Joseph Cotton (5:25)

Now Roma Wines R O M A made in California for enjoyment throughout the world. Roma Wines presents Suspense. Tonight, Roma Wines bring you the David o. Selznick star, Mr. Joseph Cotton in Crime Without Passion by Ben Hecht. A suspense play produced, edited and directed for Roma Wines by William Spear. Suspense radio's outstanding theater of thrills is presented for your enjoyment by Roma Wines. That's R O M a Roma Wines, those excellent California wines that can add so much pleasantness to the way you live. To your happiness in entertaining guests. To your enjoyment of everyday meals. Yes, right now a glass full would be very pleasant as Roma Wines bring you Joseph Cotton in a remarkable tale of suspense. She had phoned me to come over to her apartment. She wanted a showdown. Well, I wanted a showdown too. And so I went over to her apartment.

J. Carol Nash (6:37)

And after all the time I've given you, why everybody thinks we're engaged to be married. Now you're trying to give me the go by just like that. The girls in this show, what a laugh they'll hand me. Who do you think you are anyway?

Joseph Cotton (6:47)

Now, now, come and watch your temper.

J. Carol Nash (6:49)

Just think, just think. I've been such a fool, Earl Wilson and Winchell and just everybody. Won't they give me the rat in their column and the rest of the bunch around the El Bravo? When they get through with me, I'll probably lose my lead in the Bird of Paradise.

Joseph Cotton (7:05)

The nerve.

J. Carol Nash (7:05)

Treating me as if I was a nobody. Where do you get like that, taking up a girl's time?

Joseph Cotton (7:10)

She was the dancer at the El Bravo Club. She was number one on the line in the Bird of Paradise number in the Flora Show. That was where I first noticed her. I looked at her now with complete detachment. I wondered what I had ever seen in this red headed, illiterate creature with her childish face and muscular legs. How could I have ever considered her charming or desirable?

J. Carol Nash (7:34)

Probably for you.

Joseph Cotton (7:35)

More likely it's Eddie White calling you that dean of collegiate heroes.

J. Carol Nash (7:39)

Oh, yeah.

Joseph Cotton (7:40)

For me, by any mischance, just say I'm not here.

J. Carol Nash (7:43)

Hello? Hello? No, he's not here. I don't know where he is. He's not here. Your office. Always making me lie for you. And as for that crack about Eddie White, you don't fool me. Not for a minute. Don't just stand there and say mm HM in that smut way. You know very well I haven't been seeing Eddie Whites. Or just using that for an excuse. Well, are you or aren't you?

Joseph Cotton (8:03)

You know all the answers.

J. Carol Nash (8:04)

Sure, I know the answer to that. You're just saying that because you're trying to get rid of me. Trying to put me on the escalator, that's what.

Joseph Cotton (8:09)

Have it your own way.

J. Carol Nash (8:10)

Have it your own way. Why, you.

Joseph Cotton (8:12)

Now cut that out.

J. Carol Nash (8:13)

Because you're a lawyer, you can get away with this. I'll show you.

Joseph Cotton (8:16)

Hey, look.

J. Carol Nash (8:17)

Photograph in a swell, expensive frame. I'll show you what I think of that too. You're not gonna make a sucker out of me, you snoop.

Joseph Cotton (8:23)

No, no, no, no. Not my derby.

J. Carol Nash (8:25)

Your derby? Right off. Smash your face.

Joseph Cotton (8:27)

Now stay away from me. Now, don't come near me.

J. Carol Nash (8:30)

No.

Joseph Cotton (8:30)

That hurts.

J. Carol Nash (8:31)

That ain't the half of it all.

Joseph Cotton (8:33)

Why, you. You little vixen. How I hate you. I loathe you. I hate all of your kind.

J. Carol Nash (8:41)

Don't like me. Don't you dare. Lou, put down the candlestick. Lou, put it down. Lou, don't. Don't.

Joseph Cotton (8:54)

I was suddenly aware of a large brass candlestick in my hand. And on the floor lay calm and brown. I leaned over her. Her skull cracked and blood was running from it. Her eyes were closed. I listened. No heartbeat. I was suddenly overwhelmed with the thought that I had Committed a murder. I don't think there's a lawyer in New York with more thorough experience in the handling of criminal cases. No, I knew all the angles. I knew the pitfalls of the defense in such a case as this. I knew the psychology of the prosecution. I had unexpectedly and inadvertently been cast in the role of a criminal through my mind rushed all the prejudices and difficulties of such a case. And in less than a minute I had put myself on trial on a plea of self defense, reviewed the evidence and found myself guilty. It's a curious thing. No doubt the public at large, the layman, would expect that some unpublicized and secret professional legal maneuver would be used by the great Lou Hendrix in the present predicament. It would seem to the reader of crime fiction and the listener to radio mystery drama that some less hackneyed word than alibi would be the keyword to my puzzle. I am sorry, ladies and gentlemen. I should dearly love to shake some diabolically ingenious trick out of my lawyer's sleeve. But such would be a waste of time. An alibi was what I needed. I needed to establish simply and conclusively that I was not there at the time of Common Brown's murder. Time was the important element. Yes, I must begin at once to establish that alibi. For suspense, Roma Wines are bringing you Joseph Cotton in Crime Without Passion by Ben Hecht. Roma Wines presentation tonight in radio's outstanding theater of thrills Suspends between the acts of suspense. This is Truman Bradley for Roma. Wayne for suspense. Roma wines are bringing you Joseph Cotton in Crime Without Fashion by Ben Hecht. Roma Wines presentation tonight in radio's outstanding theater of thrills. Suspense between the acts of suspense. This is Truman Bradley for Roma Wine. Do you know the principal difference between American and European hospitality? Well, here's how famed Elsa Maxwell, authority on entertaining, sees it. Says Ms. Maxwell, American hospitality is distinguished by its informality. Good friends in America don't need an invitation. They just drop in and take potluck. That's why millions of American families always keep Roma California Sherry on hand. Roma Sherry is ideal for entertaining. A delicious wine, mellow, fragrant and medium sweet with tempting nut like taste. Glorious Roma Sherry is so easy to serve, so good with a simple snack any time of day. And Roma Sherry is popular with men and women alike. Preferred by millions as the perfect first call for dinner. Yes, you can serve Roma Sherry proudly. For Roma wine is America's first first choice. Yet Roma costs no more than ordinary wines. So for better, easier entertaining, get Roma Sherry tomorrow. That's R O M a Roma Wines. Remember, more Americans enjoy Roma than any other wine. And now Roma Wines. Bring back to our Hollywood soundstage. Joseph Cotton, who has New York's famous criminal lawyer Lou Hendrix in Crime Without Passion, resumes a narrative well calculated to keep you in suspend. I leaned over and glanced at the watch on Common's wrist. The dialed glass was broken. The watch had stopped. The hands pointed to two minutes of four. The clock on the desk had just struck four. The telephone. I let it ring. Had to. Of course. The phone made it impossible to establish an alibi by setting the time forward. Other phone calls might come in before 5 o'. Clock. Someone, perhaps a maid, might even come to the apartment in person. Through my mind rushed the courtroom scene in which my case would be tried. The prosecuting attorney wouldn't miss that. At 3:50 Carmen Brown was alive. As witness the fact that she answered a phone call which came through the switchboard to her apartment at that time. At two minutes after four, just 12 minutes later, a phone call came through that same switchboard which she failed to answer. Why? Gentlemen of the Jordan. No. What I needed was an alibi for the hour preceding 4 o'. Clock. The time at which her watch had stopped. I must provide not only an alibi for myself but also fortify it with evidence tending to prove that someone other than myself had done the deed. But how? Fingerprints. They told a graphic story. A story that would reveal that Carmen had been in a rage demanding something of the killer. This would point directly to me since I was known to have been her admirer and steady caller at her apartment. But if I could make it appear as though the assailant was demanding something of her, he was in a jealous raise. It smashed the articles, including the frame framed photograph of Lou Hendricks. And it's concluded with the killing of Common. I wiped the fingerprints carefully from the articles in question with my silk handkerchief. Again I imagine myself on trial in the courtroom. This time with my defense counsel addressing the jury. Ladies and gentlemen of the jury. Carmen Brown had undoubtedly been attacked by some other other shooter who was obviously jealous of the defendant Blue Hendrix as witness the destroyed photograph of the latter. You will also note her assailant was crafty enough to remove all. So far it was good. I had set the scene. I was ready to leave the apartment. But wait. I just remembered. A gun was in Common's desk only a few feet from where she now lay. They would wonder why she hadn't defended herself with it. The prosecuting attorney wouldn't miss that. Oh, no. He'd point an accusing finger at me. And yet Carmen brown did not reach for this weapon with which she could have defended herself. Why? Was it because the assailant was someone familiar with her? Someone against whom she had no thought of harming herself? Or perhaps because the assailant was familiar with the premises and knew where the gun was and prevented her from reaching it? I took the gun and slipped it into my coat pocket. I would dispose of it later. I took every precaution to make sure that no one saw me. As I left the building, my trained legal mind warned me against a surprise witness which in so many court cases was dramatically brought forth by the prosecutor to confound the guilty. I remembered grimly how some of my best cases had tumbled by the appearance in court of some aimless stray human, Someone who happened to have seen the defendant during his presupposed alibi. The prosecutor would have a gleam in his eye questioning such a witness in the courtroom. And you say you saw the defendant, Lou Hendrix, leaving the apartment building shortly after the time of the murder. This must not happen. I had my plan pretty well in mind by now. I took a back shortcut to broadway. The palace theater wasn't off r. There was not a long line waiting. I bought my ticket and went quickly in without waiting. Seats in the third aisle to your right, please. The moment I was seated, I got up again. I returned to the lobby up the other side of the aisle and went directly to the lost and found desk. Was there something I can do for you, sir? I wish to report the loss of a pair of gloves. Do you have any idea where they were? Lost somewhere in the theater. I had them when I came in. Not usually so careless, but the picture was so engrossing. I was completely carried away with it. And, well, I. Apparently, I failed to carry away my gloves. Gloves? I imagine they'll be turned in, sir. Well, I'm sure they'll be found if you'll just make a record of it. Lou hendrix is the name with an x. Hendrix, huh? H, e, n d R I x. Huh. That's an unusual spelling. Family name. Well, all right, sir. Mr. Hendricks, if you'll just fill out this blank with your name and address and the time. Oh, yes. Oh, yes, yes. To be sure. The time. Let's see. What is the time? It's exactly 20 minutes after 4. I'll record that on the blank for you. After 4? Could it be that way? Evans had no idea of the time. Quite a long picture. Yes. The picture Was a little longer than most. I hope you enjoyed it, sir. Oh, yes. Yes, indeed, I enjoyed it very much. It was well worth sitting through. Well, thank you very much. I had established an alibi for having spent the time between 2:30 and 4:20 in the movie theater. This was a period of two hours. And this was now recorded in black and white at the Lost and Found desk. I'd taken care that this should be a movie that I had already seen so I'd be able to recite the plotted question. The main body of my alibi had been achieved. I now went directly from the movie to my next court of calls, Soddy's Restaurant, where I'm well known. How are you, Mr. Hendricks? Your usual shame. Yes, Henry. Seen the headline? No, no, I just came from a movie. By the way, what is the exact time? I've got to make a telephone call. Call? It's just 4:30, Mr. Henry. 4:30. I think I'll make my telephone call while you make me a chicken sandwich. Okay. The booth is just there. You know.

J. Carol Nash (19:30)

Hendrick, Brown, Walsh and Healey.

Joseph Cotton (19:32)

Mr. Healey, please. This is.

J. Carol Nash (19:34)

Oh, oh, certainly, Mr. Hendricks.

Joseph Cotton (19:36)

One moment. Hello? Hello, Tom. This is Hendrix. I've been trying to locate you all afternoon. Oh, what for? Oh, several things came up that needed your attention. It's not so hard to locate. Where'd you try? I've tried everywhere I could think of. Even Common Brown's apartment? Yeah. Did you talk to her? Sure. I was trying to find out if she knew where you were. What time was that? Oh, about 3:50. How did she see him when you asked if I were there? Well, it was. I don't know. Why? Well, try and think. I'd like to know. Well, come to think of it, she struck me as a little curt or upset about something. Upset, eh? Listen, I don't want you to call me at that number anymore, understand? Well, sure, if you say so. I'm all washed up at that telephone number. Understand what I mean? In the future, that number is out. Any other calls? No. Okay. Again my mind reverted to the courtroom scene in which I imagined my case being tried. But this time I had my case well in hand. The thought of facing the prosecuting attorney did not disturb me. The thought of that little bout between the two attorneys even amused me. So Mr. Hendricks told you that you needn't try to reach him at Ms. Brown's apartment anymore, eh? Ladies and gentlemen of the jury, when the defendant made this statement, statement to his trusted friend in law partner, he had undoubtedly good reason to Believe there was another man in Carmen Brown's life. I had forged another link in the chain of evidence pointing to my innocence. Everything was working out in favor of a perfect alibi for my defense. Everything was going fine. I was beginning to enjoy the case very much. Now that the tension was relieved, I began to look upon my case as a sort of a game. I began to get a kick out of it. And I conceived the idea of building up another witness. Eddie White was the only one of Common's previous amours whom I knew. And I considered for a moment involving him in the case. He was Carmen's previous suitor Just before I entered the picture. He was known to be a hot headed young gentleman given to nocturnal fisticuffs in public places. But I finally dismissed this idea. This witness, I decided, would be Ms. Moore, who was also a dancer at the El Bravo Club. She was Common's closest friend and confidant. I telephoned this morning, requested her to join me at the restaurant. She came right over. You see before you, Ms. Moore, a man's suffering from the perfidy of one whom he has loved and trusted.

J. Carol Nash (22:14)

Would you mind saying that again in plain English?

Joseph Cotton (22:16)

Well, to put it more simply, I think common has been two timing me, Ms. Moore. I'm consumed with jealousy. I must know the truth and you're the only one who can tell me.

J. Carol Nash (22:27)

I don't get you, Mr. Henry.

Joseph Cotton (22:29)

Ms. Moore, I'm going out of my mind with the brooding and uncertainty of this thing. Oh, oh, that's terrible, Mrs. My law practice is suffering. I'll. I'll wind up by losing all my money.

J. Carol Nash (22:39)

Oh, you Mustn't do that, Mr. Hendrix. You know something?

Joseph Cotton (22:44)

No, what is it?

J. Carol Nash (22:45)

Oh, honest, Mr. Hendricks, I wouldn't tell this to another soul. You know Carmen's my best girlfriend. But you're such a swell guy. Well, I think you should know. But I'll tell you the truth. I don't think Carmen appreciates you.

Joseph Cotton (22:59)

That's what, Ms. Moore, if there is another man, someone Carmen really loves, I'd force myself to step aside. It's her happiness.

J. Carol Nash (23:11)

Well, I ain't saying she has. I just say Common has got an awful swell head since she got the lead in the bird of paradise number. She thinks she's some punkin and I'm only saying I don't think she appreciates a high class gentleman like you.

Joseph Cotton (23:23)

Thank you. Ms. Mora. Have you seen Common today?

J. Carol Nash (23:26)

No, I haven't. Of you since?

Joseph Cotton (23:28)

No, I. I don't trust myself to fear. Goodness knows what I Would do feeling this way.

J. Carol Nash (23:33)

Oh, Mr. Hendricks, you're all worked up and I don't blame you. Say, I have to leave you. I. I hate to leave, but I gotta go. It's getting late and the dinner show goes on before long, you know.

Joseph Cotton (23:43)

Tell Common I'll be over to the El Bravo tonight and give her a last chance to prove herself.

J. Carol Nash (23:47)

Oh, I'll sure give her your message, Mr. Hendricks. I sure will.

