?

[Narrator/Host 2]

Am I wanting to run away from home and you wanting to run away from home?

[Narrator/Host 1]

I didn't want to, really. It was just a gesture.

[Narrator/Host 2]

I didn't want to either. I guess I was just showing off.

[Narrator/Host 1]

Well, you don't have to show off with me. Shall we sit down?

[Narrator/Host 2]

Sure.

[Narrator/Host 1]

You know, Mr. Grain, I think you must have an awfully interesting job. Going into people's houses, asking a lot of questions. Just like an international spy. You that tune. You whistling?

[Narrator/Host 2]

Yeah.

[Narrator/Host 1]

Why did you whistle that?

[Narrator/Host 2]

No particular reason. Why do you ask?

[Narrator/Host 1]

There's something strange about you. All those questions. The things you want to know.

[Narrator/Host 2]

Charlotte, listen.

[Narrator/Host 1]

I know what you are. You're a detective. There's something the matter and you're a detective.

[Narrator/Host 2]

Listen to me.

[Narrator/Host 1]

I don't want to listen.

[Narrator/Host 2]

I came here to this town to find a man. I hadn't counted on you.

[Narrator/Host 1]

Find a man? What man?

[Narrator/Host 2]

The man loose in this country. We're after him. We don't know much about him. We don't even know what he looks like. Charlotte, think. How much do you know about your uncle?

[Narrator/Host 1]

Why, he's my uncle. He's my mother's brother. What has he done?

[Narrator/Host 2]

Can't tell you what he's done. But this man we want may be your uncle.

[Narrator/Host 1]

I don't believe you.

[Narrator/Host 2]

You're after one man. Your uncle may be the man we think he is. But in the east there's another man who's being hunted, too. Hunted through Massachusetts and into Maine. He may be the man.

[Narrator/Host 1]

Uncle Charlie hasn't done anything. He knows it would kill my mother if he'd done anything. Why, he's her brother, just like Roger is mine. Why don't they arrest the man in Maine? Why don't you go away and leave us alone?

[Narrator/Host 2]

Charlotte, I'm going to try and make it easy for you. If your Uncle Charlie's the man we want, we'll get him out of town quietly. We won't arrest him here.

[Narrator/Host 1]

Arrest? In here? In this town?

[Narrator/Host 2]

I'm trying to tell you, we won't. And he may not be the one. It may be the other guy. The one in the East.

[Narrator/Host 1]

Of course. Probably all a mistake.

[Narrator/Host 2]

I hope I'm wrong. I never wanted to be wrong so much in my life.

[Narrator/Host 1]

Charlis, the library is supposed to close at nine o' clock sharp. Yes, I know, Ms. Cork, and I. I just want to look at this newspaper. If I make one exception, I'll have to make a thousand anyway. That's yesterday's paper. It's. It's the recipe I wanted. Someone tore it out at home. Well, hurry up. I'm closing right away. Police hunt murderer Boston, Massachusetts February 8th in their search for the so called Mary Widow Murderer, the police will throw in a cordon around the northeastern street. The announcement of his arrest is expected daily. All names he accused are thought to be aliases. When found, he'll be charged with the murder of three wealthy women. His victims have uniformly been widows of large means. His latest victim was Mrs. Bruce Mathewson, a former musical comedy star known to audiences at the beginning of this century as Teresa Shanley. P S B M the Ring P S Praise Shenley Come on now, everybody sit down.

[Narrator/Host 2]

Dinner's ready. Where's Charlie? I haven't seen her all day. Been in her room. Had a headache.

[Narrator/Host 1]

Oh, I'm glad she's had a good rest. She's not looking like herself at all.

[Narrator/Host 2]

She was out last night with that young journalist fellow, wasn't she?

[Narrator/Host 1]

Yes, I was.

[Narrator/Host 2]

Well, here she is. Here's my girl.

[Narrator/Host 1]

Sit right down, dear.

