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Why has Hollywood star Merle Oberon switched to new improved green shampoo? Because compared to dulling soap shampoos, this wonderful new dream reveals up to 33% more sheen. Follow Merle's secret. For shining hair, it's new green for Hollywood sheen, improved green for Hollywood sheen. Your hair can have that Hollywood sheen the very first time you use new dream. Get wonderful new green shampoo. This is the cold season. What do medical authorities say about the common cold? Doctors tell us there's no known drug which will cure a cold. There are effective medications for treating complications accompanying or following a cold. If you've been taking sensible precautions and still have one cold after another, it's best to see your doctor. And here's another important health tip. When you have a cold and need a laxative, that's the time to rely on gentle Ex Lax. Pleasant tasting chocolated Ex Lax helps you toward your normal regularity. Gently overnight. Ex Lax gets along with any cold remedies you may be taking. And Exlax works where nature wants in the lower tract, not the stomach. Taken at bedtime, Ex Lax won't disturb sleep, gives you the closest thing to natural action. The next morning, you're well on your way towards your normal regularity without upset or discomfort. So when you have a cold and need a laxative, take Ex Lax, the laxative you can use with complete confidence. Ex Lax helps you towards your normal regularity. Gently overnight. Ex Lax. Now let's take a quick musical trip to Blue Ribbon lands to places around the world where folks enjoy internationally famous Pabst Blue Ribbon beer. Ready now. See how many you can guess. Yes, Harris is right. Gay Paris folks just like yourself enjoy that smoother tasting Pabst Blue Ribbon finest beers served anywhere. Now, Nicaragua. That's right. That's right. Managua, Nicaragua, another wonderful place where internationally famous Pabst Blue Ribbon is served and enjoyed. Next, Chicago. Chicago is right. That's right. Yes. All over America. All over the world, folks enjoy that number one international favorite Pabst Blue Ribbon finest beer served anywhere it's the beer the whole world knows about. And remember the quality that has carried the fame around the world is yours for the asking. The next time somebody says what'll you have? Give them the world's best answer that smoother, smoother, smoother. Pabst Blue Ribbon Beer. A word of advice for those of you who suffer from acid indigestion, heartburn or gas. Do you know about the little white tablets in the little green pocket roll just awaiting for the moment when you need em to bring your acid indigestion under control? Tums are the little white tablets in the little green pocket roll. TUMS for the tummy. T U M s bring relief quicker than you'd ever best for any kind of acid distress. Keep them handy in the pocket roll. Keep your tummy under tum control. The modern Tums formula has never been surpassed for effectiveness. Always carry Tums 10 cents. Three roll pack a quarter or get the new six roll Tums pack with free metal carrier only 49 cents. And now a tale well calculated to keep you in suspense. Suspense. This is the man in Black here again to introduce Columbia's program Suspense. Our stars this evening are three the order of their appearance. They are Walter Hampton, one of the theater's proudest names for two generations, and Susan Hayworth and Lee Bowman, two of Hollywood's brightest younger stars. The story called the Dead Sleep Lightly by John Dixon Carr is tonight's tale of suspense. If you've been with us on these Tuesday nights, you will know that suspense is compounded of mystery and suspicion and dangerous adventure. In this series are tales calculated to intrigue you, to stir your nerves, to offer you a precarious situation and then withhold the solution until the last possible moment. And so, with the Dead Sleep Lightly and with the performances of Walter Hempden, Susan Hayward and Lee Bowman, we again hope to keep you in suspense. Ashes to ashes and dust to dust. Meadow Vale Cemetery. Not far from New York, Meadowvale Cemetery. On a dim, gray morning in early April when rain forms a mist across leafless trees and white gravestones. You see over there, the group of silk hatted gentlemen, each with his protecting umbrella, gathered around an open grave. You see the clay soil freshly dug. You can hear perhaps the creaking of support as the coffin is lowered into its everlasting house and the droning voice of the church. I am the resurrection and the life, saith the Lord. He that believeth on me, though he were dead, yet shall he live. Live. Quiet, Mr. Templeton, please. What's wrong with old Templeton. Please sir, remember where you are. She's not alive, I tell you. She's not alive. It might seem a long distance that from the Cosmopolites Club in Gramercy park on the following evening when that same well fed man as hard and unemotional as the diamond pin in his tie hurries up the step into the club then. Yes, Mr. Templeton. Tell me, Mr. Wilmot, in the club, do you know? Yes sir. Don't you see him? See him where? In the lounge over there, sir. Sitting by the fire. Yes, yes of course. I'm a little upset. You're a good fellow Henry. I won't forget you. Thank you, sir. Excuse me sir, but aren't you going to take off your hat and overcoat? Never mind my hat and coat. Just tell me one other thing. When I came into the club, was there anybody following me? Following you, Mr. Templeton? Yes, a woman. A woman with a long skirt and a heavy black veil. There aren't many women who wear that kind of dress nowadays, sir. Look out into the street. Do you see anybody? No sir, there's just. What's that? Oh, that's only the old street musician, sir. He doesn't mean any harm. I won't have that tune played, you hear? I'm used to getting my orders obeyed and I'm going to have this one obeyed. Here's some money. Go out and tell him to go away. Yes sir, if you insist. But do as you're told and don't ask questions. If anybody wants me, I shall be with Mr. Wilmot. Very good, sir. Good evening, Wilmot. Mind if I sit down for a minute? Not at all. Pull up a chair. Have some coffee. No thanks. I'll get down to brass tacks right away. Yes, you. You always do. I've noticed that. Well, I'm a pretty self sufficient kind of a fellow, Wilmot. I made a name for myself even if I do say it myself. But. Well, the fact is I need advice. A successful publisher asking advice from one of his own authors. That's something new, isn't it? Now look here Wilmot, I'm serious. All right, all right, I take it back. What's on your mind? You've studied what we'll call the supernatural, haven't you? I've lectured and written books about it, yes. And did you ever meet a ghost? No, I can't say I ever. Did. Have you? It might only be my own imagination. Yes, that's what scares me. You get on in years and your arteries harden and you don't take enough exercise and you think something ought to be done about your waistline. But you never bother. You see, Wilmot, I went to a funeral yesterday. You did? Whose funeral was it? The person who died has nothing to do with this. It was old Simpson of Harley and Sons. We thought it was only decent to make up a party and go to the funeral. And I took my secretary along, a girl named Molly Carroll. I'm leaving for Washington tomorrow. Besides, I'm moving house, so there was a lot of work to do. What I couldn't stand was that infernal cemetery in the rain. We must have gone in by the wrong gate because we were in a neglected, desolate part of the cemetery where the rank grass grew over the grave. You'll oblige me, Ms. Carroll, if you first find out the proper directions of our places. We've come in the wrong gate of the cemetery. Well, I'm sorry, Mr. Templeton. I thought it was. But you thought doesn't matter now. This is the wrong part of the cemetery. My shoes are absolutely ruined with wet clay. Well, it isn't doing my own shoes and stockings any good either, Mr. Templeton. If there's been any damage to them, Ms. Carroll, I'll replace them. You never found me ungenerous, now, have you? Well, not exactly ungenerous, no. I'll pay you the compliment, Ms. Carroll, saying that you are the best secretary I ever had. Thank you. Yet you want to leave me. Yes, I. I want to get married. That's what Mr. Barnes is telling me. And who is this paragon of yours? What does he do? Does he make any money? Frank's a radio technician. He's not very wealthy, I'll admit. Wealthy? A radio technician. I'll bet he doesn't make as much as I pay you. Yet you want to get married. Well, is there anything very strange about that? Yes, if it interferes with your career. David. Good Lord, look at that. Look at what? Mr. Kentucky over there around pointing. You mean that it's only an old gravestone covered with weeds and bramble? I haven't seen that grave in years. It looks rather neglected. It is neglected, isn't it? Will you go closer, please, and read the inscription? Mr. Templeton, do as I tell you, please. And it says, see if I can get some of these weeds aside. It says, sacred through the memory of Mary Ellen Cleaver. Born September 5, 1892. Departed this life, March 25, 1919. Thou should still be adored as this moment thou art. Let thy loveliness be fade as it Will, if