Episode 411 - Frank Lovejoy (Part 8)

Summary

Podcast Summary: Stars on Suspense (Old Time Radio)
Episode 411 - Frank Lovejoy (Part 8)
Release Date: May 8, 2025

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Introduction

In Episode 411 of Stars on Suspense by Mean Streets Podcasts, listeners are treated to the final appearance of the legendary Frank Lovejoy. Throughout this episode, Lovejoy showcases his remarkable versatility by portraying a range of characters in classic suspense stories. This summary delves into each segment, highlighting key plot points, discussions, and notable quotes to provide a comprehensive overview for both longtime fans and newcomers alike.

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Story 1: Friend of Daddy's

Timestamp: [08:30] - [27:55]

Overview:
In "Friend of Daddy's," Frank Lovejoy plays Pete Bailey, an old army buddy who visits the home of his friend Pete and his wife Louise, portrayed by Kathy Lewis. The visit takes an unsettling turn when Pete Bailey's son, Butch, interacts strangely with Louise, especially regarding her long hair. As the story unfolds, tensions rise, leading to a suspenseful confrontation that blurs the lines between friendship and menace.

Key Developments:

• Unsettling Interactions:
  Butch's fixation on Louise's long hair [10:18], leading to awkward and tense dialogues between the characters.

• Revelations:
  Pete discovers through Louise that Pete Bailey is a psychopath with a troubled past [19:38]. This revelation heightens the suspense as Pete grapples with how to handle his problematic friend.

• Climactic Confrontation:
  The situation escalates when Louise confronts Pete Bailey about his inappropriate behavior, culminating in a dramatic and threatening exchange [24:22].

Notable Quotes:

• Louise Bailey (Kathy Lewis):
  "Man can experience the birth of a baby." [End of introductory narration]

• Frank Lovejoy as Pete Bailey:
  "I can't just throw him out." [19:16]

• Kathy Lewis as Louise Bailey:
  "Just let me touch it. I want to bury my face here." [26:20]

Analysis:
This story masterfully builds tension through character interactions and gradual revelations. Lovejoy's portrayal of Pete Bailey oscillates between vulnerability and underlying menace, keeping listeners on edge. The interplay between Pete, Louise, and Butch underscores themes of trust, fear, and the complexities of long-term friendships.

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Story 2: Ivy is a Lovely Name

Timestamp: [31:16] - [50:19]

Overview:
"Ivy is a Lovely Name" follows the harrowing journey of Tom and Linda Peterson as they race against time to reach the hospital for the birth of their second child. Their plans are derailed when their car breaks down on the Hollywood Freeway, leading to a life-threatening situation exacerbated by harsh weather conditions.

Key Developments:

• Preparation and Anxiety:
  Tom meticulously plans their trip, while Linda’s anxiety about the impending birth adds emotional depth to their predicament [31:16].

• Mechanical Failure:
  The car breaks down amidst a severe rainstorm, stranding the family on the busiest freeway in the world [39:04].

• Desperate Measures:
  As precipitation worsens, Tom attempts to navigate through the chaos, but a tire blowout forces them into a precarious situation on the freeway's divider [42:01].

• Heroic Efforts:
  Tom's determination to seek help leads to a tense encounter with emergency responders, culminating in a safe resolution just in time for the baby's birth [49:02].

Notable Quotes:

• Tom Peterson (Frank Lovejoy):
  "I keep reading about people running out of gas on the way to the hospital." [32:10]

• Linda Peterson (Kathy Lewis):
  "Maybe you should name it Ivy. Ivy Peterson. That's a pretty name." [33:22]

• Frank Lovejoy as Tom Peterson:
  "We’re swerving. We're going up on the side." [42:05]

Analysis:
This narrative captures the frantic urgency of imminent childbirth intertwined with the dangers of urban infrastructure. Lovejoy's depiction of Tom conveys both resilience and desperation, highlighting the human struggle against unforeseen obstacles. The vivid descriptions of the Hollywood Freeway amplifies the suspense, making listeners feel the claustrophobic tension of being trapped in a life-and-death scenario.

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Story 3: Windfall from The Whistler

Timestamp: [53:43] - [80:00]

Overview:
"Windfall" is a gripping tale under The Whistler series, where Ted Locarno finds himself entangled in a web of deceit and greed after discovering a mysterious checkbook in the hat of an unidentified dead man. With over $104,000 at stake, Ted and his accomplice, Harriet Stark, navigate the dangers of forging signatures and managing illicit funds.

Key Developments:

• Discovery and Temptation:
  Ted locates a dead man with a checkbook containing a staggering balance, tempting him to exploit the situation [56:06].

• Formation of a Scheme:
  Harriet convinces Ted to partner with her to forge signatures and access the funds, leading to the establishment of dummy corporations [65:14].

• Rising Tensions:
  As they begin their fraudulent activities, suspicion mounts, especially when Harriet confronts Ted about the impossible access to funds [72:16].

• Unraveling the Plan:
  The plan collapses when evidence surfaces, leading to a confrontation that exposes their criminal intentions [77:35].

Notable Quotes:

• Harriet Stark (Kathy Lewis):
  "Can we get away with it? That's all that matters to you now, isn't it?" [64:31]

• Ted Locarno (Bill Quinn):
  "I don't know what you're talking about." [67:10]

• Frank Lovejoy as Ted Locarno:
  "We've got to work for this baby." [65:14]

Analysis:
"Windfall" delves into the corrupting influence of sudden wealth and the moral dilemmas it presents. The dynamic between Ted and Harriet highlights themes of desperation, ambition, and betrayal. The tension escalates as their plans become more elaborate, and their facade begins to crumble under scrutiny. The story serves as a cautionary tale about the perils of compromising one's integrity for financial gain.

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Story 4: Nightbeat - Randy Stone

Timestamp: [81:31] - [108:07]

Overview:
In the segment "Nightbeat," Frank Lovejoy introduces Randy Stone, a Chicago reporter who delves into the city's underbelly to uncover its hidden stories. The episode follows Stone's encounter with George Morrisons, a man tormented by noctophobia, leading to a violent confrontation that unveils deeper psychological conflicts.

Key Developments:

• Investigation Begins:
  Randy Stone is introduced as a determined reporter eager to uncover the truths hidden in Chicago's dark corners [81:31].

• Encounter with George Morrison:
  Stone meets Morrison, who exhibits extreme fear of darkness, setting the stage for their ensuing conflict [85:08].

• Psychological Battle:
  Their interaction in a dimly lit setting escalates as Morrison's fear turns into a violent obsession, culminating in a relentless pursuit [95:56].

• Confrontation and Resolution:
  The episode reaches its climax as Stone confronts Morrison on a porch, leading to a dramatic showdown that resolves Morrison's internal turmoil [105:35].

Notable Quotes:

• Randy Stone (Frank Lovejoy):
  "When your job is to walk into the darkness and discover what makes a city tick." [82:12]

• George Morrison (Kathy Lewis):
  "I’m fighting for my sanity, my life." [91:03]

• Frank Lovejoy as Randy Stone:
  "What are you doing here, Morrison?" [107:37]

Analysis:
"Nightbeat" offers a deep dive into the psychological aspects of fear and obsession. The complex relationship between Stone and Morrison serves as a metaphor for confronting one's inner demons. Lovejoy’s portrayal of Randy Stone is both empathetic and relentless, embodying the archetype of a detective driven to uncover the truth. The narrative effectively blends suspense with character-driven drama, highlighting the thin line between sanity and madness.

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Conclusion

Episode 411 of Stars on Suspense masterfully weaves together multiple suspenseful narratives, each highlighting Frank Lovejoy's exceptional talent in bringing complex characters to life. From unraveling deceit in "Windfall" to confronting internal fears in "Nightbeat," the episode offers a rich tapestry of drama, tension, and psychological intrigue. Through engaging storytelling and memorable performances, this final appearance of Frank Lovejoy leaves a lasting impression, encapsulating the essence of old-time radio suspense at its finest.

Notable Final Quote:

• Frank Lovejoy:
  "Suspense in which Frank Lovejoy and Joan Banks starred in William N. Robeson's production of Ivy Is a Lovely Name..." [50:19]

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Overall Impression:
Stars on Suspense Episode 411 stands as a testament to the enduring allure of classic radio dramas. With its blend of horror, mystery, and human emotion, the episode not only entertains but also invites listeners to reflect on the complexities of human nature and the unforeseen consequences of our actions.

Transcript

[Frank Lovejoy]

The hushed voice, the prowling step in the dead of night, the crime that is almost committed, the stir of nerves.

[Kathy Lewis]

At the ticking of the clock, the rescue that might be too late, or.

[Frank Lovejoy]

The murderer who might get away.

[Kathy Lewis]

Mystery and intrigue and dangerous adventure. We invite you to enjoy stories that.

[Frank Lovejoy]

Keep you in.

[Kathy Lewis]

Suspense.

[Narrator]

Hello and welcome to Stars on Suspense with another Hollywood legend in radio's outstanding theater of Thrills. Our leading man this week is Frank Lovejoy, who today makes his eighth and final appearance on the podcast. Lovejoy made 19 starring turns on suspense between 1951 and 1959, and today we'll hear the star of the Hitchhiker and In a Lonely Place in his final suspense shows. Both of these episodes show off Lovejoy's versatility as he plays characters both scary and sympathetic. Like the best suspense stars, Lovejoy could play both sides of the street. He was as effective at playing a cold blooded killer as he was playing an innocent man who was in over his head. First up today is Friend of Daddy's, an Armed Forces Radio Service rebroadcast from May 17, 1959. Lovejoy stars as a man who pays an unexpected visit to an old army buddy. He meets the man's young son and his wife Louise, whose long hair soon becomes an object of fixation for Lovejoy. His compliments soon become concerning, and Louise, played by suspense MVP Kathy Lewis, tries to raise the alarm to her husband, but he may be too blinded by his friendship to notice. Then Lovejoy plays a man on the other end of the spectrum, a guy who, unlike most suspense protagonists, is someone who most of us can identify with a man with a baby on the way. In Ivy is a lovely name. Lovejoy is racing his wife to the hospital for the big event. He thinks he's got everything planned down to the last detail, but then their car breaks down in the middle of the Hollywood freeway. Not only does he have to find help before the baby arrives, he has to find his older son who was in the car with them and who's wandered off. Whether or not you're a parent, I think you'll be on the edge of your seat for Frank Lovejoy's final suspense appearance. This one originally aired on CBS on June 21, 1959, and we'll close out this week's show with two more Frank Lovejoy radio performances. First, he finds a dead body with no identification but a checkbook and a balance of over $100,000 for the taking of In Windfall from the Whistler. This one originally aired on CBS on May 5, 1947. And finally, he stars in an episode of Nightbeat, his own radio drama series, where he played Chicago reporter Randy Stone. We'll hear him in the Night Is a Weapon, which originally aired on NBC on February 13, 1950. But first, Frank Lovejoy makes a very uncomfortable house call. We'll kick things off with friend of Daddy's right after these messages.

[Frank Lovejoy]

Now it's winners time again. Yes, sir. Here are the two winners. The carousel contest for the week ending November 8th. Each of these listeners wins a gorgeous 100th $17 Jewel Harman Gold Watch, just for writing an interesting letter about Gary Salt. The ladies watch goes to Mrs. A.O. nobles Jr. Of Gainesville, Florida. First suggestion tells you how to remove the printed dye from sugar bags or white feed bags. She suggests you dampen the bags with kerosene and sprinkle on Kerry's table salt. Then roll them up tight and let them stand overnight. Next day, just wash in soapy water and watch the dye rinse away. Sounds like a wonderful idea. And here's the winner of the man's watch. He is Mr. Sandy Riza of Cleburne, Texas, and he bases his suggestion on 30 years of experience. He says, the best thing I have ever found for smoothing rough gears and silencing their noise is the use of Kerry salt mixed with gear grease or compound. Congratulations to both of the winners. And folks, if you'd like to win one of these beautiful watches, listen for the easy rules later in this program. Meanwhile, remember, there's a fine Kerry salt for every farm and home use. There's deep penetrating carries table salt, carries meat curing salt, carries mineral supplement salt and many others. Always look for the black bag box or cotton with a bright red band. The doctors we heard from had this to say a laxative should be effective, gentle, close to natural acting, a medicine that can be used with complete confidence. Now, Ex Lax has been popular with many doctors and millions of people over the years. Because chocolate and Ex Lax is effective overnight, it helps you toward your normal regularity. Ex Lax is so gentle, so close to natural acting. There's no upset. That's why many doctors and millions of people use Exlax with complete confidence. Exlax, the laxative that helps you toward your normal regularity gently overnight. Tomorrow, at the beginning of another weekend, two whole days to relax and have fun. You'll be planning picnics and backyard barbecues. Just be sure there's plenty of Pabst Blue Ribbon cooling in your icebox. Tomorrow morning, ask your dealer for a case in cans or bottles. Pabst Blue Ribbon is the finest beer served anywhere. Your taste will tell you why. Your best bet for hot breakfast is Quaker Oats. The giant of the cereals is Quaker Oats. Delicious, nutritious, makes you feel ambitious. The giant of the cereal is Quaker Oats. Yes. If you want to be a star in sports and school activities, make your hot cereal Quaker Oats. Cause Quaker Oats helps grow the stars of the future. You get more growth, more endurance from oatmeal than from any other Whole Grain cereal. Remember, Quaker and Mother's Oats are the same. And now, a tale well calculated to keep you in suspense. Suspense. And the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson. If people were truly moral, there would be no need for moral precepts. We are carefully taught and constantly reminded of how we should act. And the reason for this must be that man is fundamentally bad. In any case, all too often, kindness is not repaid in kind. The golden rule is broken and the hand that feeds gets bitten. Of such ingratitude is our story concerned. A story which should at least serve as a warning to those ladies who stubbornly insist on letting their hair grow as nature intended it to. Listen. Listen then, as Frank Lovejoy stars in Friend of Daddy's, which begins in just a minute. What?