[Narrator/Host 2]

You won't be able to sleep tonight. Charlotte, nobody who sleeps all day can sleep all night too.

[Narrator/Host 1]

I slept all right and I kept dreaming perfect nightmares about you, Uncle Charlie.

[Narrator/Host 2]

Nightmares about me?

[Narrator/Host 1]

About you? I'll tell them to you if you like. You were on a train and I had a feeling you were running away from something. And when I saw you on the train, I felt happy. Terribly happy. But Charlotte, how could you be happy seeing Uncle Charlie on a train? I hope he stays here forever. Well, I suppose he'll go sometime. He has to go sometime. We have to face the facts now. Charlotte, what's the matter with you?

[Narrator/Host 2]

I guess Charlie slept a little too long. She's not awake yet. I suppose that young fellow kept her out half the night.

[Narrator/Host 1]

No, no, she got back quite early. I was surprised.

[Narrator/Host 2]

Well, Charlie's a pretty girl. I suppose he's been hanging around today.

[Narrator/Host 1]

He called twice, but she didn't see him. Oh, Charles. Charles, you're going to kill me when you hear what I've done.

[Narrator/Host 2]

Emmy, I'd never kill you, no matter what you've done.

[Narrator/Host 1]

Well, I've simply promised Mrs. Potter, the President of our club, that you'd speak to the ladies.

[Narrator/Host 2]

Is that all? Well, I guess we can manage that for Mrs. Potter.

[Narrator/Host 1]

Yes. She's a widow, Uncle Charlie. She'll be so pleased.

[Narrator/Host 2]

Charles, what kind of audience will it be?

[Narrator/Host 1]

Oh, women like myself. Pretty busy with our homes, most of us.

[Narrator/Host 2]

Yes. Yes, most women keep busy in towns like this. Cities is different. Cities are full of women, middle aged widows. Their husbands are dead. The husbands who spent their lives making thousands. Working, working, working and Then they die. Leave the money to their wives. Silly wives. What do wives do, these useless women? You see them in hotels. Best hotels by the thousands. Eating the money, drinking the money, losing the money at bridge. Proud of their jewelry. Proud of nothing else. Horrible, faded, fat, greedy women.

[Narrator/Host 1]

But they're alive. They're human beings.

[Narrator/Host 2]

Are they? Are they, Charlie? Are they human? Or are they just fat, wheezing animals? What happens to animals when they get too fat? Too old?

[Narrator/Host 1]

Mama, I'm going for a walk. I'll be back soon. Charlotte. Well, what in the world she. Roger, go after her.

[Narrator/Host 2]

No, no, no. I'll go. I'll catch up with her. Charlie. Charlie, wait.

[Narrator/Host 1]

Let me go, please.

[Narrator/Host 2]

Charlie, what's the matter? What's the matter? Look, we can go to this bar here. I want to talk to you.

[Narrator/Host 1]

You're hurting my arm again.

[Narrator/Host 2]

Then come in with me.

[Narrator/Host 1]

I can. I've never been in a place like this.

[Narrator/Host 2]

It's all right.

[Narrator/Host 1]

Why do you make me come in here? It's an awful place.

[Narrator/Host 2]

What does it matter where you are? Sit down.

[Narrator/Host 1]

Yeah? What'll it be? Nothing.

[Narrator/Host 2]

Bring her a ginger ale, and I'll have a cup of brandy.

[Narrator/Host 1]

Brandy? Okay.

[Narrator/Host 2]

Well, Charlie?

[Narrator/Host 1]

Well?

[Narrator/Host 2]

You think you know something. That young fellow told you something, Jack.

[Narrator/Host 1]

Why should he know anything about you?

[Narrator/Host 2]

Look, Charlie, something's come between us, and I don't want that to happen. But we're old friends. More than old friends. Like twins. You said so yourself.

[Narrator/Host 1]

Don't touch me, Uncle Charlie. Don't touch my hand.

[Narrator/Host 2]

What did he tell you? What did that boy tell you?