you lower that umbrella, Mr. Templeton, you'll get soaking wet. Sentimental crash but she always liked it. She always liked it. Mary Ellen Cleaver. Did you know her? Very well indeed. She was my wife. Your wife? But. But I never knew you were married. Neither does anybody else. Where's my flask of brandy? What have I done with it? It's in your hip pocket, Mr. Templeton. But do you think that's very wise? You've already had more than enough. Whatever I do is wise, Ms. Carroll. Well, we were married very young. She was a nice little thing. I was fond of her. Yes, but she couldn't have helped me. I'm not a snob, but she wasn't in my class. No style, you know. No manners. No education. Indeed. Could I have introduced her to the friends I was making? No. She wouldn't have been kind to her. She didn't even want to go to the places where I was invited. She'd sit at home and say, what was it like? Did you have a nice time? What was Mrs. So and so wearing? And she loved me. I'll put that to her credit. But you left her. I thought it was the kindest thing to do. Yes, she went away. Then I heard she'd had. Had what? Nothing. Doesn't matter. Well, there was a war on. I attended the peace conference in Europe. Never even knew she was dead until I heard some friends had buried her. I always promised to call her up. She said she'd come back to me if I did. You couldn't call her up now, Mr. Templeton, even if you wanted to? No, I suppose not. But I was fond of her. I wish there was something I could do. You could have a grave cared for. Have some flowers put on it. That's it. That's an idea. She'd have liked that. Can you take care of that for me? I'll look after it tomorrow morning, Mr. Templeton. But how will they ever be able to locate the grave? There must be thousands in this cemetery. Each grave has a number, you know, cut into the stone so you can identify it. This is number 12. Sounds like a telephone number, doesn't it? Yes, doesn't it? Meadows Hill, 1212. Poor girl. I was fond of her. Please, Mr. Templeton, come along and. And please, no more brandy. You've got a funeral to attend. And then, Wilmot, the night came and the horror. What horror? Take it easy, man. There's nothing to worry about. You're sitting here in the cosmopolites. Yes, but I wasn't sitting in the club last night. I was on my way home. And why should that scare you? I don't know, but it did. I'd been jumpy all day. That infernal number kept running through my head. Meadowvale12. Have you ever seen my house? Yes. It's that big sham Gothic place on Riverside Drive, isn't it? It's big and dark and drafty. Like a mausoleum. I told you was moving house to an apartment downtown. But there were some papers there I had to get out of the safe in the library to take with me to washing tomorrow. I knew the servants would be gone, of course, But I hope Mrs. Bloom, that's my housekeeper, would still be there. Then when I went up the park about 6:30. Meadowvale 1 2, 1 2. Meadow Veil. 1 2, 1 2. Meadow veil 1 2, 1 2. Meadowvale 1 2, 1 two. Mr. Templeton. This is a surprise. Sorry to trouble you, Mr. Bloom. I seem to have mislaid my key. The other. Could have sworn I had another key ring this morning. It's no trouble, Mr. Templeton. Only I hope you're not planning to spend the night here. No, I'm going to a hotel. Why do you ask? Because they've disconnected everything except the electricity and taken away most of the furniture. Haven't touched anything in the library? No, sir. I told them you said to leave that. But it does seem a pity in a way. What seems a pity? To break up a lovely home like this after all these years. Home? This big ugly picture gallery. It's been a home to me, sir. I've treated you generously, haven't I? Yes, sir. I'm sorry. I've got several hours work to do, Mrs. Broom. A whole safe full of papers to sort over. I'm going to library. And what's that you're hiding behind your back? I'm not hiding anything, sir. All the same, what is it? It's only a music boxer. I found it in the attic when the moving men were here. If I hadn't known there were, well, no ladies in your life, I'd have said it belongs to one of them. I love to hear them, sir. May I, Mrs. Bloom? Yes, sir? If you don't want me to smash that music box, turn it off. Yes, sir. I'm sure I never. I'm going to library. If you can find any sandwiches and coffee, bring them. Yes, sir. Excuse me. Same old library. Same old claw footed desk. There's the Venetian mirror she bought for you. Look at yourself in the mirror, Templeton. Admit you can't face It. Admit you can't work here tonight. Admit you've got to have lights and music and that's it. Go out for dinner. Telephone, Wilmot. If they've let the phone. Oh, yes, good. Here it is. Hello? Hello? Yes, sir. Number, please. I. Number, please. I want Meadowvale 12. Meadowvale 12. Wait. What in the devil's name am I saying? Change that. I want. Hello, my darling. I knew you'd call me when you needed me. Who's that speaking? Who are you? It's Mary Ellen, dear. Don't you recognize? You're not Mary Ellen. This is a trick. Mary Ellen is dead. Yes, dear, but the dead sleep lightly. And they can be lonely too. And now that you do need me. I don't need you. I don't need anybody. I'm coming back to join you, dear. It's not easy, but I'll be there by the time the clock strikes seven. I'll wear a veil because I don't look very pretty. I won't have this. I won't wresten you. I won't. Goodbye, my dear. Remember, when the clock strikes seven. Mrs. Bloom. Mr. Bloom. Mr. Templeton. What on earth is the matter? Who's been playing tricks on me? Tricks, sir? I don't understand. Who spoke to me on this phone? But, sir, nobody could have spoken to you on that phone. Nobody could have. What are you talking about? That phone's disconnected, sir. Disconnected? Yes, sir. The man came here this afternoon and took that little metal box off the wall and rolled all the wires up and put everything on the desk there. Said he'd be back tomorrow to take it away. Mrs. Broom, that's impossible. Look for yourself, sir. You're standing in the middle of the room holding that phone and the wires don't lead anywhere. That's true. So you couldn't very well have talked to anybody on the phone that wasn't connected, now, could you? I tell you, I got the operator. I heard it ring. I talked to someone else. Oh? And what did that person say? She said she'd be here to Visit me when. Mr. Templeton, what's the matter? And so, Wilmot, that's what happened last night. The phone was disconnected. It was Mary Ellen's voice. There's no doubt about that. Am I out of my mind or what? Before I say anything about that, my friend, well, let's hear the end of your story. What did happen when the clock struck seven? I don't know. You don't know? No. I lost my head. Ran out of that house as though the Devil were after me. Maybe he was. And since then I spent the night at the hotel. Today I've walked past that house fifty times, a hundred times, trying to muster up enough nerve to go in. I couldn't do it. But I've got to go in there. Why? It's those papers I've got to take to Washington. Send somebody else to get them. I can't do that, Wilmot. It's confidential ill information for the government. I've thought of everything. I've even bought a revolver, see? For the love of heaven, man, put that gun away. Do you want the other club members to think you have gone insane? Then I thought of you. You know all the tricks of fake spiritualists. You've written about it and lectured about it. Which reminds me, by the way, that I'm lecturing before the Acropolis club in about 20 minutes. You've got to break that engagement, Wilmot. Why? Because you're going with me to my house tonight. Now, that's impossible, old man. Now sit quietly and listen to me. I'll go with you willingly tomorrow morning. That's too late. I'm taking an early plane to Washington. Well, then wait until I can get away from the lecture, say around midnight. I'll tell you what I'll do. I'll take a taxi and join you as soon as I can. That won't do. I've got to know. Know the answer. Now do you understand? Aren't you being a little unreasonable about this? Unreasonable or not, I usually get my own way and I mean to have it now. Then I'm afraid you'll have to go to the house alone. Besides, you know, Wilmot, you worry me. You sit there puffing at that pipe and looking at me out of those queer eyes of yours like a. Like a young Satan. I've often wondered what you were really thinking about. Since you flatter my intelligence so much, I was wondering whether you'd been quite frank with me. Frank with you? How about your late wife, Mary Ellen Cleaver? What about her? After she left you, something happened that, well, you don't like to talk about. Was there, by any chance a child? A son, for instance? Or did you see his son? Yes. I don't know what you're talking about. Then let's agree not to understand each other, shall we? Now, are you coming with me or aren't you? I tell you, man, I'll get there as soon as I can. All I can think about is the wet red clay in that cemetery and the dismal, grave in the rain and what her face might look like if she raised the veil. And what am I going to see in that house? What am I going to see in that house? Though the clocks chime, the hours dwindle, the traffic roar of the city sinks to a low growl behind