[Kathy Lewis]

What? What?

[Bill Quinn]

Who is she?

[Frank Lovejoy]

Who's who?

[Bill Quinn]

Who were you dreaming about?

[Frank Lovejoy]

Was I dreaming?

[Bill Quinn]

You were talking in your sleep and giggling.

[Frank Lovejoy]

How about that?

[Bill Quinn]

What were you giggling about?

[Frank Lovejoy]

I can't remember.

[Bill Quinn]

Joseph. You mentioned a girl's name.

[Frank Lovejoy]

Oh. What name?

[Bill Quinn]

Spice.

[Frank Lovejoy]

Spice?

[Bill Quinn]

Yes, Spice. Candy Spice. It sounded like a dancer or a trapeze or something.

[Kathy Lewis]

Oh.

[Bill Quinn]

Oh, What?

[Frank Lovejoy]

Well, I must have said Candy Spots. Candy Spots is a horse. I bet on them once.

[Bill Quinn]

You bet on a horse?

[Kathy Lewis]

Yeah.

[Frank Lovejoy]

We had a pool. I could have won $3.

[Bill Quinn]

Well, you should have put the money into savings bonds. They're a much better investment.

[Frank Lovejoy]

It was only 50 cents.

[Bill Quinn]

For 63 cents a day, you can buy a $25 bond a month. And one year's worth of bonds will bring $300 when they mature. What's more, they're guaranteed to be winners. The whole United States stands behind them. So don't waste money betting on horses. Put it in savings bonds.

[Frank Lovejoy]

Okay. Can I still dream about horses, though?

[Bill Quinn]

If you do it quietly. Say, why were you giggling about a hoard?

[Frank Lovejoy]

And now Friend of Daddy's, starring Mr. Frank Lovejoy. A tale well calculated to keep you in suspense.

[Bill Quinn]

Oh, you.

[Kathy Lewis]

A little. Give me that. Sistle, don't you ever do that again. You give a person a heart attack straight.

[Bill Quinn]

Give me my gun.

[Frank Lovejoy]

Give me my gun.

[Kathy Lewis]

Carry a bell across the mouth.

[Bill Quinn]

I'm sorry, mister. I didn't mean to scare you.

[Kathy Lewis]

All right, Kim. Just don't ever do that again.

[Bill Quinn]

I won't. I promise I won't.

[Kathy Lewis]

Hey, what's your name?

[Bill Quinn]

Butch.

[Kathy Lewis]

Yeah, my name's Butch too.

[Bill Quinn]

It is?

[Kathy Lewis]

Yeah. I bet your last name's Carson.

[Bill Quinn]

That's right. How do you know?

[Kathy Lewis]

Cuz you look like your daddy.

[Bill Quinn]

You know my daddy?

[Kathy Lewis]

I know him. In the war in Korea. I was just looking for his house.

[Bill Quinn]

It's right there. Oh, he's at work. Oh, but Mommy's home.

[Kathy Lewis]

Well, then let's go see Mommy. Okay.

[Bill Quinn]

Okay, I guess. Can I have my gun back?

[Kathy Lewis]

Sure. Hey, our Butch. Only remember what I said?

[Bill Quinn]

Yeah.

[Kathy Lewis]

What did I say?

[Bill Quinn]

I oughtn't to give people heart attacks or I'd get a belt in the mile.

[Kathy Lewis]

Yeah, well, that's not it exactly. So let's forget about it, okay?

[Bill Quinn]

Okay.

[Kathy Lewis]

Cause we're gonna be friends, aren't we, Bush?

[Bill Quinn]

Yeah, I guess. Hey, Mommy, somebody wants to see you. Who is it? A man. Well, tell him I don't want any. He's a friend of Daddy. Oh, well, just a minute. I'm sorry. I thought it was a salesman. I just washed my hair. Drying it out back.

[Frank Lovejoy]

Very pretty, your hair.

[Bill Quinn]

Butch said you were a friend of my husband.

[Kathy Lewis]

Ah, yes, I'm Butch Bailey.

[Bill Quinn]

Butch Bailey. Well, at last we meet. Butchie, this is Daddy's best friend from the Korean War. I know. Oh, you two have already met?

[Kathy Lewis]

Oh, yes, yes, out front. I was ambushed.

[Bill Quinn]

Oh, yes. Young Maverick's quite a shot with those cat pistols. Won't you sit down?

[Frank Lovejoy]

Thank you.

[Bill Quinn]

Pete ought to be getting home any minute. I know he'll be so glad to see you.

[Kathy Lewis]

It's been a long time.

[Bill Quinn]

Can I get you something? A can of beer or something?

[Kathy Lewis]

No, thank you, I'm fine.

[Bill Quinn]

Well, if you excuse me a minute, I'll do up my hair.

[Kathy Lewis]

No, no, no, please leave it the way it is. It's so pretty.

[Bill Quinn]

Well, I.

[Kathy Lewis]

You don't see long hair like that much these days.

[Bill Quinn]

I guess I'm just old fashioned. I've never cut it.

[Kathy Lewis]

Don't. Don't ever.

[Frank Lovejoy]

I'll never forget the look in that sergeant's face when you told him if he wanted some commie prisoners, he could find plenty right out there across the line.

[Kathy Lewis]

Yeah, yeah, I know, but who went out to get them?

[Frank Lovejoy]

I did. But I'd never have gotten back if it hadn't been for you.

[Kathy Lewis]

Ah, forget it.

[Bill Quinn]

More coffee, anyone?

[Kathy Lewis]

Yes, thanks. I'll have another cup.

[Bill Quinn]

Well, then what happened? It's way past your bedtime. That's what that. Oh, mom, come on now. Just let me stay for one more story.

[Frank Lovejoy]

All right, but you've had it. Run along.

[Bill Quinn]

But, Pa.

[Frank Lovejoy]

Right now.

[Bill Quinn]

Okay, okay. I'll come in and tuck you in, honey. Say good night to Daddy's friend. Can you tell me some more stories about the war sometime?

[Kathy Lewis]

Oh, sure, Butch.

[Bill Quinn]

When?

[Kathy Lewis]

Oh, I don't know. Sometime.

[Bill Quinn]

Not long now, Butchy. All right, I'm going. Night.

[Frank Lovejoy]

Night, son.

[Kathy Lewis]

Quite a kid, Pete. Funny coincidence you're calling him Butch.

[Frank Lovejoy]

It isn't a coincidence. He was christened Bailey Carson, but you.

[Kathy Lewis]

Named him after me.

[Frank Lovejoy]

Well, he wouldn't be here if it weren't for you. Because I wouldn't be here now if it weren't for you.

[Kathy Lewis]

It's good to know that there's a kid growing up carrying your name. Me, I got nobody. No family, nothing to tie to.

[Bill Quinn]

Oh, that's no way to talk But Bush. The right girl's bound to come along and.

[Kathy Lewis]

Oh, not for me. Who'd have me? A gimp with a bad ticker who spent most of the best years of his life in veterans hospitals.

[Frank Lovejoy]

Yeah, but that's all over now. What are your plans?

[Kathy Lewis]

Plans? Oh, I don't have any. What good are plans then?

[Frank Lovejoy]

We'll make some for you. Look, Butch, why don't you stay here with us for a while?

[Kathy Lewis]

I. I couldn't do that.

[Frank Lovejoy]

Oh, sure you can. We've got a little room off the garage is much. But we could fix it up, couldn't we, darling?

[Bill Quinn]

Oh, yes, of course we could.

[Kathy Lewis]

No, I couldn't just walk in on you.

[Frank Lovejoy]

Now, listen to me, Butch. I'm a very happy man, and I owe my happiness. I owe my life to you. You don't forget a debt like that. I've worried about it for years. I've wondered where you were and how you were, and suddenly you show up. My turn now to help you. Nothing as dramatic as saving your life, but at least I can help you get started on a new life.

[Kathy Lewis]

But.

[Frank Lovejoy]

No buts. Are there, darling?

[Bill Quinn]

No.

[Frank Lovejoy]

You're moving in as of now. Darling, can't you sleep? I was thinking somewhere.

[Kathy Lewis]

Pete.

[Frank Lovejoy]

Yes, Donald?

[Bill Quinn]

Don't let him stay here.

[Kathy Lewis]

What are you talking about?

[Frank Lovejoy]

Of course he can stay here.

[Bill Quinn]

Please, I'm afraid.

[Frank Lovejoy]

Of what?

[Bill Quinn]

Of him.

[Frank Lovejoy]

Of old Butch with his game leg. Oh, now, don't be silly.

[Bill Quinn]

I know. I'm afraid.

[Frank Lovejoy]

Why?

[Bill Quinn]

I don't know.

[Kathy Lewis]

I don't know.

[Frank Lovejoy]

And now, starring Mr. Frank Lovejoy, act two of Friends of. Of Daddy's.

[Kathy Lewis]

Who is it?

[Bill Quinn]

You going to sleep all day?

[Kathy Lewis]

Oh. Oh, the morning. What time is it?

[Bill Quinn]

Late. Pete's gone to work already.

[Kathy Lewis]

I'm sorry.

[Bill Quinn]

Some coffee on the stove. Coffee shelf.

[Kathy Lewis]

Thank you.

[Bill Quinn]

I've got to get ready to take Butchie and Tom to Dennis.

[Kathy Lewis]

Oh, don't worry about me. I'll find things. Okay.

[Bill Quinn]

Butchy, you dress. Hurry up. I'll be ready as soon as I finish brushing my hair. What are you doing here?

[Kathy Lewis]

Watching.

[Bill Quinn]

Get out of my bedroom.

[Kathy Lewis]

My mother always brushed her hair a hundred times. Every morning and every night. You brush your hair a hundred times.

[Bill Quinn]

Louise, I said get out of here.

[Kathy Lewis]

I just want to watch you don't see long hair like yours anymore. So soft and fine like my mother's. Just like my mother's. Let me touch it, Louise. Just one. Let me feel.

[Bill Quinn]

Get out or I'll scream.

[Kathy Lewis]

Oh, please.

[Bill Quinn]

Get out, you dirty, dirty.

[Kathy Lewis]

Yes. Oh. Oh, Send them in.

[Frank Lovejoy]

Honey. What are you doing down here in the middle of the morning?

[Bill Quinn]

He horrible man.

[Frank Lovejoy]

Oh, what horrible man?

[Bill Quinn]

That buddy of yours, Butch Bailey.

[Frank Lovejoy]

Oh, what'd he do?

[Bill Quinn]

I was brushing my hair and I looked up and there he was standing in the door, watching me.

[Frank Lovejoy]

Well, I don't blame him. You make an awfully pretty picture brushing your hair.

[Bill Quinn]

For you, Pete, not for anybody else.

[Frank Lovejoy]

Well, then you should close your door.

[Bill Quinn]

In my own house? Pete, listen to me. Your friend is crazy.

[Frank Lovejoy]

Oh, come on.

[Bill Quinn]

I told you I was afraid of him, and I was right. He had a look in his eyes.

[Frank Lovejoy]

Now, aren't you imagining a lot of this?

[Bill Quinn]

No. He wanted to. He wanted to feel my hair. I had to push him out of the room with all my strength.

[Frank Lovejoy]

Of course, he had no right coming into your room.

[Bill Quinn]

Then when I finally got up enough courage to come out, he was sitting in the breakfast nook drinking coffee as cool as a cucumber. So nothing had happened. But that look was still in his eyes. I can't describe it.

[Kathy Lewis]

Well, I'll.

[Frank Lovejoy]

I'll have a little talk with old Bush tonight.

[Bill Quinn]

Pete, you don't seem to understand. Talking won't do any good. Get rid of him.

[Frank Lovejoy]

But I can't just throw him out.

[Bill Quinn]

If you don't, I'll take Butchie and check into a hotel.

[Frank Lovejoy]

Oh, Louise, you're being childish.

[Bill Quinn]

No, I'm not. I'm not going back to that house until that man has Left.

[Frank Lovejoy]

Well, I, I. I know this is upset you and all that, but try to understand the poor guy. He's been in hospital for years with all those ugly nurses. And when he sees a woman as beautiful as you are, he.

[Bill Quinn]

Pete listened to me. I did some checking at the Veterans Administration on my way over here. Your friend Butch Bailey has been in and out of veterans hospitals ever since Korea. True, but not for a crippled leg. For a crippled mind, he's a psychopath.

[Frank Lovejoy]

So that's the way it is, pal. I say, I'm sorry, but you know how women are.

[Kathy Lewis]

Oh, sure, sure. I never should have come here.

[Frank Lovejoy]

Oh, now, don't say that.

[Kathy Lewis]

I don't want to cause you any trouble. Pete, you got it made. A beautiful wife. Swell kid. No place for me in this setup.

[Frank Lovejoy]

Now look for it.

[Kathy Lewis]

Well, that's what you're telling me, isn't it? But you make it sound like it is. Your wife says, get rid of the bum. So you get rid of the bum.

[Frank Lovejoy]

You're not making it easy.

[Kathy Lewis]

Why should I? Donna. No, wait a minute. As you were. I'm not sure. Tina, I understand. I shouldn't have done what I did. I know that. But I didn't mean any harm. I was just looking at her.

[Frank Lovejoy]

I know, Butch. I understand. But she doesn't. And she's my wife.

[Kathy Lewis]

And you stick to her, kid. You got a wonderful woman there. Well, I better shove off so Louise can get back in her own house.

[Frank Lovejoy]

Where are you going?

[Kathy Lewis]

Who knows? Who cares?

[Frank Lovejoy]

I do. Look, Butch, what can I do for you? Do you need anything? Can I lend you some money until you get on your feet?

[Kathy Lewis]

No, thanks, Pete. I'll be all right.

[Frank Lovejoy]

You do understand?