Joseph Cotton (23:53)

I knew Carmen had not been receiving attentions from another man. But if I could get Ms. Moore to testify in court, I could use her to convince the jury that I was jealous of Carmen, but that I loved her and wanted her alive, not dead. This would make my case airtight. I then made another telephone call. This was to Carmen's apartment. Hello? Hello, is Ms. Common Brown in? I'll ring her apartment.

J. Carol Nash (24:31)

I'm sorry, she doesn't answer.

Joseph Cotton (24:32)

Well, this is Mr. Hendricks calling. Hadn't she been in at all? I've been trying to get her all day.

J. Carol Nash (24:36)

She hasn't come in while I've been here, Mr. Hendricks.

Joseph Cotton (24:38)

How long is that?

J. Carol Nash (24:39)

About three hours.

Joseph Cotton (24:39)

Thank you. I'm coming over there. Tell her if she comes in, will you? This would strengthen my apparent effort to contact Common. It was a bold stroke this to go back to her house. I approached the switchboard operator.

J. Carol Nash (24:54)

Good afternoon, Mr. Hendry.

Joseph Cotton (24:55)

Oh, has Ms. Brown come in since I called on the phone? I haven't seen her.

J. Carol Nash (24:59)

I'll ring her apartment again. She still doesn't answer.

Joseph Cotton (25:08)

Well, please give her this note when she comes back.

J. Carol Nash (25:10)

All right, Mr. Hendricks. I'll see that she gets it.

Joseph Cotton (25:13)

I handed her the note. It read, darling, don't torture me anymore. Give me a chance to believe you. I'm willing to forget what I heard or thought I heard over the phone. As ever, Lou, this too would throw suspicion on another suitor. Not only had I established an alibi for myself, but also I had succeeded in pointing a finger at a suspected rifle. I saw myself looking winningly at the jury while my defense counsel continued to address them. Ladies and gentlemen of the jury, if the defendant, Lou Hendricks, had known Carmen Brown lay dead in her apartment, Would he have written such a note? The testimony reveals, ladies and gentlemen of the jury, that the defendant strongly suspected that Carmen Brown was receiving a attentions from us Tudor. But. But he did not know that this very afternoon this creature had entered her apartment, struck her down and killed her. While the defendant was still trying to seek her out and forgive her, my alibi was now complete. I had every angle worked out I summed up my case. It was perfect. From my superior legal knowledge, my vast experience, I had built a perfect case for myself. I was very pleased my case was ready. I had an excellent dinner. Really excellent. I then put in another phone call to Commons apartment. I was ready to hear the news of the finding of the body. At the news of the crime, I would rush right over and act my part of the thoroughly grief stricken suitor. This would be the finishing touch of final flourish, as it were. Ms. Brown does not answer. Crime had evidently still not been discovered. I decided the best course would be to go to the El Bravo Club. I was well known there. And to order coffee and dessert and wait there until Carmen's absence was noticed and her murder discovered. Good evening, Mr. Hendricks. Right this way, sir. Good evening, George. Hello there. How are you? Hello, Lenore. Hi, Kay. Hi. Hey, Vito Blood.

J. Carol Nash (27:26)

So I said doing my siblings. If you think I'm going to sit around you blonde. Blonde? Can't you think of anything but blonde?

Joseph Cotton (27:32)

Honey, come on, let's go home. Oh, the famous criminal lawyer, Lou Hendricks. Our ex college hero, Eddie White, product of the higher education. Looking him over, I see. Yeah. Why don't I sit here? It's the entertainer's table. I have no monopoly on it. And I'll sit down, by the way, Hendrix, I didn't know you were such a movie fan. Just what do you mean? Saw you going into the Palace Theater this afternoon. You did? Just what time was that? What time? A little after four, I should say. You're crazy. You think you saw me going to the palace after 4? Why? I came out at 4:20 after seeing the whole show. I don't care what you say. I saw you going in at a quarter after four to be exact. I was going to say hello, but you weren't looking my way. How'd you like the picture? Ought to be in your line. All about one of those crooked legal sharks. And you say you saw the defendant, Lou Hendricks, going into the theater at a quarter after four? Yes, sir, I did. The surprise witness that I had been so carefully guarding against, Jerry, was sitting opposite me in the person of all people, Eddie White. In a flash I could see all the evidence I had planted turning against me. The prosecution would take it apart piece by piece. The all too obvious false mechanism of my alibi. There was no alibi. I. I had no case. Eddie White. Simple statement of the time, 4:15 revealed all of my subsequent actions as those of a thoroughly guilty man. Look, White, it must have been somebody else you saw Listen, don't tell me. I saw you looking around, buying your ticket and ducking in. I know it was a quarter after four because I had a date outside. And don't get excited. It wasn't with car. That's a lie. What's that? I said you're lying. You didn't see me. Oh, that's what you said, is it? Listen, I never liked you. And I don't take that kind of talk off a guy I got no use for. Get that? You're a liar. You're not only a liar, but. But a numbskull. A perennial drop kicker. Once a drop kicker, always a drop kicker. You little sister. Take your hands off my collar. Let me go. Take your hands off me.

Robert Young (29:44)

Calling me a liar?

Joseph Cotton (29:45)

You little shyster. You're no good little. Somehow I don't know how or when I had taken the gun out of my pocket. Carmen's gun. The gun I was going to dispose of. I was holding it in my hand. It had expanded, exploded. No one heard the shot through the blare of the orchestra. A new number of the floor show was starting. Everyone's attention was focused on the dance floor. The chorus girls were coming out for the Bird of Paradise number. Everything was a little blurred, a little hazy. I looked at the girls as they came forward, leading the chorus. I. I saw Common Brown. She was dancing. This. This could not be. I. I grew sick. I shut my eyes and I opened them again with no hallucination. It was common. Under her ear, at the back of her head, I saw strips of cord, plaster. I knew then what had happened. I'd left her apartment without taking a second look at her. Evidently, the blow had merely knocked her out. She must have regained consciousness and called for a doctor. Was as simple as that. She was alive now and dancing. Lou Hendrix, the Shining Legal Intelligence. I had built a perfect alibi to exonerate myself of a murder which had never occurred. While across the table, slumped in a chair opposite me was the body of a man for whose murder I had no defense. Every step of my carefully built alibi, my perfect case would help to convict me of the killing of Betty White. This time I had no alibi. This time there was no possible defense. This time, when the judge asked the foreman if they'd reached a decision, there could be only one reply. Yes, your honor, we have. We find the defendant guilty of murder in the first degree. Suspend Presented by Roma Wines R O M A Made in California. California for enjoyment throughout the world. Before we hear again from Joseph Cotton, the star of Crime without passion. Tonight's suspense play. This is Truman Bradley for Roma Wines. One of the finest cooks I know recently told me her secret for winning praises. She said she cooks no better than her friends. Uses about the same recipes. But her dinners win more. Compliments actually taste better because she regularly serves Roma wine with meals. Yes, Roma wine does make food taste better. For proof tomorrow night, savor the tempting taste harmony of red Roma California Burgundy and a good thick hamburger steak or spaghetti heaped with a spicy meat sauce. Or if you prefer, try Roma Burgundy with Friday's traditional fish dinner. You'll discover Roma Burgundy adds to tantalizing new flavorfulness to every meal. Let red robust Roma Burgundy win compliments for your meals. Get delicious Roma Burgundy tomorrow. Remember, Roma wine is America's first choice. Yet Roma costs no more than ordinary wines. So insist on Roma. R O M A Roma Wines made in California for enjoyment throughout the world. This is Joseph Cotton. I've always been particularly fond of Crime Without Passion. And it's been a great pleasure indeed to appear in it. Tonight for you on Suspense. Next Thursday. I know you'll want to hear a very young actor whom we've all admired for a very great number of years. It's Jackie Cooper, grown up and just out of Uncle Sam's Navy. He'll appear on Suspense in a role quite different from anything you've associated with him. Joseph Cotton will soon be seen in the David O. Selznick Technicolor production Duel in the Sun. Next Thursday, same time, Roma Wines will bring you Jackie Cooper as star of Suspense Radio's outstanding Theater of Thrill, produced by William Spear for the Roma Wine Company of Fresno, California. SAM Suspense is broadcast from coast to coast and to our men and women with the armed forces overseas by short wave and through the worldwide facilities of the Armed Forces Radio Service. This is cbs, the Columbia Broadcasting System.

Truman Bradley (35:24)

Now, Roma Wines, R O M A made in California for enjoyment throughout the world. Roma Wines presents Suspense.

Joseph Cotton (35:39)

Tonight, Roma wines bring you Mr. J. Carol Nash as star of Commuter's Ticket, a suspense copy play produced, edited and directed for Roma Wines by William Spears.

Truman Bradley (35:53)

Suspense radio's outstanding theater of Thrills is presented for your enjoyment by Roma Wines. That's R O M A Roma Wine, those excellent California wines that can add so much pleasantness to the way you live. To your happiness in entertaining guests. To your enjoyment of everyday meals. Yes, right now a glassful would be very pleasant as Roma Wines bring you J. Carol Nash in a remarkable tale of suspense.

Robert Young (36:27)

Ever ride a commuting train? If you have you? Probably don't think anything of it, not if you're one of the regulars. Commuters are just people coming from one place and on their way to going someplace else. What happens in between doesn't mean a thing. They don't remember it afterwards. They don't see the scenery. They look right at faces beside them and don't see them. I know. I used to ride the 8:15 into the city to work every morning and the 5:45 home in the evenings. Yeah, I used to ride the train. Oh, could I bother you for a match?

Joseph Cotton (37:03)

Oh, man, yeah.

Robert Young (37:04)

Left mine at the office where I work. Consolidated Press. The wire service, you know.

Joseph Cotton (37:09)

Don't say.

Robert Young (37:10)

Oh, I'm not one of the reporters.

Joseph Cotton (37:12)

Uh, here's a book of matches, Keaton.

Robert Young (37:13)

Thanks. Now, I repair teletype machines. You know, the machines that print the news when it comes in and relay it out to the newspapers all over the country.

Joseph Cotton (37:20)

Don't say.

Robert Young (37:21)

Funny traits people get, eh? Now, me, I was a speed typist. Fellow on my ship was a telephone man. Both wind up in the same place. Repair and teletype printers. It's a whole profession, you know. Most people don't know it exists, but there you are. They break down just like any other machine. Oh, what's your line?

Joseph Cotton (37:37)

Look, I'm sorry. These rides are the only time I have to go over my reports.

Robert Young (37:40)

Oh, sure, sure. I didn't mean to put in. I just thought maybe I'd seen you in the Laurel Creek station.

Joseph Cotton (37:45)

No, not my station.

Robert Young (37:46)

I see a lot of people waiting for the train there, but. But I never get to know them. Oh, my name's Bert. Gavin. It's all right.

Joseph Cotton (37:51)

Keep the matches I got you.

Robert Young (37:57)

Ride right along beside the same people, or the same kind of people anyway. For weeks, months, years, nobody knows you're there. The same conductors see you every day, and still they ask you, what's your station? I got so I took it for granted like any other commuter. Then I got to thinking about it again. Especially on the down peninsula runs going home to that house. That house that didn't have any love in it anymore. I said I lived in Laurel Creek. Well, that was my station. Only where I lived was on the wrong side of the tracks. The house was so close to the tracks, we couldn't have a backyard for the rails. Every time a train would go by, it'd shake the whole house. The walls would shake, the windows would rattle. The ground had shake under the foundations. It was like living on the edge of a volcano. As I walked into the house that night. The Bayside Limited was just coming through.

Joseph Cotton (38:48)

Go.

J. Carol Nash (38:52)

Elvis.

Joseph Cotton (38:53)

Hey, Elvis.

J. Carol Nash (38:54)

Who is it that you, Bert? What are you doing home? Did you lose your job? Well, it gets past.

Robert Young (39:00)

I can't hear you.

J. Carol Nash (39:01)

What? What's that you say? Oh, I said shut up. What's a big idea coming home like this? Why don't you let me know?

Robert Young (39:18)

I finished early.

J. Carol Nash (39:19)

We're going to get overtime. You're losing overtime.

Robert Young (39:21)

Well, maybe I want to have dinner with my loving wife for a change.

J. Carol Nash (39:24)

Well, you won't. There's nothing in the house.

Robert Young (39:26)

How? Couldn't we rustle up some scrambled eggs or something?

J. Carol Nash (39:29)

I told you, there's nothing in the house.

Robert Young (39:30)

What were you going to eat?

J. Carol Nash (39:31)

I was going out, if you want.

Robert Young (39:32)

To know who with.

J. Carol Nash (39:33)

Well, it's none of your business.

Robert Young (39:35)

It's Al Gorman, isn't it? You've been seeing him again, haven't you?

J. Carol Nash (39:38)

Well, what if I have?

Robert Young (39:38)

I don't want you to see him. You're my wife.

J. Carol Nash (39:40)

Pity you didn't think of that when you out here the sticks.

Robert Young (39:43)

Well, your boyfriends don't seem to have any trouble locating you.

J. Carol Nash (39:45)

You rented a house on the railroad tracks deliberately just to punish me.

Robert Young (39:49)

Well, you don't have to stay in it.

J. Carol Nash (39:50)

No, I don't. But you do. And every time that train goes by in the night, I like it. You don't sleep so good, do you, Burt? The trains get on your knives too, don't they? I guess that's something you didn't figure on.

Robert Young (40:02)

Hey, maybe I figured on more than you think.

J. Carol Nash (40:04)

What do you say that for? And what are you simpering about?

Robert Young (40:07)

What's the matter, Alva? You sound like you're scared of me.

J. Carol Nash (40:10)

Of you? Don't make me laugh. And don't make a scene when Alf comes by to pick me up. You know what happened the last time.

Robert Young (40:17)

But it won't happen again. Laughs on me, isn't it? I move you to the country to keep you away from the juke joint, so he drives out here to see you.

J. Carol Nash (40:23)

The country? You call this the country? A shack on the railroad tracks? You bring me here? You must be crazy to think anybody could turn over a new leaf in.

Robert Young (40:33)

A place like this. Maybe I am crazy, but not the way you think.

J. Carol Nash (40:36)

There you go again, getting that silly look on your face.

Robert Young (40:39)

What time did you say Alf was coming to pick you up?

J. Carol Nash (40:41)

Seven o'.

Joseph Cotton (40:41)

Clock.

Robert Young (40:41)

That's fine. That's perfect. I'll just have time to catch the 7:15 back into town and earn that overtime.

J. Carol Nash (40:47)

Well, what are you waiting for?

Robert Young (40:48)

It's about time for the 6:45 to pass by, isn't it?

Joseph Cotton (40:51)

Yeah.

J. Carol Nash (40:52)

Do stay and enjoy it, Bert, dear.

Robert Young (40:54)

Honey, you don't know how much I'm going to enjoy this. Ah, there it is. Here it comes. It's a minute early this evening.

Joseph Cotton (41:02)

Right.

J. Carol Nash (41:03)

What's the matter with you? What do you want for that poker?

Robert Young (41:07)

What do you think I came home early tonight for? Give you three guesses.

J. Carol Nash (41:11)

Right.

Robert Young (41:11)

Nobody saw me leave the office. The watchman was asleep. He'll still be asleep when I get back. As far as the police will know, I never left there. I was there all night fixing the printers, earning my overtime.

J. Carol Nash (41:21)

But don't do it. You'll never get away with it. Everybody saw you coming out in the train. It'll be the same going back. You can't help being seeing so many people on those trains.

Robert Young (41:30)

What you don't know, honey. What you don't know.

J. Carol Nash (41:32)

I'll scream. I'll scream so loud the neighbors will hear.

Robert Young (41:35)

Nobody's going to hear anything except this train. There, there's a big baby now. A nice long train.

J. Carol Nash (41:42)

Long and loud.

Joseph Cotton (41:43)

Go ahead, scream your head off.

J. Carol Nash (41:45)

Put that down. You don't know what you're doing. Get away from me. All right. Please, please listen.

