The Brighton Strangler by Suspense

Summary

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Relic Radio Thrillers – "The Brighton Strangler" by Suspense

Original Air Date: December 21, 1944
Podcast Date: October 10, 2025
Host: RelicRadio.com
Stars: John Loder, June Duprez (note transcript: June Dupre)

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Episode Overview

This episode of Relic Radio Thrillers presents "The Brighton Strangler," an adaptation by the classic series Suspense, based on the RKO picture of the same name. It's a psychological thriller set during WWII, weaving together the lines between theatrical fiction and grim reality. John Loder plays Reginald Parker, an actor famous for his role as a stage murderer. When a bombing raid leaves him concussed, his grip on sanity weakens, and he becomes ensnared in his murderous stage persona—with deadly results.

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Key Discussion Points & Plot Breakdown

Introduction and Context (00:11–01:39)

• The host sets the scene for the episode, introducing Suspense as a seminal radio thriller series with over 900 episodes.
• Preview: Tonight’s story is a drama about an actor specializing in stage murder whose real life eerily mirrors his on-stage persona.

Opening Scene – A Play Within a Play (02:23–04:13)

• The episode begins with a scene from the play "The Brighton Strangler," with the main character, Edward, confessing to murders and threatening April.
• Ironic twist: The “audience” applauds the villain’s capture—blurring lines between fiction and reality.

"Go on, say it. The Brighton Strangler." — Edward (04:28)

The Actor’s Fatigue & the Blitz (04:48–06:44)

• Backstage, Reginald Parker (John Loder) expresses his exhaustion from playing a murderer so often. He admits it’s affecting his psyche.
• During a bombing raid in London, Parker is hit on the head, which proves to be the catalyst for the blurring of his character with reality.

"Has it ever occurred to you that a man might feel if he strangled one more person, he'd go stark raving mad?" — Reggie (05:23)

Delirium and Departure (06:09–09:47)

• Dazed by his injury, Parker aimlessly buys a train ticket bound for Brighton, mirroring his stage character's journey.
• On the train, he meets April Manby (June Duprez), a woman from Brighton who warmly takes him under her care despite his confusion.

“You've been very kind... Are you sure you're all right now?” — April (10:29)

Arrival in Brighton & Unsettling Coincidences (13:13–15:54)

• At April’s family party, Parker is introduced to a group that eerily resembles characters from the play, including the Lord Mayor and Chief Inspector.
• News breaks: The real Lord Mayor has been murdered—strangled—just as in the play.

"I use this to strangle people." — Reggie, holding a silk cord (12:17)

Psychological Suspense and Self-Doubt (16:36–18:03)

• April grows concerned about the influence Parker’s play may have had on real crimes, theorizing that an unstable person may be imitating the murders.
• Parker’s own alibi places him at a concert during the second murder, which coincides with the timing in the play.

"A play like that should never have been written. Should never have been allowed." — April (17:18)

Showdown with the Inspector (18:44–21:12)

• Parker visits Chief Inspector Allison, and their conversation turns morbid, referencing trophies of murder cases in the Inspector’s collection.
• Parker insinuates Allison was partly responsible for sending an innocent man to prison years ago—a central motive in the play.

"Let us suppose that instead of defending his client, he betrayed him… And let us suppose that the man returned one day after all those years in prison to take revenge…" — Reggie (20:08)

The Second Murder & Escalating Paranoia (21:25–22:26)

• Chief Inspector Allison is murdered in the same way, during the time Parker was at the concert.
• April is torn between suspicion and loyalty, forced to reckon with the possibility that Reggie is the real killer.

"It's fortunate, my dear, that you and others know I was at the concert this evening. Fortunate, because otherwise it might seem almost one coincidence too many." — Reggie (22:11)

Climax – The Terrace Confrontation (24:07–25:31)

• April meets Reggie at the Plaza Hotel terrace on New Year’s Eve, replaying lines from the stage play.
• April tries desperately to reach the fractured mind within Reggie, insisting he’s been sick and needs help.
• Police wait in the wings, ready to intervene.
• In a confused and tragic final moment, Reggie—mistaking reality for the stage—bows and steps backward off the parapet, falling to his death.