[Kathy Lewis]

Sure, I'm sure. What do you say?

[Frank Lovejoy]

Come on, Butch.

[Bill Quinn]

Darling. John, you didn't mind too much, did you?

[Kathy Lewis]

What? About Butch?

[Bill Quinn]

Yeah.

[Frank Lovejoy]

Look, baby, you're my wife. You come first.

[Kathy Lewis]

First?

[Frank Lovejoy]

Get it before anybody.

[Bill Quinn]

Oh, Pete.

[Frank Lovejoy]

Oh.

[Kathy Lewis]

Hey. Hey.

[Frank Lovejoy]

Look at the time. We better hit the check.

[Bill Quinn]

I'll go in, get ready for bed.

[Frank Lovejoy]

Yes, and I'll lock all the doors and the windows.

[Bill Quinn]

Oh, they'll be silly. Hey.

[Frank Lovejoy]

Huh?

[Bill Quinn]

Houston, my hairbrush.

[Frank Lovejoy]

Oh, why?

[Bill Quinn]

Can't find it on my dressing table. It's gone. You sure you didn't?

[Frank Lovejoy]

Now, what would I want with your hairbrush?

[Bill Quinn]

I don't know. I wonder what Butch would want with his.

[Frank Lovejoy]

And now, starring Mr. Frank Lovejoy, act three of Friend of Daddies.

[Bill Quinn]

See that, Mommy? I got two of them that time. Yes, dear. May I wish you. Here, you stay outside and play while I get Dinner on the stove. Hello? Where are you, darling?

[Frank Lovejoy]

At the office.

[Bill Quinn]

I was just going to start dinner.

[Kathy Lewis]

Yes, I know.

[Bill Quinn]

That's.

[Frank Lovejoy]

That's what I'm calling. No, but I do have to stay in town. Butch Bailey called me today.

[Kathy Lewis]

He wants to see me.

[Bill Quinn]

Oh, Pete.

[Frank Lovejoy]

I'm sorry, darling, but it's the least I can do.

[Bill Quinn]

I suppose so. Thought he'd left town? He had.

[Frank Lovejoy]

He'd been back east for a couple of months. But I guess things didn't pan out for him.

[Bill Quinn]

I won't be late. Promise?

[Kathy Lewis]

Promise.

[Frank Lovejoy]

See you later.

[Bill Quinn]

Bye, darling.

[Kathy Lewis]

Hello.

[Bill Quinn]

Butch. What are you doing here?

[Kathy Lewis]

I couldn't stay away.

[Bill Quinn]

Pete on the phone, he said I. I know.

[Kathy Lewis]

He said he was meeting me downtown. I made that date with him to be sure he wouldn't come home and interrupt us.

[Bill Quinn]

He? Interrupt. What do you want?

[Kathy Lewis]

Take down your hair.

[Bill Quinn]

I certainly will not.

[Kathy Lewis]

Louise, please do me a favor. Take down your hair. That's all I ask. Just take it down.

[Bill Quinn]

Ridiculous. Now get out of here. Get out.

[Kathy Lewis]

You won't take down your hair when I ask you nicely. Of course not, but I have to make you take it down.

[Bill Quinn]

Put away that gun.

[Kathy Lewis]

Not until you let your hair down.

[Bill Quinn]

You wouldn't use it.

[Kathy Lewis]

Oh, yes, I would. Even if I had to kill you, your hair would still be alive. Hair goes on growing, you know, after death.

[Bill Quinn]

No, Butch.

[Kathy Lewis]

Go on, take out the pins. Oh, that's right. At the back. I'll flux it out just like Mother used to push.

[Bill Quinn]

Please.

[Kathy Lewis]

Oh, that's it. Nice and loose, like a living frame to your face.

[Frank Lovejoy]

Now, here.

[Kathy Lewis]

Here's your brush. This is the one I took. Use it. Go on. Brush out a hundred times. Brush it until it crackles, till it's soft. It's angel sound.

[Bill Quinn]

Oh, go on.

[Kathy Lewis]

Go on.

[Frank Lovejoy]

Go on.

[Kathy Lewis]

Sorry about taking that brush, Louise. You see, I thought that would be enough, but it wasn't. Reminded me of you. Her mother. Not enough. Not enough. I had to come back. Had to watch you using it. Don't you understand? When you're very little, you're very, very little. You're lying in your crib at night and your mother comes to Tuffy. And she leans over you. Her hair, her beautiful long hair falls down around you in a warm, sweet web of protection.

[Frank Lovejoy]

Your safe.

[Kathy Lewis]

No harm can come to you. It tickled your nose a little. Maybe you chuckle. Maybe you sneeze. You play with it, pulling it a little, maybe. Smells like heaven. You fall asleep dreaming of angels. And every one of them looking like your liar. Looking like you.

[Bill Quinn]

This is Crazy. But now you've got to leave.

[Kathy Lewis]

Let me touch it. Let me run my fingers through it.

[Bill Quinn]

Stay away from it.

[Kathy Lewis]

I won't hurt you, I promise. I just want to feel it. I want to bury my face here.

[Bill Quinn]

No. No. I won't hurt you. Stop it. Stop it, Louise.

[Kathy Lewis]

Don't try to stop me.

[Bill Quinn]

Get away from me.

[Kathy Lewis]

Are you going to let me.

[Bill Quinn]

I'm not going to let you do anything, alive or dead.

[Kathy Lewis]

Still had your hair? If you dare.

[Bill Quinn]

You're joking me. Yes.

[Kathy Lewis]

Louise. I'm choking you in your own hair. If I have to use forks, I will. Louise. Louise.

[Bill Quinn]

Hi. But still, up on this thing, you're dead. But.

[Kathy Lewis]

Don'T you never go around scaring people with that gun.

[Bill Quinn]

I know, Marty. I shouldn't ever shoot the gun in the house. I forgot this time. I'm glad you did. What's the matter? With what? Did I give him a heart attack? Sadie, I. I don't know. He said I shouldn't scare people and give them heart attacks. All right, dear. It's all right.

[Kathy Lewis]

Hello, Pete.

[Bill Quinn]

Come home right away.

[Kathy Lewis]

But I'm waiting for Butch.

[Bill Quinn]

I. Butch is here. He's had an attack or something. Call the veteran's hospital and tell him to come and get him. Hurry home, Pete. Please.

[Kathy Lewis]

Hurry.

[Frank Lovejoy]

Suspense in which Frank Lovejoy starred in Friend of Daddy. Written, produced and directed by William N. Robeson. Supporting Frank Lovejoy and Friend of Daddy's were Kathy Lewis, Bill Quinn and Dick Beals. Listen. Listen again next week when we return with Robert Horton starring in Spoiled for Victor, another tale well calculated. To keep you in suspense, this is the United States Armed Forces Radio and Television Service Suspense. And the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson. Not many of us rob banks or traffic with the supernatural or commit murder or indulge in the other forms of mayhem and madness of which our suspense plays are concocted. Yet most of us are destined to play our parts. In one of the most suspenseful dramas. Man can experience the birth of a baby. That's what our story is about. That and the Hollywood Freeway. That swift and terrifying facility built by man not for the convenience of men, but for the convenience of machines. It is the most heavily traveled road in the world. It knows death intimately, almost daily. And joined in this writhing, lethal mesalliance, it is a blind and callous stranger to life. Listen. Listen. Then, as Mr. Frank Lovejoy and Ms. Joan Banks star in Ivy is a lovely name which begins in just a moment, Mutual of OMaha, celebrating its 50th year of service, has important news for men and women aged 50 and over. As a special anniversary offer, Mutual of Omaha has just extended its senior security plan to qualify men and women beginning at age 50 at a saving in premium up to 35%. It's an individual policy providing hospital, surgical, convalescent and nursing home benefits with a special renewal guarantee provision and a 10 day money back guarantee. This new protection by Mutual Benefit Health and Accident association is now available in most states. For details, contact your local Mutual of Omaha representative. He's a neighbor of yours and his phone is listed in the yellow pages of your directory. Or write for details to Mutual of Omaha, Omaha, Nebraska. It's the new low cost senior security protection for men and women aged 50 and over. Write today to Mutual of Omaha, Omaha, Nebraska for details. And now, Ivy is a lovely name, starring Frank Lovejoy and Joan Banks. A tale well calculated to keep you in suspense.

[Kathy Lewis]

It wasn't as though this was our first baby. Bobby was eight going on nine. It was just that Linda was out of practice and it made her jumpy. We planned this thing like Eisenhower planned the Normandy landing. And yet, every hour on the hour, Linda wanted to run down the checklist.

[Bill Quinn]

I know it's silly, Tom, but is the car full of gas to the top? And you called Marion about coming over.

[Kathy Lewis]

To stay with Bobby yesterday, the day before yesterday, and also today twice. It's a wonder your sister answers the phone at all.

[Bill Quinn]

Did you call Dr. King today?

[Kathy Lewis]

Yeah, I called him and I told him he felt fine.

[Bill Quinn]

You told him? I thought I might have to.

[Kathy Lewis]

Yeah, I told him your built in calculating machine said tonight was the night. And he said not to knock it. Mothers to be usually had inside information on such things. Oh, please, no joke. He gave me the phone number where I could reach him if he wasn't home or at the office.

[Bill Quinn]

Tom, I'm sorry I'm such a nag about this, but I just don't want anything to go wrong.

[Kathy Lewis]

Aw, honey.

[Bill Quinn]

I keep reading about people running out of gas on the way to the hospital or losing their way or getting there and not being able to find the doctor.

[Kathy Lewis]

Yeah, I know.

[Bill Quinn]

I just figure I. I couldn't take it if something like that happened to me. I guess I'm not much of a mother.

[Kathy Lewis]

Look, you're a wonderful mother. You've done a magnificent job with Bobby and you'll do okay with this new one.

[Bill Quinn]

Say, where is Bobby? Oh, if we have to leave in a hurry, I don't want to have to start looking all over the neighborhood for him.

[Kathy Lewis]

He's out in the backyard.

[Bill Quinn]

He isn't climbing the ivy to the garage roof again, is he? Tom, I have asked him not to play in the ivy a hundred times. He says, okay, mom, and goes right onto him. Well, I think you ought to speak to him. I mean, you're his father.

[Kathy Lewis]

Oh, now, listen to me. Bobby's an eight year old boy. He's a healthy, normal boy with an urge to climb that every kid has had since boys were invented. That ivy on the garage is as strong and safe as a rope ladder. He's not going to hurt himself.

[Bill Quinn]

He could fall and kill himself.

[Kathy Lewis]

He could fall. He'd probably bounce right back up again.

[Bill Quinn]

Tom, I want you to go call him in and I want you to tell him not to climb that ivy anymore. Well, I mean it.

[Kathy Lewis]

Okay, baby, I'll call him. Looks like rain anyway. Hey, you know, I just had a great thought. If the new one's a girl, maybe you should name it Ivy. Yeah, Ivy Peterson. That's a pretty name.

[Bill Quinn]

That's a horrible name. And I don't think you're funny. I don't think you're funny at all.

[Kathy Lewis]

Oh, baby, come on now. I was only kidding. All right, I'll go out and get Bobby.

[Frank Lovejoy]

Bob.

[Kathy Lewis]

Bobby.

[Bill Quinn]

Hi. Pun.

[Kathy Lewis]

Where are you?

[Bill Quinn]

Up here on the garage.

[Kathy Lewis]

Oh, well, come on down. You're not supposed to play on the garage roof.

[Bill Quinn]

Okay, watch. I'll show you how I can slide down the ivy.

[Kathy Lewis]

Yeah, okay. Okay. You better hurry up. It's starting to rain.

[Bill Quinn]

I can do it in the rain, Pop. I've done it.

[Kathy Lewis]

Watch now. Take it easy now. Your mom doesn't like your climbing things. What?

[Bill Quinn]

I can climb right down like a ladder. See? I'm down. How's that?

[Kathy Lewis]

Oh, that's great, son. But only your mom doesn't want you to do it. You might lose your grip and fall. You'd get very badly hurt. Now, you wouldn't want that, would you?

[Bill Quinn]

Well, I fell lots of times and I didn't even hurt myself at all. I can climb easy.

[Kathy Lewis]

Yeah, I know. Well, now, but before we go in, I want you to listen very carefully. I don't want you to mention the IV or the garage to your mother, okay? No, no, I'm serious about this. Your mom is a little. Well, she's not exactly herself. She's nervous. She worries about little things because she's.

[Bill Quinn]

Gonna have a baby. Isn't that right, Pop?

[Kathy Lewis]

Yeah, that's right, son. I couldn't have put it Better myself.

[Bill Quinn]

I sure hope it's not a girl.

[Kathy Lewis]

What's wrong with girls?

[Bill Quinn]

Oh, they cry all the time. They dress in dresses they can't climb or anything.

[Kathy Lewis]

Well, your mother wants a girl, and I'd kind of like one myself. You're enough boy for one. Now, come on in the house. It's really beginning to rain.

[Bill Quinn]

Tom?

[Kathy Lewis]

Yeah, we're here, Linda.

[Bill Quinn]

Tom, please hurry.

[Kathy Lewis]

What is it, baby?

[Bill Quinn]

Tom, I. I think you better call Dr. King. I think it's time to go.

[Kathy Lewis]

Oh, okay, okay. I'll call him right now. Look, Bobby, you can help. Go in your mother's room, get her overnight bag. It's at the foot of the bed.

[Bill Quinn]

Okay, Pop. You better call Marion.

[Kathy Lewis]

Yeah, now, take it easy, sweetie.

[Frank Lovejoy]

I'll call her.

[Kathy Lewis]

First they got to call a doc. Then I'll call you soon. Let me see. It's almost dark. If we can get out of here, say, in 15 minutes, we should get to the hospital by time. Oh, hello? Hello, Dr. King there? Oh, it's you, Doc. This is Tom Peterson. Linda, my wife. Yeah, Linda. Yeah. Oh, she's fine, fine. But she's going to have the baby and. Yeah, yeah, well, she thinks we better go pretty soon, Doc.