[Narrator/Host 1]

How could you do things like that? You're my uncle. You're my mother's brother. We thought you were the most wonderful man in the world.

[Narrator/Host 2]

Charlie, what do you know?

[Narrator/Host 1]

I want to give you back your ring, Uncle Charlie. TS from bn. Theresa Shenley from Bruce Mathewson. I'm going home.

[Narrator/Host 2]

No, no. Sit down. Sit down, Charlie. You think you're the clever little girl who knows something, don't you? Well, what do you really know? You're just an ordinary little girl living in an ordinary little town. You go through your ordinary little day. At night, you sleep. You're untroubled. Ordinary little sleep filled with pleasant, stupid dreams. Have I brought you the nightmares, or did I? You live in a dream. You're a sleepwalker, blind. What do you know about the world? Do you know that if you rip away the fronts of houses, you'll find swine? The world is rotten. What does it matter what happens in it? Are you silly enough to imagine that What I've done is important to anyone. Ah, wake up. Use your wits, Charlie. Learn something.

[Narrator/Host 1]

Let go of my hand. Let me alone.

[Narrator/Host 2]

Charlie, come back. You've got to listen to me, Charlie.

[Narrator/Host 1]

Oh, please.

[Narrator/Host 2]

So you think you found me out, you and your young friend Gradle.

[Narrator/Host 1]

I don't know. I'm not going to tell him what I know. He may find out, but I won't tell him.

[Narrator/Host 2]

Ah, he won't find out.

[Narrator/Host 1]

I'm only asking you one thing. Go away and leave us alone.

[Narrator/Host 2]

No, I'm staying. Charlie. I'm not going away, Charlie.

[Narrator/Host 1]

I'm going in the house.

[Narrator/Host 2]

You got to listen to me, Charlie.

[Narrator/Host 1]

Now, what do you want?

[Narrator/Host 2]

Charlie? Help me. Will you help me? Help you, Charlie? The same blood flows through our veins. A week ago, I was at the end of my rope. I'm so tired, Charlie. There's an end to the amount of running a man can do. And then I got the idea of coming out here. It's my last chance. Give it to me. These men, Graham, the others, they don't know there's another man in the East. They suspect him, too. They're trying to catch him. If they catch him. No. Give me this one chance, Charlie.

[Narrator/Host 1]

Take your chances. Go.

[Narrator/Host 2]

I'll go, Charlie, if you give me a few days. Help me, Charlie. Think of your mother. Would kill your mother.

[Narrator/Host 1]

Yes, it would kill my mother. It would kill you too, wouldn't it, Uncle Charlie? Well, you can have your few days then. Get away from here.

[Narrator/Host 2]

Do you realize what it means? Did they get me the electric chair? I count on you, Charlie. Don't forget, you said it yourself. We're not any ordinary uncle and niece. No matter what I've done. We're twins. We pause now for station identification. This is the Columbia Broadcasting System. Now, before William Powell and Theresa Wright return for Act 3 of Shadow of a Doubt, Mr. DeMille presents our special guest of the evening. America is many things. A little white house on an elm shaded street. 50,000 people yelling at an umpire. Sodas at the corner drugstore. And pretty girls who'd like to be Miss America. And we have Miss America here with us now. Ladies and gentlemen, the glamour girl of the year, Ms. Jean Bartell, who is Miss America of 1943.

[Narrator/Host 1]

Thank you, Mr. DeMille. I hate to disillusion you, but I'm not a glamour girl.

[Narrator/Host 2]

No, my eyes can't be that far wrong.

[Narrator/Host 1]

This year, Miss America was to be a typical American girl who might be able to carry out a mission for our country.

[Narrator/Host 2]

In ordinary years, Miss America makes Theater appearances, sings in nightclubs, haunts Hollywood for a contract and usually makes herself quite a tidy little fortune. But this year things are different.

[Narrator/Host 1]

The fortune is two and a half.