twinkling light. It is midnight when a taxi moves along a certain street towards a certain house out of a bygone age, Nightless, black against the stars, surrounded by iron railings and with a path bordered by fir trees leading to the front door. Look, too, with the face of Mr. Patrick Wilmot when that taxi draws. All right, driver, this is the place. I'll be in wait for you, sir. No, you needn't wait. Keep the change. Thank you, sir. Good night. So the front gate is open, and he did go in and. I beg your pardon. I didn't mean to bump into you, Mr. Wilmot. You know who I am? Well, yes. I've seen you several times in our office. I'm Molly Carroll, Mr. Templeton's secretary. What are you doing here? Well, it's Mr. Templeton. What about him? Well, that's what I want to know. I was out with frank, that's my fiance. And when I got home, the girl I room with said that Mr. Templeton had been phoning and phoning all evening. He said he sounded drunk or something. He. He wanted somebody to go with him to this house. Evidently, I wasn't the only person he applied to. Shall we go in? Yes, but the whole house is dark. Suppose he isn't there? He's there, all right. You don't know men like Burt templeton. I'll push the gate w. Now straight up the walk to the front door. I've got a flashlight. What are we going to find? Something rather unpleasant. I'd better warn you. How do you know? I have my ways of knowing, Miss Carroll. Oh, look. What is it? That french window to the left of the front door. Yes? It's partly open. There's nothing in that necessarily. Templeton said he'd lost his key. He might have had to open a window. That's true, but. So you see it, too, do you? See what? There's a footprint across the sill of that french window. A footprint made in wet clay. It's like. Like the clay of the cemetery. So I should imagine. Will you go in first or shall I into that dark room? I will not. Well, then stay here, please, until I get some lights on. No, wait. I'll go. Let me take your all. All right. Be careful now. Hmm. Yes, I thought so. This room is the library. And there are more footprints of somebody or something walking in. They lead. Who's there? Who's there? It's only me, sir. Mrs. Bloom, the housekeeper. Then what's the idea of standing in a dark room in the middle of the night with what sounds like. It's only a music box, sir. I left it behind along with some other things and came back to get them. I've got my own key. I thought I heard a noise in here. But why aren't there any lights? The electricity's cut off, sir. It was cut off today. I see. If Templeton is here or was here, he must have had some kind of light. If I turn this flashlight on a desk, maybe. Be quiet, Ms. Carol. What is it, sir? I'm as blind as a bat without my glasses. It's Mr. Templeton. He's lying on the floor beside the desk. Oh, he isn't? No, he isn't dead. His face is the color of putty. I think he's had some kind of stroke. We'd better not take any chances. Mrs. Bloom. Yes, sir? Get outside to the nearest telephone and call for an ambulance. Tell him it's an emergency case. You're Mr. Wilmot, aren't you? But. But what's happened to him? Ask a dead woman. I beg your pardon? Never mind. Hurry. Of course I'll hurry. Mr. Wilmot, what are we going to do? Let's have a look around. Templeton seems to have been working at his papers by the light of a couple of candles which somebody's blown out. We'll relight them. There's the desk. There's all the papers scattered around. Mr. Wilma, please. What happened to him? I'll tell you. As he sat there in the dim light of two candles, a ghostly figure appeared at that French window. Wore a long old fashioned skirt and a heavy black veil to hide the face. It walked toward Templeton, tracking graveyard clay. It stretched its arms to him like this. Keep away from me, please. Templeton couldn't stand it. He collapsed. And now, before the old housekeeper returns, would you care to hear how the whole trick was worked? Trick? What trick? Have you heard about the ghost voice that talked on a disconnected telephone? Oh, yes, yes, he. He said something about it this morning. But I thought he wasn't himself. He wasn't, but he heard it. Remember, Mrs. Bloom story about the telephone man? Yes. They don't send a man round to yank the whole apparatus off the wall. Put it on the desk and say he'll be Back for it next day. This man from the telephone company was an imposter. The man from the telephone company was an imposter. Exactly. Oh, look, he's moving his hand. He's trying to open his eyes. Isn't there anything we can do for him? No, there's nothing we can do till the doctor arrives. In the meantime, listen to me. All right, what did this imposter do? He took away the real phone and substituted a spirit telephone. You don't know what a spirit telephone is? No, of course not. It's an old device used by fake mediums. You see, a telephone without wires standing on a desk like that one, you pick up the receiver and talk to the dead. Of course, you never really talk into the phone at all. But if you don't talk into the phone, then fixed underneath the desk is a tiny microphone with hidden wires leading to another room in the same house. That microphone picks up every word you think you are saying to the phone. Is that clear? I think so. The dummy telephone is really a low power radio receiving set. Somebody in another room can talk back to you after hearing what you say on the wired microphone. Then, Mr. Templeton. If Templeton hadn't rung Meadowvale 121212 then rest assured that same number would have rung him. Well, then the scheme couldn't fail either way. But you see, there's one thing in this matter I haven't got quite clear even yet. And what's that? Tell me, Ms. Carroll, just why did you work this whole trick? Why did you try to scare your father to death? My father? Templeton is your father, isn't he? That might be rather difficult to prove, Mr. Wilmot. By George, I admire you. Thanks very much. I'm flattered. Expressionless as ever. Eyes as hard and cold and blue and handsome as. Well, make your own comparisons. But I knew you were guilty, of course, when I heard your fiance was a radio ticket. You can leave Frank out of this. Oh, you have scruples. Have I touched you? Nothing can touch me. Not since my mother died. Your fiance installed the ghost mechanism and took it away today. He probably thought it was only a joke. He did. I swear he did. The rest of it was plain enough. Who led Templeton to the wrong gate in the cemetery past that woman's grave? You did. Who was the only one who could have stolen the key to this house off that key ring he took to the office? You were. You needed that key to come and go as you liked and impersonate the two voices on the phone. Is there Any need to go on with this? He killed her, you know. You mean Templeton killed your mother? Oh, not with a knife or a bullet or poison. All he did was break her heart. And that's no offense in law. I've done what I wanted to do. I've torn his whole rotten life to pieces. And there he is, gasping for breath on the floor. And I'm glad. I'm glad. I'm just. Oh, God, forgive me. He is my father. Does he know you're his daughter? No, of course not. When I went to work for him as a secretary, he hadn't even seen me since I was a child. Well, I got near him. I worked for years to get near him. No, I wish I hadn't hear. You've got to pull yourself together. Why? Who cares? The ambulance coming, and maybe the police. What do I care? Tell the police what you like. My dear girl, you don't think I'll tell him anything. I'm merely an onlooker. An amateur Satan who doesn't believe in ghost voices. Mary Ellen. Mary Ellen. What's that? Templin. His eyes are open. He's trying to get up. Mary ellen. Mary Ellen, MD. It's as though he. He could see something that we can't see. What's that he's got in his hand? It's a revolver. He had one at the club. He's putting it against his chest. I'll stop him. Look out. Look out. Oh, he did love her after all. And now he's tried to join her. Oh, don't let him die. It's all right, Molly. You grabbed a gun just in time. If he doesn't die, I'll make it up to him. I swear I'll make it up to him. I tell you now, he's not going to die. But Mary Ellen. Mary Ellen. What? Mary Ellen. But what. But what? I was. I was just wondering. Is there a ghost in this room tonight? And so closes the dead sleep lightly. Starring Walter Hemden, Susan Hayward and Lee Bowman. Tonight's tale of suspense. This is your narrator, the man in black who conveys to you Columbia's invitation to spend this half hour in suspense with us again next Tuesday as Hayward appeared through the courtesy of Paramount Pictures. And Mr. Bowman appears with the courtesy of Metro. Golden Mayor Studios. William Spear, the producer, John De the director, Bernard Herman, the composer, conductor and John Dixon Carr, the author, collaborated on tonight. Suspense. This is the Columbia Broadcasting System. Now the Roma Wine Company of Fresno, California, presents Suspense. Tonight, Roma Wines bring you Mr. Lee Bowman as Star of I Won't Take a Minute, a dispense play produced, edited and directed for Roma Wines by William Spear. Suspense Radio's outstanding theater of thrills is presented for your enjoyment by Roma Wine. That's R O M a Roma Wine, 