"So, in a trance, bowing as he had so often to so many enchanted audiences... he stepped backwards towards the low parapet… and fell." — April (25:31)

Resolution and Aftermath (25:49–26:13)

• Reggie dies in April’s arms, his final words touching on the diffused boundaries between his true self and his role as the Brighton Strangler.
• April mourns not just the man, but the tragic consequences of blurred fiction and reality.

"It's April... From Brighton. We were bombed… Then I heard applause. I think I'm hurt. But you'll help me, won't you? I want to take just one last curtain call." — Reggie (25:49)

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Notable Quotes & Memorable Moments with Timestamps

• Actor’s Descent:
  "Has it ever occurred to you that a man might feel if he strangled one more person, he'd go stark raving mad?" — Reggie (05:23)

• Blurred Reality:
  "I use this to strangle people." — Reggie, showing a silk cord (12:17)

• April's Insight:
  "A play like that should never have been written. Should never have been allowed." — April (17:18)

• Confrontation with Inspector:
  "Let us also suppose that the representative of the prosecution was more interested in collecting trophies than seeing justice done... Someone like you, Inspector." — Reggie (20:29)

• Final Curtain Call:
  "So, in a trance, bowing... he stepped backwards towards the low parapet... and fell." — April’s narration (25:31)

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Important Segment Timestamps

• Intro & Play Setup: 00:11–01:39
• Play Opening/Reality Merges: 02:23–04:13
• Actor’s Breakdown/Bombing: 04:48–06:44
• Train Sequence (Meet April): 10:10–12:05
• Family Gathering, Lord Mayor’s Death: 13:13–15:54
• April's Concern: 16:36–17:18
• Inspector Allison Confrontation: 18:44–21:12
• Inspector’s Murder/Aftermath: 21:25–22:26
• Terrace Climax: 24:07–25:31
• Reggie’s Death and Closing: 25:49–26:13

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Tone and Style

The episode masterfully balances classic “whodunit” suspense with psychological drama, inviting listeners to question the thresholds between fiction, performance, and reality. The dialogue is formal, often poetic and darkly humorous—typical of mid-century radio drama.

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Summary

"The Brighton Strangler" is a riveting journey into the fragile boundaries between reality and performance. As the actor Reginald Parker succumbs to his stage persona after trauma, the story unspools a chilling commentary on fate, guilt, and the influence of fiction on real life. The immersive performances and taut writing maintain tension until the haunting final moments—underscoring why Suspense remains an Old Time Radio classic.

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For more classic radio episodes and mysteries, visit RelicRadio.com!

Transcript

[A]

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. Welcome back. Thanks for joining me. This week our thriller comes from. Suspense. This week, a series that debuted in 1942, aired for 20 years until 1962, produced over 900 episodes. Our story today is from December 21, 1944. It's the Brighton Strangler.

[B]

Now Roma Wines present.

[C]

Suspense. Tonight, the Brighton Strangler, starring John Loder. With June Dupre.

[B]

Suspense is presented for your enjoyment by Roma Wines. That's R O M a Roma Wines. Those excellent California wines that can add so much pleasantness to the way you live, to your happiness. And entertaining guests. To your enjoyment of everyday meals. Yes, right now a glassful would be very pleasant. As Roma Wines bring you suspense.

[C]

This is the man in black here for the Roma Wine Company of Fresno, California. Who tonight from Hollywood, bring you a radio play by Robert L. Richards. Based on the RKO picture the Brighton Strangler. The stars of the production are appearing with us this evening in this drama of an actor who specializes in murder. And of a girl who became the unwilling heroine in a real life play. And so, with the Brighton Strangler. And with the performances of John Loder and June Dupre. We again hope to keep you in suspense.

[D]

10, 11, 12, midnight. And the New Year.

[E]

Oh, Edward, it's been such a lovely holiday.

[D]

April, my dear. I wouldn't stand too near the edge. The rail is very low and it's quite a drop to the street.

[E]

I was only looking over the city.

[F]

It's even a lovely night to have a holiday end. As long as it must end.

[D]

All lovely things must end, my dear.

[F]

Shall we join the others?

[E]

It's a bit chilly out here on the terrace, don't you think?

[D]

No, we can't go in just yet because.

[E]

Because what?

[D]

Because something has to happen first.

[E]

What has to happen?

[D]

You know what happened to the Lord Mayor of Brighton, don't you? Well, he was strangled on Christmas Day. And the Chief Inspector, three days later. He was strangled too, wasn't he?

[E]

Edward?