Joseph Cotton (42:13)

For suspense. Roma Wines are bringing you J. Carol Nash in Commuters Ticket a radio play by Roy Grandy and Robert Tallman. Roma Wines presentation tonight in radio's outstanding theater of thrills suspends.

Truman Bradley (42:34)

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Joseph Cotton (43:51)

And now Roma wines. Bring back to our Hollywood soundstage. J. Carol Nash as Bert Gavin in Commuter's Ticket, a tale well calculated to keep you in suspense.

Robert Young (44:19)

The train was gone and so was that awful feeling inside. I just stood there, looking down where I'd knocked her in the quiet. There wasn't any reason for what I'd done. I was sorry, kind of. I didn't want her dead now, but I had to follow it through, had to work fast. Alf was coming forward at seven. He'd find her body. Maybe they'd try to hang it on him. That was a laugh. It was just a small noise when I picked up the poker, but even that scared me. I had to wipe it off, though, those small sounds a man makes when he's alone around a house. I heard every step I took. I'd have given anything for another train to break up the silence. But there wouldn't be another train than one. I had to get on. I had to work fast or I was going to catch it. I opened up room closet and got out a step ladder. I set the ladder up and climbed to the top of it, feeling dizzy. What I wanted was in a pewter mug on top of the sideboard. I got up in a hurry and climbed down. It was over 2,000 bucks in cash. I'd been saving it for a long time. I needed it now. I might not be coming back to this house. I'm at the put a ladder away and streak out of there before Alf put in his appearance. The buzzer stopped me cold. It was him, all right. I could see his shadow on the frosted glass of the front door. In a minute he tried the door. I didn't know whether it was locked or not. I didn't wait to see. I head out the back way, the door that opened only a couple of feet from the railroad tracks. 3 seconds flat I was scrambling up over that great stake fence out onto the tracks, lurching over the railroad ties. Where was a plan that neat plan so nobody'd see me. I got away mapped out, but. But that way was out the front door now. Everybody in all the houses along the tracks could see me. Maybe not, though. People there don't look out through those dirty windows any oftener than they have to. At the station. I huddled back on a bench in the darkest corner and waited. I got on with the others, lost in the crowd. I walked through just like all the commuters, took the first good empty seat. I found a whole seat to my.

Joseph Cotton (46:27)

Mind if I sit here? What?

Robert Young (46:28)

Oh, no, no.

Joseph Cotton (46:29)

I just thought maybe your wife.

Robert Young (46:31)

Wife?

Joseph Cotton (46:31)

Well, that may be that you were holding this seat for somebody.

Robert Young (46:33)

Oh, no, no, no.

Joseph Cotton (46:34)

It's okay. No, thanks. Well, say, this suits me. You know, I don't like it when there isn't somebody to talk to. Yes, sir. My name's Elmer Russell. What's yours?

Robert Young (46:44)

You must not ride on the trains very much.

Joseph Cotton (46:45)

You guessed it. From what I hear, people don't meet up with each other very much. Not on these commuting trains. I only use them since I'm working night. I used to drive in. What was your name now? Hey. Hey, what'd you do to your hand?

Robert Young (46:57)

My hand?

Joseph Cotton (46:58)

What? Well, you must have cut yourself. Look, it's all covered.

Robert Young (47:01)

Well, excuse me. Just saw a friend of mine going to the car ahead. I wanted to see him on a matter of. I rushed on out of the car, my heart pounding. I went in and washed my hands. Out of all the passengers on that train. I had to get beside somebody who didn't have the commuter's habit and blood on my hands. Well, what was the difference? Nobody ever questioned him about me. The train lurches. I started down the aisle of the next smoker.

Joseph Cotton (47:27)

Hey.

Robert Young (47:28)

Hey, watch it.

Joseph Cotton (47:28)

What's the big idea?

Robert Young (47:29)

Sorry. Train give a lurch. Sorry.

Joseph Cotton (47:32)

Well, you don't have to cry about it. Just watch it. Yeah. Hey, wait. What? Help me pick up these dominoes.

Robert Young (47:37)

Oh, go on, chase yourself.

Joseph Cotton (47:38)

Hey, come back here. What's the big idea?

Robert Young (47:41)

Gee, I should have helped him pick him up. He'd remember. He'd remember that my being rude. Maybe not, though. Commuters are used to rudeness. I hurried on to the next car. I shut the door behind me and leaned back against it, feeling weak and dizzy. People near me looked up and stared at me. I must have looked pretty sick. Judgment way I felt. I grabbed the first vacant seat and fell into it.

Joseph Cotton (48:04)

Wow. Look what just dropped down from the sky.

Robert Young (48:06)

Can't keep us from having that force, can they?

Joseph Cotton (48:09)

Now, what's your limit, friend? 10% a point.

Truman Bradley (48:12)

Now, don't tell us you don't play bridge.

Joseph Cotton (48:14)

You'll be the first commuter I ever met on this run that didn't play bridge, huh?

Robert Young (48:17)

Oh, sure, sure, sure. I play a little. I'm not very good, though, but I'll be glad to play.

Joseph Cotton (48:22)

Good, good. You keep score, Jack? Sure. Draw for the deal. Well, ace of spades. Looks like you're a lucky night, fella. Yeah. What's your name, by the way?

Robert Young (48:32)

Name?

J. Carol Nash (48:32)

Yeah.

Robert Young (48:32)

For the score pad. Oh, yeah, yeah, yeah.

Joseph Cotton (48:34)

For the.

Truman Bradley (48:35)

Don't hold up the game, Jack.

Joseph Cotton (48:36)

Just write down Mr. X. Oh, that's good. Easy to remember. I was.

Robert Young (48:40)

My name's Sam. Sam Cartwright.

Joseph Cotton (48:41)

Oh, okay, Sam.

Robert Young (48:43)

All right, let's see now. Who dealt? I played cards. What I picked up and laid down then, I can't remember. I could hardly see the spots on them. I was thinking of Alva's face lying there in that miserable house by the tracks where I'd left it. That had happened. The one they called Jack had just said, your place, and it's happened. It was only the train going through the tunnel, but it brought it all back. A scream and the train roaring by, the whole house shaking. When I heard that squeal, my arms jerked up. What all I did, I don't know.

Joseph Cotton (49:25)

Well, what's the matter, Sam?

Robert Young (49:27)

Oh, nothing, I.

Joseph Cotton (49:28)

Well, play. We won't finish a rubber at this rate.

Robert Young (49:30)

Play. Play. Yeah, yeah, I. Oh, I'm sorry, Donna. I thought there was another trump out.

Joseph Cotton (49:36)

Sorry. Your race takes it, chum. Yeah.

Robert Young (49:38)

I thought you said you didn't play much, Sam.

Joseph Cotton (49:40)

Never seen such luck. Your deal, Whitney. Excuse me, Jeff. Got all your tickets? Oh, yeah. Guess my coat was over the seat check.

Robert Young (49:48)

That's all right.

J. Carol Nash (49:49)

Hey, wait, wait. Conductor.

Joseph Cotton (49:50)

Yeah?

Robert Young (49:51)

You didn't get Sam's tickets.

Joseph Cotton (49:52)

Yeah, Sam's too lucky. Can't let him get away with a free ride.

Robert Young (49:57)

I was back in the other car.

Joseph Cotton (49:58)

Where was that?

Robert Young (49:58)

Well, to tell the truth, I forget whether I paid or not. I'll buy a ticket, though, just to be sure. Sorry to bother you. Here, I'll just take some change out of my heart.

Joseph Cotton (50:05)

Hey, there's your regular monthly commuter's ticket, isn't it?

Robert Young (50:08)

Oh, yes. I thought I left at home. That's all right, Mr. Gavin.

Joseph Cotton (50:14)

Gavin? I thought you said your name was Cartwright. I.

Robert Young (50:17)

This is my brother in law's tax.

Joseph Cotton (50:19)

Oh, I see. Come on, come on, you guys, pick up your car. Yeah, I pass. No bid. Let's see by me, never seen a rot in her hand.

Robert Young (50:29)

Me either. But Sam's going to bid, though. Sam doesn't get rotten hands.

Joseph Cotton (50:42)

Well, Sam, how about it? Oh. Oh. Oh, no, no.

Robert Young (50:45)

Hey, what's the matter with you anyway?

Joseph Cotton (50:47)

You look sick. What's the matter with you? Oh, I'm all right.

Robert Young (50:49)

Leave me alone, will you?

Truman Bradley (50:50)

Well, if you're gonna bed, go on in bed.

Robert Young (50:52)

All right, all right.

Joseph Cotton (50:53)

Just.

Robert Young (50:53)

Just wait till the train gets by.

Joseph Cotton (50:55)

The noise.

Robert Young (50:55)

I can't concentrate. It wasn't a passing train. Not this time with the Cards in my hand. I saw them all at once. It was a hand Culberson might have written a book about. It was more than just a grand slam. I had every face card in the deck. But I wasn't gonna be noticed on that train. I didn't even want to be remembered.

Joseph Cotton (51:13)

No.

Robert Young (51:14)

And here I had a seven note trump hand.

J. Carol Nash (51:24)

Well, come on, bid, man, bid.

Robert Young (51:26)

Yeah, all right. Say, I. I guess we better have a redeal.

Truman Bradley (51:30)

Where are the good cards?

Joseph Cotton (51:31)

Somebody's gotta have them.

Robert Young (51:33)

Say, the train's getting crowded.

J. Carol Nash (51:34)

Sure is, mister.

Robert Young (51:36)

Oh, I'm sorry, madam. Please take my seat.

J. Carol Nash (51:38)

Well, thank you, deary. What's the idea?

Joseph Cotton (51:42)

Hey, hey, where you going?

J. Carol Nash (51:43)

Sorry.

Robert Young (51:43)

Next is my station.

Joseph Cotton (51:45)

So long.

Robert Young (51:51)

Well, I got out of shore in that hand. But there was that abrupt departure to remember, and I'd given my seat to a woman. You don't see people giving seats to ladies very often these days. And the next car I stop on the island stood wedged up in tight by the crowd. I was shaking, so it must have attracted attention. Then a conductor came through.

Joseph Cotton (52:05)

Ticket. Ticket. Didn't get your ticket.

Robert Young (52:08)

You punched my ticket. It was in the other car. I was playing cards, remember?

Joseph Cotton (52:11)

Remember?

Robert Young (52:12)

Let me think now. No, no, it's all right.

Joseph Cotton (52:14)

Here.

Robert Young (52:15)

Here I have my commuter's ticket. You can punch it again. Must be in my other pocket. Gee, where'd I put it? I couldn't have lost it.

Joseph Cotton (52:24)

Well, never mind this time. But after this, take your seat. Check along when you move from car to car. Makes a lot of trouble for us when you don't. Then.

Robert Young (52:31)

Then you do remember.

Joseph Cotton (52:32)

Well, never mind about that.

Robert Young (52:34)

Tell me, do you remember muching my ticket? Do you remember me?

Joseph Cotton (52:37)

Can't say as I do. One face gets to be just like another when you work the train so long. I'll just take your word for it.

Robert Young (52:52)

I breathe easier from then on. If that conducted take any notice of me that nobody would. Once I stopped jittering, people stopped staring at me. Or maybe I just imagined they were staring at me. Nobody watching for me. At the station at San Francisco, I lost myself in the crowd and was back at the building where I worked before 8 o'.

Joseph Cotton (53:07)

Clock.

Robert Young (53:07)

The watchman was asleep, the way I figured he'd be, the way I planned it. I'd gone into the locker room before I left there and put a slug of sleeping medicine into his coffee thermos. That it'll put a horse to sleep. Now, there was no danger of his waking up, but I tiptoed past him just to make sure. I went into the big room where the printers were. They were running just like I left them. No paper snagged, no carriages stuck. None of the operators had called in. If they had, I could just say I'd gone out for a sandwich. I guess I knew how to fix teletypes all right. To keep them running or to stop them running. I fixed a couple of those so nobody could say they hadn't broken down. Of course, the papers had kicked plenty about losing all that news. My officer kicked plenty. Yeah. Kicked me right into the proof of where I'd been all night. It was daylight before I left. On the way out, I tripped over the night watchman. I wanted him to see me leave, but he didn't stir. I shook him a couple of times, but he didn't wake up. So I stamped my card myself and went on my way. He'd give the right testimony in any case. He wouldn't dare admit he'd been asleep on the job. Well, I bought a newspaper and started for the depot. Feeling pretty good. Wasn't anything in the paper about what I'd done to Alva. I was sure it wouldn't be. I had one eye on the City News ticker all night. Maybe Alf didn't go in. Maybe they hadn't found a body yet. That's what I kept telling myself.

Joseph Cotton (54:27)

Yeah.

Robert Young (54:28)

Yeah, that's what I kept telling myself.

Joseph Cotton (54:32)

Uh, Mr. Gavin?

Robert Young (54:34)

Uh, yeah, I'm Bert Gavin. My name's Daniels. Detective Inspector Daniels. I'd like to ask you if you could. Why, certainly, Inspector. What is it? Well, first, I think you'd better give.

Joseph Cotton (54:45)

An account of your movements last evening and last night.

Robert Young (54:48)

Well, that's easy enough. I spent the whole night at Consolidated News, where I work. A couple of machines broke down and I had to stay there and repair them. Fixing the Teletype printers, that's my job.

Joseph Cotton (54:57)

Yeah, yeah, yeah, I know, I know. You're under arrest, Mr. Gavin, on suspicion of murder.

Robert Young (55:02)

Oh, now, wait a minute. You're making a big mistake, Mr. Inspector. I don't know what happened here, but I've been there the whole night and.

Joseph Cotton (55:08)

I can prove it.

Robert Young (55:09)

I've got my time card and a night watchman as a witness.

Joseph Cotton (55:11)

Well, you picked a mighty poor witness, Mr. Gavin.

Robert Young (55:14)

What do you mean? That night watchman's dead and you know it. Because you killed him, didn't you, Gavin? Oh, now listen, I. I don't get it. I. I told you the truth. He was alive at 6 o' clock this morning. He stamped my time card.

Joseph Cotton (55:24)

I think we'd Better go somewhere private where we can take down your statement. Okay, okay.

Robert Young (55:29)

But listen, inspector, you're on the wrong track. Honestly, why did I take such pains to prove I was there last night if I was a gilly party? Well, I suppose you figured there's no use lying about what we can do.

Joseph Cotton (55:38)

True.

Robert Young (55:39)

Your story. Had the check with your wife's. My wife's?

Joseph Cotton (55:43)

Yeah.

Robert Young (55:44)

Oh, we had a little trouble locating her, but she gave us a statement. Where'd you locate her?

Joseph Cotton (55:49)

In the hospital. She had a bad accident.

Robert Young (55:51)

Fell off a step ladder and cracked.

Joseph Cotton (55:53)

Her head on an aniron.

Robert Young (55:54)

Oh, is she all right?

Joseph Cotton (55:56)

Oh, sure, sure. Luckily, a friend dropped in just after it happened and they got her to the hospital in time.

Robert Young (56:02)

Well, listen, listen, you've got to take me there. I've got to see her right away.

Joseph Cotton (56:05)

Yeah, sure, sure, after we get your snap statement. And the money.

Robert Young (56:09)

What money? Why, the money you killed the watchman for a little over 2,000 bucks, wasn't it? See, the way we got it figured, you put sleeping stuff in his coffee and then went after the safe.

Joseph Cotton (56:18)

He came to and surprised you, so.

Robert Young (56:19)

You let him have it with a wrench.

Joseph Cotton (56:21)

Being dopey and an old guy was just too much for his heart. We got you cold, Gavin.

Robert Young (56:27)

Your prints are all over that wrench. Nice fresh prints. Oh, listen, you got me all wrong. I. What time does it happen?

Joseph Cotton (56:34)

Oh, around 7:30.

Robert Young (56:36)

The doctor figures then I can prove I didn't do it. I was home at a quarter of seven and I took the 7:15 back to town. My wife will tell you that.