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 glass full would be very pleasant as Roma Wines bring you Mr. Lee Bowman in a remarkable tale of suspense. She was very good to look at, which is why I waited Till I was 25 and met her. Here's how she went. First, a lot of gold all beaten up into a froth and poured over her head and allowed to set there in crinkly little curls, blue eyes and a mouth with real lines. And in addition, well, she had everything just about right. And believe me, I was gonna throw away the sales slip and not return the merchandise once it got to my house. That's why I nearly went nuts every evening waiting for her to come out of the building where she worked. She was always the last one out. And this particular evening, she was later than usual. It got dark, the street lights came on, and the rush hour was over before she put in an appearance. Oh. Oh, gee, Kenny, I'm sorry. You've been waiting long? Oh, no, no. I just nearly got run in for picketing the place, that's all. I hurried all I could. Please don't be mad at me, Kenny. I'm not mad at you. That slave driver you worked for. Why do you always have to be the last one out? Oh, it's only for another week. Yeah. Come on, let's go. I gotta deliver this package on the way home for his nib. But you're not going home. We're going to Philharmonic Thursday, remember? Oh, won't take any time at all, honey. It's just around the corner. 415 Martine Street. Okay. That guy nerves me up, making you play messenger girl after hours. Ah, let's don't talk about Mr. Heston. Let's talk about us. Been counting the days all day. 13 left and a half. Don't forget the half. If it's to be a noon wedding, why all the fuss about the half? Oh, I don't like 13 by itself. Other graduates tomorrow in only 12 days left. See? You're cute. The more I know you, the cuter you get. I bet you won't say that. A year from now you'll be calling me your old lady. Then you'll Always be Stephie to me. Just Stephanie. Not even Stephanie? No, too sophisticated. Too foreign sounding. Stephie, that's you. Hey, what number are you supposed to deliver that package to? 415. That must be it. What a dump. Your boss have many customers and dumps like this? I don't know. Hold a a mask on me, will you, Kenny? I see the name. There. That's better. Yeah, huh. But I still don't see. What was the name? Muller. Apartment 4B. Oh, oh, here. Here it is. Name card's fall. Now the slit and gotten lost. No wonder I couldn't find it. Maybe they're not home. I'll ring it again. There it is. I don't like those automatic door latches. You never know who's up there. Don't be silly. Wait here, honey. I won't take a minute. I never timed a cigarette. I suppose they take around five minutes. This one seemed to take longer. But then what? Who I was waiting for. I punched it out with my foot and let another. I thought, won't take a minute. Yeah, I might have known it. I thought. What's she doing saying a tea up there? Counted my change just to give myself something to do. I took off my hat and looked it over like I'd never seen it before. Five cigarettes later she still hadn't come back. Things happened. Nothing much, little things that were to last so long. A stout lady in a ratty looking fur coat came in holding some candy in one hand and a little boy by the other. I want a Hershey bar. I want a Hershey bar. Oh, you shut up or I'll smack you good. I'll curve your head and put it in the garbage can. Now, Dwighty, I don't want to hear another word. If you don't hush up, I'll. After they'd gone, more waiting started in. I commenced tracing patterns with my feet. Circles, diagonals, Maltese crosses. Finally I got fed up. I stepped over to the bell panel, picked out 4B and nearly sent the button through to the other side of the wall. Here it ringing away off somewhere quiet. House too quiet. I leaned on a belt when my thumb joint got all white down to my wrist. And something did happen. I heard the door of the automatic elevator open. I waited nonchalant, like filing my fingernails. I thought I'd play a little hurt. When she arrived. I could see it was her all right, walking toward me. She opened the door and then walked past me like she never saw me before. I let her go on. Figured she'd turn around by the time she got to the door. But no. Stephie. Hey, Stephanie. Wait. Stephy. Hey, Stephanie. What's the big idea? I beg your pardon? Oh, I. I thought you were. I mean, you're dressed just like. I would advise you to be sure to whom you are talking before you go to grab a strange girl by the coat. Oh, no kidding. You look a lot like her. Even her clothes. That little tan and the. The red shoes. Really, I don't find this amusing. Okay, sister. Pardon me for living. Next time, make sure it's one of the girls that live here. It was a shock. I didn't like the looks of the place. From the beginning. Up to then I was just sore. Now I began to get scared. Maybe there's some guy up there trying to get funny with her. I thought I better get up there fast and find out what this is. So I laid my hand flat over all the bells in the place so somebody'd open up. Open up in there. Open up or I'll bust the door down. Do you hear me? Stephanie, are you in there? Honey, baby, why don't you say something? That's what I want to know. Who are you? Building superintendent. You got a pass key to this flat? I have. What do you want in there? My girl, she took a package up I've been waiting for downstairs I don't know how long. She never came down again. Now they won't answer the bell. No, wait a minute, young fella. She couldn't be in this flat. Don't try to tell me. Why don't you try to tell me? I say she couldn't be. Why? I'll show you why. Hey, now you see why, it's empty. Empty? Nobody lives here. But there was someone here a while ago. She rang the bell and they let her in. Mister, this place ain't been rented for six months. Listen, she came in here, I tell you. Yeah, yeah. Maybe you and the little girl had a choir. Maybe she figured to play a little joke on you, give you the slip. We never had any choir. We're getting married. Why don't you go to her place? You will probably find her there. She didn't come out again. I tell you, I was there at the door the whole time. What about the back way? Is there a back way out? Not a back way. There's a delivery entrance, but that goes right past my quarters. Nobody went out that way at Muller. The name was Muller. If he doesn't live in 4B, where does he live? Mueller. We never had anyone with that name. In the whole 12 years I've been working here for suspense. Roma Wines are bringing you a star, Mr. Lee Bowman in I won't take a minute. Roma Wines presentation tonight in radio's outstanding theater of thrills, Suspense between the acts of suspense. 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That's why more Americans enjoy Roma than any other wine. And now, Roma Wines bring back to our Hollywood soundstage, Lee Bowman as Kenny in Cornell Woolrich's story of a vanishing lady. I won't take a minute. A play well calculated to keep you in. Susan Fence, the cop on the beat, was a nice guy. He rang every bell in every flat of the building and questioned the occupants. No one had heard anything. No one had seen her. Finally, a single plain clothes man was dropped off at the door. Lieutenant Gilman. He kept calling me Bud. He looked around the empty flat, then he looked at me. But there's nothing to show that this girl or anyone else came in here. I tell you, she rang the bell of this flat and someone released the door catch for her from up here. All right, all right. Assuming she got in here, how'd she get out? I don't know. I don't know. Maybe the fire is. Look at those windows. Look at the dust on these frames. A person can't move in a place like this without it showing. Listen, don't do this to me, will you? You make it sound like she didn't come here with me at all. That's what it does sound like, Bud. Look, I was taking her to the concert tonight. We go every Thursday. Here's our Ticket. I think we better build this thing from the ground up and see what we've got. Now, what's this girl's name? Stephanie. Stephanie Risker. Address? 