[D]

Don't try to pretend you haven't guessed who I am.

[E]

No, Edward, you couldn't be.

[D]

Go on, say it. The Brighton Strangler.

[E]

You couldn't.

[D]

But I did. My alibi for the Lord Mayor was very simple. I merely turned his watch back. And for the Chief Inspector, you yourself supplied me with an alibi, remember?

[E]

But why?

[D]

Why? Because 10 years ago they conspired to send an innocent man to prison. And that innocent man was me. And now you, my dear, are the only person alive who knows.

[E]

Edward, listen to me. We're in London. It's New Year's Eve. Don't you remember how? The silk cord. Edward, you're not going to.

[D]

Yes.

[B]

Help. Harold.

[D]

That's him. Stop. Stop or I'll shoot.

[G]

You've got him.

[C]

Dead at last. The Broughton Strangler.

[D]

Thank you very much. Thank you. Thank you.

[B]

Good.

[D]

Oh, Reggie, it's so good. It's so good I can't bear to close it. And it's making so much money. Well, you're the producer.

[G]

Don't close it.

[D]

Put someone else in the park. You know I can't do that. People don't come to see the Brighton Strangler. They came to see you, Reggie. To the public, you are the Brighton Strangler. Not after tonight, I'm not.

[E]

I can't understand you, Reggie.

[D]

Walking out on a play that gave you fame and fortune. I'm fed up. Fed to the teeth with it, that's all. Reggie, look, look, look. I won't speak for the play itself. It's only mediocre, I'll grant you that. But you've given it something just by sheer force of personality. You've made it authentic, terrifying. A tremendous psychological drama. That's just it. Now look here, Sheldon. Has it ever occurred to you that a man might feel if he strangled one more person, he'd go stark raving mad. But it's only a play, Reggie. Just make believe. Oh, you ought to know by this time that to an actor, a good actor, it's never entirely make believe. Yes.

[G]

Now look here, Reggie. Look here. I'll tell you what I'll do.

[D]

I'll. I don't want to talk about it. Leave me alone, can't you? But, Reggie. Leave me alone. Can't you understand? Leave me alone. All right, all right, all right. There's no need to get edgy. I'm sorry. Got any plans? Some service? Canteen shows? Well, if I don't see you, Merry Christmas. Yes. Merry Christmas. Good night.

[C]

Good night.

[G]

Uhuh.

[D]

Air raid. Shelton. Shelton.

[G]

Gone.

[D]

Everyone's gone. No time to make the shelter now. Best stay here, I suppose.

[B]

Getting close.

[D]

Too close. This is it. My head.

[E]

It hurts. Hurts.

[D]

Got to get out of here somehow. But where? Where? Where?

[C]

You all right, sir? Oh, you got a nasty gash on your head, haven't you?

[D]

All right? Why, yes. Yes, I'm all right. Oh, here.

[C]

Don't forget your suitcase, sir.

[D]

Suitcase?

[C]

Yes.

[D]

Where you going?

[C]

Victoria Station, huh?

[D]

Yes, Victoria Station. How many? Three return tickets to Isham.

[G]

Here you are. And yours.

[E]

Return to Rottingdean if you please.

[C]

Right.

[D]

Next.

[E]

Single to Brighton.

[D]

Brighton. Up next.

[G]

What's your Seth?

[D]

Single to Brighton.

[C]

Tonight for suspense. Roma wines are bringing you as stars Mr. John Loder and Ms. June Dupre in the Brighton Strangler. Tonight's tale of suspense.

[B]

When you listen to the Friendly advice of Ms. Elsa Maxwell about hospitality and gracious living, you realize that here is an authority who talks plain common sense all the time.

[F]

I'm talking to men as well as women who, when I say that the finest hospitality is always simple, sincere, moderate, natural. Never the opposite. And so I'm always emphasizing that the nicest, simplest, most sincerely flattering hospitality is to serve your guests some Roma sherry. With its golden amber color, its deliciously tangy nut like flavor, it's not only supremely enjoyable before dinner or in the afternoon, it's smartly correct of genuine compliment to your friends and to yourself. And please don't worry about special glasses. It's perfectly correct to use any nice glasses that are handy.