[Bill Quinn]

She says tell him now, Tom. Please tell him now.

[Kathy Lewis]

She says now, Doc. Yeah, I know, I know. Okay. Yeah, I'll drive her over there as soon as we can get away. And you'll be there. Okay? And thanks, Doc. Thanks a lot.

[Bill Quinn]

Did he say he'd go right over to the hospital?

[Kathy Lewis]

Oh, yeah, that's right, baby. He'll be there. Now, all I gotta do is get your sister Marion over here and we can go. You'll get Marion on the phone, and that's the first hitch. She says her husband Gus had their car and it blew a gasket or something. And now she's about to have hysteric Scarlet because she has no way of getting over to take care of Bobby. And you make the only move you can. You tell her to forget it, and you'll take Bobby to the hospital with you. Uh, Bobby?

[Bill Quinn]

Yeah, Pop.

[Kathy Lewis]

Now, look, we're gonna have to change things a little. You're going with us.

[Bill Quinn]

Oh, Tom.

[Kathy Lewis]

Well, I can't help it, honey. Your sister got loused up with the car and she can't get over here. So we gotta do it this way. He'll be all right. Bobby won't be any trouble. Will you, Bobby?

[Bill Quinn]

No, I won't be any trouble. I promise.

[Kathy Lewis]

Okay, now, you all set, Linda? Yes. Bobby. Got the bag?

[Bill Quinn]

Yep.

[Kathy Lewis]

Car's out Front. Yeah, I could do without this rain, but you can't have everything.

[Bill Quinn]

Tom, let's go.

[Kathy Lewis]

Oh, yeah, yeah. Okay, we're off. And don't worry, baby, plenty of time. I know the way to the hospital like a book. Just take it easy and relax and don't worry. Okay, let's go.

[Frank Lovejoy]

In a moment, we continue with the second act of suspense. The following message is from American Telephone and Telegraph. Have a nice trip.

[Bill Quinn]

Don't forget to phone.

[Frank Lovejoy]

Getting away at last. It's a great feeling, isn't it? Looking forward to a carefree weekend or vacation. Especially if you planned ahead by long distance.

[Bill Quinn]

Now, let's see. You did phone about the cabin, right? What about the Johnsons?

[Frank Lovejoy]

I called them too. They're expecting us.

[Bill Quinn]

Oh, good. Well, I guess that takes care of everything.

[Frank Lovejoy]

Yes, a little vacation planning ahead of time by long distance does a lot toward making a holiday carefree and fun. Right now is a good time to call while long distance rates are lowest. Remember, whenever, wherever you go this summer, go first by long distance. And now, starring Frank Lovejoy and Joan Banks, Act 2 of Ivy is a lovely name.

[Kathy Lewis]

You've gone over the route so many times in your mind you could drive it blindfolded. But you hadn't planned on a San Fernando Valley rainstorm. A half an hour of rain and the streets are running knee deep. And your windshield is covered with mud and water before the wipers can clear it. The only thing that's really on your side is time because you had everything ready to go. And Linda said she could tell sooner with a second child. Well, that's what she said.

[Bill Quinn]

Tom, how long will it take to get there?

[Kathy Lewis]

Well, you know, we planned it for about 20 minutes. Half an hour at the outside.

[Bill Quinn]

With this rain, I mean, how long would this rain?

[Kathy Lewis]

I don't know, honey. Maybe a few minutes longer than we planned.

[Bill Quinn]

He thought that car went through a puddle and it splashed us.

[Kathy Lewis]

Puddle? More like a lake. Won't be like this when we get on the freeway. Water doesn't stand on the road there.

[Bill Quinn]

You think we should take the freeway with the storm?

[Kathy Lewis]

Well, you want me to drive through these lakes all the way to the hospital? Look, we get off this street in about three blocks and we get up on the freeway. From there on in, it's easy sailing.

[Bill Quinn]

They drive pretty fast on the freeway.

[Kathy Lewis]

Oh, holy mackerel. Honey, will you relax? I drive the freeway to work every day of my life. I know it like a book. We'll get there on time.

[Bill Quinn]

Now, relax.

[Kathy Lewis]

You make the turn off Laurel Canyon Boulevard and climb the long ramp and you're on the freeway. You've hollered right along with the next guy about the crazy mixed up Hollywood freeway system. But right now it looks great. Four wide, velvet smooth lanes inbound, four lanes outbound and a lovely strip divider down the middle. Of course, on this section of freeway, the divider isn't a steel fence like on some. It's sort of a raised parkway. Asphalt on top about 10ft wide, with boxes every hundred yards or so, planted with shrubs. But it keeps you separated from the cars and the opposite lanes. And in a rain like this, with the glare from your headlights mixing crazily with the others, it's a comforting feeling just to know it's there.

[Bill Quinn]

Daddy, are we almost there?

[Kathy Lewis]

Almost.

[Bill Quinn]

How much further is it? Oh, stop bothering your daddy, Bobby. It's a little ways yet, Bobby.

[Kathy Lewis]

That's the Hollywood pole over there on the right. You can't see it, of course, but that's where it is.

[Bill Quinn]

And. And those are the lights of Hollywood right ahead of the sun. Will we get to the hospital pretty soon?

[Kathy Lewis]

Sure we will, Bobby. We go along the freeway here till we get to the Vermont off ramp and then we get down Vermont a few blocks and we'll be there.

[Bill Quinn]

Do you know that we're doing almost 60 miles an hour, Tom?

[Kathy Lewis]

I do.

[Bill Quinn]

Boy, 60. Let's go faster. Pot.

[Kathy Lewis]

Well, 60 is the average speed along the freeway, Bobby. You go faster, you run into the cars ahead of you. You go slower, you get clobbered by the cars behind you.

[Bill Quinn]

There's an awful lot of traffic for this time of night, isn't there?

[Kathy Lewis]

That's nothing unusual. They begin to jam up all the way to the interchange, but they all move. How do you feel?

[Bill Quinn]

I'm all right, but I wish we'd get there.

[Kathy Lewis]

I thought you said the second ones were. Well, a little more predictable this. In an awful hurry.

[Bill Quinn]

Well, I'm sorry, Tom.

[Kathy Lewis]

Oh, come on now, baby. I didn't mean anything else.

[Bill Quinn]

Will you see if you can get us there as soon as you can? I'm. Oh, please, please, not yet, honey.

[Kathy Lewis]

Just hang on. I'll see if I can.

[Bill Quinn]

Tom, tires.

[Kathy Lewis]

Front tire.

[Bill Quinn]

Tom, we're swerving. We're going up on the side. I'm.

[Kathy Lewis]

Oh, my God. You all right, baby?

[Bill Quinn]

Yes, Bobby, I'm okay. Why'd you drive up here, Pop?

[Kathy Lewis]

The tire blew out. Oh, we're lucky no one hit us. We didn't go across the divider and there were car coming the other way. We're okay.

[Bill Quinn]

Tom, I can't stay here very long.

[Kathy Lewis]

Take it easy, Linda. Hold on. I'll get out, flag down a car and get them to take us to the hospital. Now, you just sit tightly. I'll get you there. Okay? Hey, hey, slow down, will you?

[Bill Quinn]

We need help. Hey.

[Kathy Lewis]

They won't stop, honey. Or rather, they can't stop. Everybody's going too fast to stop.

[Bill Quinn]

What are we going to do?

[Kathy Lewis]

Well, I want you and Bobby to stay right here. I can't get across those four lanes of traffic. I'd never make it. I walk down along the divider to the next overhead street crossing.

[Bill Quinn]

Can you get off the divider there?

[Kathy Lewis]

Of course you can. They gotta have some steps up the inside of the big cement post or a steel ladder a the outside, Tom. They probably even have a phone at the base there in a box or something. After all, nobody build a freeway with a divider. Strip down the middle of it with no way off. They'd be completely crazy.

[Bill Quinn]

Can I go with you, dad?

[Kathy Lewis]

No, no, I want you to stay here with your mom. I'll be back before you know it. Can't be too far.

[Bill Quinn]

Please hurry, Tom, and be careful, please.

[Kathy Lewis]

Oh, don't worry, baby. I'll be back in a jiffy. You mean to walk ahead to the next overhead. But then you remember that you passed one faculty about a quarter of a mile. So you walk back along the divider instead. You walk and you begin to fight a crazy urge. It's like the feeling you had when you were a kid and you used to walk along the railroad tracks as if you were balancing on a narrow, tight hill and you were going to fall off, step off into space. And then after what seems like an hour, you're at the overhead crossing. You'll look at the cement pillar rising 60ft above you to the road bottom with the decorative vines climbing thinly up the wet cement. And you look for the stairs of the ladder of the phone. And there are no stairs. There is no ladder, there is no phone. There's just you and the raised divider you're standing on and the cement pillar and the jigsaw of splashing headlights hurtling by you on both sides, not seeing you, not doing anything about it if they do see. And you never felt so alone in your life. You've never felt so trapped, never been so scared.

[Frank Lovejoy]

In a moment, we continue with the third act of suspense. Remember the terrible forest fires that threatened whole communities along the Pacific coast last year? Or have you been in the vicinity of Bar Harbor, Maine, and seen Miles and miles of beautiful forest land ruined by fire some years ago. Fires that destroy valuable timberland, wipe out whole towns and endanger lives must be avoided. And it is possible because nine out of every 10 forest fires are man made. Made, that is, through man's carelessness. A match tossed away when it's not quite out. A lighted cigarette but flick out of the window of a passing car. The smoldering ashes of a campfire left to burn itself out. These can and do cause costly fires. Summer and early fall are forest fire time. Not so much because trees and underbrush are affected by the intense heat, but because more people are using the woods for hikes, picnicking and camping, and more people are driving near or through wooded areas this summer. And all year long, make it a habit to be careful with fire whenever you are in or near the woods. And now, starring Frank Lovejoy and Joan Banks, Act 3 of Ivy is a lovely name.

[Kathy Lewis]

You stand on the narrow concrete divider in the rain and you know you'll have to get off. You've got to get help for your wife and your son and the new life that's trying so hard to be born. Back in the car. Maybe. Maybe if you time it right, you can get across the four lanes and make it up the bank of the street and get help. Maybe if you watch closely and break for it just right. Yes, that's got to be the trick. Get a break and run for it. Now you don't get too feet before you're on. You, you make it back and that's all. Now you know you can't get to help that way. You hurry back through the rain along quarter mile to the car. Hi, honey. Well, I didn't make it. I'm gonna go the other way and see if there's a way up. It's the only thing that I can do. Where's Bobby?

[Bill Quinn]

Why, he's with you.

[Kathy Lewis]

No, I left him with you. I told him to stay with you.

[Bill Quinn]

But I let him go look for you. I. I thought I was going to have the baby and I asked him to go get you.

[Kathy Lewis]

I thought he didn't get me. I came back to the car. He wasn't on the divider.

[Bill Quinn]

Well, he has to be. He went the same way.

[Kathy Lewis]

Splat, back, back towards Hollywood.

[Bill Quinn]

No, no, you said you were going forward to the next overhead.

[Kathy Lewis]

Oh, but I didn't go forward. I went back. Linda, Bobby's not alone on that divider somewhere. I'll go get him.

[Bill Quinn]

Hurry, Tom. Please hurry. I can't hang on Much longer. I can't.

[Kathy Lewis]

I'll be back, baby. I'll be back as soon as I can. Start off running now. Running down that tiny strip of wet ass fall until your life depended on it. And you know it isn't your life, it's Linda's and a little new one. And Bobby's an 8 year old. He could get bewildered, he could get dizzy and step out into that traffic. You keep running until you reach the overhead bridge and there's no Bobby. Nothing but rain and concrete and headlights and fear. You're just about to make another try to run across the traffic when you hear it. A siren moving, coming along the freeway. Maybe you can stop it. Maybe you can jump out in front of it and stop it. But you know before you even consider it that you wouldn't live long enough to tell him what you wanted. Now you can see it. A revolving red light on the moving car coming up the fast lane. You stand there like a madman, waving your arms and screaming, stop killing the divine.

[Bill Quinn]

Stop.

[Kathy Lewis]

You watch it riddle by you. And you hate them for not seeing you. You wonder if there is a way off this strip, this miserable, thin, wet divider. And then you realize the siren is dying down. Not fading away, but stopping. You look down the divider to see the revolving red light on the top of the police car. And it's stopping by your car. It's stopping. And then you run back towards the car, back towards Linda. And you run and you run and you run. And at last you're there. You're back at the car. There's a policeman with flares standing behind the police car. Inside the car there are two policemen with Linda. And Bobby is there too.

[Bill Quinn]

Hi, Pop.

[Kathy Lewis]

Bobby, where were you? Where did you go?

[Bill Quinn]

I went up the ivy, Pop. I thought maybe you'd climbed the ivy up to the bridge, so I climbed up there to find you. Mom said to go find you.

[Kathy Lewis]

Okay, Bobby? Okay.

[Frank Lovejoy]

I guess you're the father here. Mother and child are doing fine.

[Kathy Lewis]

Mother and child? Linda?

[Bill Quinn]

I. I'm okay, darling. It's a little girl. Bobby brought the policeman back with him.

[Frank Lovejoy]

Bobby's quite a boy. Popped up over the edge of the overhead bridge just as we were crossing. I thought I was seeing things.

[Bill Quinn]

I wouldn't have climbed it, Pop, but I thought you were up there.

[Kathy Lewis]

Showcase. You did the right thing.

[Bill Quinn]

Oh, it was easy. The ivy was just like it is on the garage.

[Kathy Lewis]

Linda?

[Bill Quinn]

Yes?

[Kathy Lewis]

I couldn't get off. I couldn't find any way off. I could write it if it wasn't for fire.