[Narrator/Host 2]

Million dollars and it went to the United States government. Since last September, Miss America has been going up and down America selling war bonds. I bet that two and a half million represents a lot of kisses.

[Narrator/Host 1]

Not a single one.

[Narrator/Host 2]

That's unheard of. You can't sell bonds without kisses.

[Narrator/Host 1]

I thought the customers would rather kiss a movie star.

[Narrator/Host 2]

That's what you think. I don't want to sound like the Chamber of Commerce, but I must point out that before Jean became Miss America, she was Miss California and a co ed at the University of California in Los Angeles. How'd you get started on the road to Atlantic City, Jean?

[Narrator/Host 1]

I was singing at a war bond rally and someone suggested I try for the contest. The next thing I knew, someone was putting a crown on my head.

[Narrator/Host 2]

The key to a city in your pocket.

[Narrator/Host 1]

I do have quite a collection. Keys to about 40 cities everywhere but Los Angeles.

[Narrator/Host 2]

We knew you didn't need one to get home with. Jean, what were the exciting moments of your tour?

[Narrator/Host 1]

Well, I saw snow for the first time. That was in Minneapolis. Then I had Thanksgiving dinner at 4 of New Orleans wonderful restaurants.

[Narrator/Host 2]

I know just what you mean. I sampled their cooking.

[Narrator/Host 1]

Those things were all fun. But I think the biggest thrills came in places like a war plant in Cleveland at 2 o' clock in the morning. And a hospital in Denver late on a winter afternoon.

[Narrator/Host 2]

Did you sell bonds in the hospital?

[Narrator/Host 1]

No. I went to sing for the boys. But as I was walking around the wards, one of them called me over and said, listen, baby, I'm not very well healed with Joe at the moment, but I could manage a few war stamps. Here's the money. He was just back from North Africa, that boy.

[Narrator/Host 2]

You were really Miss America? I suppose now that you're home in Los Angeles, you settle down for a good long rest.

[Narrator/Host 1]

I'm leaving tomorrow for New York to help open the fourth war loan drive on January 8th. After that, I'm going to continue with my career. Which is singing.

[Narrator/Host 2]

Well, I think you're singing a very sweet tune for the Treasury Department right now.

[Narrator/Host 1]

It's not a solo, Mr. DeMille, it's a chorus. A chorus of 130 million people. They know there's a war on and they and their sons and daughters will finish it. Thank you for asking me to come here. Now I'd like to join the audience for the third act. Good night.

[Narrator/Host 2]

Good night. Miss America, your hometown is proud of you. After the mystery is solved, we'll have a chat with our stars. But now here's the curtain for the third act of Shadow of a Doubt, starring William Powell and Theresa Wright. There's no longer any doubt in Charlotte's mind. She knows now that her Uncle Charlie is a criminal, a murderer. The few days grace she gave him are almost gone, and still he hasn't left the house. Now, on a Sunday afternoon, the family is gathered in the living room, waiting for dinner. How is church, Charlie? You count the house? Turn anybody away?

[Narrator/Host 1]

No. Seats enough for everyone.

[Narrator/Host 2]

Yeah. Glad to hear it. Joe's had such a long run, I thought maybe attendants might be falling off.

[Narrator/Host 1]

We prayed for you, Uncle Charlie. At least I did.

[Narrator/Host 2]

Thanks. Now, here's an interesting thing. What's that, Joe? The paper here says they got that merry widow murderer. They got him. Where? Up in Maine. Portland didn't catch him. Exactly. He was running from police to the airport. Ran plunk into the propeller of an airplane. Cut him to pieces. Well, what do you know? I guess that solves that case. I guess that solves it. Charlie. Hmm?

[Narrator/Host 1]

Yes, Uncle Charlie.

[Narrator/Host 2]

Well, I think I'll wash up for dinner. I'm hungry. I don't know why I've been so hungry.

[Narrator/Host 1]

Charlie, that young reporter fella's here. He wants to see you. Tell him to wait out in front. I'll be right there.