[B]

Well, Ms. Maxwell speaks more authoritatively than I can. But I will add this Roma sherry, like all famous Roma wines made from California's magnificent sun ripened grapes, brings you all their fine flavor, aroma and color, is unvaryingly good. Always enjoyable thanks to the age old wine skill of Roma's noted wineries located in the choicest vineyard areas of California. Yet all this goodness and pleasure is yours for only pennies a glass. Remember, more Americans enjoy Roma than any other wines. ROMA R O M A ROMA WINES.

[C]

And now it is with pleasure that we bring back to our soundstage Mr. John Loder as Reginald Parker and June Dupre as April Manby, who now takes up the narrative concerning the Brighton Strangler. A tale well calculated to keep you in suspense.

[E]

Somehow, from that very first moment, I was drawn to him. He was handsome and attractive. Yes, but it wasn't that. He seemed so lonely, so much in need of help. And then on the train when I thought that he'd really been hurt, I just threw convention to the winds and took charge of me.

[D]

You've been very kind.

[E]

Well, someone had to put a bit of sticking plaster on that head of yours. Are you sure you're all right now?

[D]

Oh, quite. Thank you.

[E]

It must have been terrible. I heard about the theatre.

[D]

The theater?

[E]

Yes, of course. I recognized you the minute you stepped into the compartment.

[D]

What?

[E]

You are Reginald Parker, the actor, aren't you? I've seen your picture on the billboards dozens of times.

[D]

Reginald Parker.

[E]

And I've been dying to tell you. My name is April.

[C]

April?

[E]

That's the name of the girl in your play, isn't it? And I'm from Brighton.

[D]

April from Brighton.

[E]

Only, of course, my last name is Mandy.

[D]

That's where I'm going, to Brighton.

[E]

Why, isn't that nice? We do have a lot in common, don't we?

[D]

Yes, a great deal, I think.

[E]

Oh, we're going to have such wonderful times in Brighton over the holidays. You know, I was wondering if you wouldn't think it forward of me.

[D]

What?

[E]

Well, my family is having a party at our house on Christmas Day. Lord Mayor and a lot of people are going to be there.

[D]

The Lord Mayor?

[E]

Yes, and if you'd like to come, I mean. Well, I'm really not a celebrity, Hans, you know. But if you'd really like to come.

[D]

Why, I'd be delighted.

[E]

Oh, Mr. Parker, that would be wonderful.

[D]

April. Why don't you call me Edward?

[E]

Edward? Oh, you mean Reginald Parker's only your stage name?

[D]

Yes. Yes, a stage name.

[E]

Isn't that art? I always knew actors had stage names, but I always thought yours was real. But I think I'd rather call you Reginald, or at least introduce you to my family that way. It's so sort of confusing. Two names.

[D]

Well, what's in a name?

[E]

Yes. After all, what is Reginald? But what's that little silk cord you keep twisting in your hands?

[D]

Oh, this?

[E]

Yes.

[D]

I use this to strangle people.

[E]

What? Oh, you mean in the play?

[D]

Yes, in the play.

[E]

Do you always carry it about with you?

[D]

Always.

[E]

Why?

[D]

Oh, I don't know.

[E]

For luck, I suppose. I've heard of actors having superstitions like that. Do you have many friends in Brighton?

[D]

Friends, acquaintances. I haven't been back for 10 years.

[E]

They'll scarcely remember you. Will they?

[D]

The ones who are important will remember me. They will remember me very well. Hello there. Am I late?

[E]

Oh, no. Right on the dot. Just 5:30 now. Here, let me take your pill.

[D]

Thanks.

[E]

Now, come along and meet everyone I'm so anxious for you to meet. My parents told me so much about you.

[D]

I didn't realize you knew so much about me.

[E]

You know what I mean. Mother. Mother, I want you to meet Mr. Reginald Parker. How do you do, Mr. Parker? How do you do, Mrs. Shackleton? How do you do, Mr. Shackleton? Are you my father? Dr. Manby.

[D]

How do you do, sir?

[E]

And Chief Inspector Allison.

[G]

How do you go?

[E]

Well, everyone's here now but the lord Mayor. I wonder what can be Keeping him?

[C]

Well, it's barely 5.30 now.

[D]

It's a bit of a walk from his place.

[B]

I expect he'll be along directly.

[G]

Well, Mr. Parkham, it's a pleasure to meet you in the flesh, so to speak, Sir.

[D]

I have an impression that we have met in the flesh before, Inspector.