[Bill Quinn]

I know, Tom. I know. You know something else. I know what? I've changed my mind. I think Ivy's a lovely name for a girl.

[Kathy Lewis]

Yeah, Ivy. Ivy Peterson. That is a lovely name. Hi, Ivy.

[Frank Lovejoy]

Suspense in which Frank Lovejoy and Joan Banks starred in William N. Robeson's production of Ivy Is a Lovely Name, written by Sam Pierce. In a moment, the names of tonight's supporting players and a word about next week's story of suspense. Improved ksite.

[Kathy Lewis]

Tune up the tune up in a can.

[Frank Lovejoy]

Fill it up, sir? Yeah, regular's good.

[Kathy Lewis]

Say, that engine of yours sounds like real tire and iron.

[Frank Lovejoy]

Thanks. Improved caseite. Tune up the tune up in a can.

[Kathy Lewis]

You got a valve sticking too.

[Frank Lovejoy]

What do you get to a gallon?

[Kathy Lewis]

Not much.

[Frank Lovejoy]

Improved case side.

[Kathy Lewis]

Tune up the tune up in a can. Want a tune job?

[Frank Lovejoy]

Haven't got time. You don't need time. How can a tune job not take time?

[Kathy Lewis]

Improved caseite Tune up. Mister. One can in your gasoline and one can in your oil. We'll clean your motor, your carburetor, your plugs, the works. And caseite tune up will unstick those valves, get you more power and smoother performance.

[Frank Lovejoy]

Quicker starting, too. Okay, but how much?

[Kathy Lewis]

Dollar and a quarter a can. Results guaranteed or double your money back. Would you start her up, please?

[Frank Lovejoy]

Still sounds lousy.

[Kathy Lewis]

I haven't added it yet. Improved case. I tune up the tuna Penican.

[Frank Lovejoy]

Supporting Frank Lovejoy and Joan Banks in tonight's story were Dick Beals, Sam Pierce and Jerry Howsner. Listen. Listen again next week when we return with Mr. Jack Carson starring in analytical hour. Another tale well calculated to keep you in suspense. The latest news follows. Then have Gun will travel on CBS Radio. The Signal Oil Program the Whistler. That whistle is your signal for the Signal Oil program. The Whistler.

[E]

I am the whistler. And I know many things. For I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak.

[Frank Lovejoy]

Yes, friends, it's time for the Signal Oil program. The Whistle. Rated by independent research the most popular west coast program in radio history. In gasoline, you know it takes extra quality to give you extra mileage. And signal is the famous Go farther gasoline. So look for the signal circle sign in yellow and black that identifies friendly dealer owned signal service stations from Canada to Mexico. And now, the Whistler's strange story. Windfall.

[E]

The man stood at the railing of the Jefferson Bridge looking over the rail, hesitant, undecided in A way it was a foolish move, but on the other hand, he didn't know. He finally made up his mind, put his foot on the rail, and then stopped suddenly at the sound of steps.

[Kathy Lewis]

Oh, good evening, officer.

[Frank Lovejoy]

What's the matter, buddy?

[Kathy Lewis]

Nothing. I was just looking at the view.

[Frank Lovejoy]

Thought you might be planning something foolish.

[Kathy Lewis]

What if I give you that idea?

[Frank Lovejoy]

Well, it's been done before. Not far from this spot. But it be getting on so long.

[Kathy Lewis]

So long.

[E]

A half minute later, he made up his mind, disappeared over the side. It was a good gamble. The hat he'd seen on the ground near the bridge timbers was nearly new. He smiled to himself, started to try it on, and then saw something that stopped him in his tracks, frozen. Not six feet away was the battered body of a man sprawled on the ground near one of the bridge stanchions. He paused for a minute, thinking, and then moved quickly to the body and searched the pockets. He wasn't lucky this time. There was no money, no identification, not even a pocket handkerchief. And then, as he fumbled for a name tag inside the hat, he discovered something else. Stuck under the sweatband was a slim, black, covered checkbook. He just had time to stuff it in his pocket when the sound of steps on the bridge above told him the strolling officer had returned. There was only one thing to do now. Call the officer. And he did it, after a brief examination.

[Frank Lovejoy]

Can't figure it out. Not a mark of identification on him. Nothing in his pockets. You didn't touch him, did you?

[Kathy Lewis]

Oh, I know better than that.

[Frank Lovejoy]

Yeah.

[Kathy Lewis]

Yeah, I climbed down here after that hat there.

[Frank Lovejoy]

I see.

[Kathy Lewis]

Is it suicide?

[Frank Lovejoy]

Not in my book. He didn't get batted up this bad jumping off any bridge.

[Kathy Lewis]

We can't do anything for him now. I guess that's up to the next of kin.

[Frank Lovejoy]

If we ever find out who the guy is, a lot of them end up with a blank tag on their big toe, you know. Well, I better call in. You stick around, buddy. They may want to ask you some questions.

[E]

And that's how it began, Ted, with a dead and a checkbook. Later, when you're alone, you examine it closely, find it's a standard one in a local bank with seven stubs showing large withdrawals, and your heart almost stops. It's a windfall, Ted. The stub shows a balance of over $104,000. Your head begins to spin. It's staggering, isn't it, Ted? You wonder what'll happen if the dead man goes unidentified. The strange man who carried his checkbook in the sweatband of his hat. Who bothered to keep check stubs with a bank balance of more than $100,000? If you can learn who he is, learn how to forge his signature. You try to stop thinking about it, try to force it from your mind. But it keeps coming back again and again. Even while you answer more questions during the inquest at the coroner's office, that figure, $104,000, keeps lighting up in your brain over and over again like a neon sign. If the man's unidentified, Ted, if you can find a copy of his signature. $104,000.

[Frank Lovejoy]

Uh, you, sir.

[Kathy Lewis]

Oh, yes, Mr. Coroner.

[Frank Lovejoy]

The inquest is over. You can go now. Your name is Ted Locaro. Ted Locarno. Okay. Police know how to get in touch with you. We'll call you again if we need you. Nothing more we can do now.

[Kathy Lewis]

You mean you've found who he is?

[Frank Lovejoy]

No. Worse yet. There's no way to trace him. Of course, these things take time, you know. Sometimes a few days, sometimes a week or a month before somebody misses a man and checks with us.

[Kathy Lewis]

Then what's the verdict?

[Frank Lovejoy]

The usual. Victim, unidentified, death at hands of person or persons unknown.

[Kathy Lewis]

Tough, huh? Yeah, tough.

[Frank Lovejoy]

With the prologue of Windfall, the Signal Oil Company is bringing you another strange story by the Whistler. But now, since this spring marks the 25th anniversary of Signal Oil, it's interesting to look back on a formula for serving you better that Signal has followed ever since the very beginning. First of all, Signal products have always been sold only through dealer owned stations. The reason? Signal believes that a man with his own money invested in his own business has extra incentive to give your car more conscientious, more thorough service. That spells long trouble free miles. Secondly, because you want top quality products for your car, each individual Signal service station is backed by a young progressive organization now serving almost 2,000 signal dealers with resources to bring you every latest advance in petroleum science. Obviously, drivers like this combination of personal service at dealer owned Signal stations plus fine quality Signal products for Signal has grown and grown year after year from a mere handful of stations serving Southern California to an organization now serving six western states from Canada to Mexico. If you haven't discovered how much extra pleasure this Signal formula can add to driving, stop by your neighborhood Signal station soon. See for yourself why every day more and more drivers are joining the switch to Signal. And now back to the Whistler.

[E]

Yes, Ted. It began with the dead man you found under the Jefferson Bridge with a checkbook in his hat band. A man lying now on a slab in the morgue. Unidentified. It's a windfall, Ted. If you can find out who he is and get a copy of his signature. You sit alone in your hotel room after the inquest, going over the stubs in the book. There are seven of them. Payments to a jewelry firm, a dress shop, several to cash. But the one that interests you is the bottom one. $350 to the Briarcliff Apartments. Next morning, freshly shaven, wearing a clean shirt, your suit carefully pressed, you enter the Briarcliff apartment. The manager is a little startled when you tell him you're an OPA Investigator and want to go over his records. It doesn't take long to discover a $350 apartment. There's only one.

[Kathy Lewis]

I'm sorry I don't have things quite up to date, Mr. Ansell. Don't worry about it. Everything seems to be in order. This schedule covers the whole building? Yes, that's right. Our apartments run 220 and 200. Except this one, of course. $350. What does this cover here?

[Frank Lovejoy]

The penthouse.

[Kathy Lewis]

I see. Who lives there? A Ms. Harriet Stark. Apparently, you haven't received a payment from her this month. Oh, I'm afraid not.

[E]

She's a little behind this month.

[Kathy Lewis]

Oh, well, it doesn't make any difference. Thank you very much. I'd better be getting along. How do you do, Ms. Stark?

[Bill Quinn]

That's right.

[Kathy Lewis]

My name is Anderson, O.P.A. mind if I come in?

[Bill Quinn]

Not at all.

[Kathy Lewis]

I'll come right to the point, Ms. Stark. We have reason to believe the rents in this building are over schedule. I understand that you're paying $350.

[Bill Quinn]

That's right.

[Kathy Lewis]

Do you have any evidence of those payments? Canceled checks and so on?

[Bill Quinn]

I think so. Sit down, won't you?

[Kathy Lewis]

Uh, no, thank you. I better not. I can only stay a minute.

[Bill Quinn]

I just happen to have this check for the current month's rent. I intended to drop it off at the manager's office. Here you are.

[Kathy Lewis]

Oh, Edward Reese, I see. If you don't mind, I'll take it along. It'll be returned to you, of course.

[Bill Quinn]

Wait a minute.

[Kathy Lewis]

Yes?

[Bill Quinn]

Don't go.

[Kathy Lewis]

Oh, I'm sorry. I'm in a hurry and I.

[Bill Quinn]

Well, I wouldn't be in too big.

[Kathy Lewis]

A hurry if I were you.

[Bill Quinn]

No, no. You see, I want you to tell me why you really came here. I happen to know that 350 is official schedule for this apartment because I've checked it myself. Now, do you want to let your hair down, or shall I call the OPA Office?

[Kathy Lewis]

You're Doing pretty well, why don't you? Go on?

[Bill Quinn]

You're a blackmailer, aren't you? You're the man Edward was afraid of.

[Kathy Lewis]

Edward Reese? Who else he was afraid of. A blackmailer, huh? Why?

[Bill Quinn]

Suppose you tell me.

[Kathy Lewis]

I don't know the answer to that one. But he had a good reason to be afraid. You see, Edward Reese is dead.

[Bill Quinn]

Dead?

[Kathy Lewis]

Yes. I found his body night before last under the Jefferson Bridge. It's down at the morgue now. Unidentified.

[Bill Quinn]

Well, I guess it's up to me to call them.

[Kathy Lewis]

Oh, wait a minute. Don't do anything rash.

[Bill Quinn]

What do you mean?

[Kathy Lewis]

I. I had a good reason for coming here, Ms. Stark.

[Bill Quinn]

Did you?

[Kathy Lewis]

You seem to have done pretty well up to now. Where do you go from here?

[Bill Quinn]

I don't see what that has to do with you.

[Kathy Lewis]

He didn't answer the question. What happens now that Reese is dead? Do you check out? Forget it. Or do you take a look to see if there are any more golden eggs around? Look, Mr. Locarno. Ted Locarno. Before you go any further, take a look at this. Edward Reese's checkbook. I found it in his hat under the bridge. Has a balance of $104,000 in the account. And nobody knows that he's dead. Does that suggest anything to you?

[Bill Quinn]

I don't know. I. We couldn't get away with anything like this.

[Kathy Lewis]

Thanks, baby. You just passed the examination. Only one thing bothers you, doesn't it? Can we get away with it?

[Bill Quinn]

I. I don't know.

[Kathy Lewis]

Answer that one, will you? Can we get away with it? That's all that matters to you now, isn't it?

[Bill Quinn]

Yes, that's all that matters.

[Kathy Lewis]

Good. Ah, let me see that check again. Edward Reese. Standard Spencerian. Probably picked it up in the fifth grade, never changed it. I'll have that signature down cold in 24 hours.

[Bill Quinn]

You're pretty sure of yourself.

[Kathy Lewis]

All I need's a little practice.

[Bill Quinn]

Sure, but how about that body in the morgue? What if someone identifies it?

[Kathy Lewis]

So it's a gamble. I don't know about you, but with a payoff like that, I'll take a flyer. We hold off a few days. If no one tags him, we go move in. It's as simple as that.

[Bill Quinn]

Is it now?

[Kathy Lewis]

What's bothering you?

[Bill Quinn]

Oh, I'm just wondering.

[Kathy Lewis]

I know you're wondering. What's to prevent you from learning to forge that signature and draw checks on the account yourself? Maybe there's only one thing that's me. This is a two way deal, baby. Let's have that understood. Right now. Okay.

[Bill Quinn]

Okay.

[E]

Yes, Ted. You need each other, but there's plenty to share. $104,000. You spend all that night practicing the signature over and over. You write the name Edward Reese, ten times. One hundred, a thousand. By morning, you can sign the name as if it were your own. And with a little luck, it might as well be. You leave your room and buy a new. Scan it hungrily as you gulp your coffee. On page six, in the lower right column, you find an obscure item that almost knocks you over. You can't wait to get to Harriet. Let her read it too.

[Bill Quinn]

The battered body found beneath the Jefferson Bridge was identified last night by Mrs. Rosa Montalvo.

[Kathy Lewis]

Oh, read on.

[Bill Quinn]

Rosa Montalvo, who told police it was that of her husband, Jerry. Ted, they think Reese is Montalvo.

[Frank Lovejoy]

Yeah.

[Kathy Lewis]

That makes everything perfect. It's clear sailing now, and we can take our time.