120 Farragut. Uh huh. What's she looking like? Well, she. She. She comes up to about here next to me. Blonde, little curls close to her head, blue eyes. I. I'm no good at description. Don't let it get you, Bud. I'm not scared because she's gone. I'm scared because she's gone in such a crazy way. I can't get a grip on her. Now, you say you met her at 6:15 outside the Bailey Goodwin Building with a package to be delivered here. Who'd she worked for? A press clipping service. The Green Star, it's called. It's operated by a guy named Hessen. Big outfit, just him and a secretary and an office boy. She was getting 22 a week. All right, Bud, you've given me something indefinite. We'll do some checking, but first of all, we go back to the place she works. Oh, what? A telephone booth. She told me the place was small, but I never figured on this. Not even a window. All right, all right, let's have a look. Desk, filing cabinet. Yeah. Clippings. Well, so far your story checks, except for one thing. What's that? There's no file for anyone named Muller. Oh, this must be a desk. Yeah. Shears, glue clips. Not much of a personal touch here. Not even a hair p. Uh. Oh. Find something? Uh, nothing special. You found something there. I saw you drop it in an envelope and stick it in your pocket. Listen, Bud, who's running this investigation, you or me? Sorry. You, I guess. Okay, let's keep it that way. Our next stop was one of those bungalow type places in the outskirts. That was where Hessen lived, the guy she worked for. Oh, Good evening. Good evening. You Mr. Hudson? That's right. I'm from police headquarters. May I come in? Oh, I certainly. Won't you sit down, gentlemen? We won't take up much of your time, sir. First of all, do you know anyone named Muller at 415 Martin Street? No, I don't know anyone by that name. I think we have a Miller, a Mrs. Elsie Miller on our list who divorces and marries quite frequently. Will that do? She owes us $29. You didn't send a package over to Muller, apartment 4B, 415 Martin Street. At 6:15 this evening? No, I'm sure I didn't. But wait a minute. It's easy enough to confirm that. Oh, Stephanie. Stephie. Did you call me, Mr. Hessen? Yes, my dear. Oh, this is my assistant, gentleman, Ms. Stephanie Risco. That isn't Stephanie. She's calling somebody else by her name. My dear young. She came out of that building while I was waiting. I, I spoke to him. We'll discuss that later. Now then, Miss, how long have you been working for Mr. Hessen? Since October of last year. About eight months now. And your name is Stephanie Risque? Why, yes, of course. Have you any identification on you? I don't know. Maybe. Maybe there's something here in my handbag. Do you mind if I look? It's all right, my dear. He's from the police. Oh. Oh, well, in that case, thank you. Listen, I don't know what these two are trying to pull, but she's not Stephie. You've got to believe me. She came out of that building dressed like Stephy. The way Stephie was dressed when she went in. Stop that, will ya? Thank you, Ms. Iska. I'm sorry to inconvenient. It's quite all right. I. I noticed you have quite a supply of chewing gum there. That's hard to get these days. I make a hobby of it. Have some. Oh, thanks. My mouth's kind of dry. Well, Mr. Hester, it's quite all right. I don't know what this young man has got himself mixed up in, but if we were able to help. Oh, you did help a lot, sir. Come along, Bud. I've got some more checking to do. This time it's on you. Okay, but now stop talking, spill it. What's your pitch? I told you the truth. That girl wasn't Stephie. I never saw her before. Was the man Hessen? He looked just like him. This girl of yours, what kind of gum did she chew? She didn't chew gum. She hated it. You asked me what it was I picked up back there in the office. Well, here's what it was. A wad of gum stuck under the edge of the desk. That girl back there at Hesson's place belongs in an office, Bud. She had a letter addressed to herself in that handbag and her initials on the outside of it. It wasn't a new one and it wasn't fake. What's your racket, Bud? Are you a pushover for mental observation? Or did you do something to some little blonde blue eyed number? And are you trying to pass the buck before we even found out about it? I don't know. I don't know. Maybe I am nuts. Things like this. Things like this just don't happen. They can't. One minute she walks into a building, you haven't produced a single person. I'll leave that long. That actually laid out on this girl of yours. Where's the folks? Where'd she come from? Wisconsin, I think. Her folks are all dead, I thought so. Well, I'll give you one more spin for your money. But you stand or fall by the place you say she lived. Have you been there? Yes. Could you describe it? Okay. Sticking in the mirror of the dresser. She's got a litho of the Holy Mother on the radiator. She's got a rag doll that I won for at Coney Island. On a little shelf against the wall, she's got a gas ring with a tube running up to the jet. From the light fixture to the jet, there's a string attached and she'll have stockings hanging there to dry. Are you listening? Yeah, yeah. Go on. Go on. Will you remember those things? Yeah, Bud, we'll see. Now, listen, Bud. Get this straight. I don't want one word out of you the whole time we're here, you hear? I won't say a word, so help me. Yeah? You got a girl named Stephanie Risco living here? Second floor, front. Shane home now. I'm from the police. I think you better let us in. Oh, certainly. Let's see a room, please. Yes. Follow me. She's a nice, clean roomer. I'd hate to lose her. I hope she's not in any trouble. No trouble now, Gilman. Right over there. Hey, it's changed. They've changed it all around. Shut up. Has she always had it fixed this way, ma'am? Well, since the first day she's here. Only one thing I got to complain about. There it is again. Chewing gum. She leaves it all over. Let's see that. I thought so. Exhibit C, Bud. Same as the other two. She belongs in that office and she belongs in this room. Look out. You better hold your friend. Let him fold. This isn't anything to the falls. He's going to be taking five or ten minutes. What'd he do, murder her? Not her. But I've got a good hunch she murdered someone and picked the wrong number and name out of her hat. I didn't hear any more. They said while we were going down the stairs the light bulbs in the place were doing funny things. Turning red, spinning around in spirals. I was still on my feet. But so as you'd notice it, the spinning didn't stop till we got to the Foot of the stairs. The thing that stopped it was an umbrella. Umbrella stand beside the front door. It had a naughty walking stick jutting up out of it. I grabbed it in my free hand as he walked me past it. Watch out, Lieutenant. He's going to. Hey, you. I didn't stop to investigate whether I'd killed him or only knocked him out. I was a block down the street before the landlady could open her mouth to scream. I made for the Martin street flat. That was instinctive. The place I'd last seen her calling me back. When I got there, I ganged up on the janitor's bell and waited a thousand years. Oh, it's you again. What is it? Didn't you find her yet? What happened to that detective fella that was with you? He. He sent me back to take another look. You don't have to come up. Just give me the pass key. All right, Shannon. Come on in. My head was still spinning when I let myself in at the door of apartment 4B. I don't know what I was looking for. Some clue, I guess. Some magic clue that would pop up and give her back to me. I tested the walls for secret panels. What a laugh. And a 50 buck a month flat. I dug out plaster with my bare nails, cased the cracks between the floorboards. I'd been there about 10 minutes when I heard steps coming up the hall. I held my breath. All right, sonny, come out of there with your hands up before I commit you. Give me a minute. Please. One minute. Maybe I'll find it. Find what? Please, one minute. If you aren't out of there by the time I count 10, I commit shooting. Do you hear me? Yeah. Yeah, I hear you. 1, 2, 3. I didn't stop to think across the room and threw open the window. The one that opened on the fire escape. Down. Looked too far, so I started climbing. Hey. Hey. Get out of there, you. I'll break every bone in your body. You won't miss. To get into headquarters. I didn't yell back at him. I was saving my breath. Come on. After him. Keep that light on him. On the roof, I took a quick look both directions. There was about a yard high partition wall dividing it from the next roof over. But before I could get. Hold your. Hold your. He won't make it. That light focused on his eyes. He may be fainting. I. I think I. I busted my leg. Yeah. Now, let's see. Now, just bark your shin a little. Oh, wait till I finish with you, wise guy. Oh, what are you waiting For? Go ahead. You promised me a beating. Go ahead. Don't you worry. Hey, where'd that come from? What? That package there beside you. Package? Package? That's it. The package she took inside with her. Hold that light steady. What's in it? What is it? Newspapers. Newspapers? It's a dummy. Look, those papers. They've had stuff clipped out of them that proves they came from Hashem's Clipping Agency. Well, doesn't it? Someone did bring a package here tonight. Oh, what a SAP I've been. I kept thinking about that room. She was never in that room. I was right about that. They must have grabbed her in the hall and taken her straight up here to the roof through the skylight. But why? I don't know. Maybe that steel plated landlady knows. And if she does, she's going to talk and talk fast. All right, Grandma. Come on, spill it. You can't scare me. I've got bigger men than you on my side. What do you mean, your side? You'd like to know. All I have to do is make one telephone call. I have the number right here. Let's see that number. Take it. Call it yourself. Who gave you that number? Ask me no questions, I'll tell you no lie. Who gave you this number? The FBI man who was here. Now you know who I'm working for. Go ahead, call the number. Oh, I get it. Tell me, Grandma, what did this FBI man look like? All right, I'll tell you. All you have to do is say yes or no. The guy's about my height, bald, wears pinch glasses. Right. Many. He got you to work with him so this woman he described as one of his agents could step into the identity of this Stephanie Whisker, right? You seem to know all about it. I know