[G]

Not that I recall, sir. And I'm sure that I would.

[D]

I would have thought so too, Inspector, if only because of our mutual adventures in villainy. Eh?

[C]

Oh.

[G]

Oh, I see what you mean. Well, sir, I'm a practical criminologist. The more supposed to be. And I must confess that I find most of these plays and films and so on about crime rather preposterous.

[D]

Why?

[G]

Why, in this day and age, a man can't go about killing people without being caught once in a while. Perhaps. But when you get these stories of Chatsworth, two, three and a whole string of victims.

[D]

Oh, no, no, no, no.

[G]

Never.

[E]

But, Inspector, they always are caught in the end. If only to prove to the kiddies that crime doesn't pay.

[D]

But supposing it were the Percy crime.

[G]

Oh, Marsh, there's no such thing.

[C]

Really.

[G]

You interested in criminology, Mr. Parker? We ought to get together some evening while you're here. Perhaps I could give you a few experiences of my own that would have used you.

[D]

I should be delighted, Inspector. In fact, I shall make a point of it.

[E]

Excuse me a moment. Hello? Yes. Yes, of course. It's for you, Daddy.

[B]

Oh, thank you, my.

[C]

Yes?

[D]

Yes, this is Dr. Manby speaking. What?

[G]

Good Lord.

[B]

Yes.

[C]

Yes, very well. I'll tell him. And I'll come over at once.

[E]

What is it? What's wrong?

[D]

A terrible thing has just happened.

[C]

We'll need you on this, I'm afraid, Inspector.

[G]

What's happened?

[C]

The lord mayor has been murdered. Can't understand it. Why, he didn't have an enemy in the world.

[G]

When did it happen?

[C]

He left his house at 5:15 to come over here. He was apparently attacked by someone who'd been lurking in the shrubbery of his own grounds. He was killed at 5:30. His watch had been smashed during the struggle and that's when it stopped.

[D]

And how was he killed, Doctor?

[B]

He was.

[C]

He was strangled.

[E]

Just fantastic. Of course. But there it was, that terrible coincidence, the strangling in Brighton. I must confess that my main concern was Sir Reggie. The way everyone glanced at him, the polite, standoffish way they talked to him was enough to show they felt that somehow he was responsible for the dreadful thing that had happened. As to myself, I felt almost as Badly as he did and thought I'd never known anyone quite so brave. For it was clear he wanted to get away, and he was quite free to go. And yet he stayed on in Brighton as though compelled to, perhaps by a strange feeling that he mustn't run off until the mystery had been solved. He even made a little joke about it that night that I drove him to the concert.

[D]

Well, this is one way of facing the music, Reggie.

[E]

You mustn't say that.

[D]

I'm sorry. I hope you didn't mind too much driving me down.

[E]

Of course I didn't.

[D]

I know you must think I'm a low dog for picking the one night when you wouldn't come along. But it's their only program of Rimsky Korsakov, and I couldn't bear to miss it.

[E]

I'll come another time if you want me to.

[D]

I want you to very much.

[E]

Reggie, did you ever think that a play might have an effect on people who saw it?

[D]

How?

[E]

That someone might see it and want to do the same thing? Oh, Reggie, I think that's what happened. I think that someone saw your play and is trying to do the same thing in real life. Some poor creature with a twisted mind.

[D]

A twisted mind?

[E]

Please don't think I'm blaming you. But a play like that should never have been written. Should never have been allowed.

[D]

Perhaps it was just fated to be that way.

[E]

The only thing I can think of to explain the things that have happened.

[D]

Does it make a great deal of difference to you?

[E]

Difference?

[D]

In the way you feel about me.

[E]

Oh, Reggie, no.

[D]

I'm glad of that. Because I think quite soon now. Perhaps after tonight, I shall have something very important to tell you. April.

[B]

Oh.

[E]

Well, here we are.

[D]

Thanks for bringing me. And you will pick me up at 11:30 sharp.

[F]

Tickets.

[D]

Tickets, please, sir. Here you are. First dial on your writer. First seat in the last row. Am I late? No, sir. It's just about to begin, sir. Inspector.

[G]

Come in, come in.

[B]

Thank you.

[G]

I was just listening to a little music on my journal bar.

[D]

Do you know it? Scherizade? Yes. It's just 42 minutes long.

[G]

Oh, is it? I never timed it.