[Bill Quinn]

Edward won't be missed for weeks. Ted, he never let people know when he came to the city.

[Kathy Lewis]

Yeah. There's one thing. His bank statements. Is there anyone they go to?

[Bill Quinn]

No, no, it's a separate account. The statements are sent to a post office box. I have the key, mister. All you have to do now is start writing checks. The desk's right over there.

[Kathy Lewis]

Oh, wait a minute. It's not that easy. We're not breaking into a piggy bank.

[Bill Quinn]

I thought you said yourself they think he's alive.

[Kathy Lewis]

Oh, look, sweetheart, you don't just walk into a bank and try to cash a check for 10,000 bucks. The teller would jump out of his cage. But it's a business of transferring credit from one account to another. We gotta work for this baby. Set up phony corporations, letterheads, statements, invoices right down the line.

[Bill Quinn]

You seem to know your business.

[Kathy Lewis]

They call me the bright boy who never got a break. I got one now.

[Bill Quinn]

What's our next move?

[Kathy Lewis]

Well, we'll need some cash to get things started. How much you got on hand?

[Bill Quinn]

Not much.

[Kathy Lewis]

The check stubs say different.

[Bill Quinn]

I live well. It goes fast.

[Kathy Lewis]

How much is not much?

[Bill Quinn]

About $85.

[Kathy Lewis]

You do live well. All right. We'll have to take a chance. You think the bank would hold still if you tried to cash one of Reese's checks for a grand?

[Bill Quinn]

I don't know. I've never tried.

[Kathy Lewis]

Well, you'll know tomorrow. It's a gamble, but we gotta try. Meanwhile, I can use about 20 of that 85 bucks of yours. How about us?

[Bill Quinn]

Okay. Until tomorrow.

[E]

Even thousand.

[Bill Quinn]

That's right.

[E]

Excuse me a moment, Ms. Stark. I'll have to Speak to the cashier.

[Frank Lovejoy]

Yes, Austin.

[E]

Mrs. Stark over there, she wants to cash this, sir.

[Kathy Lewis]

Ms. Stark?

[Frank Lovejoy]

Oh, yes. Well, Reese's account is good for him.

[E]

Then it's all right?

[Frank Lovejoy]

I think so. Here, I'll initial it.

[Bill Quinn]

Thank you, sir. I see what you mean about cashing checks. I thought I'd die in there.

[Kathy Lewis]

You did beautifully, angel. And it's the last time you'll have to worry about it. We'll be in business within a week. See? It's like I told you last week, baby. We're in business. It wasn't easy. Establishing identity in a bank is a neat trick, but I made it.

[Bill Quinn]

Ted, you're wonderful.

[Kathy Lewis]

Yeah. Three dummy corporations. All of them are you and me. E.C. look at this. E.C. layton Jewelry Company, $700. Malcolm Dittmar Furrier, 1250. Atkins Brothers, $920. Not bad, huh?

[Bill Quinn]

I wish I was actually getting some of those things.

[Kathy Lewis]

Oh, honey, once we got all that dough spread around on these accounts, we. We can get it out and skip before anybody here begins to wonder about Edward Reese.

[Bill Quinn]

Well, it can't be soon enough for me.

[Kathy Lewis]

Now, don't get anxious, sweetheart. We're doing great. In another week, we'll really begin to cash in. You expecting anybody?

[Bill Quinn]

Relax. I'll get rid of him.

[Kathy Lewis]

Yes?

[E]

Excuse me, ma' am, but I'm from.

[Kathy Lewis]

The Mary Ann Flower Shop.

[Bill Quinn]

Oh, yeah, Flower.

[Kathy Lewis]

We hate to trouble you, but there's.

[E]

A considerable balance that hasn't been taken care of, and Marianne thought that you'd.

[Frank Lovejoy]

Want it called here at.

[Bill Quinn]

How much is it?

[Kathy Lewis]

$69.

[Bill Quinn]

Just a minute. Oh, Edward.

[Kathy Lewis]

Yeah?

[Bill Quinn]

Write the gentleman a check, will you, darling?

[Kathy Lewis]

Oh, can't they send a bill, Please, darling?

[Bill Quinn]

I forgot to give it to you. And they've been very patient as they it is. It's only $69. Pretty please?

[Kathy Lewis]

Okay, sweetheart, save that talk for something expensive. Go get my pen.

[Bill Quinn]

Yes, dear.

[Kathy Lewis]

They. They think it grows on trees. Yes, well, I suppose it does for some people, sir. Yeah. Yeah, I suppose it does.

[E]

Yes, it does grow on trees. At least for you and Harriet. Everything's going smoothly so far.

[Kathy Lewis]

Perfect.

[E]

You're able to relax, to feel more sure of yourself. It's almost as if you are Edward Reese. Not only because of the money, but a growing interest in Harriet. She's an exciting girl, isn't she, Ted?

[Frank Lovejoy]

Very exciting.

[E]

Perhaps that's why you're thinking so much about your appearance lately. Why you walk into a clothing store near the end of the week and get fitted for a new suit. The clerk is gone for some time. After you make your purchase, you're standing in front of the mirror when he comes back, embarrassed and apologetic.

[Frank Lovejoy]

Mr. McConnell, I am terribly sorry, but the check this Mr. Reese gave you, it's.

[Kathy Lewis]

Oh, what's the matter with it?

[Frank Lovejoy]

Well, just as a matter of routine, of course. We called the bank and I'm afraid your friend hasn't sufficient funds to cover it.

[Kathy Lewis]

What?

[Frank Lovejoy]

I hope it's only a mistake, sir, that you. You know him well enough.

[Kathy Lewis]

Oh, yes. Yes, I know him well enough. And I'd better go and see him right away. What did you do with it, Harriet? Where's the money?

[Bill Quinn]

I tell you, I don't know anything about it.

[Kathy Lewis]

Over 80,000 left in that account and they couldn't cover a check for 200. That wasn't smart, baby, not at all.

[Bill Quinn]

I don't know what you're talking about.

[Kathy Lewis]

No? Then why the suitcase? When people start packing, they're going somewhere.

[Bill Quinn]

Well, I was nervous about staying here. This apartment makes me nervous.

[Kathy Lewis]

You couldn't wait? She got anxious. No, Ted. You never stopped figuring it from the first day I walked in here. You could practice that signature, too. Ted, please. I'm snow. Go, baby. I won't be played for a sucker. It's more than the money, Ted. You had me hooked all the way. But that's over. And so are you, sweetheart.

[E]

No.

[Kathy Lewis]

So are you, Ted.

[Bill Quinn]

No.

[E]

You stand there for a moment, looking down at her like a man in a nightmare, the red rage in your mind slowly subsiding, leaving you free to think. And you have to think fast, Ted. She got that money somehow. You're sure of it. It's here in the apartment somewhere. You go through the half packed suitcase first and then tear a room apart, searching, frantic.

[Kathy Lewis]

Exactly.

[E]

You've almost calmed the apartment when.

[Frank Lovejoy]

The door.

[E]

Someone's at the door. You walk quickly through the kitchen to the trade entrance. Let yourself out cautiously glance down the corridor to the front door. The little man from Marianne's Flower Shop is standing there patiently. You slip around the corner, down the fire stairs and out of the building. 20 minutes later, you're entering the dingy lobby of your hotel. The man at the desk looks up nervously, and a moment later, you know why. When a plain clothesman moves up quickly.

[Frank Lovejoy]

Ted Locano?

[Kathy Lewis]

Yes?

[Frank Lovejoy]

They want to talk to you down at headquarters.

[Kathy Lewis]

Well, what's the matter?

[Frank Lovejoy]

I have just routine some questions about that guy you found under the bridge. They've arrested a suspect. Oh.

[Kathy Lewis]

Oh, well, look, do they have to talk to me? I've got an appointment.

[Frank Lovejoy]

It won't Take long, buddy.

[Kathy Lewis]

But I've told them all I know.

[Frank Lovejoy]

They want to hear it again.

[Kathy Lewis]

Okay, but let's make it quick, huh?

[Frank Lovejoy]

I got a car right outside. The whole thing shouldn't take more than an hour.

[E]

You're still alright, Ted. That is, if you can talk to the police quickly, answer their questions and be on your way. As you ride across town in the police car, you hope that the little man from the flower shop didn't get into Harriet's or raise any kind of fuss at headquarters. The lieutenant in charge is almost apologetic. You run through the story, telling it exactly the way you did the first time. The lieutenant seems satisfied.

[Frank Lovejoy]

You didn't move the body or touch anything, Locarno.

[Kathy Lewis]

Not a thing. I know better than that.

[Frank Lovejoy]

Just called the officer on the beat. Is that it?

[Kathy Lewis]

Right.

[Frank Lovejoy]

That seems to cover it all. You see, we didn't have much to go on in this case. Yes, Sergeant. We still haven't been able to talk to the Stark dame. We've called and Conway's been over to her apartment twice. She's not at home. We've got to talk to her. Sergeant. Break into the apartment if you have to. Bring her in. Okay.

[Kathy Lewis]

Well, I. I guess I can be running along. Hello, Lieutenant.

[Frank Lovejoy]

Uh, just one more thing, Locarno. There's a stenographer in the next room here. Would you mind repeating the story to her? The Whistler will return in just a moment with a strange ending to tonight's story. Right now, however, I'd like to say a word about the current trend back to good old fashioned value in buying. Frankly, we at Signal are delighted to see this. After all, Signal gasoline, the famous go farther gasoline has long been the choice of drivers who appreciate extra value. And for two good reasons. One, of course, is Signals good mileage. And number two is the thing which makes that good mileage possible. Signal superior performance. Here's what I mean. In order to put that thrilling knock free power back of your accelerator, Signal gasoline has to help your motor run more efficiently. And when your motor runs more efficiently, naturally you enjoy extra mileage. So you see, mileage is the result of the same features a gasoline must have to give you superior performance. That's why Signal says in gasoline it takes extra quality to go farther. And remember, Signal is the famous go farther gasoline. And now back to the Whistler.

[E]

So you have to fight it through for another five minutes, Ted. And a police station is the last place in the world you'd choose right now with a picture of Harriet lying dead in her apartment, still fresh in your mind. It's too bad, isn't it, Ted? Everything would have been so different if she hadn't insisted on taking it all. The untapped balance in Edward Reese's fabulous check would have bought the world for both of you. But you have to forget that now. Concentrate on the matter at hand. Tell your story and get out of the police station before the Lieutenant's men break into the apartment. Before anything develops that will link you to the murder of Harriet Stark. You follow the lieutenant to the door of the stenographer's office.

[Frank Lovejoy]

Only take you a minute, Locarno.

[Kathy Lewis]

Mary Ann. Oh, wait, Lieutenant.

[Bill Quinn]

Mary Ann. Flower shop.

[Kathy Lewis]

That's right.

[Frank Lovejoy]

When I read All About Mr. Reese.

[Kathy Lewis]

In the papers, I went right up.

[Frank Lovejoy]

To Ms. Stark's apartment. Nobody answered. So I thought I'd come down here and take it up directly with Mr. Reese.

[Bill Quinn]

Well, I'm sorry you can't see Mr.

[Kathy Lewis]

Oh, she's busy, Lieutenant. I'll. I'll come back.

[Frank Lovejoy]

This guy isn't important.

[Kathy Lewis]

No, no, later.

[Frank Lovejoy]

Look, I tell you, it's all right. That guy isn't a witness. He's just been pestering us to let him talk to Edward Reese.

[Kathy Lewis]

Reese?

[Frank Lovejoy]

Yeah, he's the suspect I told you about. Knocked off that guy you found under the bridge.

[Kathy Lewis]

You've arrested him, you've got Reese here.

[Frank Lovejoy]

In the tank, and we've got all we need to hang him.

[Kathy Lewis]

But I haven't heard the last of me, young lady. I'll get to Mr. Reese. Might seem small to you people, but.

[Frank Lovejoy]

When a $69 check bounces, it means a great deal to Mary Ann Florist.

[Kathy Lewis]

And Believe me, why, Mr. Reese.

[Frank Lovejoy]

Hello. I've been begging them to let me see you. Huh? Did.

[Kathy Lewis]

Did I say something wrong? Why are you looking at Mr. Rees? The man's made a mistake. Lieutenant, you know my name is Locarno.

[Frank Lovejoy]

You were there that night in the apartment. Here. I have the check you signed Edward Reese. Let's see that check. Of course he signed this.

[Kathy Lewis]

Now, wait a minute, I.

[Frank Lovejoy]

How long has this been going on, Locarno?

[Kathy Lewis]

I tell you, I don't know anything about it.

[Frank Lovejoy]

No, just a minute, Lieutenant.

[Kathy Lewis]

Lieutenant, I'm not going to stand here and have someone tell me I'm lying.

[Frank Lovejoy]

He was in Ms. Stark's apartment that night.

[Kathy Lewis]

He wrote this check.

[Frank Lovejoy]

He did, huh? What's wrong, Locarno? You look a little pale. Ever take a crack at forgery before, Locarno? You know I'd have given you credit for more sense. How did you figure to get away with it. Reese'd get wise the minute he saw his bank statement.

[Kathy Lewis]

Reese's? He's the guy I found under the bridge.

[Frank Lovejoy]

Don't you read the papers? The guy's name was Montalvo. His wife identified him.

[Kathy Lewis]

She made a mistake.

[Frank Lovejoy]

We checked it. It's Montalvo. Right down to his bridge work. He'd been blackmailing Reese for months.

[Kathy Lewis]

Wait a. You mean he.

[Frank Lovejoy]

Sure. Rhys got fed up with blackmail and killed Montalvo. We picked Rhys up last night after he cleaned out his bank account and tried to get out of the country.

[Kathy Lewis]

The bank account? Then that's what happened to it.