more than that. He wasn't an FBI man. And the girl who took Stephanie Whisker's place was not a federal agent. What? Then who was he? I'm not sure, Grandma, but I've got a hunch. Calhoun. Joe Calhoun. Get out there. This place murder faster. Keep it fun until we get there. Gilman. Gilman. Do you think she's all ready? Oh, keep your fingers crossed, bud, and pray. Where are they? I told them to keep this house covered. Gone. Nobody here. Yeah, yeah. Hey, now, sir. My douser. Stand back. Against the wall. Somebody's coming. Gentlemen. You in here, Calhoun? What's the big idea? I told you to keep this place spotted. Now they're gone. I tailed them. They piled into a car, locked up the house and lit where To Pierce seven, North River. They got some kind of a fuzzy tramp steamer and shoved off in less than a quarter of an hour. I tried to reach. Was the other guy with him? No. Two men in a stringy blonde they call Auger. That's all. Too late. We're too late. We can pull them up at quarantine. I'll make them talk. Come on, let's get out of here and get some fresh air. Thanks. Don't it? Yeah. Smells like they'd had the place fumigated or something. Hey, what's the matter? That smell. That's gasoline. Gasoline? I hear something. A clock. The basement. Come on. Yeah, yeah, she's down here all right. Go back upstairs, but I'll bring her up. Tell me. Tell me now. Don't wait till you get her. Yeah, she's alive. Come on, get out of here. Don't you hear that ticking? I better wet that bomb. Come back here, Calhoun. You'll ever make it that far. Should be around a second or two. How's Calhus? Burned pretty bad. It was an incendiary. Kenny. Oh, baby. It's okay. Sure. Everything's okay now. Stephanie. Who are you? This is Lieutenant Gilman. We owe a lot to him. Stephanie. Thanks, Lieutenant Gilman. I'm just a dumb flat foot. Stephie and I had to be conked over the head before I got wise to what was going on. Even then I didn't figure it right. I figured Heston and his pals were a bunch of spies or something. Well, weren't they? Well, Hesson became an American citizen in 1929. Up to now, his record's absolutely clean. Oh, I'm glad of that. I'd hate to be working for a spy. But I don't get it. Why did they want Steffi out of the way? That was Olga's doing. The girl who was impersonating you? Steffi. You see, she's Hessen's sister. She's a fugitive from a couple of war crimes and figured the least her brother could do for her was to furnish her with a nice clean nationality. Their original plan was to bump Stephi off in that empty flat and leave her there without anything to identify her. Only. Only they figured on her coming there alone. There was no time to work out a plan on the spot, so they scrammed over the roof, taking Stephie with them. Hey, Gilman, we're doing headquarters. You coming? Yeah, yeah, yeah, right away. Run away. Well, I gotta go. Thanks, Gilman. Thanks for everything. Ah, I'm glad to Help you out. Hey, another thing bud you weren't lying about. She is pretty. No hard feelings. I mean about me hitting you over the head. Oh. Oh, say, I almost forgot something I meant to give you before we say good night. Oh, you. You've done enough. That's what you think. It was a while before I knew what hit me. Felt like a cement mixer. When my head cleared, stuck in. I had changed roles. She was the one bending over me, and he said to tell you, no hard feelings. But when anyone socks Dick Gilman with a walking stick, they get socked back, even if they're the best of friends. He said that, did he? Does it still hurt? I'm still seeing stars. Aw, gee, Kenny, I'm sorry. I don't care. I'm seeing you too. Listen, listen. It's midnight. Yeah. Only 12 days to the wedding now, baby. We've licked the 13th. Roma wines have brought you Lee Bowman as star of I Won't Take a Minute Tonight Study in suspense. This is Truman Bradley for Roma Wayne, the sponsor of suspension suspense. This year you're probably having difficulty finding the Christmas gifts you want. Why not solve your gift problems with famous Roma wines? You flatter your friends. Save both time and money shopping. Roma offers you a full selection of choice California wines for entertaining Roma sherry, port, muscatel or toque for added mealtime enjoyment. Red robust wine Roma Burgundy or delicate pale gold Saturn for happy occasions that demand the best sparkling unforgettable Roma Champagne. Each of these fine Roma wines is a true wine. Each a superb, unhurriedly perfected masterpiece of the vintners ancient art. Delight your friends this Christmas with gifts of Roma wines. Give one bottle, several or a case. Remember, more Americans enjoy Roma than any other wine. And Roma wines now offer you the same uniformly fine quality at the lowest prices in years. Insist on Roma R O M a fine Roma wines for good living, good giving. This Christmas, Lee Bowman appeared through the courtesy of Columbia Pictures and will soon be seen co starring with Rosalind Russell in their production, she Wouldn't say yes. Next Thursday, same time, Roma Wines will bring you Mr. Robert Taylor as star of suspense radio's outstanding theater of thrill. Presented by Roma Wines R O M A made in California for enjoyment throughout the world. This is cbs, the Columbia Broadcasting System. The skippy Hollywood Theater, KQW San Jose follows in just a moment. Tonight, the Dupont Company brings you the Pinkerton man, starring Lee Bowman on the Cavalcade of America. But first, here is Gain Whitman. Most accidents happen right in the home. Watch out for boiling Water in the kitchen. Watch that electric light switch when you're taking a bath. Watch that dark flight of stairs. And watch out for rugs and carpets that may trip you or skid out from under you. Dupont Ruganchor is a sponge rubber underlay designed to make rugs stay put. It makes them cling like a leech, no matter how slippery floors may be. And it adds to their life because it keeps dirt from working up from the floor into the back of the rug. Rug anchor is one of the DuPont company's better things for better living through chemistry. The Cavalcade of America. America. America means skyscrapers and haylofts. The crack of a pioneer's flintlock and the sound of the riveters machine. The outline of a church steeple against the midnight sky. America is your story. America is you and everyone you know. Tonight we present Lee Bowman in the Pinkerton man on the Dupont Cavalcade of America. It is the year 1859. In one of the coaches of a train bound for Columbia, Tennessee, a man sits looking clean, calmly at the countryside. He's dressed quietly and you wouldn't look twice at him because. Well, because he looks like a hundred thousand other men. You've seen his name? Alan Pinkerton, America's greatest detective. As he sits, another man carrying what appears to be a sample case comes into the coach, looks around for a moment and then. Excuse me, is this seat taken? What? What? Oh, no, no, no. Help yourself. Thanks. I hope you don't mind. No seats on the shady side of the coach. Oh, it's all right. Don't like to sit in the sun myself. Thanks. Oh, I'm sorry. I always have trouble with my sample case. I see. What is it this time, Collins? Ties, socks, handkerchiefs and. What's it all about, Chief? Where'd you get on last stop? Took a local. Caught this train from there. Good. Collins, I'm going through with a case. And that's for the figure, Chief. All right. What's my job? I don't know yet, but I'll have some use for you. Yeah, but Mr. Pinkett. And you? Quillen. J.B. quillen. What? That's my name. Get it? Oh, yeah. All right. Businessman. Retired. Health reasons good enough. Mr. Quillen, you stay at the hotel in Columbia. And you? A boarding house, I think. For how long? Well, I don't know. Depends on how tough this will be. Plenty tough, Chief. Case is a year old. Trails as cold as a dog's nose. Yeah, I know. I'll dig around until I find a lead. What kind of a lead in a case that's grown a beard? Oh, that's my job, Collins. Now, when we get to Columbia, you get off first. Go directly to the hotel, sit tight, and I'll contact you. And that's the story, Collins. Don't sound good to me, Chief. Not a lead. Not a single lead. Well, a bank robbery and murder that happened over a year ago. What can you expect? I don't know. Something. Anything. There must be something. Suspects? Four. President of the bank gave me the names. Collins. I've eliminated three of those people. Why? There's nothing to tie him in. In the first place, all the local police had to go on was suspicion. That's not much. But how about the fourth suspect? A man named Samuel Arthur. Anything on him? No, nothing. Nothing at all. But look, if Arthur's guilty, if you think he's the one, you got to have something. What about the money from the robbery? Not a penny of it shown up. That's why I believe the job was pulled by someone in this town. Someone who was afraid to leave. Someone who killed the watchman, Walters, and then got panicky. Panicky? A murderer who's played doggo for a year isn't exactly panicky. He's smart. Waiting for the time he can leave. Collins, I'm changing boarding houses. Cooking bad at the one you're in now? No, the hunting's bad. Samuel Arthur stays at Mrs. Holly's boarding house. Here. Here's the address. All right, what's next? I'm going to find one lead, one clue that'll