[Narrator/Host 2]

See you at dinner, Charlie. Yes, Charlie.

[Narrator/Host 1]

Course.

[Narrator/Host 2]

Fine, then. We got a wire from Maine. They called us off the job. I'm just coming up for air.

[Narrator/Host 1]

Me too. Now that it's over, Jack, I don't want to talk about it anymore. I want to pretend that nothing ever happened.

[Narrator/Host 2]

Well, you won't have to pretend much. Nothing did happen. I'm glad. You never did know what we suspected your uncle of.

[Narrator/Host 1]

Yes.

[Narrator/Host 2]

Well, I guess that's all. Look, Charlotte, sand is in.

[Narrator/Host 1]

I know you have to go away.

[Narrator/Host 2]

Yes.

[Narrator/Host 1]

I knew you'd have to go away, but I haven't thought about it. I'll be alone again.

[Narrator/Host 2]

Alone in that beehive you live in. Besides, I'm coming back.

[Narrator/Host 1]

When? When are you coming back?

[Narrator/Host 2]

Soon as I can make it.

[Narrator/Host 1]

I don't want you to go. I feel.

[Narrator/Host 2]

How do you feel? You're not frightened now, are you, Charlotte?

[Narrator/Host 1]

Frightened?

[Narrator/Host 2]

I know what I did to you. And don't think I haven't tossed around every night for a week worrying about you.

[Narrator/Host 1]

Why? Why, Jack?

[Narrator/Host 2]

I don't know. I guess it's probably because I'm in love with you.

[Narrator/Host 1]

Are you?

[Narrator/Host 2]

That's why I'm coming back. I thought if we got engaged now, today, I mean, maybe we could get married when I get back.

[Narrator/Host 1]

It is better to be engaged for a while. Even if it is only for a little while.

[Narrator/Host 2]

You'll get married. That's all there is to it. Oh, Charlotte. Oh, there. Oh, hello, Mr. Spencer. I was just saying goodbye to Charlotte. Oh. All finished here? All finished. I'll be back. You'll be seeing me around? Oh, yeah. Not on business, though.

[Narrator/Host 1]

Well.

[Narrator/Host 2]

Sometimes I'm pretty obtuse. But I think I understand about your coming back. Well, Charlotte. Fine girl. I think so, too. Goodbye, Mr. Spencer. Goodbye. Bye, Charlotte.

[Narrator/Host 1]

Goodbye. Come back soon, Jack.

[Narrator/Host 2]

You bet. Take good care of her, Mr. Spencer. Oh, I will. I certainly will. Fine boy, Charlie. Fine boy.

[Narrator/Host 1]

When are you leaving, Uncle Charlie?

[Narrator/Host 2]

Oh, no need to hurry now. We're all happy here.

[Narrator/Host 1]

When are you leaving, Uncle Charles?

[Narrator/Host 2]

Look, I just told your mother I'm going to build a new house for you folks give it to you.

[Narrator/Host 1]

When are you leaving?

[Narrator/Host 2]

I'm not going. I want to settle down here, have money in the bank, have some sort of business. You're part of this family.

[Narrator/Host 1]

I see.

[Narrator/Host 2]

And the most sensible thing for you to do is to be friends with me. I can do a lot for you, Charlie. Make life easier for your mother. Make you all happy.

[Narrator/Host 1]

No, not you. We don't want anything from you. I wish I told my mother about you. I wish I had.

[Narrator/Host 2]

And how do you think your mother would have felt? What do you think it'll do to her?

[Narrator/Host 1]

Now I know. Don't be afraid. I can't tell it.

[Narrator/Host 2]

Oh, but I'm not afraid, Charlotte. And what have you to tell? Who'd believe you? A wall's running through your head. You don't like the initials in a ring. You connect it all up with a newspaper clubbing. And now you haven't the ring. I don't know what became of it.

[Narrator/Host 1]

You haven't, have I?