[Frank Lovejoy]

He was a clumsy operator, too. Locarno, huh? Yeah. Reese made as big a mistake as you did. He left his hat at the scene of the crime. Let that whistle be your signal for the Signal Oil program. The whistler each Monday at 8. Brought to you by the Signal Oil Company. Marketers of Signal gasoline and motor oil and fine quality automotive accessories. Signal has asked me to remind you to get the most driving pleasure. Drive at sensible speeds, be courteous and obey traffic regulations. It may save a life, possibly your own. Featured in tonight's story were Frank Lovejoy and Francis Cheney. The Whistler was produced by George W. Allen with music by Wilbur Hatch, story by Joel Malone and Harold Swanton and was transmitted to our troops overseas by the Armed Forces Radio Service. This is Marvin Miller speaking for the Signal Oil Company. This is cbs, the Columbia Broadcasting System.

[Kathy Lewis]

Night Beat. Hi, this is Randy Stone. I cover the Night Beat for the Chicago Star. Stories start in many different ways, but tonight's story began when one man tried to destroy another with the strangest weapon of all. Darkness.

[Frank Lovejoy]

Night Beat. Starring Frank Lovejoy as Randy Stone.

[Kathy Lewis]

When your job is to walk into the darkness and discover what makes a city tick, you pick up some mighty strange friends. The winos drink, dreaming of a muscatel paradise in cold, dark doorways. The petty larceny boys with their fast deals. The painted little dames defying the world with their brassy laughter. The homeless, the hopeless. In the city, night is for the lost. And sometimes you feel a hunger to be with someone of the everyday world. Some nice, well adjusted soul who's got a reason for waking up tomorrow morning. I guess that's why I dropped in to see Bessie Chatfield tonight. Bessie's a little gray haired librarian who has charge of a small storefront library on Huron Street. No one around this time of night but Bessie. And the young fellow in a gray raincoat alone at a reading table.

[Bill Quinn]

Mr. Stone. Well, we haven't seen you. Oh, in such a long time.

[Kathy Lewis]

Well, since forever. Amber, you haven't had the kind of high type literature that interests me.

[Bill Quinn]

And when you finally do drop in, look what time you get here? 10 o' clock. Right when I have to go over and start turning out the light.

[Kathy Lewis]

I. I timed it that way so I could get you behind those bookcases, away from that fellow with the reading desk.

[Bill Quinn]

Well, I'm afraid your timing is about 35 years off, Mr. Stone, on the light switches. Why do they always put them up so high?

[Kathy Lewis]

Aren't you going to tell that fellow it's time to go home?

[Bill Quinn]

This is the way we tell him. We flick off the lights and then flick them on again. First off, like this.

[Kathy Lewis]

No, don't do that. Now what? Turn the lights on, quick. Let me handle him. What's the idea of doing that, mister? That's supposed to be smarter, sir. Oh, take it easy, fella. Take it easy. Or did he pay you to do it? Is that the deal? Huh? You tell George Brewster that the game doesn't amuse me anymore. You tell him if he keeps that up, I'll. I'll kill him.

[Bill Quinn]

Oh, wait. I turned the lights out. It's closing time.

[Kathy Lewis]

What? Closing time. Oh, yes, of course. What's wrong with you, buddy? You sick or sick? Sick. Yes, that's me. Sick. Only mine's a childhood disease. Childhood? Childhood.

[Bill Quinn]

Now, what in the world was that?

[Kathy Lewis]

I don't know. Ever seen him before?

[Bill Quinn]

He's come in a couple of times this week. Spent all his time reading some reference books at the table. Seemed to be such a nice, polite young man. Considerate, kindly.

[Kathy Lewis]

Let's take a look at those books.

[Bill Quinn]

Oh, my heavens. My. My heart is beating a mile in a. And did you see his face? It frightened me.

[Kathy Lewis]

He was even more scared than we were.

[Bill Quinn]

Of what?

[Kathy Lewis]

Of these are books he was reading?

[Bill Quinn]

Yes.

[Kathy Lewis]

The Mind in Limbo, Abnormal Psychology, Modern Psychiatry.

[Bill Quinn]

Why would he want books like this?

[Kathy Lewis]

Maybe he was looking for somebody in these books.

[Bill Quinn]

Who?

[Kathy Lewis]

Himself. Bessie. Probably himself. Bessie was pretty upset, so after she locked up for the night, I started walking toward the elevator station over on Lake Street. We walked a couple of blocks through the dark, empty streets when suddenly Bessie grabbed my arm.

[Bill Quinn]

Mr. Stone, that man down the street.

[Kathy Lewis]

Looking in that store window, that's him. Yes. Same gray raincoat. Same man.

[Bill Quinn]

And look, Mr. Stone. What's that in his hand?

[Kathy Lewis]

That's a piece of paper.

[Bill Quinn]

He's breaking that store window.

[Kathy Lewis]

Yeah. You wait right here, honey.

[Bill Quinn]

Be careful, Mr. Stone. Be careful.

[Kathy Lewis]

The fellow was reaching through the broken window glass for whatever it was that had struck his fancy. He heard me coming and turned toward me. The wan street light did something to his face. It seemed twisted and torn. Blood was running down his hand where the glass had cut it. Then I saw what he'd taken from the window. A gun. What's the idea, pal? He spun around and started running for the elevator station down the block. And in the best tradition of the Rover boys, their state right on his tail. He turned back to see how I was doing. He stumbled over a trash can occur. I caught up with him, grabbing his arm. Leave me alone. He slashed the gun across my face and began running again. I stopped long enough to take a quick inventory of my teeth. Up above, I heard the elevator train coming into the station. The unpowered re was going up fast. Trying to make that claim, I reached for one of his legs. He turned and gave it to me right in his stomach. I folded up and I just sat there. I listened to the train pull away with the fellow on it and remembered what Bessie had said about him being such a nice, polite young man. After a while, I began to feel somewhat human again. I notified the police what had happened and they set a squad car out. After they left, I remembered something. A name this nice, polite young man had been throwing around. George Brewster. I found a phone book in a cigar store. There were three George Brewsters. The first number didn't answer. I tried the second. Hello? I'd like to speak to George Brewster.

[Bill Quinn]

He's not in right now.

[Kathy Lewis]

Is there any message? Who is this?

[Bill Quinn]

I'm his sister. Is anything wrong?

[Kathy Lewis]

Well, if this is the right George Brewster, something is wrong. Is there any reason why a young fellow should want to kill your brother?

[Bill Quinn]

Oh. Oh, that would be Morrison.

[Kathy Lewis]

Oh, I warned George Morrison. Huh? Where does he live?

[Bill Quinn]

I wrote a Park on 612 Hammerdale Avenue. What makes you think he wants to kill George?

[Kathy Lewis]

Well, this character broke into a store tonight and stole a gun. I sort of think he had your brother in mind when he did it.

[Bill Quinn]

Oh, no. What am I going to do?

[Kathy Lewis]

Well, lady, I know what I'm going to do. As fast as I hang up and get another nickel into this phone, I'm going to call the police.

[Bill Quinn]

I feel so bad. It's not really Marson's fault. For a man.

[Kathy Lewis]

Oh, no, no, he's. He's just a prince of a fellow. Goodbye, lady. I've got to make a. But then it turned out that I didn't have a nickel, and on the way to the counter for change. I started wondering why the sister of the man he was going to kill felt sorry for Morrison and why Bessie thought he was such a sweet character. And. Well, the night was young. And 612 Hamlin Avenue couldn't wait and I could call the cops later. 6:12 North Tamlin was a second floor flat on the north side. I got there a few minutes after 11 that night. All the windows were lit up. I rang the bell and I waited. I felt a little bead of sweat zigzagging down my face, like I didn't have any place to go. Yes? It's you. No, no, let's not close the door just yet. In fact, let's push it open all the way. What do you want? My two front teeth and a few ribs? Get out of here. Now, look, pal, don't tempt me. I came against my better judgment to listen to what you've got to say. I leave now, the only place I'm going is the nearest police station. Police station? I guess maybe that would be the best. What? Otherwise, I don't know what's going to happen. I guess you better call the police, mister. What do you think you're doing? Calling my bluff. The phone's right behind you. Okay, buddy, you asked for it. Sure this is the way you want it? It's better this way. I'm at the end of my rope. I don't want to kill him. George Brewster. Yes, George Brewster. I know how it'll end if he doesn't stop. Stop what? Call the police, Mister. You'll be doing me a favor. Since when have I got to do you favors? Well, why aren't you calling? I'm an Eagle Scout in good standing. I haven't done my good deed for today. You can't help me, Mr. Stone is the name. What makes you so sure I can? Thanks for even wanting to after that bad time I gave you. Bad time? That's the understatement of the year. Well, I was panic stricken. He got me half crazy. Well, what have you got to lose? If you told me about it. No. Okay, wait, wait. I don't know. I'm like a drowning man grasping at straws. Look, maybe if you talk to Brewster, told him what he's doing, I mean, maybe he'd leave me alone. Well, you never can tell. But I'd have to know what I'm talking about. It's quite a story, mister. These lights, look at them. Bright as the sun. Aren't they lamps overhead? Chandeliers. Look at them. I'd hate to see your light this. Like some men need drugs. That's how I need these lights. Come again? My sanity depends on it. My very sanity. And these lights. It's a sickness. You've even got a name for it. Noctophobia. It's called fear of darkness. Fear of darkness? That's for kids. I. No, I take that back. I'm sorry. Don't be. I quite agree. Kids or neurotic women. But in a man of my age, it's quite ridiculous. When the day starts drawing to a close, when the night starts crowding in. Have you been to a doctor? Sure I've been to doctors. They tell me I shouldn't feel too badly. Plenty of people with my trouble. A hangover from childhood. An illness like heart trouble is an illness. I'll take the heart trouble. Maybe haven't gone to the right kind of a doctor. Maybe psychiatry could help. Nothing's gonna help me. George Brewster is gonna see to that. What about this Brewster? He's trying to destroy me with the strangest weapon of all. The strangest weapon of all? Yes. His weapon is.

[Frank Lovejoy]

You are listening to Nightbeat, starring Frank Lovejoy. In a moment, we'll return to Nightbeat and Randy Stone. But first we'd like to call your attention to another great NBC mystery adventure program. Every Sunday you want to hear the exciting new Christopher London series. With screen actor Glenn Ford in the title role. Stories for Christopher London are furnished by Earl Stanley Gardner, one of the most famous mystery story writers in America. There is no doubt about the greatness of Gardner's stories. And with the superb acting of Glenn Ford, Christopher London should be must listening for every mystery fan. Make a listening date now to hear the exciting adventures of Christopher London every Sunday over most of the these same NBC stations. And now back to Frank Lovejoy as Randy Stone in Nightbeats.

[Kathy Lewis]

It was a weird feeling standing in Morrison's brilliantly lighted parlor listening to him tell me about his terror of darkness. A stir healthy looking man trapped by a childhood nightmare. I felt guilt listening to him. Like I was eavesdropping into a dark corner of his mind that was nobody's business but his own. And yet he had to tell me. Because he needed help. Because George Brewster was using Morrison's fear to destroy him. I was sent to Chicago by our company to replace Brewster Stone. Until he found out why I was here, he couldn't do enough for me. Even got me this apartment. Greater love has no man. Then he found out what the setup was. He changed fast enough how did he find out about this fear of yours? Well, I'm telling you how. The other night, the two of us were working alone in the big vault down at the office, working on some old car. The overhead light blew out. It was so sudden. I couldn't help myself. I tried to keep calm, but looked like something tearing me to pieces inside. I couldn't breathe. I couldn't find. I had to run. So he found out. No, no, no. He wasn't sure, but started him thinking. I see. Next afternoon, he came over to my desk. He was jovial, friendly, like he'd been in the beginning. Saying we'd been at each other's throats long enough. Inviting me to have dinner with him at night. Right from work, we went to his favorite spot on the north side. A place called the Catacombs. I began feeling uneasy the moment I entered.

[Frank Lovejoy]

How do you like this place, Tom?

[Kathy Lewis]

That's okay. It's fine.

[Frank Lovejoy]

It's been a favorite of mine for years. One spot in particular. The wine cellar. How do you feel about wine?

[Kathy Lewis]

I like it. All right.

[Frank Lovejoy]

Come along with me. I'm a wine man. Hand from way back.

[Kathy Lewis]

Say, George, I wanted to talk to you about that little outburst last night.

[Frank Lovejoy]

They have a different wine cellar here with a different temperature for each type of wine.

[Kathy Lewis]

I haven't been sleeping well, you see.

[Frank Lovejoy]

Me, I prefer Riesling myself. Well, here we are, huh? At the white wine cellar. We'll select our own brand for our supper. Here. I'll open the door.

[Kathy Lewis]

Yeah.

[Frank Lovejoy]

This is a privilege only an old customer like me can get away with.

[Kathy Lewis]

With. Come on. Dark down there.

[Frank Lovejoy]

That's why they've got this candle here on the ledge. Got a match?

[Kathy Lewis]

Why a match?

[Frank Lovejoy]

Down.

[Kathy Lewis]

Yeah. Here.

[Frank Lovejoy]

Okay. I'll get this candle going.

[Kathy Lewis]

Good.

[Frank Lovejoy]

Now let's go downstairs.

[Kathy Lewis]

George, you think we should do this on our own?

[Frank Lovejoy]

Done it hundreds of times. Been coming here for the last 10 years. Well, now, let's go down these stairs.

[Kathy Lewis]

Careful. Dirt. I was explaining about last night.

[Frank Lovejoy]

Candle casts funny shadows, doesn't it? Notice how cool it is 20ft below seat level? Here.

[Kathy Lewis]

Look, I want to talk about last night. I don't want any misunderstanding. It's just that I've been working pretty hard.

[Frank Lovejoy]

Look, how would it make you feel better if you showed me you're not afraid to the dark? Okay, you can show me. I'll blow out the candle.

[Kathy Lewis]

What are you trying to prove, Brewster?