give me a toehold. I'll see you later. Your last move gives me a triple jump and king me. Well, Mr. Evans, you'll win again. Yes, sir. I'm afraid I'm still the checker. Champeen. Miss Holly's Boarding House. No question about that. I resigned. Care for another one, Mr. Quillen? It's only 8:00. No, no, no, thank you, sir. Tomorrow night, perhaps. Fine, fine. Well, think I'll turn in, then. Oh, there you are. Have you finished your game, gentlemen? Yep. Yep, and I'm turning in. You keep Mr. Quillen company, Edna. Make him feel right at home here. Well, how long are you planning to stay, Mr. Quillen? Oh, that. That all depends. On what, Mr. Quellin? Well, on. On my health. What is your ailment? My ailment? Well, it. It started a little over a year ago and I. Yes? Wasn't that Mr. Arthur who went past the door then? Well, I didn't see, but I guess it was. Oh, well, excuse me, I. I'm rather tired myself. I think I'll turn into. Oh, well, maybe we could have a little talk tomorrow night. Oh, that will be delightful, Miss Oglethorpe. Good night. Good night, Mr. Grillon. And. And sleep tight. Huh? Oh. Oh, thank you. Thank you. Hello. Oh, hello. Sorry I startled you, Mr. Arthur. Not at all, Mr. Quillen. Beautiful evening outside. Yes. Yes, it is. I. I was just thinking of going for a walk. Care to come along? Well, I'm a little tired and I. Perhaps just around the block. No, No, I don't think so. Maybe tomorrow evening. All right. Glad to. Glad to. Yes? Oh, nothing. Good night, Mr. Quillen. Good night, Mr. Arthur. Oh, Mr. Quillen. Yes? Are you planning on going into business down here? Business? No, no, I'm retired. Oh. Well, then you'll be with us for quite a while. Maybe. I don't like to stay in one place very long, Mr. Arthur. Like a change of scenery once in a while. I see. Well, I'll see you tomorrow. Good night. Good night, Mr. Arthur. Why, Mr. Quillen, I thought you'd gone a. Yes. Well, I met Mr. Arthur. Stopped for a little chat with him. He's very nice, isn't he? Oh, yes, very nice. We're all so fond of him. Has. Has he been living here long? No, I. I think about five months. Oh. What does Mr. Evans do for a living? Nothing. Nothing at all. I think he came into a little money some time ago. Oh, but there I. I mustn't gossip, must I? Well, no harm in that. No. Well, Mr. Arthur doesn't work either. Oh, retired? That is hard to say, Mr. Quillen. I suppose he had some money saved up and. Oh, there I go again. It's all right. Well, good night. I'll see you tomorrow. Of course, we must have a longer talk sometimes. Yes, sir. What can I do for you? Do you have cigars? Yes, sir. Any special kind you want? Well, let's see. Two of these, please. Yes. Well, nice store you've got here. Thank you. Yeah, I must keep you pretty busy running it. Well, kinda could use some help. I'll bet you could. Don't. Don't you have a clerk? Well, not now. I had one, but I had to let him go. He got to talking sassy to the trade, losing his temper. Oh, well, no wonder you let him go. Yep. I couldn't afford to have him give in trouble like that. Funny thing, too. All of a sudden he up and began acting like he was crazy. Well, now, that's funny. I wonder what makes people do that. Know I had a cousin like that. Nice as could be. Then one day, just like that, began acting funny. Same as Sam Arthur. Too bad. I like Sam. Everybody did. That's the way it goes. Well, I'll see you again. Drop in anytime. Glad to help. Thanks. Oh, excuse me. Oh, hello there. Oh, how are you? Fine. You got a match? What? Sure thing. Here you are. Be at your hotel in ten minutes. All right. I've learned a couple of things that might interest you. And he was fired from his job because he got touchy and irritable. I see. Well, I learned he's been keeping to himself. Won't have a thing to do with anybody. Everybody seemed to like him before, though. Collins, suppose Sam Arthur has something on his mind, on his conscience? I suppose he has. What can we do about it? Find out what it is. How? If he's guilty, which we don't know, he's kept it to himself for a year now. But that sudden break from his old life. Collins, I'm convinced his conscience is working on him. If it didn't make him break in a year, it won't break him now. Yeah, I know that. We've got to work on him. But you can't do that without getting him suspicious. Start asking a guy like that some questions and he'd shut up like a clam. You know that, Chief. We've had him before. Conscience is a funny thing, Collins. Shows the instinct for self preservation. Just let Sam Arthur get the slightest hint you're after him. You won't be able to touch him with a ten foot pole. Look, I've got a job for you. You'll have to go about it quietly, too. All right, what is it? Find out all you can. But I didn't. There's nothing about Sam Arthur you don't know already. I'm not talking about him. I want you to find out all you can about Ben Walters. Walters? But he's the murdered bank watchman. I know it. I've known that for a long time. Collins. Oh, yeah. I'm sorry, all right. But what good's he gonna do? You ever hear of psychology? Psychology? Never heard of it. You will. We'll use that. And a little American ingenuity. Great combination, Collins. Now, go to it. You are sure of all these facts? Positive, Chief. What's this about the perfume? Well, not exactly. Perfume made there was after shaving setting use. Crazy about the stuff using all the time. And he. He talked like this. Mr. Quillen, this is the way I used to talk. Yeah, that's the Way you should have been an actor, Collins. I could have been a good one. You're going to be, huh? I've got an idea now. Maybe it'll work. It's never been tried before. I don't get you, Chief. You will, Collins. Get a bottle of the scent you were talking about. Can you do it? Sure, but what's the idea? Psychology. Now, here's what I want you to do. I'll see that Arthur doesn't go near his room until after you finish the job I want you to do. Well, Mr. Arthur? Huh? Oh, hello, Quillen. You want some company on your walk? Well, I wasn't going very far. Just out for a breath of the air. So was I. Confidentially, Ms. Oglethorpe was waiting for me. I see. She likes to talk. That she does. She doesn't care what she talks about, either. No, Just as long as she talks. You sleep well last night? Sleep well? Of course. Why did you ask that? I was so hot. I was restless all night. I heard you, and I thought you were restless, too. Almost dropped over to see you. No, I, I wasn't restless. No? Well, I guess I heard something else. Heard something? What? Oh, nothing, Nothing. My imagination, I guess. But since you were just next door to me, I thought it was you. Well, what are you talking about? Nothing. Nothing at all. You see, I, I, I don't sleep very well. Probably one of those half awake, half asleep dreams. Oh. What? What was it you heard? Oh, some sort of mumbling, like a person talking in his sleep. It wasn't I. No, no, probably not. No, I, I've never talked in my sleep. Well, I, I didn't say you did. I was just mentioning it. Forget it. It was more than likely it was me. Well, I've, I've got to leave you here. Oh, that's too bad. Yes. I've got to get something at the store. Well, I'll walk with you. Oh, please. I'm going to stop and see a friend. Oh, well, then I won't trail along, then. Good night. Good night, Quillen. I'll see you tomorrow. That was pretty smart of you, chief. The trailers, huh, Collins? Sure. Now what? How'd you do back in his room? Oh, fine. No trouble getting in at all. And locked in the connecting door between his room and yours was a cinch. All right, let's get back before he does. I'll go first. I'll let you in when the coast is clear. You are listening to Lee Bowman in the Pinkerton man on the Cavalcade of America, sponsored by The Dupont Company, maker of better things for better living through chemistry. As the second part of our story opens, Alan Pinkerton is trying to break a year old murder and robbery case in Columbia, Tennessee. Certain that a man named Sam Arthur is guilty, Pinkerton is working on him. And Pinkerton's plan seems to be succeeding. For he and Collins listen to an argument going on outside his room. Really, Mr. Arthur's absolutely ridiculous. I know what I'm talking about, Mrs. Holly. And don't shout at me. I'm not deaf. And I don't like your insinuations that someone in this house was in your room. Well, someone was. I tell you. Someone was in my room. Dora. With him to clean, Dora doesn't have to go into my dresser. Now, you listen to me. Dora's been with me for 15 years. She's a good girl. I told you somebody was in my room. I told you it was only Dora. If you don't like things the way they are around here, Ms. Art, you can leave now. Tonight. This minute. I. Oh, never mind. Forget what I said. Good night. I believe it's starting to work, Collins. Maybe you're right, chief. Yes, I think so, but it's not enough yet. Hey, where are you going? Stay here. I'm going to see him now. Oh. Who's there? Willen. Can I come in? What for? Just. Just to talk. Well, just a minute. What do you want? Well, I. I just heard you and Mrs. Holly thought I could do something. Anything wrong? Oh, it's Dora. I know she was in my dresser. Oh, really? How can you be sure? Well, come here. Come here. Here. This drawer. Anything disturbed? No, no, but I know someone