[Narrator/Host 2]

Oh, no. I gave it to you.

[Narrator/Host 1]

I don't want you here, Uncle Charlie. I don't want you to touch my mother. So go away. I'm warning you, go away.

[Narrator/Host 2]

She's the only one of those. The only one. If it weren't for her, I'd never have to worry. Yes, I'll be safe.

[Narrator/Host 1]

Safe. Hurry up, Joe. We'll be late for the lecture. Is Uncle Charlie gonna speak, Mama? Yes, dear. Now, you get your coat. It's almost 8 o'.

[Narrator/Host 2]

Clock.

[Narrator/Host 1]

Where's Charlotte? She went out to the garage to get the Car. Oh, Roger, when the lecture's over, we're having company here. They're all coming home with us. But you're not. Something happened to Charlotte, and in the garage. Something's happened. I think she's dead.

[Narrator/Host 2]

Charlotte.

[Narrator/Host 1]

Charlotte. Charlotte. Charlotte, dear. Are you all right, darling? Yes, yes.

[Narrator/Host 2]

Oh, sure, she's fine, Emmy. Don't worry. See, she's fine now.

[Narrator/Host 1]

It was locked in the garage. I heard the car running. I opened the garage door and she was lying there on the floor.

[Narrator/Host 2]

Carbon monoxide. Very common type of accident.

[Narrator/Host 1]

Charlotte, how did it happen, dear? It was so funny when I was. I went to get the car. The motor was running. Couldn't find the key. The key was gone. And then I heard the garage door close behind me.

[Narrator/Host 2]

It must have been the wind.

[Narrator/Host 1]

Yes, the wind. The keys. Why weren't they in the car?

[Narrator/Host 2]

Why, they were, Charlie. When Anne found you, I went in and turned off the motor myself.

[Narrator/Host 1]

Oh, I see. It was you, Uncle Charlie. Yes.

[Narrator/Host 2]

Yes, I turned off the motor.

[Narrator/Host 1]

I see.

[Narrator/Host 2]

Well, come on. Hallelujah. I'll carry you upstairs.

[Narrator/Host 1]

No, Charlotte. I don't want him to carry me. I'm all right, Mama. Well, I'll call and postpone the lecture. No, Mama. Please go. I want you to go. All of you. Please. All right, dear. All right.

[Narrator/Host 2]

Fine speech, sir. Mr. Spencer, congratulations. Thank you.

[Narrator/Host 1]

I thought it was wonderful.

[Narrator/Host 2]

Thank you, miss.

[Narrator/Host 1]

Have a look at that. Why, Mrs. Parker. Why, I. I believe I will.

[Narrator/Host 2]

Ladies and gentlemen, I want to propose a toast to. Oh, is that Charlie? Charlie, how are you feeling?

[Narrator/Host 1]

I'm all right now, thank you. I feel fine.

[Narrator/Host 2]

My favorite little niece. Well, now, you don't think you ought to be in bed, Charlie?

[Narrator/Host 1]

Oh, no. I wanted to come down. I wanted to show everybody my. My new ring.

[Narrator/Host 2]

Your ring?

[Narrator/Host 1]

The one you gave me. Uncle Charlie. I found it, you know. Where? In your room. I must have gone in and left it there. Force of habit.

[Narrator/Host 2]

Oh, yes, probably.

[Narrator/Host 1]

It's a beautiful ring, dear.

[Narrator/Host 2]

Just beautiful.

[Narrator/Host 1]

Yes, it has an inscription too. Shall I show it, Uncle Charlie, or shall we keep our little secret?

[Narrator/Host 2]

Charlie. Oh, do show it. Well, Uncle Charlie, we'll talk it over later. Charlie, you're just in time for a farewell toast. I. I hate to break the news like this, but tomorrow I must leave Santa Rosa. Oh, you can't leave us, Santa. Come on.

[Narrator/Host 1]

You better get her off, or the train will start with us. Goodbye, Charlie.