Joseph Cotton (56:43)

Will she?

Robert Young (56:44)

The way she told it to us.

Joseph Cotton (56:45)

You weren't home at any time.

Robert Young (56:46)

And if I'm any judge of people, she'll stick to that story. But I could prove I was on that train. I talked to people. I lost my commuter's ticket. The conductor will remember me. Yeah, most of those people will be on the train again tonight. They'll remember I had a 70 Trump Hannah Bridge.

Joseph Cotton (56:58)

Oh, they'll rem.

Robert Young (57:15)

Well, it must be somebody who'll remember me. Ah, that's all right.

Joseph Cotton (57:17)

We'll take enough trips to strike an average.

Robert Young (57:19)

Oh, here, here.

Joseph Cotton (57:20)

This woman. Hello. Do you remember me?

J. Carol Nash (57:23)

I beg your pardon?

Robert Young (57:24)

Two nights ago on this car. Remember? I gave you a seat.

J. Carol Nash (57:26)

Oh, how considerate.

Robert Young (57:27)

Do you remember me?

J. Carol Nash (57:28)

Let me think, deary.

Robert Young (57:29)

Try the places for face, lady.

J. Carol Nash (57:31)

No, I really couldn't, dear. But I just wish somebody give me a seat now.

Robert Young (57:41)

And I'd been afraid she'd remember me while we walked through all the Cars. I couldn't find any of the other witnesses, not even the conductor. But Daniels was understanding. He let me try the 715 with him. The next night, I played bridge with you. I gave you my name as Sam. Sam Cartwright.

Joseph Cotton (58:02)

No, I'm afraid I don't place you. But.

Robert Young (58:04)

But I was winning all the time. I even had a seven zero, trump hand. I haven't seen any hands like that in years.

Joseph Cotton (58:10)

You must have mistaken us for somebody else.

Robert Young (58:19)

Oh, here, here. At last you remember me.

Joseph Cotton (58:22)

Well, if you don't mind, I have this reading that I.

Robert Young (58:25)

We met the other night. Five nights ago it was.

Joseph Cotton (58:27)

Is that so?

J. Carol Nash (58:28)

Yeah.

Robert Young (58:28)

I remember you said you weren't a regular commuter, so I knew you're the one person who wouldn't forget me. Remember, I cut my hand five nights ago?

Joseph Cotton (58:35)

Well, I've been riding the trains all the time since then. I'm afraid one face is getting to be much like another. Well, that does it, Gavin. Come clean now.

Robert Young (58:51)

But I did take the 715 that night. I'm telling the truth.

J. Carol Nash (58:54)

There. There.

Robert Young (58:55)

That's the conductor out on the platform. Look, I found the conductor.

Joseph Cotton (58:59)

Why bother, Gavin?

Robert Young (59:03)

Conductor, do you remember seeing me on this one a week ago?

Joseph Cotton (59:06)

Well, I'm afraid one face is pretty much like.

Robert Young (59:08)

I know.

Joseph Cotton (59:09)

But.

Robert Young (59:09)

But I lost my commuter ticket. We talked about it.

Joseph Cotton (59:11)

Lost the commuter ticket? What. What's the name for?

Robert Young (59:14)

Gavin? Can't you remember me?

Joseph Cotton (59:15)

No, but I might have some tickets here. I find a few strays once in a while.

Robert Young (59:19)

Oh, that's it. That's my ticket. Let me see that.

J. Carol Nash (59:21)

My ticket.

Robert Young (59:22)

That's my name on it, see? You found this on the 715.

Joseph Cotton (59:26)

Well, Mr. Couldn't say what run it was. They shuttle the cars around, you know. That's what I thought. Anything else?

Robert Young (59:33)

No, thanks, Conductor. That's all I needed. They had me called for a murder I didn't commit. That was a funny part of it. Daniels was the right guy, though. He gave me one last chance to establish my alibi. At the hospital, Alva refused to see me, but Daniels agreed to see her himself and questioned her about my story that I was home at the time of the murder. I waited in the corridor outside Alva's room. He was in there almost an hour. Well, Gavin, did you get anywhere? Did she tell you anything?

Joseph Cotton (60:18)

Yes, yes, she told me plenty.

Robert Young (60:20)

She told you I was home? I couldn't have murdered the watchman.

Joseph Cotton (60:23)

She signed a detailed statement to that effect.

Robert Young (60:26)

Then my alibi's good?

Joseph Cotton (60:28)

Oh, sure.

Robert Young (60:28)

I couldn't have killed the watchman?

Joseph Cotton (60:30)

Oh, your alibi for the watchman will stick all right, Gavin. But I'm afraid we'll still have to hold you for murder.

Robert Young (60:37)

You see, your wife just made a new statement telling us what actually happened.

Joseph Cotton (60:43)

When you came home.

Robert Young (60:44)

Well, yeah, yeah, sure, we had a quarrel. I'm sorry. Matter of fact, I should have told.

Joseph Cotton (60:49)

And just after she signed the statement, she passed away. What? Dead? She did?

Robert Young (61:00)

Are you sure?

Joseph Cotton (61:00)

Oh, there's no doubt about it, Gavin. Well, it's getting late. I gotta check in. You were ready to go?

Robert Young (61:09)

Yeah, yeah. You think they'll give me an inside cell?

Joseph Cotton (61:14)

I can get you one if you want it.

Robert Young (61:16)

Thanks. Thanks a lot.

Joseph Cotton (61:17)

I'd like that.

Robert Young (61:18)

Nice and quiet, away from the tr.

Truman Bradley (61:37)

Suspense presented by Roma Wines R O M A made in California for enjoyment throughout the world. Before we hear again from J. Carol Nash, the star of Commuters Ticket tonight's suspense play, this is Ken Niles with a Hollywood party idea for the ladies. When it's your turn to entertain these hot, sultry afternoons, treat your guests to the thirst quenching refreshment of Roma Wine Lemonade. So light, so ripe, so easy to serve. Roma Wine Lemonade, first acclaimed by smart Hollywood hostesses, is now popular with women everywhere. The first choice among cold, tall refreshers. And Roma Wine Lemonade is so simple to prepare. Just place ice and the juice of half a lemon in a tall glass for 3/4 full with Roma, California Burgundy or any other Roma wine type you prefer. Add water and sweeten to taste.

Joseph Cotton (62:34)

Quick as a wink.

Truman Bradley (62:35)

Roma Wine Lemonade is ready with cold, satisfying, low cost refreshment for all. And because Roma wine is selected for you from the world's greatest wine reserves, refreshers made with Roma are better tasting naturally. So insist on Roma. R O M A Roma Wine, largest selling wine in all history.

Robert Young (63:02)

This is J. Carol Nash. Mr. Spear has been telling me about next Thursday's suspense show and I must say he has whetted my appetite for it tremendously. It'll present an all star cast of Hollywood's finest radioactors headed by Wally Mayer in a play which, according to Mr. Speer, contains some of the most powerful ingredients of distilled suspense that he has encountered since the now internationally famous Sorry, Wrong Number. It concerns the converging of death upon a helpless man and the unknowing conspiracy of people all over the city whom he has never even met to bury him alive. So let's all be sure and listen.

Joseph Cotton (63:37)

Thank you. J. Carroll Nash appeared through courtesy of Metro Goldwyn Mayer, producers of the Technicolor musical Holiday in Mexico. Next Thursday, same time, Roma Wines will bring you Wally Mayer and an all star cast of Hollywood's finest radio actors in suspense. Radio's Outstanding Theater of frill.

Truman Bradley (64:01)

Produced by William Spear for the Roma Wine Company of Fresno, California. Suspense is broadcast from coast to coast and to our men and women overseas by shortwave and through the worldwide facilities of the Armed Forces Radio Service. This is cbs, the Columbia Broadcasting System. And now, Roma Wines. R O M A made in California for enjoyment throughout the world. Roma Wines presents Suspense.

Joseph Cotton (64:59)

Tonight. Tonight, Roma Wines bring you Mr. Robert Young as star of you'll Never See Me again. A suspense play produced, edited and directed for Roma Wines by William Speer.

Truman Bradley (65:14)

Suspense Radio's outstanding Theater of thrills is presented for your enjoyment by Roma Wines. That's R O M a Roma Wine, those excellent California wines that can add so much pleasantness to the way you live. To your happiness in entertaining guests. To your enjoyment of everyday meals.

Joseph Cotton (65:34)

Yes, right now a glass full would be very pleasant as Roma Wines bring you Robert Young in a remarkable tale of suspense. So you're walking out on me.

J. Carol Nash (65:49)

What does it look like to you?

Joseph Cotton (65:51)

Like your wine. Walking out on me. Got everything you need?

J. Carol Nash (65:54)

Well, at least I'm glad you're showing your true colors. I'd rather have thought it out now than later.

Joseph Cotton (65:59)

Didn't take you long, did it, baby? You're looking for your coat. It's in there.

J. Carol Nash (66:03)

Thanks.

Joseph Cotton (66:05)

Need any money?

J. Carol Nash (66:06)

I don't need anything from you. Including your wedding ring. Here. You know what you can do with it?

Joseph Cotton (66:11)

Sure. Hawk it. Well, pick a nice quiet hotel.

J. Carol Nash (66:15)

I don't have to pick a hotel. I'm no orphan.

Joseph Cotton (66:17)

When you get good and sick of it, come on back. Maybe I'll still be here.

J. Carol Nash (66:21)

You'll still be here. You'll never see me again as long as you live.

Joseph Cotton (66:27)

You'll never see me again as long as you live. You will never see me again as long as you live. She said. If I'd known then what I know now, I guess that wouldn't have sounded so funny. All right, maybe I not the easiest guy in the world to get along with. But it's perfectly natural for a couple to have at least one good fight after they've been married nearly three months. I just wasn't going to be the first one to say uncle, that's all. Still, you don't wait around forever when your wife walks out on you. Even if you are playing hard to get. So the third evening I put In a call. I knew all along she'd head for her mother's place. Anyway, she practically told me where she was going. You left.

J. Carol Nash (67:13)

Hello?

Joseph Cotton (67:14)

Oh, hello. Is this Mrs. Alden? Yes. This is Ed, Janet's husband.

J. Carol Nash (67:19)

Oh, yes. How is Janet?

Joseph Cotton (67:22)

Isn't she there with you?

J. Carol Nash (67:23)

With me? Why, no. Isn't she with you?

Joseph Cotton (67:28)

No. That was all I needed to hear. I grabbed my hat and headed for the bus station. That was the only way she could have possibly gone to her mother's place at that time of night. By bus. First I wanted to find out if there was anybody who could positively identify her as having left. The guy at the ticket office wasn't very bright. To West Hampton. Well, seems like I remember somebody like that. It would have been Monday night just about this time. West Hampton, Monday night. Well, maybe. I couldn't be sure though. I. Never mind. Give me a ticket. Where to? Where do you think? West Hampton. She was blonde, blue eyes, good looking. Sure, sure, I remember her. Where'd she get off?

J. Carol Nash (68:15)

I think it was West Hampton.

Joseph Cotton (68:27)

Well, good night. Yeah, we're closed for the night. Mr. Pumps are all on. I just want some information. Can you tell me where the Alden's live? Alden? Oh, yeah, they're those new people. Yeah. Well, you go up the crossroad there. You turn your left. Go on down the hill. Now it's 1, 2, 3. Let me see. No, no, it's a fourth. Fourth driveway on your right. Did anyone ask you how to get there last Monday night? We're closed Monday, sir. Oh, at fourth driveway on your.

J. Carol Nash (69:20)

Must be somebody lost away. Yes?

Joseph Cotton (69:24)

I'm Ed Bliss, Janet's husband.

J. Carol Nash (69:26)

Oh, yes. Come in, Ed. I've been looking forward so much to meeting you. I wish it could have been under different circumstances, though.

Joseph Cotton (69:35)

Yeah.

J. Carol Nash (69:36)

I'm so sorry.

Joseph Cotton (69:39)

I've nothing to worry about.

J. Carol Nash (69:40)

No, I can't understand it. It's not like her to do a thing like that. I. Oh, Ed, I want you to meet Ms. And Mrs. Farley. We were just playing a little bridge.

Joseph Cotton (69:50)

How do you do?

J. Carol Nash (69:51)

How do. This is my husband, Joe Alden. I guess that makes him your. Your stepfather in law, doesn't it? Joe, this is Ed Bliss.

Joseph Cotton (70:03)

Pleased to meet you, Ed.

J. Carol Nash (70:05)

Well, I guess we'd better be going.

Joseph Cotton (70:06)

Oh, yeah, yeah, I guess we have.

J. Carol Nash (70:08)

I certainly do hope that you're wife.

Joseph Cotton (70:10)

I wouldn't worry about devouring. Oh, you heard about it, did you?

J. Carol Nash (70:13)

Well, Ed, you see, they dropped in a little while after you phoned and we thought it was all.

Joseph Cotton (70:19)

That's all right.

J. Carol Nash (70:19)

Well, thanks for asking. It's over. We'll come again real soon now. Thank you. Goodbye. Oh, Ed, I hope you didn't mind about them.

Joseph Cotton (70:32)

Well, I didn't think it was necessary to. Oh, that's all right. It's okay.

J. Carol Nash (70:37)

Well, then come on into the living room and tell us about it.

Joseph Cotton (70:41)

There's nothing much to tell that you don't know, is there? No.

J. Carol Nash (70:44)

No, I suppose not.

Joseph Cotton (70:45)

Sit down. Thanks.

J. Carol Nash (70:47)

Can't I get you something to eat?

Joseph Cotton (70:49)

No, thanks.

J. Carol Nash (70:50)

Or some coffee or something?

Joseph Cotton (70:51)

I think I'll pass up the refreshments this time.

J. Carol Nash (70:54)

Well, I know how you must feel.

Joseph Cotton (70:57)

Yeah, I guess you do.

J. Carol Nash (70:58)

But I still can't. I just.

Joseph Cotton (71:01)

You. You painted this room lately, haven't you? Yeah. What about it? Nothing. It just looks a little funny, that's all. You think so? And that brick wall in front of the house is kind of new, too, isn't it? You know I'm a bricklayer by trade, don't you? Well, now that you mention it.

J. Carol Nash (71:18)

Oh, Joe, how can you talk about. About when?

Joseph Cotton (71:23)

You better go on upstairs, Laura. Yeah, she's taking it pretty hard. Yeah. You seem to be bearing up all right, though. You haven't lost any sleep over it yet yourself, have you? I'm not her husband. Yeah. This isn't getting us anywhere. What was that? Laura. I guess she's going to bed. Oh. Well, I guess I better be going down to get that last bus. How about staying overnight? No, thanks. Check yourself. Oh, wait a minute. I'll put the porch light on. I can see that's better. By the way, what happened? What do you mean, what happened? I suppose you and Janet had a row. What's that got to do with anything? I hear you got kind of a temper. Were you a little too quick with the flat of your hands? What's all this? For the benefit of the neighbors? It might be. Have you notified the police yet? No, and I don't like the way you ask questions. Okay. Okay. Want me to walk down the bus with you? It's pretty dark. Maybe that's why I'd rather walk down there alone. Oh, now, wait a minute, Ed. I think you got me wrong. All right.

Brian Donlevy (72:30)

Maybe I have.