was in this drawer. I don't know how you can be so sure if nothing's out of place. Well, don't you. Don't you smell anything? Smell anything? What? Well, yes, a peculiar odor, like perfume. No, nothing. What? Get closer now. I'm sorry, Arthur, but I'm afraid you've got too good an imagination. It's not my imagination. I tell you. There's some kind of perfume been spilled in my drawer there. It must be your nerves, Arthur. I tell you, I can't smell a thing. You're. You're sure of that? Look, why don't we get someone else? Evans. Ms. Ogle. Oh, no, please. Never, never. Never mind. Well, but if you say it's here, I. I could be wrong, you know. Now, Evans, are. I said no. I don't want them in here. Well, all right. Yes, it's all right. I guess it Was my imagination. Sure. It's funny, but you know, nerves and imagination can play tricks on a man. Especially when he's worried. Who. Who's there? Who's that? Just me, Mr. Ocker Quillen. Oh. Oh, you. Why didn't you answer the first time? Well, it. It's after 2 in the morning. I. I didn't want to speak loudly. Too hot to sleep, eh? For me too. Yes, I. I came down to the veranda to get some air. It's not too cool here either. Sultry. It's one of those nights you read about. You know, the. The kind that makes you feel something's going to happen. Still quiet air, the heavy humidity. Even the crickets are quiet. I. You were going to say something? No, nothing. Just look at that sky. Not a star showing. No breeze. Nothing. Just deadly quiet. I can see for myself. Oh, sorry, dad. Excuse me. Your. Your handkerchief. A what? Handkerchief. What about it? That's where it comes from. You use it. You use it. Use what? What are you talking about? That scent. That's where it came from. It wasn't in my room. It was yours. Scent on my handkerchief? Oh, no. Absolutely not. Never use scent. I can't stand this. It's coming from your handkerchief. Now, I smelled it when you pulled it out. It wasn't here before. Now, look here, Arthur. I never use scent. I don't smell anything. No, No. I don't believe in things. Things like that. You don't believe in things like what? Man, your nerves are bad. It's not my nerves, I tell you. It's not my nerves. You ready, Collins? Yeah. Listen to him pacing back at and forth. Get in the closet. You know what to say, right? Arthur? Sam. Arthur, can you hear me? This is Walter. Talk to me, Sam. Tell me why you did it. Sam. Who. Who's that? Sam, why didn't you talk to me? Tell me why you killed me. Sam, please talk to me. Arthur. What the devil's the idea of bursting into my room? Who are you talking to? Talking me? You're crazy. There's somebody in here with you. There's somebody in that closet. Oh, you are crazy. Why should anyone be in there? You were talking to someone. All right, all right. So I was talking to someone. Someone in that closet. Go ahead and look in. See who it was. Well, go on. Satisfy yourself. Or do you want me to open it for you? No, no, please. Please don't open the. No. Come on out, Collins. He's ready to make a break for it. Hey, he almost looked in. No, no, he didn't dare. He was afraid he wouldn't see anyone. Will I. Hey, he's running away. Yes, I thought he would. All right. The next train doesn't leave Columbia for an hour. And in that hour, we've got to hire two men and plant them on that train with Arthur. Come on. Excuse me. Is this c. What? Why, Arthur, what are you doing on this train? Twiller. Well, this is fine. I thought I'd have to ride this train alone. I got a wire suddenly business up north. Oh, but you. Where are you? Well, I, I. I have a sister in New Jersey I haven't seen in a long time, and I. Oh, you made up your mind suddenly, didn't you? Yes. Yes, I was worried about her. Oh, that accounts for your nerves, eh? Worry will do that to a man. Oh, yes. Yes, I was worried about her. I see. Well, this is going to be pleasant. Still hot, isn't it? I thought. Well, what's the matter? Your. Your handkerchief. My handkerchief? What's the matter with it? That perfume I smelled. You do use it. What are you talking about? There's no scent on this. There is. There is. I can smell it. Oh, now, look, Arthur. I never use scent. It's your imagination again. I tell you it's not. You use the same kind of scent that he used. He? Who? Please, please, Quillin, don't fool me. What are you trying to do? I know it's your handkerchief. Look, Arthur, we can settle this easily enough. I'll ask the man in back of us. Excuse me, sir. I know this sounds a little. Wait a minute. What are you going to do? I'll just show you what your imagination can do to settle a bet. Will you smell this handkerchief and see if there's scent on it? Oh, sure. Nothing on that handkerchief. What? There, you see? Arthur, give me that. Sure, sure. Ask that man across from us. Mister, I. I beg your pardon, Please. Yes, there's scent on this handkerchief. Will you. Will you please tell me what kind? You crazy? No, no, please, please. Just smell it. All right. Nope. I can't smell anything. What? Satisfied, Arthur? Quillen. Quillen. I can't stand it anymore. I've got to tell. I've got to tell someone. I've been living with it for a year and I can't. I can't hold it in anymore. I can't. I can't. What is it, Arthur? I killed a man. Ben Walters. But I didn't mean to. He woke up and I had to hit him. I swear. I swear I didn't mean to. Didn't mean to, huh? Oh, it's been driving me crazy for a year. And this last week has been the worst. It's. It's like he's come back. He's come back. Quillen. Oh, I had to tell somebody. I'll go crazy. It's better this way. Come on. What will they do to me? What will they do? I don't know, Arthur, but it's much better this way. We'll get off at the next stop. Our star, Lee Bowman will return in just a moment. But first, here is Gain Whitman speaking for Dupont. Sound travels about 12 and a half miles a minute. And the new jet propelled planes are already flying 10. This means a jet plane flies right along behind the sound it makes. It's like something out of a rocket trip to Jupiter in a comic book. But it's a long way from being comic. When a plane travels near the speed of sound, air, unable to get out of the way, is compressed and piles up around the leading edges of the wing. Behind this shock wave, the air is rough. So rough that a plane may be torn to pieces. Aviation engineers are sweating out this problem right now. Among other experiments, for instance, the aircraft laboratory at Wright Field has designed an entirely new type of wing made of glass and plastic outside. To reduce skin friction to a minimum, it is finished and polished to a mirror like surface. Freed from rivets, overlapping joints and other projections inside, the construction is even more novel. Instead of being full of ribs and braces, the new wing has only half a dozen structural parts. The wing surfaces are made from several layers of glass cloth cemented together, supporting these surfaces and sandwiched between them and the internal structural parts is a foamed cellulose acetate plastic. Lighter than cork, this construction provides great strength and unusual rigidity in the wing surfaces. With all the resources of American business ingenuity at the service of aviation engineers, we have assurance that that the combined efforts of scientific and business enterprise will keep American transportation in the forefront. The cellular plastic used in this new wing is a development of applied chemical research by the dupont Company, maker of better things for better living through chemistry. Now here's our star, Lee Bowman. Thanks. Game. You know, I've always been a great detective story fan and that's why it was interesting for me to learn that America's Alan Pinkerton used psychological methods to solve a crime so long ago. Pinkerton believed that ingenuity was the birthright of every American. In time, he was to see worldwide distinction come to American detectives for their work in ensuring law and order for Our citizens, the United States Secret Service, an organization Pinkerton founded, as well as his own. Pinkerton men rank high in international prestige along with France's famed Surete and Britain's Scotland Yard. It was a pleasure gained to portray this remarkable detective on Cavalcade tonight. Thank you and good night. Next week the Dupont Cavalcade brings you Jean Hershel in Parade. It's the tender and moving story of Peter Barick, an immigrant who believed in dreams and who believed in working hard to make those dreams come true. Be sure and listen next Monday to Jean her old in Parade on the Cavalcade of America, brought to you by the dupont Company. Our star tonight, Lee Bowman appeared through the courtesy of Columbia Pictures, producers of the Jolson story. The music for the Dupont Cavalcade is composed and conducted by Robert Armbruster. Our Cavalcade play was written by Russell Hughes. The part of Collins was played by William Johnstone and the part of Arthur was played by Walter Mayer, who appeared through arrangement with Metro Goldwyn Mayor, producers of the Yearling. This is John Heaston inviting you to listen next week to Gene Hershel in Parade on the Cavalcade of America, brought to you by the dupont Company of Wilmington, Delaware. The Cavalcade of America came to you from Hollywood. This is NBC, the National Broadcasting Company.