[D]

Yeah.

[G]

Make yourself comfortable by the bar. I was rather hoping you'd pick this evening to drop in. I'm all alone.

[D]

I remember you said you'd be. You have quite a music library, Inspector. Yes, and I see you collect other things as well. Oh.

[G]

Oh, my private chamber of horrors. Interesting.

[D]

Very much.

[G]

Of course, you did want to talk about crime, didn't you? Well, each of these Things rather gruesome, most of them. To you, I expect, is like a trophy to me. I take this butcher knife. You can imagine what that was used for, I suppose.

[D]

His wife.

[G]

That's it. Carved her up and put her in a trunk and checked her at Brighton station. We didn't find her for three months. Never did find her head. Forgot the chap, though. Now, here's something you don't see very often.

[D]

A hangman's noose.

[G]

Yes. The fellow who wore that collar last got me my biggest promotion.

[D]

It must be a great moment of satisfaction. When the bolt is pulled, the rope tightens and you know your murder is done for.

[G]

Yes, it is for a fact. But there's one trophy I intend to have here that'll make me prouder than all the rest. Just a little thing it is too.

[D]

Just a bit of cord. You mean the cord that was used to strangle the lord Mayor? Right you are.

[G]

And I'll get it.

[D]

Many years ago, 10 years to be exact, before the Lord Mayor was the Lord Mayor, he was a barrister defending a client in a court of law. Let us suppose that instead of defending his client, he betrayed him to the Protestant prosecution and the man went to prison. And let us suppose that the man returned one day after all those years in prison to take revenge and he took it.

[G]

Very imaginative theory, Mr. Parker. Why don't you drop into my office tomorrow and we'll discuss it further.

[D]

Ah, but you've only heard half of my theory, Inspector. Let us also suppose that the representative of the prosecution to whom this innocent man was betrayed was someone more interested in collecting trophies than in seeing justice. An ambitious man. A Chief Inspector of police, shall we say? Someone like you, Inspector.

[G]

Really, Mr. Parker.

[D]

Then it would also follow that our man would strangle you, wouldn't it, Inspector?

[G]

I'm afraid play acting has influenced your judgment, sir.

[D]

This is no play, Inspector.

[G]

You couldn't get away with a thing like this.

[D]

You've said that before.

[G]

People know where you are.

[D]

Exactly. You see, I am at a concert.

[C]

No.

[E]

Oh, there you are. Been waiting long?

[D]

No, it's just over.

[E]

Did you enjoy it?

[D]

I don't think I've ever enjoyed a concert quite so much in all my life, really. Do you have a wireless in your car?

[E]

Yes, there it is, right in front of you.

[D]

Oh, yes, of course. Course. I thought we might hear a bit of news. Under intense ant aircraft fire, the raiders were driven off.

[B]

However, with only a minimum of damage to non military objectives. I have just been handed a dispatch from Brighton. The Brighton Strangler.

[C]

Has struck again.

[B]

At approximately 11 o' clock tonight, Chief Inspector Allison of the Brighton police force was found dead in his flat.

[E]

Reggie.

[B]

He had apparently been murdered in the same manner as the Lord Mayor of Brighton only three days before, by strangling again. There were no clues to the killer.

[E]

Reggie.

[D]

It's fortunate, my dear, that you and others know I was at the concert this evening. Fortunate, because otherwise it might seem almost one coincidence too many.

[E]

Coincidence. Suddenly all this coincidence that it seemed only the trickery of an impossible nightmare became the evidence of terrible reality. How I managed to maintain a semblance of calm as I drove him back to his hotel, I shall never know. The next day he had left, and that afternoon he called me from London. He said it was most urgent that I see him. I knew that I must go. But first I went to the police.

[D]

Came to us first.

[G]

If you know where he is, miss.

[D]

We'Ll arrest him at once.

[E]

But I don't know where he is. Besides, I have no proof. Neither of you. Neither is anyone.

[D]

There's all the proof we need, miss.

[E]

But don't you see the pattern? I'm to meet him at the Plaza Hotel. And the Plaza Hotel is a terrace. And tonight is New Year's Eve and my name is April.

[D]

You'd be taking your life in your hands, miss.

[E]

Maybe I'm wrong. I pray that I am. Maybe you won't have to do anything and he'll come to you of his own accord when I tell him you want him. But if I'm not wrong, if this is the only way to save him, I'm the only person in the world who can do it.