Joseph Cotton (72:31)

Say Good night to Mrs. Alden for me. Yeah, Let us hear from you. Don't worry. You'll hear from me all right. It was still plenty dark when I got back to. But I took the shortcut at the corner just the same. A path across the vacant lot. Between the lot and my house there's a hedge. I was just going through it. When I stopped cold, there was a light on in my house. Only it wasn't a regular light. The beam of a flashlight moving past the living room window. That could only mean one thing. Cops. Of course it was Joe. All in the tip them off. I just waited and then heard the front door open and close. I saw two men standing outside. Then one of them went up the street. Pretty soon I heard a car drive off. The other man was just a shadow. Then, standing by a tree in front of the house, you could see he was expecting me to come from the other direction. I stepped through the hedge and went over to him. Would you be looking for anybody in particular? I might be. Who are you? Ed Bliss. Who are you? Detective Stillman, Bureau of Missing Persons. How'd you know anyone was looking for you? Oh, I'm just bright that way. Oh, yeah? Well, they like bright boys down at headquarters. Come on, let's go. For suspense, Roma Wines are bringing you Robert Young and you'll never see me again by Cornell Woolrich Roma Wines presentation tonight in radio's outstanding theater of thrills, suspense.

Truman Bradley (74:28)

Between the acts of suspense, this is Ken Niles reminding you that it's ra really simple to please the palates of fastidious guests. If you'll just be sure to serve.

Joseph Cotton (74:38)

Grand estate wines for grand estate wines.

Truman Bradley (74:41)

Presented by Roma afford you the ultimate in wine excellence. Discriminating wine users know this and regard your offering of grand estate wines as.

Joseph Cotton (74:51)

A flattering gesture to their good taste. For in grand estate wines, particular guests find the brilliant clarity, full fragrance and mellow tastes that distinguish truly outstanding wine.

Truman Bradley (75:05)

You see, Roma created this limited bottling.

Joseph Cotton (75:08)

Of magnificent grand estate wines especially to.

Truman Bradley (75:11)

Please those who know fine wines with choicest grapes, infinite patience, necessary time and age, old skill. Roma master vintners endowed each grand estate.

Joseph Cotton (75:24)

Wine with fine qualities of wine greatness.

Truman Bradley (75:28)

So the host who possesses all five grand estate California wines is sure of pleasing all tastes at all times.

Joseph Cotton (75:36)

For smart entertaining, delight your guests with.

Truman Bradley (75:39)

Grand estate medium sherry, ruby port or golden muscatel.

Joseph Cotton (75:44)

For gracious dining, serve grand estate Burgundy or Sauterne. Remember the name. Grand estate wines by Roma, the crowning achievement of vintner skill. And now, Roma Wines bring back to our Hollywood sound stage, Robert Young, who has Ed Bliss in you'll never see me again continues a narrative well calculated to keep you in suspense. He stood there in the shadows, watching my face. Detective Stillman of the Bureau of Missing Persons. I'd been expecting this to happen sooner or later, but now that it had, I was stunned. For A moment. Well, come on, bright boy. They're expecting us at headquarters. Wait a minute. I want to talk to you. I'm in a jam. Oh, you're telling me. Not the way you think. Will you come inside with me? I've been inside. Say, what kind of a furnace do you have in your cellar, Bliss? An oil burner. The kind that turns on automatic with an electric cut in? That's right. Why is there a fuse blown? How'd you know there was a fuse blown? Was that why you were searching my house with a flashlight? Or was it because you didn't have a warrant? See? You really are bright boy, aren't you? Well, come on, come on, we're going down. Listen, I don't want to have any arguments. I want health and I want it bad. Will you give me a break? What kind of a break? Oh, this is no place to talk. Will you come inside? Okay, but you better talk fast and talk good. Don't worry. The fuse box is right here. Flash the light, please. I always keep a couple of fuses on top of it. Oh, there they are. Let's go in the front room. After you. Okay. Now, what do you want to talk about? Don't you understand? She's my wife. I'm scared. And why did you run out? Why don't you tell the police? Because at first I thought it was just one of those things. Anyway, I knew where she'd gone. Back to her mother's. How'd you know that? Because I went down after her. Because all kinds of people saw her go. Bus drivers, ticket sellers. Only when I got there, she wasn't there. How much life insurance do you carry on her, Bliss? 25,000. Wow. That's crazy for a $75 a week architect, isn't it? Our mother paid for it. A wedding present, for heaven's sake. What do you think I did? Buried her in a cellar or something? No, we know you didn't do that. We looked. Oh, cut it out, will you? I love her. I. Oh, we've only been married three months. Well, what do you want me to do? Oh, give me a break. Listen, if you take me down to headquarters now, it may be hours. It'll be ours, all right. And in the meantime, if there's still a chance. But. But there's got to be. She's somewhere and she's in danger. I know it. Yeah? How? I tell you, I followed her down to her mother's place in West Hampton. There's a guy at the station who remembers selling her a ticket the bus driver remembers her getting off there and then she just disappeared. Then what? I went down to her mother's house. They hadn't seen her. There's something funny about it. There's something funny about her mother and that. That stepfather. There's something funny about the house, about that room. What room? That living room of theirs. Listen, you've got to help me. Help me find her. You've got to go down there to West Hampton with me. Because I've got a hunch somehow that I'm the only one who can find her. All right, Bliss. All right. I don't know why, but I believe you. You do? Yes. I shouldn't believe you either because. Because what? What? What was your wife wearing when she ran out on you on Monday night? What was she wearing? Yeah, yeah, yeah, sure. You must remember what she was wearing. Well, she's wearing a gray flannel suit, skirt and jacket. You know, pink silk shirtwaist, patent leather high heeled shoes and one of those crazy little hats. Any baggage? Yeah, a little tan suitcase. You're sure of that? Well, that's why I shouldn't believe it. Why not? Because when you find somebody's clothes around, you usually start looking for the body right nearby. What do you mean? Well, they weren't burned up because that fuse had blown. But we found every one of those things in the furnace down in your cellar about 20 minutes ago. When he said that, I knew there wasn't much time. But he was going up to West Hampton with me anyway, and that was the main thing. Of course. First he had to route out the bus driver in the ticket seller and check my story with him just to be sure I wasn't trying to pull a fast one. But that was all right. I expected that. Then we climbed into the police car and headed out to West Hampton. He believed me now. All right. That car couldn't have been pushed any harder if I'd been driving it myself. Still, it was broad daylight when we got there. We parked the car a little ways down the road and walked towards the house. See what I mean, Bert? Take that brick wall, for instance. Well, what about it? It's new. What did he build that for? It's not tall enough to hide the road. It's not even tall enough to keep a dog out. What did he build it for? Well, maybe he built it to keep in practice. Come on, come on, let's go. It's awful quiet. Yeah, well, why not? They're probably in bed. And that's where I would be if I hadn't let you talk me into this. Listen, Bert, you don't think I. I'm here, ain't I? Go on, ring the bell. No answer. I'll keep trying. Shades are all down. I don't think. Oh, come on. Let's try the back door. Shades are down on this side of the house, too, huh? Look, the garage is empty. Yeah. Well, I guess our birds are through to Coop all right. Bird I don't like. Come on, come on. We'll try this back door anyway. Oh, it's locked. Here. Here's an axe. Yeah. Wait a minute. Let me try my keys. Oh, nuts. Ah. There. That got it. This. This is the way to the front of the house? I guess so. I've never been back here. Yeah, this is it. Here's the front hall. There. There it is. What? The room. The living room I was telling you about. Oh, what about it? Snap on the lights. All right, I still say, what about it? I don't know, but don't you get something funny about it? No. What? The lights or something about the fresh paint, the rug. There's something, though. I know there is. Oh, come on, come on, we're wasting time. There's something screwy about the whole joint. We went over the place from top to bottom. I wanted to get back to that room, and time was awful important. But Bert Stillman wanted to look into everything which was only right and natural. Then we ran into something. That was just about the last thing I expected. Say, what's the store here? I don't know. I thought we'd covered everything on the ground floor before. Locked. That must be some sort of back bedroom. Yeah. The keys won't fit this one.

Brian Donlevy (82:55)

Funny.

Joseph Cotton (82:55)

The only room in the house that was locked. Well, maybe we've got what we're looking for. Give me that axe. But, Bert, don't you see? If she was here and then gone, they must have taken her. She's probably. Who's she? Mrs. Alden. Your wife's mother? Yeah. Say, where's your daughter? Come on, come on. Where is she?

J. Carol Nash (83:20)

I don't know.

Joseph Cotton (83:21)

Was she here?

J. Carol Nash (83:22)

Yes.

Joseph Cotton (83:22)

Where's she now?

J. Carol Nash (83:23)

I don't know.

Joseph Cotton (83:24)

Did she leave with your husband? I don't know. Why didn't you tell me she was here the other night?

J. Carol Nash (83:29)

Jo told me not to. She was here, and the next morning Joe told me she'd left. And this morning he left it to go.

Joseph Cotton (83:39)

What did you lock yourself up in here for?

J. Carol Nash (83:43)

I knew when Joe left this morning. There's something. Something terrible. When you Came. I was frightened.

Joseph Cotton (83:50)

Come on. Come on where? Don't you get it? For some reason, the stepfathers put the snatch on her. We've got to put a call through the headquarters and get the highway patrols on the watch for them. Well, what about her? Oh, she comes along. Come on. Come on. Bert. Yes? There's something wrong about this. You bet your life there is. No. I mean, why would he do it? What motive would he have? Let me worry about the motive. You worry about your wife. And it's got some connection with what's wrong about that room, whatever it is. Will you forget about the room? We've got to get. I want to look at it just once more. Listen. You listen. Do you want your wife back or don't you? There's no time to stamp her. I've got it. Got what? It's lopsided. Don't you see? It's not on a square. How do you know? I'm an architect. Look, the lights aren't in the middle of the ceiling. The windows aren't in the middle of the wall. So what? The design of the rug is wrong.

Brian Donlevy (84:30)

It's.

Joseph Cotton (84:31)

It's cut off too close to that wall. It's. Bert. What? That wall. That's why the room has just been repainted. That's why I built the brick wall in front of the house. I don't get it. One wall of this room is a dummy built out in front of the real one. That's why the room looks lopsided. That's why I built the brick fence, to get bricks without arousing suspicion. Which wall? That one. And, Bert, it must be hollow. Give me that Axle. You don't think that the Janet. Bert, give it to me. Get back.

J. Carol Nash (85:01)

Get back.

Joseph Cotton (85:01)

You heard me.

J. Carol Nash (85:02)

Get back.

Joseph Cotton (85:03)

Mrs. Oliver, did you.

J. Carol Nash (85:05)

The Janet.

Joseph Cotton (85:06)

Answer me. Answer me. He couldn't have done a thing like that. Hey, Ed. Yes? Didn't. Didn't you say your wife was young? 23. Well, then you can look. This is an older woman. Do you. Oh, you know her? No. Well, there's your motive. Yeah, but who could it be? I don't know. Well, she. She must know the mother. She can't even talk. Say, Ed. Ed, you would know if she was the mother, wouldn't you? Of course I what? No, I wouldn't. I never saw Janet's mother until I came here to the house Monday night. Mrs. Alden. Mrs. Alden, answer me.

J. Carol Nash (86:07)

I'm not Mrs. Alden. That's Mrs. Alden.

Joseph Cotton (86:19)

It was just a question of time. Now, whether we'd get back there in time to stop it. It all fit together now. And what Bert didn't know, he got out of the woman on the way back. Did you know Joe Alden before?

J. Carol Nash (86:27)

No, not before I came to their house in Eastport to. To take care of her. I was her nurse and. And Joe and I.

Joseph Cotton (86:34)

Well, who got the idea of the killer? You or Joe?

J. Carol Nash (86:36)

He did. When he saw me giving her a sedative. 1. She was pretty sick.

Joseph Cotton (86:40)

Premeditated, eh? Why did you do it? Money, of course.

J. Carol Nash (86:44)

She kept a lot of bonds around the house. That's what Joe wanted.

Joseph Cotton (86:47)

Is that why you moved from Eastport to West Hampton?

J. Carol Nash (86:50)

Yes. Nobody knew us in West Hampton. We moved in at night. They thought there was only the two of us. They thought I was the real Mrs. Alden.

Joseph Cotton (86:58)

When did he do it?

J. Carol Nash (86:59)

About a week after we got there one night. By morning, she was where you found her.

Joseph Cotton (87:14)

We were doing better than 80 most of the way, but I still didn't think we'd make it. And naturally, Bert was afraid to put the local cops around the house for fear Alden would spot them first and take Janet away and do it somewhere else. He hadn't done it already because Bert had the picture cold. Now. Janet had come to the West Hampton house and found her mother was missing before Alden had been able to make a getaway. So Alden had to keep. Killed Janet, too. He knew where he was taking her because of the clothes in the furnace of my house. That was the tip off that Joe was going to try to plant it on me. The only break I had. At least I knew where to look, if I could get there in time. The outskirts of town. We picked up a police escort. Bert made them lay off. When we got near the house, we drove up the side street and parked a little ways off. We walked up to the house. There was a car in front of it. Is that Alden's car?

J. Carol Nash (88:02)

Yes.

Joseph Cotton (88:03)

All right. Now, you're coming in with this lady. But the first sound out of you, and I'll shoot. And I mean that.

J. Carol Nash (88:09)

I know.

Joseph Cotton (88:09)

Got your keys, Ed? Yeah, yeah. Quiet. Look. Look.

Robert Young (88:19)

There's a light.

Joseph Cotton (88:20)

That's the door to the cellar. Come on. Listen. He's digging. The lights have gone out.

Robert Young (88:29)

He must have heard us.

Joseph Cotton (88:29)

Put on your flashlight. Come on. Let's go. There he is. Why you. Hey. Hey. Ed. You shouldn't have done that. He killed my wife. Denise. What's on the light? Where is she? Maybe it isn't too late. There she is. She's dead. Yeah. Yeah. Chloroform me. Smell it. Come on. Get that cloth up her face. It's too late. Can't you see? Yeah. Yeah, I'm afraid. Say, wait a minute. What are you doing carrying a gun, Ed? I got a permit. Anyway, what's the use of asking questions like that? She's moving. Well, she's alive. Here, come on, Ed. Give me a hand. Quick.

J. Carol Nash (89:06)

Ed.

Joseph Cotton (89:07)

Here, Ed. Come on. Help me. I. Hey. Hey, Ed, where you going? Put up your hands, Ed. Okay. They're up.

J. Carol Nash (89:21)

Ed. You could at least have done it yourself instead of hiring a murderer.

Joseph Cotton (89:43)

What a j you do it for Ed. The money. What do you think? For fun? Go ahead, talk. Anything can make you happy. Would have been perfect if Alden had killed her when he first got her in the cellar like I told him to. Maybe had a sneaking idea I was going to double cross him. He was stalling until the last minute. I don't know. Anyway, it won't do him much good where he is. What did. What'd you have on him, Ed? The mother? His wife. I'd been up there before. Alone. I knew he killed his wife because I'd seen a picture that Janet had. The real wife. I spotted the room right away. Told all them I'd split the money with him if he took care of Janet. And if he didn't go on. I knew I could pick a fight with Janet. And I knew she'd run up to her mother. Then I went up there to make it look good. After I left, Alden was to call the cops like he did you, take me down here to headquarters. And while you were giving me the old third degree, Alden was supposed to plant the body in the cellar. That way I was in the clear. Because, you know, I couldn't have done it while I was down here talking to you. You know, she hadn't been there before because you'd look. That's why I planted the clothes in the furnace, remember? So you would look. I had an alibi. Nobody had a thing on Alden unless I squawk. He had to take that chance. Yeah. Looked pretty good there for a while, didn't it? Yeah. Yeah. Your. Your wife's outside. Want to say anything to her? Huh? Oh, just tell her I said, you'll never see me. Suspense presented by Roma Wines R O M A Made in California for enjoyment throughout the world. And now here is our producer director.

Truman Bradley (91:46)

William Speer, with a basket of grand estate wines. A gift for the distinguished star of tonight's suspense play, Robert Young Bob, these.

Joseph Cotton (91:54)

Grand Estate wines are our way of thanking you for a really wonderful performance. Well, thank you, Bill, for this wonderful basket.

Truman Bradley (92:00)

You know, Mr. Young, each grand Estate.

Joseph Cotton (92:02)

Wine is a limited bottling of outstanding excellence.