[Narrator/Host 2]

Goodbye, Emmy. I. Will you write me?

[Narrator/Host 1]

I'm coming.

[Narrator/Host 2]

Oh, Charlie, wait. I'll. I'll go out the platform with you.

[Narrator/Host 1]

Goodbye, Uncle Charlie.

[Narrator/Host 2]

We've got a minute or two. I want to speak to you.

[Narrator/Host 1]

Well, I've got to get off.

[Narrator/Host 2]

Oh, but there's plenty of time.

[Narrator/Host 1]

Charles, you to get. Oh. What? That was Mrs. Potter, was it? The widow Potter. Is she going with you?

[Narrator/Host 2]

Oh, now, don't be a little fool.

[Narrator/Host 1]

You know that I know about you, don't you, Uncle Charlie? And if I ever hear or read about anything. Well, you know what I'm talking about, don't you?

[Narrator/Host 2]

You're being a foolish girl.

[Narrator/Host 1]

I'm warning you.

[Narrator/Host 2]

Charlie, listen.

[Narrator/Host 1]

The train's moving.

[Narrator/Host 2]

Charlie.

[Narrator/Host 1]

Let me go.

[Narrator/Host 2]

No. Charlie, listen. You did a fine thing for your mother right now to let her know.

[Narrator/Host 1]

My arm. You're hurting me.

[Narrator/Host 2]

You're not getting off yet, Charlie. Wait a while. You see, we can just open the door like this.

[Narrator/Host 1]

What are you doing?

[Narrator/Host 2]

Then you can get off in just a minute or two.

[Narrator/Host 1]

You're a mad. You're a med.

[Narrator/Host 2]

Wait. A little faster. A little faster. I don't want you to be hurt. Just a little faster. Don't scream. No. No, Charlie. It's all too simple, isn't it? Try to get off while the train is moving. She was killed. My girl. Too bad. Now, Charlie. Now, don't fight, Charlie. Better for you if you don't.

[Narrator/Host 1]

They held a funeral yesterday. The minister said that Santa Rose had gained and lost a son that we could all be proud of. They didn't know.

[Narrator/Host 2]

Charlotte. I wish I'd been here. If you'd only told me. Darling, I couldn't.

[Narrator/Host 1]

He was my uncle.

[Narrator/Host 2]

I know.

[Narrator/Host 1]

He thought the world was a horrible place. He couldn't have been very happy, ever.

[Narrator/Host 2]

No. He didn't trust people.

[Narrator/Host 1]

He hated them. Hated the whole world.

[Narrator/Host 2]

Do you, Charlotte?

[Narrator/Host 1]

Hate the world? No. It sometimes needs a lot of watching, I guess. Seems to go to pieces now and then, like him. But it gets better. Almost. In spite of itself, it gets better. And there's still love in the world. So much love.

[Narrator/Host 2]

There isn't the shadow of a doubt about the kind of acting we heard tonight. And here are William Powell and Teresa Wright for a well deserved curtain call. Thank you, Cecil. You know, this was really the first time I've been connected with a drama where I played out with a beautiful girl named Charlie.

[Narrator/Host 1]

The first play I ever heard of where Bill Powell turned out to be the murderer. What would the Thin man say?

[Narrator/Host 2]

We'll try and get you on the right side of the law next time, Bill. Did you know, by the way, that your costar holds one of the most unusual records in Hollywood? Well, she became a star just about overnight. Now, in addition to that, and this can only be whispered. Teresa has never been seen in a nightclub. That's practically a scandal in Hollywood.

[Narrator/Host 1]

I may never live it down.

[Narrator/Host 2]

We'll forgive you if you keep up the standard of performance you've already set. What was your background in the theater, Theresa?

[Narrator/Host 1]

I played in summer stock. Naturally, that included building scenery, wrestling props, painting backdrops, taking tickets and sweeping up the theater.

[Narrator/Host 2]

That sounds like old home week to me.