[G]

Well, what did you say the line in the play was?

[E]

He says, and now you, my dear, the only person alive who knows.

[D]

The only person alive who knows.

[E]

You do have a script to the play, don't you?

[D]

Oh, yes.

[B]

Yes.

[E]

Because you'll have to come right in on cue.

[G]

Do you have a copy of the play for yourself?

[E]

I. I don't need one. I know it now by heart.

[D]

10, 11, 12, midnight and the New Year.

[E]

Shall we go in? It's a bit chilly out here, don't you think?

[D]

No, we can't go in just yet because.

[E]

Because what?

[D]

Because something has to happen first.

[E]

What has to happen?

[D]

You know what happened to the Lord Mayor of Brighton, don't you? And the Chief Inspector. He was strangled too, wasn't he, Reggie? Don't try to pretend you haven't guessed who I am.

[E]

Reggie. This is where the lines are different from the play. I've known who you are.

[D]

Go on, say it. The Brighton Strangler.

[E]

And now you have the silk cord in your hands and you want to strangle me. But you mustn't Listen to me, Reggie. You've been sick. Don't you understand? You've been sick, and you've got to get well.

[D]

And now you, my dear, are the only person alive who knows.

[E]

Reggie, no.

[C]

Yes.

[E]

Applaud, all of you. Applaud.

[D]

But keep him covered all the same. Thank you. Thank you very much. Thank you. He's backing up to the railing.

[G]

He'll fall.

[D]

Stop him, someone. Thank you. Thank you very much. Thank you, everybody. Good night.

[E]

So, in a trans bowing, as he had so often to so many enchanted audiences of the Brighton Strangler, he stepped backwards towards the low parapet. As though again leaving a stage, and fell. We found him on the pavement below. He was still alive.

[D]

It's April. From Brighton. We were bombed. Went we. Then I heard applause. I think I'm hurt. But you'll help me, won't you? I want to take just one last curtain call.

[E]

He died there in my arms.

[C]

And so closes the Brighton Strangler. Based on the RKO picture and starring John Loder. With June Dupre. Tonight's study in suspense. Suspense is produced, edited and directed by William Speer.

[B]

There is no reason at all, Elsa Maxwell says, why everyone should not have the enjoyment of Roma wines. With everyday meals and when entertaining friends.

[F]

These superb wines of California are. Are so delightful to the taste, so very delicious with food, so smartly complimentary to friends. Who are your guests. It seems a shame to me that some people still miss out on such wholesomely simple, moderate and inexpensive pleasure.

[B]

But of course, Ms. Maxwell, millions already do know and enjoy Roma wines. In fact, more Americans enjoy Roma than any other wine. And that can only mean Roma wines are California's finest. Always extra good, unvaryingly fine in flavor and quality, yet only pennies a glass. ROMA R O M A Roma wines.

[C]

Before we bring you news about next week's program, I should like for our sponsors, the Roma Wine Company, and for all of us who collaborate to bring you suspense. Mr. Spear, our producer, director Lud Gluskin, our conductor, Lucian Marowick, composer of our scores. Burn Surrey and Ralph Cummings, our sound crew. Bob Anderson, engineer, and Truman Bradley, our announcer, to wish you a very merry Christmas. Next Thursday, same time, you will hear Ms. Ida Lapino as star of suspense.

[B]

Presented by Roma Wine made in California for enjoyment throughout the world. An open telegram from Washington concerning the merchant marine which should be listened to with vital interest by eligible members of our audience. United States Shipbuilding program is being increased at enormous rate. Contracts have been awarded for hundreds of additional new ships. Every one of these ships must be manned by 40 to 50 men, most of them with previous sea experience. Long Pacific distances and expanding supply problems call for continuous employment of large numbers of men and ships until Japan is totally defeated. Universal demand for strong post war merchant marine makes post war opportunities and these jobs fully as great as in any American industry today.

[E]

Sam.

[A]

There'S more from suspense@ Relicradio.com alongside all of the other podcasts and our shoutcast stream. You can donate through the website as well if you'd like to help support this and all of the shows or visit donate. Relicradio.com that'll take you to the donate page. Thanks to those who have helped out. Thanks for joining me this week. Be back tomorrow with the Horror and next Friday with our next episode of Relic Radio Thrillers.