Truman Bradley (92:05)

Presented by Roma, the greatest name in wine. Each precious bottle is distinguished by brilliant clarity, full fragrance and mellow taste. Yes, the name Grand Estate Wine stands.

Joseph Cotton (92:17)

For the ultimate in wine goodness. I'm impressed. And I've learned something.

Truman Bradley (92:21)

Well, discriminating wine users everywhere are learning the young. They're finding out that Grand Estate wines.

Joseph Cotton (92:26)

Offer a rich new experience in wine enjoyment.

Truman Bradley (92:30)

Choicest grapes and the patient perfection of.

Joseph Cotton (92:32)

Winemaking serve to establish Grand Estate Wines.

Truman Bradley (92:36)

By Roma as the crowning achievement of vintner skill.

Joseph Cotton (92:39)

Very convincingly spoken can. And Mr. Young's gift basket of Grand Estate wines will convince him still more. Bob, it's always great to have you on suspense. I'm sorry we had to make such a heel out of you at the end. But that's what you get for being such a two way stretch of an actor. Well, I'll get a two way verdict on the show when I get home tonight. Kids will be furious because they know I'm such a nice guy. But my wife will say that Suspense is the only show that ever lets me play my true villainous self. How is Betty? Fine. Well, congratulations again, Bob. I hear that Lady Luck, the picture you just finished at rko, is swell. Well, I'll be looking forward to seeing it. Well, you're very kind. Bill, who's on Suspense next Thursday? It's a double threat. Lloyd Nolan and Vincent Price in a play about two lifelong enemies who go away on a hunting trip together. Both knowing that only one of them is ever coming back alive. Well, it sounds terrific, Bill. I won't miss it. Well. And now, Bob, with my compliments and Roma's, here's that gift basket of Grand Estate wines. Thank you again and good night. Next Thursday, same time, listen to Vincent Price and Lloyd Nolan on suspense. Presented by the Roma Wine Company, Fresno, California.

Truman Bradley (94:27)

This is cbs, the Columbia Broadcasting System. And now, Roma Wines. R O M A made in California for enjoyment throughout the world. Roma Wines present Suspense.

Joseph Cotton (94:51)

Tonight, Roma wines bring you Mr. Brian Dunleavy as star of Lazarus Walks, a suspense play produced, edited and directed for Roman Roma wines by William Speer.

Truman Bradley (95:05)

Suspense Radio's outstanding Theater of Thrills is presented for your enjoyment by Roma Wines. That's R O M A Roma Wines, those excellent California wines that can add so much pleasantness to the way you live. To your happiness in entertaining guests to Your enjoyment of everyday meals.

Joseph Cotton (95:26)

Yes.

Truman Bradley (95:26)

Right now, a glassful would be very pleasant as Roma wines bring you Brian, Don Levy and a remarkable tale of suspense.

Brian Donlevy (95:40)

This is the truth. Do you understand? The truth. It must be the truth. It has to be. I, Robert Winsley Graham, a doctor and psychiatrist by profession, do hereby, of my own free will and volition, albeit with deepest regret, make the following full and complete statement relative to that all but unbelievable series of events which has brought such disaster and misfortune to my house and particularly, particularly to my poor wife, Isabel. It had its beginning, properly speaking, some two months ago, to be exact. On the evening of August 25th. We were in the drawing room. Isabel at the piano, practicing, as she said. Her Aunt Jane and I on opposite side.

J. Carol Nash (96:40)

Isabel, what's the matter? I don't know. I can't seem to keep my mind on anything anymore. Even my music. Nerves. Nerves. Aunt Jane, please. I'm sorry, but I don't believe in beating about the bush. You're an artist. You've got talent. There's no sense in your trying to subordinate yourself to somebody else. Aunt Jane, that's enough. I'm not subordinating myself to anyone.

Brian Donlevy (97:01)

Really, Aunt Jane, you mustn't interfere.

J. Carol Nash (97:03)

You know Robert doesn't want me to go back on stage.

Brian Donlevy (97:06)

Oh, darling, it isn't that I don't want you to go back. I'm proud of you. You know that. It's only because I think. Because I know that going back to a professional career at your present mental condition could be terribly harmful.

J. Carol Nash (97:20)

Yes, I know, Robert. I know. You're right.

Brian Donlevy (97:23)

After all, I am a doctor. It's my business to know these things. I'll get it. Probably the hospital.

Joseph Cotton (97:29)

Hello?

Brian Donlevy (97:31)

Yes, this is Dr. Graham.

Joseph Cotton (97:33)

Who?

Brian Donlevy (97:34)

Oh, yes, yes. Why, of course. When would you like to see me? All right, fine. No, no, no trouble at all.

Joseph Cotton (97:43)

Very well.

Brian Donlevy (97:44)

I'll be expecting you. Bye, Isabel. Good heavens. Who do you suppose that was?

J. Carol Nash (97:50)

Who?

Brian Donlevy (97:51)

Roger Holcomb. Do you remember the case? Roger Holcomb.

J. Carol Nash (97:55)

Roger Holcomb. I remember it.

Brian Donlevy (97:56)

Of course you do. The fellow who was brought back from the dead is the newspapers.

Joseph Cotton (98:01)

About a year ago.

J. Carol Nash (98:02)

Oh, yes.

Brian Donlevy (98:03)

You know, he really was dead for four full minutes as far as medical science was concerned. And then Bates brought him around. It was a nine days wonder at the time.

J. Carol Nash (98:13)

What does he want to see you about?

Brian Donlevy (98:14)

I don't know. Something to do with his experience. Obviously he was in a terribly agitated state.

Joseph Cotton (98:20)

Poor fellow.

Brian Donlevy (98:20)

He'd been walking up and down in front of the house for an hour Trying to get up courage during the bell. Finally, he phoned from the corner drugstore.

J. Carol Nash (98:27)

Oh, the poor man. Why in the world would he do that?

Brian Donlevy (98:30)

Anxiety neurosis. They hounded him in the most shocking way when he got out of the hospital. You know, preachers and spiritualists and movie agents and just plain fakers. People trying to find out if he remembered anything of the four minutes when he was supposed to be dead. And people just trying to explain.

J. Carol Nash (98:47)

Oh, that's notoriety. Some thrive on it, some don't. One man's meat is another man's point.

Brian Donlevy (98:53)

Well, that must be Holcomb now. I'll take him into the office.

Joseph Cotton (99:05)

Dr. Graham? Yes.

Brian Donlevy (99:06)

You're Roger Holcomb?

Joseph Cotton (99:08)

Yes.

Brian Donlevy (99:08)

Come in.

Joseph Cotton (99:09)

Thanks.

Brian Donlevy (99:10)

It's a pleasure to meet you, Mr. Holcomb.

Joseph Cotton (99:13)

Is it?

Brian Donlevy (99:16)

Sit down. Why did you come to me, Mr. Holcomb? Holcomb.

James A. Woods (99:20)

Well, I was told that you specialized in strange cases, things that other men can't explain.

Brian Donlevy (99:29)

Yes, that's true in a way.

James A. Woods (99:32)

You know what happened when I got.

Joseph Cotton (99:33)

Out of the hospital.

James A. Woods (99:34)

How they followed me and questioned me, hounded me day and night trying to find out if I remembered anything, if I'd experienced anything beyond the grave.

Brian Donlevy (99:45)

Yes, I remember that.

James A. Woods (99:47)

Then you remember that my answer was always the same. That I remembered nothing, that I knew nothing.

Joseph Cotton (99:54)

Well, I was wrong. Oh.

Brian Donlevy (99:57)

What did you experience during those four minutes?

James A. Woods (100:00)

I don't know, but it must have been something. Something I don't even dare to think about.

Brian Donlevy (100:06)

How do you know this?

James A. Woods (100:08)

Well, it happened the first time in a boat traffic which I'd taken to recover my health. I found myself chatting with a woman who was seated at my table in the dining salon. She found occasion such women often will to mention her age. She said, after all, I'm not yet 40.

Joseph Cotton (100:27)

And then it happened.

Brian Donlevy (100:30)

What happened?

James A. Woods (100:31)

From somewhere came crashing into my mind. A certain knowledge of. Of the exact day and year of that woman's birth. And with it, a compulsion to speak out. A compulsion which I could no more.

Joseph Cotton (100:45)

Have resisted than I could have resisted breathing.

James A. Woods (100:48)

I said, madam, you were born in May, weren't you?

Joseph Cotton (100:51)

May 30th.

James A. Woods (100:53)

And then I added the date. The year 1900. She was well over 40. She'd lied to me. It's an innocent enough thing, but I had known the truth and been forced to speak it. And I have been ever since.

Joseph Cotton (101:07)

Wow.

Brian Donlevy (101:09)

And this condition has existed only since your.

James A. Woods (101:13)

Since my four minutes beyond the grave?

Joseph Cotton (101:16)

Yes.

James A. Woods (101:18)

It's as though. Well, this will sound. It's as though in that brief time I had Glimpsed eternity that I'd seen.

Joseph Cotton (101:28)

Revealed all truth of all the ages.

James A. Woods (101:31)

Now, I know that sounds foolish, but.

Brian Donlevy (101:35)

This is most amazing. Tell me you have family and friends who are understanding.

Joseph Cotton (101:42)

Oh, for heaven's sake, doctor.

James A. Woods (101:43)

Don't you understand what this has done to me?

Joseph Cotton (101:45)

Yes.

Robert Young (101:45)

I had a family, friends, girl I.

James A. Woods (101:48)

Was gonna marry today.

Joseph Cotton (101:50)

I'm an outcast, a pariah.

James A. Woods (101:52)

I'm shunned, feared.

Joseph Cotton (101:54)

It's hate. Hate it.

Brian Donlevy (101:57)

Mr. Holcomb, I believe that this condition is very real to you. Causes you very real anguish. And I want to help you.

James A. Woods (102:06)

Do you think you can?

Brian Donlevy (102:07)

I am confident that I can. Do you suppose you could arrange to stay with me here at my home? For a matter of weeks or months, if necessary?

Joseph Cotton (102:15)

I'd do anything, anything in the world.

James A. Woods (102:18)

To be a normal man.

Brian Donlevy (102:20)

Well, you'll have your own quarters. You'll be quite comfortable, I assure you.

James A. Woods (102:23)

Well, I'm sure it's a lovely house.

Joseph Cotton (102:25)

What I've seen of it.

Brian Donlevy (102:26)

Yes, I'm rather lucky. I'm interested in research, primarily. Not much money in that, you know. But a couple of years ago, I came into quite a nice inheritance. The house went with it. What is it?

Joseph Cotton (102:40)

What's the matter? The inheritance was not yours. It was your wife's.

James A. Woods (102:44)

Behind your house is your wife's.

Joseph Cotton (102:46)

You are penniless. That's true.

Brian Donlevy (102:52)

I don't know why I lied to you. Pride, I suppose.

James A. Woods (102:54)

I'm sorry. I told you I couldn't help it.

Joseph Cotton (102:57)

I'll go now.

Brian Donlevy (102:58)

No. No, please. It was my fault. It's a small matter.

Joseph Cotton (103:00)

But you see, now I want to help you. Do you believe me now?

Brian Donlevy (103:06)

I believe, Mr. Holcomb. Either that you are far more ill than I realized or that in the months to come, you and I must venture into a realm never before explored by mortal man.

Joseph Cotton (103:32)

For suspense, Roma wines are bringing you Brian Dunleavy in Lazarus Walks of radio play by Robert L. Richards from a story by J. Marion Speed. Roma wine's presentation tonight in radio's outstanding theater of thrills, suspense.

Truman Bradley (103:56)

Between the acts of suspense, this is Ken Niles. For Roma wines these crisp autumn days, there's real pleasure in coming home to a. A welcome glass of Roma Grand Estate wine. Yes. For evenings at home or small get togethers with friends, it's smart to serve grand estate wines. You can serve grand estate wines proudly, to anyone, anytime, for each grand estate wine, a limited bottling by Roma is born of choicest grapes, then guided to superb taste richness by patient skill. America's finest winemaking resources and Necessary time. Win compliments from your guests with grand estate California wines For entertaining, medium sherry, ruby port or golden muscatel. For dining, Burgundy or Sauternes. Remember, grand estate wines presented by Roma, America's greatest vintner. And while there's time, take advantage of present low Roma prices. Buy a case of assorted Roma wines for the holidays. Do it now and save money.

Joseph Cotton (105:05)

And now, Roma wines. Bring back to our Hollywood soundstage Brian Donlevy in Lazarus Walks, a tale well calculated to keep you in suspense.

Brian Donlevy (105:31)

It was utterly fantastic, and yet it was true. I checked the facts again and again. He could not possibly have known, and yet he knew. Can you imagine what this meant to a man of science? If I could fathom the depths of Roger Holcomb's mind, I could make a contribution to the body of scientific knowledge absolutely without parallel in modern times. There remained the problem of his attention. I was aware of the danger, of course, but I believed I could control the situation. I determined to proceed. Actually, Holcomb's presence made itself felt almost immediately. The first incident came after he had been with us scarcely a week.

J. Carol Nash (106:18)

Isabel, please stop that playing and listen to me. Jane, you know Robert has said I mustn't talk about it. That's bad for me. I don't care what Robert says. I've been sick, that's all. He's made you sick? That's ridiculous. Maybe it's just that he's afraid of losing you. Maybe he's even afraid of losing your money. But I'm absolutely convinced that whether he's meant it or not, he's made you believe there's something the matter with you that isn't. Aunt Jane, I simply forbid you to talk this way. Isabelle. Isabel, do something before it's too late. Do. Why? Get away. Leave him. Divorce him. Anything. Aunt Jane, you don't know what you're saying.

Brian Donlevy (106:52)

Oh, I hope we're not interrupting.

J. Carol Nash (106:55)

Of course not, darling. Hello, Roger.

Joseph Cotton (106:58)

Hello, Isabel. Mrs. Pot.

J. Carol Nash (107:00)

Good afternoon. How are you feeling, Roger?

Joseph Cotton (107:03)

Well, bet. I think.

Brian Donlevy (107:05)

I think it would be better if we didn't discuss our. Our states of mind, Isabel.

J. Carol Nash (107:10)

Oh, yes, of course. I'm sorry. Well, would you like me to play something for you? You know, I think I'm beginning to get the feel of it again. Really, I do.

Brian Donlevy (107:20)

You're sure we haven't interrupted some conversation?

J. Carol Nash (107:24)

Of course not. We were just discussing how helpful you've been in getting Isabel back to our work again. Roger.

Joseph Cotton (107:34)

No, you are not. You were telling Isabel to divorce her husband.

Brian Donlevy (107:39)

Isabel, I'm sorry.

J. Carol Nash (107:41)

I'm sorry. Roger. Roger, come back here.

Brian Donlevy (107:45)

Isabel, is that true?

J. Carol Nash (107:47)

You brought him in here deliberately?

Brian Donlevy (107:48)

Is that true?

J. Carol Nash (107:49)

It doesn't matter. Oh, you've known how I felt for a long time.

Brian Donlevy (107:53)

Yes, I'm afraid I have.

J. Carol Nash (107:55)

Robert. It was all so silly. She didn't mean it. It was just that I did mean it. I'm sorry, Isabel, but I've been under this roof too long as it is. Oh, Aunt Jane, you're not leaving? It's the best, Isabel.

Brian Donlevy (108:05)

Yes, I think it is decidedly best that you go at once. It was this incident which gave me my first insight into the relationship which was destined to develop between Isabelle, Roger and myself. The first and most obvious result was that Isabelle and I became further estranged. As each day passed. It was difficult to speak of even the most casual things with this strangely terrifying specter of truth always at our elbow. The situation reached its inevitable climax the evening that Leopold Sarinsky, the famous conductor of the Los Angeles Symphony, was to call on Elizabeth with a view to a resumption of her professional career under his auspices. I gave a great deal of thought to that evening. It had to be handled with the greatest effect.