[Frank Lovejoy]

Nothing at all. It's your idea.

[Kathy Lewis]

Where are those matches I gave you?

[Frank Lovejoy]

You gave me some matches? I must have Lost them.

[Kathy Lewis]

It's not going to work, Brewster. I'm not insane, you know. I can stay down here until you're quite satisfied.

[Frank Lovejoy]

Funny, isn't it, about the darkness. The way it seems to close in on you.

[Kathy Lewis]

The way you start thinking you can't breathe.

[Frank Lovejoy]

I know. I. I can see how someone could. What's the matter?

[Kathy Lewis]

This is ridiculous.

[Frank Lovejoy]

Something so suffocating about a dark room.

[Kathy Lewis]

Stop it. Stop it with a heavy smile. Stop it. Where you going, Tom? Anything wrong?

[Frank Lovejoy]

Anything wrong? Anything wrong?

[Kathy Lewis]

Ran out of that cellar like a kid. Like a kid. Scared to death, Stone. That was a rotten thing for him to do. Well, he's fighting for his job, Stoney. Not too young anymore. He can't start all over again. So we'll do it. Anything. Oh, great. I'm sure he's told the people down at work. I'm sure they're all laughing at me behind my back. You don't know what that does to me. I can imagine. Today I found a new desk lamp on my desk, courtesy of George Brewster. Every day, something like that. Did you ask him why he's doing it? He won't admit he's doing anything. Since it's all my imagination, maybe I ought to see a doctor. Or better still, maybe a change of climate would help. I'd leave town in a minute. I mean, my future's at stake, too. Before I let him drive me crazy, I'll kill him. Well, I'm going now. I'm going to talk to this bird. Where does he live? Out in the suburbs.

[Frank Lovejoy]

Lake Forest.

[Kathy Lewis]

He lives with his sister. All right. I'll give you a ring as soon as I've seen him. Mr. Stone, I hope you can do some good. Yeah. Oh, say, I almost forgot something. What now? That gun you made off with. Maybe if we're lucky, we can talk the store owner out of pressing charges. I'll try. That was a crazy thing to do. I was so desperate. Wouldn't have done you much good when they put them in the window. They never loaded. I'll let you in on a secret. If I hadn't known that, I wouldn't have been such a hero coming here tonight. I'll let you in on a secret, Mr. Stone. You can get bullets without a license. The gun's loaded now. Oh. Oh, great. All right, go. Go and get it for me. All right. Yes, I want to give it to you. It's in my bedroom. He started for the bedroom. Then it was almost like a comedy routine, where after the big buildup, the punchline Comes right out on cue. The moment he entered the other room, every light in the house suddenly went out. What happened to lights? Take it easy. Who has a fuse box? I don't know. Never had any occasion to use it. Besides, if it was a fuse, all the lights wouldn't go out. It wasn't. You lose your head. How could I do it? I'm getting out of here. All lights out too, Stone? Well, maybe something went wrong with the central wire. But why should it happen? Exactly. Now wait. Huh? The downstairs apartment. Their lights are on. If it was the wire, I'd. All right, let's ask them where the fuse box is. Yes. Oh, Mr. Morris, my lights went out. It might be a fuse. Where are the fuse boxes for these apartments?

[Bill Quinn]

Out in the back. I'll get a flashlight and show you. Here we are. The shoes boxes. Right here below our meters. Whenever the people from the light company come out, they have a dickens of a time finding it.

[Kathy Lewis]

Can you hold the flashlight, student? Let me tickle. Wait a minute, Stone. Lower the flashlight just a little. Huh? It's not the fuse. Look at the master switch on my meter. Look at the one of Mrs. Graham's.

[Bill Quinn]

Why? Somebody pulled your switch down to off.

[Kathy Lewis]

Yes, yes, someone surely did. Well, here, let me push it up.

[Bill Quinn]

And look upstairs. All your lights are on again.

[Kathy Lewis]

That's probably some kids playing a joke.

[Bill Quinn]

How do you suppose the rascals ever founded it? So well hidden?

[Kathy Lewis]

I. I've got a theory that all kids come equipped with a special radar finding things like this. Mrs. Graham, tell this gentleman who used to live in my apartment before I did.

[Bill Quinn]

Why tell him why? You know, evened out the apartment for you. Your friend, Mr. Brewster. What is that?

[Kathy Lewis]

That doesn't prove he didn't. For me it does, Stone. For me it does. Morrison went around to the front of his house and up the stairs to his flat. I waited in the hall until he came down again. He looked different. His face was hard and set. His eyes were like chunks of glass punched into the flesh. What are you waiting for, Stone? When we were so brutally interrupted, you were going for the gun. I've got it now. Ah, yes. Hand it over. I'll bring it back. No, thanks. Where are you going? And what are you gonna do? I'm fighting for my sanity, my life. He's never gonna do this to me again. Never. I can't let you do that. You're not gonna have to. The minute you leave, I'm gonna call up cop in the book. Yes, that's what you do, isn't it? Yes, and I'd better give you the gun. This could become habit forming. I dropped to my knees in the hallway and then the hallways subdivided like something under a microscope. And there were two hallways, and then there were four. And then everywhere I looked, there were hallways. Morrison tried to push me aside and get by me, only it was a whole circle of Morrisons. I grabbed at his legs to hold him back and was like grabbing at a centipede. Then all the Morrisons in all the hallways brought all their guns down on my one poor head. And that was it, brothers and sisters. That was it.

[Bill Quinn]

Feeling better, Mr. Stone?

[Kathy Lewis]

Oh, if I felt any better, I'd call in a bomber. Oh, what a business.

[Bill Quinn]

I heard the commotion and I came.

[Kathy Lewis]

Came out.

[Bill Quinn]

And you were dying here.

[Kathy Lewis]

Oh, this my head. Or is it a catal?

[Bill Quinn]

Oh, how did it happen? And where's Mr. Morrison?

[Kathy Lewis]

Oh, Morrison. Morrison, yes. How long ago did you hear this commotion?

[Bill Quinn]

Just a couple of minutes ago. You came out of it real fast.

[Kathy Lewis]

Yeah, I've got an iron constitution. Have you got a. Got a phone?

[Bill Quinn]

Well, yes, but don't you think you.

[Kathy Lewis]

Come on, lady, grab my head, put it back on nice and neat and let's get to that phone. Hello? Hello? This is the fellow who called you before, Ms. Brewster, about Morrison and your brother.

[Bill Quinn]

Oh, yes.

[Kathy Lewis]

He's not there yet, huh?

[Bill Quinn]

No, my brother.

[Kathy Lewis]

I don't mean your brother. I mean Morrison.

[Bill Quinn]

What?

[Kathy Lewis]

No. Oh, yes, he sure is. Now give me your address, and the minute you hang up, get away from your house as fast as you can. Morrison got a gun and he's half crazy.

[Bill Quinn]

Maybe we should call the police.

[Kathy Lewis]

Well, maybe we should, but I'm not going to. They'd throw the book at him. 10 years for attempted murder. I think I can stop him before he does anything.

[Bill Quinn]

I can't tell you how sorry I am about this.

[Kathy Lewis]

Later. You and your brother should be. The cat got me out to their Lake Forest house in less than 20 minutes. The house was on a hill and a flagstone path wound round and round for a city block until it reached the front porch. As I ran up the walk, my head started rattling like a handful of pennies in a tin cup. I felt weak and tired all the time I tried not to think about what I'd find when I reached the house. Now I was at the end of the path, walking toward the front porch. The nerve deep in my throat started jangling like a burglar alarm. House was in darkness and Morrison was standing beneath a little porch light, his gun Pointed right at me. You won't quit, will you, Stone? What have you done with him, Tom?

[Bill Quinn]

He hasn't done anything with him yet.

[Kathy Lewis]

Mr. Stone? Huh? Who is?

[Bill Quinn]

I'm sitting over here at the end of the porch. I'm George's sister.

[Kathy Lewis]

Oh. I didn't see you in the dark. Why didn't you get away like I told you? I won't hurt her. It's him. He'll be coming along soon.

[Bill Quinn]

George would never have done that. I beg him not to take advantage of a man's weakness.

[Kathy Lewis]

Well, Mr. Brewster is coming home, huh? His car is stopping at the bottom of the hill now he's starting the long climb. Morrison, listen to me. You just sit there, the both of you, and I must insist that you be very quiet.

[Bill Quinn]

Please listen to me. Please. Please.

[Kathy Lewis]

Keep coming up that path, Brewster. It's a long, long way.

[Bill Quinn]

You must listen to me.

[Kathy Lewis]

Morrison. You don't know what to do, waiting near the porch. Light the gun. George hurt you.

[Bill Quinn]

He shouldn't have done that.

[Kathy Lewis]

Far below, the small figure of George Brewster making a long, slow climb.

[Bill Quinn]

You're going to kill George because he found out about you here. But don't you see? George is afraid, too. Of bigger things. Of being 53 and seeing his whole life going.

[Kathy Lewis]

Rooster had stopped at the first landing to catch his breath. Now he was climbing up the path again. Maybe a hundred steps from his death. I found myself counting the steps.

[Bill Quinn]

Why are you afraid? Don't you see? If you weren't afraid, George couldn't hurt you anymore. Please listen to me.

[Kathy Lewis]

Keep your voice down. If you try to warn him, you both die, too. Keep coming, Brewster. Yes, he kept coming. No more than 70 steps now.

[Bill Quinn]

What is there to fear about the.

[Kathy Lewis]

Doctor, the girl's voice going on and on?

[Bill Quinn]

Nothing.

[Kathy Lewis]

Brewster. Getting closer.

[Bill Quinn]

All it does is hide.

[Kathy Lewis]

The less than 50 steps now. 40 steps. 30 steps.

[Bill Quinn]

If you believe in God, if you believe in your own soul, how can you fear the night? What is there in the darkness that can hurt you? There's such peace in the darkness. After the heat of day is gone, he rises. The tumult.

[Kathy Lewis]

Struggle.

[Bill Quinn]

You can breathe easy again. You can let the tightness inside unwind.

[Kathy Lewis]

She's almost close enough.

[Bill Quinn]

Listen to me. Please listen.

[Kathy Lewis]

It's not going to work, Ms. Brewster. I'm going to try him.

[Bill Quinn]

Right.

[Kathy Lewis]

Wait, Ms. Brucer. There we are, Ms. Brewster. No.

[Bill Quinn]

You must see me in the light.

[Kathy Lewis]

I tell you. Stay with Mom. Look at her. I can. Your eyes.

[Bill Quinn]

I'm not afraid. What right have you to fear, Julie?

[Frank Lovejoy]

Is that you on the porch?

[Bill Quinn]

What right have you to fear, Mr. Mar?

[Kathy Lewis]

What right?

[Frank Lovejoy]

What a long climb. Must be getting old. Well, what are you doing here, Morrison? And who's this?

[Kathy Lewis]

Oh, don't mind me. I just came along for the ride.

[Frank Lovejoy]

What's this all about?

[Kathy Lewis]

I. I just came to say goodbye, Brewster.

[Frank Lovejoy]

You're leaving?

[Kathy Lewis]

Yes. I'm going back and tell them you've. You've done a good job here. It's not fair to replace you after so many years.

[Frank Lovejoy]

You sure nobody scared you away?

[Kathy Lewis]

Mars. Look at him, Brewster. Does he look like he's afraid? I don't know if Julie cured Morrison of his fear of darkness. Cure is a pretty strong word. But maybe she helped. I kind of think so. I do know this. It's going to be mighty hard for Tom to fear the darkness, knowing Julie is not afraid. But either Tom nor I will ever forget what we saw as the floor porch light lit up her face. Julie Brewster, who did not fear the darkness, was blind. And now that part of the story they always print in heavy touch. The morals. And don't smile so indulgently. Morals are very nice things. Some of my best friends have morals. You know. Seriously, Julie's whole life is a morrow in itself. And trying to top it is like trying to follow Al Jolson with a Mammy song. The best you can do is tip your hat to the fellow who wrote out of the Night that covers May I thank whatever gods may be for my unconquerable soul. He must have had someone like Julie in mind. Well, four o' clock in the morning, stale cup of coffee, a tired sandwich and a story to dictate. And I worry about my unconquerable soul. Ah, me. Give me a rewrite.

[Frank Lovejoy]

Nightbeat, a new dramatic series, stars Frank Lovejoy as Randy Stone. Nightbeat is written by Larry Marcus and directed by Warren Lewis. Music by Frank Worth. Listen next week at this same time and every week as Randy Stone searches through the city for the stranger strange stories waiting for him in the darkness. The stories that come out of the shadows to find their way into Nightbeats. Stay tuned for Brian Don Levy and Dangerous Assignments on Epcot.

[Narrator]

We just heard Friend of Daddy's, Ivy is a lovely name, the Whistler and Nightbeat, all starring Frank Lovejoy. That will do it for this week's show. Thanks for joining me and thanks for your patience over the last few weeks. Had some unexpected things. Things come up at home, but I'm hoping that the release schedule will be more consistent going forward. I'll be back next Thursday with more Old Time Radio thrillers. In the meantime, you can check out down these Mean Streets, my Old Time Radio Detective podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can rate and review the show in Apple Podcasts or wherever you you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com Meansts OTR now good night until next week when I'll be back with another Hollywood legend starring in more tales well calculated. To keep you in.

[Frank Lovejoy]

Suspense.

[Bill Quinn]

Sam.

[Kathy Lewis]

Ladies and gentlemen, the chief hope of our enemies is to divide the United States along racial and religious lines and thereby conquer us. Let's not spread prejudice. A divided America is a weak America.

[Frank Lovejoy]

Through our behavior, we encourage the respect.

[Kathy Lewis]

Of our children and make them better neighbors to all races and religions.

[Frank Lovejoy]

Remind them that being good neighbors has.

[Kathy Lewis]

Helped make our country great and kept her free. Thank you.