[Narrator/Host 1]

Then just before Mr. Goldin brought me to Hollywood, I was in Life with Father in New York.

[Narrator/Host 2]

From Life with Father to Life With Golden. Sam and I started in the picture business together more than 30 years ago. He's a good showman, and I'll bet he's got something special in mind for you.

[Narrator/Host 1]

Now, I believe the picture will be called those Endearing Young Charms.

[Narrator/Host 2]

Well, that's a perfect title for you, Theresa. You know, we're kind of in the Endearing Young Charms business ourselves.

[Narrator/Host 1]

You mean lots. So, Mr. DeMille, you're absolutely right. It revealed itself to me when I was quite young. And everyone knows it's very helpful in keeping a charming complexion.

[Narrator/Host 2]

For proof of that, Teresa, I refer the Lux audience to any photograph that does you justice. And that comes from an experienced judge of beauty. Now, what's on the docket next week, Russell? It's the current Warner Brothers success, the Constant Nymph. And our stars will be Charles Boyer and Maureen o'. Sullivan. The Constant Nymph is the story of a composer and a girl whose deep affection and sacrifice and inspires his work. It was a great favorite on Broadway and has just become a hit motion picture. I think you'll repeat that success on the air. Zel. Good night.

[Narrator/Host 1]

Good night.

[Narrator/Host 2]

Good night. Good night.

[Narrator/Host 1]

The next time we have a murder.

[Narrator/Host 2]

Case, Bill will tend for you. Ladies and gentlemen, a very fine New Year's gift has just come to the Lux Radio Theater. This program has been named radio's number one dramatic production of 1943 in two different polls. One conducted by Radio Daily, the other by Motion Picture Daily. We're grateful to the editors and to you, our audience, for this honor. We'll regard it as a challenge for all of 1944. And now I'd like to tell you about a new radio program that starts this week on Wednesday night over these same stations. Frank Sinatra, he of the famous voice, will begin a show of his own with Burt Wheeler. Ginger Rogers will be Frank's first guest. And I understand Mrs. Nussbaum is coming over from the Jack Benny Show. The Vims Chorus and orchestra rounds out a program that I think will be an important radio event of the week. Our sponsors, the makers of Luxe Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Charles boyer and Maureen O' Sullivan in the Constant Nymph. This is Cecil B. DeMille saying good night to you from Hollywood. Shadow of a Doubt was produced by Universal Pictures, whose current release is the Walter Wanger production Gung Ho, starring Randolph Scott. Theresa Wright will co star with Gary Cooper in the International Pictures production Casanova Q. Brown. Heard in tonight's play were Ed Emerson as Jack, Regina Wallace as Mrs. Newton, Norman Field as Mr. Newton and Berna Felton, Mary Lou Harrington, Tommy Cook, Leo Cleary, Charlotte Treadway, Myra Marsh, Buck Wood and Charles Seal. This program is broadcast to our fighting forces overseas by Short Waves through cooperation with the Armed Forces Radio Radio Service. Our music was directed by Lewis Silver. And this is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Charles Boyer and Marino Sullivan in the Constant Nymph. Want to know a secret?

[Narrator/Host 1]

Your ration points go farther go further go farther. Your ration points go farther, further when you're cook.

[Narrator/Host 2]

Yes, ma'. Am. Fries to buy gives lighter cakes crispy digestible fried foods mouth melting pastry. Tomorrow ask your grocer for spry shortening. This is the Columbia Broadcasting System.

[Narrator/Host 1]

There's more Relic Radio thrillers, more from.

[Narrator/Host 2]

The Lux Radio Theater and all of.

[Narrator/Host 1]

The other podcasts at the website relicradio.com. you can donate through that website as well if you if you'd like to help support this and all of the podcasts. Thanks to those who have helped out.

[Narrator/Host 2]

Thanks for joining me this week.

[Narrator/Host 1]

I'll be back tomorrow with the horror next Friday with our next episode of Relic Radio thrillers.