J. Carol Nash (109:00)

Robert, you. You will help me, won't you?

Brian Donlevy (109:04)

Of course I will, darling.

J. Carol Nash (109:06)

Robert, does he have to have dinner with us tonight?

Brian Donlevy (109:09)

Roger? Isabel, you know how I stand on that.

J. Carol Nash (109:13)

Oh, yes, I know, but just this once.

Brian Donlevy (109:15)

Even once. Isabel. To keep him in his room like a spoiled child when we have guests might undo everything I've accomplished in weeks.

J. Carol Nash (109:23)

I know, darling. Of course, you're right, but.

Joseph Cotton (109:26)

Roger.

Brian Donlevy (109:26)

Come in, Robert. Yes?

Joseph Cotton (109:30)

I was wondering if I mightn't be excused just tonight.

Brian Donlevy (109:33)

You're having dinner with us, Roger.

Joseph Cotton (109:35)

Must I?

Brian Donlevy (109:36)

You know you must, Roger, and you know why.

J. Carol Nash (109:38)

Roger, don't you Want to meet Mr. Sirinsky? He's really a wonderful person.

Joseph Cotton (109:43)

Yes, indeed. I would, very much.

J. Carol Nash (109:45)

You know Roger. I made my debut with him in 1934. I did a concert with him every year until every.

Brian Donlevy (109:51)

Until Isabel was very talented.

J. Carol Nash (109:55)

I was. I am Roger. I'm going to play with him again. You know, he. He wants me to open the season in November. Can you imagine what it means to me?

Joseph Cotton (110:07)

I'm so glad, Isabel.

J. Carol Nash (110:08)

And Robert has finally given his consent, haven't you, dear? Robert.

Joseph Cotton (110:15)

I'm sorry. What was it you said, Isabel?

J. Carol Nash (110:18)

I said you'd given your consent to my playing with Sirinsky.

Brian Donlevy (110:21)

I. Isabel, you know I don't want you to think that I'd ever stand in your way.

J. Carol Nash (110:29)

Yes, I know, dear. I'll do the Emperor Concerto and you'll come to hear me. You do want to, don't you, Roger?

Joseph Cotton (110:37)

Well, I.

James A. Woods (110:39)

Please, Isabelle, don't ask me things that I can't.

J. Carol Nash (110:41)

What's the matter? What's the matter with both of you? You act as though you thought I wouldn't be able to appear. As though the whole idea were hopeless or something.

Brian Donlevy (110:49)

Isabel, please.

J. Carol Nash (110:50)

I am going to play now. I'll be better than I ever was. You know I will, don't you? Don't you?

Joseph Cotton (110:58)

Yes.

Brian Donlevy (110:58)

Yes, of course. Isabel, you play wonderful.

Joseph Cotton (111:03)

No. No, Robert. No, that's untrue. You're very certain that Isabel will be prevented from ever playing again by death.

J. Carol Nash (111:12)

Death.

Joseph Cotton (111:13)

Oh, Isabelle, forgive me. Forgive me.

J. Carol Nash (111:18)

Death. No. No, it's not true. Tell me it isn't. Roger. Roger, who's going to die? Answer me, Roger. Do you hear me? Answer me. Answer me.

Brian Donlevy (111:45)

When Sirinsky arrived, I told him that it would be quite impossible for Isabel to leave her room. The concert was canceled. And indeed, to my knowledge, she has never touched the piano since that day. By now, to even the most casual observer, it must appear only natural that Isabel had every motive for a desperate, almost paranoid hatred of Roger Holcomb. This much was clear to me. The rest not yet. As a precautionary measure, I prescribed a drug for Isabel which she at last consented to take. I gave her her own supply, and she administered it to herself as I had directed. But one thing from any point of view was certain. I had to keep Roger and Isabelle apart. Perhaps what I feared was indeed inevitable. I honestly did not think so at the time.

J. Carol Nash (112:46)

Roger. Roger.

Joseph Cotton (112:49)

Yes?

J. Carol Nash (112:51)

It's me, Isabelle.

Joseph Cotton (112:53)

What do you want?

J. Carol Nash (112:53)

Let me in, please. No, please. It's terribly important.

Joseph Cotton (112:57)

Robert said.

J. Carol Nash (112:58)

I know, but he said. He said it would be all right this time.

Joseph Cotton (113:04)

Are you sure?

J. Carol Nash (113:04)

Yes. Yes, please.

Joseph Cotton (113:06)

All right. Now what do you want?

J. Carol Nash (113:10)

I want to talk to you, that's all.

Joseph Cotton (113:12)

What about that's so important?

J. Carol Nash (113:14)

Roger, why don't you ever leave your room anymore?

James A. Woods (113:18)

Can't you guess?

J. Carol Nash (113:19)

Do you think I hate you, Isabelle?

Joseph Cotton (113:22)

I don't know what to think.

J. Carol Nash (113:23)

You do, don't you?

Joseph Cotton (113:24)

I warned him. I told him it would happen.

James A. Woods (113:26)

Now I'm going mad up here thinking.

Joseph Cotton (113:28)

Of the anguish I've caused.

J. Carol Nash (113:29)

But, Roger, I don't. You must believe me.

James A. Woods (113:32)

I know what it's been like for.

Joseph Cotton (113:33)

You having me here.

J. Carol Nash (113:34)

Roger. Roger. You see. You see, for the first time in my life, I think my husband is about something wrong. Yes. Don't you see? He's been worried about both of us. And so this. This Distrust has grown up between us.

James A. Woods (113:51)

Well, I don't distrust you, Isabelle.

Joseph Cotton (113:52)

You've been more wonderful, but you're.

J. Carol Nash (113:54)

You're afraid of me, and that amounts to the same thing. And it's bad for both of us. It's hurting both of us.

James A. Woods (114:00)

I've often felt I wanted to talk to you.

Joseph Cotton (114:03)

To beg your pardon.

J. Carol Nash (114:04)

Oh, Roger, you don't have to do that. We're both. We're both sick. But I. I think if we saw each other sometimes, if we talked the whole thing out, it would help us both.

Joseph Cotton (114:16)

Does.

James A. Woods (114:17)

Does Robert think so too?

J. Carol Nash (114:20)

No.

Joseph Cotton (114:21)

Then he didn't tell you it was all right to see me?

J. Carol Nash (114:24)

No. I lied to you.

Joseph Cotton (114:26)

You what?

J. Carol Nash (114:26)

I lied to you.

James A. Woods (114:28)

You lied to me, and it didn't happen.

Joseph Cotton (114:31)

Isabel, don't you see?

J. Carol Nash (114:32)

I am getting well.

Joseph Cotton (114:33)

It didn't happen.

J. Carol Nash (114:34)

I know. I know, Roger. I don't think it does happen anymore. Except. Except with Robert.

Brian Donlevy (114:40)

With Robert?

Joseph Cotton (114:41)

But what makes you think that I.

J. Carol Nash (114:42)

Know something about the way he acts, the way he is.

Joseph Cotton (114:46)

But, Isabelle, he is curing me. Then perhaps you should.

J. Carol Nash (114:49)

No. Don't you understand? We must see each other. We must talk.

Brian Donlevy (115:01)

Isabel.

Joseph Cotton (115:01)

Robert, Something's happened that I must tell you. Please.

Brian Donlevy (115:04)

You're completely overruled. But, Robert, I must insist. Isabel, why did you do this?

J. Carol Nash (115:10)

I'm sorry.

Brian Donlevy (115:11)

You have to have a sedative right away. Isabel, get the bottle from your room.

J. Carol Nash (115:15)

Mine?

Brian Donlevy (115:15)

Yes, yes.

Joseph Cotton (115:16)

Hurry.

J. Carol Nash (115:17)

All right.

Joseph Cotton (115:18)

Robert, she lied to me.

Brian Donlevy (115:20)

Yes, yes, I know. But, Roger, I must absolutely forbid you to talk now. You must trust me.

Truman Bradley (115:25)

All right.

James A. Woods (115:26)

But later I want to have a long talk.

Brian Donlevy (115:28)

Of course we shall.

J. Carol Nash (115:29)

Here it is. And I brought my hypodermic tool.

Brian Donlevy (115:31)

I'm glad you did. The other one's mislaid somewhere. Will you give it to him, please?

J. Carol Nash (115:36)

I.

Joseph Cotton (115:36)

Yes.

Brian Donlevy (115:37)

This has upset me rather badly. My hands are shaking.

J. Carol Nash (115:39)

Oh, Robert, I'm terribly sorry.

Brian Donlevy (115:41)

No matter now. Give him the hypodermic. The upper arm. That's right.

J. Carol Nash (115:44)

Yes. There.

Brian Donlevy (115:48)

Thank you. Leave us now, please, Isabel.

J. Carol Nash (115:51)

Yes. All right.

Brian Donlevy (115:57)

How are you feeling now, Roger?

Joseph Cotton (115:59)

Huh? I'm fine, Robert.

James A. Woods (116:02)

I think I'm better than I have been in months.

Brian Donlevy (116:04)

I know you're better. That's why I was so upset, you see. Why, Roger, I can't tell you all my reasons now, but you must trust me and believe in me.

Joseph Cotton (116:15)

I. I do.

Brian Donlevy (116:16)

It's only that I'm afraid for your help, Roger.

Joseph Cotton (116:24)

No. You're afraid of murder.

Brian Donlevy (116:41)

It was clear to me now. I knew I must take immediate action. I knew that the most terrible consequences might Result. If Isabel were alone with Roger Holcomb even for a moment, for he knew. He said so. There was no other explanation. I thought it through most carefully. And yet no plans are perfect. No man is infallible.

Joseph Cotton (117:09)

Isabelle.

J. Carol Nash (117:12)

Robert. You frightened me.

Brian Donlevy (117:15)

What were you doing?

J. Carol Nash (117:16)

Why, nothing.

Brian Donlevy (117:18)

Don't lie to me, Isabel.

J. Carol Nash (117:19)

I'm not. I was.

Brian Donlevy (117:21)

You were coming from Roger's room.

J. Carol Nash (117:23)

No. No, I swear I wasn't.

Brian Donlevy (117:24)

Isabelle, don't you understand? That you're sick? That I've insisted on these things for your own good and his.

J. Carol Nash (117:30)

All right. I was going to talk to him, but I haven't.

Brian Donlevy (117:33)

Oh, Isabelle, why do you try to tell me that?

J. Carol Nash (117:36)

But it's true, Robert. Really true.

Brian Donlevy (117:38)

Is it Roger?

Joseph Cotton (117:43)

Roger.

J. Carol Nash (117:44)

What? What's the matter?

Joseph Cotton (117:46)

Look, Robert.

J. Carol Nash (117:51)

Oh, no. It couldn't be.

Brian Donlevy (117:53)

It is. He's dead.

J. Carol Nash (117:57)

Dead?

Brian Donlevy (117:58)

The hypodermic by his side. The drug. Your drug. Your hypodermic.

J. Carol Nash (118:03)

But it's only a sedative.

Brian Donlevy (118:05)

Except that in large quantities, it's fatal. You know that.

J. Carol Nash (118:08)

Oh, Robert. No. No, listen to me.

Joseph Cotton (118:11)

Oh, Isabel. Why?

Brian Donlevy (118:12)

Why, when I warn you.

J. Carol Nash (118:14)

Robert, look at me. Look at me. It's Isabel. It's your wife. You can't. No. Where are you going? Robert, Come back here.

Brian Donlevy (118:25)

I'm going to call the police. Even though it did not come to me as a shock, even from my point of view as a scientist, it was terrible enough. Yet it had to be done. And I had done it. I did not speak to her as we waited, and she made no further attempt to appeal to me. The police arrived. I told the story with as little emotion as possible.

Joseph Cotton (118:55)

Yeah, yeah. Their fingerprints, all right, on both the bottle and the hypodermic.

Brian Donlevy (119:00)

Those would be my wife's, of course. They both belong to her.

Joseph Cotton (119:04)

Is that true, Mrs. Graham?

J. Carol Nash (119:07)

Yes.

Joseph Cotton (119:09)

Dr. Graham. Do I understand you're formally charging your wife with the murder of Roger Holcomb?

Brian Donlevy (119:14)

You could hardly expect me to do that, could you, Inspector? I am simply telling you the facts.

Joseph Cotton (119:20)

Yeah, well, you've carefully avoided saying anything definite as to your suspicions, Doctor. But I get the distinct impression she hated him.

Brian Donlevy (119:31)

My wife has been mentally ill for some time. There are many people who can testify to that. She will plead insanity, Inspector.

Joseph Cotton (119:38)

Of course. Well, Dr. Graham, I can't tell you how sorry I am. But the things you've told me add up to only one thing, as you yourself obviously recognize. Yes? Your wife, Isabel Graham, murdered Roger Holcomb. What? What did you say? I said your wife, Isabel Graham, murdered Roger Holcomb. No.

Brian Donlevy (120:05)

No, I did what the Truth is, I murdered him. No plans are perfect. No man is infallible. Yes, I can. Holcomb and I had planned to dispose of Isabel for many months. I had never loved her. I had loved only science. And I wanted her money. And Holcomb found it out. That was the risk I ran. That any chance lie in his presence, either by Isabel or myself, would bring out the truth. And it did. I had no alternative once he discovered that. But to keep it was easy enough to throw the blame on Isabel. But I had not counted on that terrible compunction for the truth. That strange affliction of Roger Holcomb's and its power over me. Did it transfer itself at his death to me? Or was it conscience? It is a pity that it had to end this way. It was a fascinating case.

Truman Bradley (121:36)

Suspense presented by Roma Wines R O M A made in California for enjoyment throughout the world. And now, this is Ken Niles bringing back to our suspense microphone the star of tonight's play, Brian Donlevy. Well, Brian, we can't give you an Oscar for your outstanding performance tonight, but Roma does want you to enjoy this basket of fine Grand Estate wine.

Brian Donlevy (122:02)

Grand Estate wines. Well, that kind of Oscar has tasted for you, Ken.

Truman Bradley (122:06)

Right you are, Brian. Here in your basket is Grand Estate California Burgundy and Grand Estate Burgundy at mealtime really makes a difference. You can taste.

Joseph Cotton (122:15)

Yes.

Truman Bradley (122:16)

Grand Estate Burgundy brings out all the taste goodness in juicy roast beef. Adds to your enjoyment of a good steak. Abrasive sizzling chops or even simple hamburgers.

Brian Donlevy (122:26)

You're killing me. I'm starved. I never eat before a broadcast.

Truman Bradley (122:30)

Well, then you'll especially enjoy Grand Estate Burgundy with supper tonight for Grand Estate Burgundy, like all Grand Estate wines, is a limited bottling of rare distinction. A wine born of the choicest grapes. Then with infinite patience guided to mellow perfection by the unmatched skill and resources of Roma master vintners. Remember the name Grand Estate Wine presented by Roma, America's greatest vintner.

Brian Donlevy (122:58)

I'll remember, Ken. And speaking of great names, I understand that you have Jack Carson all set for Suspense next week. A comedy show, I suppose.

Truman Bradley (123:06)

Oh, now, come, come, Brian. You know we specialize in the unexpected. On Suspense? No. Mr. Carson will, I think, astonish a great many listeners who think of him as a gay mad jokesmith. They'll hear him really give out with the drama. When he appears on Suspense next Thursday, he'll play a man who wants his freedom badly enough to kill somebody for it.

Brian Donlevy (123:26)

Well, that I've got to hear. Well, thanks, Ken and Bill and Lud, it's been swell as usual.

Truman Bradley (123:32)

Well, thank you again, Brian. And we all think you are great. In Paramount's two years before the mass.

Joseph Cotton (123:37)

Next Thursday, same time, you will hear Mr. Jack Carson as star of suspense.

Truman Bradley (123:45)

Produced and directed by William Spear for the Roma Wine Company of Fresno, California. Stay tuned for the thrilling adventures of the FBI in peace and war following.

Joseph Cotton (123:55)

Immediately over most of these stations.

Truman Bradley (124:12)

This is cbs, the Columbia Broadcasting System. And now, Roma Wines. R O M A Roma Wines present Suspense.

Joseph Cotton (124:42)

Tonight, Roma Wines bring you Robert Taylor in the House in Cypress Canyon a suspense play produced and edited and directed for Roma Wines by William Speer.

Truman Bradley (124:56)

Suspense Radio's outstanding Theater of Thrills is presented for your enjoyment by Roma Wines. That's R O M A Roma Wines, those better tasting California wines enjoyed by more Americans than any other wine. For friendly entertaining, for delightful dining, yes, right now a glassful would be very pleasant as Roma Wines bring you Robert Taylor, star of Metro Goldwyn Mayer's undercurrent in a remarkable tale of suspense. Merry Christmas, Jerry. How's the real estate business?

James A. Woods (125:38)

Kind of early with your greeting, aren't you, Sam?

Truman Bradley (125:40)

Well, I gotta get them in sometime. I may not see you again until next Christmas.

James A. Woods (125:44)

If this real estate racket gets any crazy, I'll be dead by next Christmas. I'm glad you could get up here, though, Sam.

Truman Bradley (125:50)

What's on your mind, Jerry?

James A. Woods (125:52)

You'll probably shoot me when you hear it, Sam, because I'm probably nuts. But doggone it, you're a detective and you're my pal and I just had to tell somebody.

Truman Bradley (126:01)

You sound like it's serious.

James A. Woods (126:02)

That's just it. I don't know what it is, Sam, but now, listen. You know, we're agents for a group of houses up in Cypress Canyon. Those places that were started before the war never got finished.

Joseph Cotton (126:12)

Oh, yeah.

James A. Woods (126:13)

All I got in were the foundations. Just concrete and a couple of beams. Well, they've been finished now. In fact, I'm putting up the for rent on the last of them today.

Truman Bradley (126:21)

What do you want, police protection from the mob?

James A. Woods (126:24)

Listen, Sam, this house that I'm talking about, it's got a number now, 2256. But before, when the men went back to work on it about three months ago well, they just started when the foreman on the job brought me a shoebox that he'd found up on a beam. And this box had a. What do you call it, a manuscript in it. A story, kind of all written out.

Joseph Cotton (126:46)

Yeah.

James A. Woods (126:46)

Well, he gave me the thing. I read it. I didn't think much about it. I put it in my desk. But the other day and I happened to drive by there, I saw the number on the house and what the house looked like. I thought of this manuscript. Well, I don't like it, that's all. There's something funny about it.

Ellen Woods (127:02)

What's funny about it?

James A. Woods (127:03)

Well, mind you, this thing was found in an unfinished house in Cypress Canyon. House was only just started building.

Joseph Cotton (127:09)

All right.

James A. Woods (127:10)

Well, listen, Sam, I want to read it to you if you got the time. And you'll see what I mean.

Joseph Cotton (127:15)

I should.

James A. Woods (127:16)

Now, here's how it begins. To whom it may concern, my reasons for setting down on paper. What follows here will be abundantly clear.

Ellen Woods (127:24)

What follows here will be abundantly clear to anyone into whose possession it may fall first. Let me say that I'm a very ordinary person. My name is James a. Woods. I'm 35 years old. By profession a chemical engineer. My wife, Ellen was a schoolteacher when I met and married her in Indiana seven years ago. There's nothing in the past life of either one of us to suggest remotely any cause or reason for the dreadful thing that has invaded our lives. Our married life has been in no way different from that of millions of other average, reasonably happy and congenial families. Three months ago, I was ordered by my firm to take charge of a rather minor project in Los Angeles. Hollywood, to be exact. The order was a sudden one. There'd been no time to secure accommodations and conditions being what they are, the inevitable result was that until day before yesterday, we'd been living in the cramped quarters of one of those characteristic California motels. Needless to say, most of our spare time had been devoted to a search for something more permanent and comfortable. But the fruits of these efforts had been financially and in every other way a geometrical progression of discouragement. Until last Saturday afternoon, only four days before Christmas. We were driving into town on our way to a movie when Ellen saw it.

J. Carol Nash (128:42)

Jim, look.

Joseph Cotton (128:43)

What?

J. Carol Nash (128:44)

That sign in front of that real estate office.

Joseph Cotton (128:46)

Oh, yeah.

J. Carol Nash (128:47)

Don't you see what it says? For rent, furnished two bedroom house. Close in immediate occupancy.

Ellen Woods (128:51)

Yeah.

J. Carol Nash (128:52)

Aren't you gonna stop?

Ellen Woods (128:53)

Oh, Ellen, you know, a sign like that, it'd mean right out in plain sight in front of a real estate office.

J. Carol Nash (128:57)

Oh, yeah.

Ellen Woods (128:57)

But, Jim, do they want $600 a month?

J. Carol Nash (128:59)

We'll never know until we ask.

Ellen Woods (129:00)

Well, if it's any good at all, There are probably 50 people fighting for it right back there.

J. Carol Nash (129:04)

Now, honey, there's no harm in trying now, is there?

Ellen Woods (129:06)

You really want to go back.

J. Carol Nash (129:07)

Oh, it's probably foolish, but what can we lose?

Joseph Cotton (129:10)

Okay.

J. Carol Nash (129:11)

Aw, darling, come on, cheer up. How do you know? Maybe our luck's changed. Maybe fate's gonna give us a nice new house for a Christmas present.

Joseph Cotton (129:31)

Come in.

Ellen Woods (129:34)

Oh, we're sorry to bother you, but we just happened to see that for rent sign outside.

James A. Woods (129:39)

Oh, yeah, I hung it outside just this minute.

J. Carol Nash (129:41)

Is. Is the house available?

James A. Woods (129:44)

Why, sure. Sure it is.

Ellen Woods (129:46)

Let me introduce myself. My name is James A. Woods, and this is my wife, Ellen.

Joseph Cotton (129:52)

How to do. Wow.

James A. Woods (129:57)

Looks like it's fixing to rain.

Ellen Woods (129:59)

Yes, so it does. Doesn't. Well, it was one of those things. The real estate agent had just been authorized to rent the place by mail that morning, and he'd hardly had time to look at it himself and put up his sign when we drove up. It was just an ordinary little California house about halfway up Cypress Canyon. Number 2256. Just an ordinary, undistinguished little house. The agent didn't know much about it. Construction on it had been stopped by the war and it had just been completed and furnished. Lately been vacant while somebody's estate was being settled. And now it was owned by a bank in Sacramento. Of course, we didn't got this key.

James A. Woods (130:45)

In the mail along with the authorization to rent. Only one there is, of course, you can have duplicates made. Seems to stick a little. Oh, no, there it is.

J. Carol Nash (130:58)

Doesn't sound as though that door had ever been opened.

Joseph Cotton (131:01)

Why?

James A. Woods (131:01)

A little oil on the hinges.

J. Carol Nash (131:03)

Oh, sure.

Joseph Cotton (131:04)

Now.

James A. Woods (131:04)

Now here's your living room. Furniture's a little dusty, of course. You gotta expect that. It's good furniture though. You say Benson brothers.

J. Carol Nash (131:11)

Yes.

James A. Woods (131:12)

Now, over here is a little den. Paneled, you see. Radio, fireplace. Really a very attractive little room, particularly for a man.

Joseph Cotton (131:20)

Uh huh. Yep.

James A. Woods (131:21)

Now, the. The bedroom's off the living room here. Everything's all on one floor, you understand. It's quite nice.

Joseph Cotton (131:28)

I.

J. Carol Nash (131:28)

Yes.

James A. Woods (131:29)

You can see you get the morning sun here. There's a view of the canyon through these fun windows. You got cross ventilation.

Ellen Woods (131:36)

That's about all there was to it. It wasn't the best place in the world. It was small and badly built. But what would you have done? We took it with as little inspection as that. It was the Saturday before Christmas and the very same evening we were struggling up the steps from the road with suitcases and boxes and armloads of clothes and all the endless bric a brac that people collect, never know they have until they move. Ellen began unpacking and I began moving things around and taking the worst of the pictures off the wall, Doing all the little things that everybody does when they move into a new place and try to give it something of their own.

J. Carol Nash (132:10)

Don't be such a sour puss. You know it's a roof over our heads for Christmas. That's more than we ever thought we'd get, isn't it? Now, what in the world are we going to do with those two?

Ellen Woods (132:21)

Why don't we just leave them where they are?

J. Carol Nash (132:22)

Jim, we can't. They're too awful.

Ellen Woods (132:25)

All right, put them in the closet, then.

Joseph Cotton (132:26)

I can't.

J. Carol Nash (132:27)

Both the closets are jam full.

Ellen Woods (132:28)

No, I mean the other one. In the little alcove off the den. At least there's a door there. I suppose it's a closet.

J. Carol Nash (132:34)

That isn't a commentary on the housing problem, huh? A woman moving into a house without even knowing where all the closets are. Take the pictures down, will you, honey?

Joseph Cotton (132:42)

Bring them in here. Okay. Okay.

J. Carol Nash (132:45)

Guess you'll have to help me with this door. I can't get it open.

Ellen Woods (132:48)

Let me see it. Of course you can't, silly.

Joseph Cotton (132:51)

It's locked.

Ellen Woods (132:52)

Where are those keys we found on the desk?

J. Carol Nash (132:54)

Here they are.

Ellen Woods (132:58)

No, not this one. Sure, this one won't work. Feels like an awful solid door for a closet.

J. Carol Nash (133:06)

That's one solid door in the house.

Ellen Woods (133:08)

Well, this one won't do it either. Well, we'll just have to get a locksmith up here on Monday. I'll put the pictures behind the desk, okay?

J. Carol Nash (133:14)

Yeah. Yeah. All right. Jim, if you could just help me move this armchair.

Ellen Woods (133:18)

Oh, Ellen, will you let it go until tomorrow? You know what time it is.

J. Carol Nash (133:21)

But, honey, I'd like to get the place looking just a little bit.

Ellen Woods (133:24)

It's almost midnight. In fact, it's exactly what was that? Tomcat, I guess out in the brush somewhere.

J. Carol Nash (133:32)

Sounded near. Hope that doesn't go on all night.

Ellen Woods (133:37)

There's much we can do about it. Come on, Ellen. I'm dead tired.

J. Carol Nash (133:41)

All right, Jim. All right.

Ellen Woods (133:44)

Where'd you put the toothpaste, honey?

J. Carol Nash (133:45)

It's right in the medicine cabinet.

Ellen Woods (133:47)

Oh, yeah.

J. Carol Nash (133:49)

Jim, we ought to get some firewood tomorrow. You know, a fire in that living room would make all the difference in the world.

Joseph Cotton (133:54)

Club Sunday.

J. Carol Nash (133:55)

Well, Monday, then. Jim, I think red curtains are what we need, don't you?

Joseph Cotton (133:59)

Mm. Mm.

J. Carol Nash (134:00)

You know, just at least for the living room anyway. The ones in there now have just got to come down.

Ellen Woods (134:06)

Yeah, I suppose they do.

Joseph Cotton (134:08)

What do you think of Red?

Ellen Woods (134:10)

Well, I guess it's all.

J. Carol Nash (134:13)

Jim. That's Some tom cat, Jim, sounded in the house.

Ellen Woods (134:21)

How could it be in the house? Ellen, we've been over every inch of.

J. Carol Nash (134:24)

The house except that closet.

Ellen Woods (134:27)

How could a cat or anything else be in the closet that's been locked up for over a year?

J. Carol Nash (134:32)

I don't know.

Ellen Woods (134:33)

It's probably under the house. A wildcat or mountain lion or something. I hear they have them in California.

J. Carol Nash (134:37)

Jim, I don't like it.

Ellen Woods (134:38)

Well, neither do I like it. But there's nothing we can do about it tonight.

J. Carol Nash (134:41)

Maybe we ought to call somebody. The police or some neighbor.

Ellen Woods (134:45)

Silly Ellen. You act like a kid. Come on, let's go to bed, huh?

Joseph Cotton (134:49)

All right.

J. Carol Nash (134:50)

I suppose it is silly. Jimmy, did you lock the door?

Joseph Cotton (134:54)

Yeah. Yeah.

Ellen Woods (134:55)

Can I turn out the lights now?

J. Carol Nash (134:56)

Yeah. All right.

Ellen Woods (134:59)

Good night, Ellen. Sleep tight.

J. Carol Nash (135:01)

Good night, Jim.

Ellen Woods (135:07)

I don't know what time it was. Perhaps an hour, perhaps only a half hour later, my mind was in that hazy borderland between sleep and a dream that's still part of consciousness. Then I was awake. Ellen, are you all right?

J. Carol Nash (135:23)

Yes.

Ellen Woods (135:24)

Did you have a nightmare or something?

J. Carol Nash (135:26)

No. I heard it, too.

Ellen Woods (135:29)

Well, that didn't sound like any cat.

J. Carol Nash (135:31)

Put on the light.

Joseph Cotton (135:32)

Yeah.

J. Carol Nash (135:34)

Seemed to be out there, Jim. In the house somewhere.

Ellen Woods (135:37)

I'm going to look into this.

J. Carol Nash (135:38)

Jim. You be careful.

Ellen Woods (135:39)

Come on.

Joseph Cotton (135:41)

Where's my shotgun?

J. Carol Nash (135:42)

In the den, I think. Jim.

Joseph Cotton (135:45)

What?

J. Carol Nash (135:46)

There. There's something wet.

Joseph Cotton (135:50)

What wet?

J. Carol Nash (135:53)

Running from under the closet door. Sticky.

Joseph Cotton (135:57)

Ellen, don't. Don't touch it.

J. Carol Nash (135:59)

I had to, Jim. It's blood.

Joseph Cotton (136:14)

Or suspect events, Roma Wines are bringing you Robert Taylor in the house in Cypress Canyon. Roma Wines presentation tonight in radio's outstanding theater of thrills, Suspense.

Truman Bradley (136:32)

Between the acts of suspense, this is Ken Niles. For Roma wines these days before Christmas are busy ones indeed. Yet smart hostesses everywhere find time for shopping and distinguished home entertaining. Later, the secret magnificent Grand Estate wines presented by Roma, America's greatest vintner. Grand estate wines add distinction to your hospitality. On a moment's notice, make your holiday welcome effortless and in perfect taste. The brilliant clarity, full fragrance and mellow taste of Grand Estate wines. Please discriminating people everywhere. For Grand Estate wines limited bottlings by Roma are born of choicest grapes, then patiently guided to superb taste richness by Roma Vimtner skill, necessary time and America's finest winemaking resources. Delight your guests with grand estate California wines For entertaining, medium Sherry, Ruby port or Golden Muscatel. For dining, Burgundy or Sauternes. So insist on Grand Estate wines and enjoy the crowning achievement of vintner skill.

Joseph Cotton (137:46)

And now Roma Wines bring back to our Hollywood sound stage Robert Taylor as James A. Woods with Kathy Lewis as his wife Ellen. In the house in Cypress Canyon. A tale well calculated. To keep you in suspense.

Ellen Woods (138:13)

It cannot be too difficult to understand from the foregoing why I've taken the pains to set down in writing the events related here. To find in one's newly rented house a closet which cannot be opened is in itself certainly no great cause for alarm. But to be awakened in the stillness of the night by unearthly cries within that house, to find oozing from under that closet door something that is unquestionably blood, that's another matter. Perhaps others might have been braver than we. Suffice it only to say that we got out of the house in something very close to a panic and only returned when we had the moral support of two stalwart Los Angeles policemen.

Joseph Cotton (138:50)

You just moved in here, you're saying?

Ellen Woods (138:52)

That's right, officer.

Joseph Cotton (138:53)

You can.

Ellen Woods (138:53)

You can see we're still unpacking.

Joseph Cotton (138:54)

And the place has been empty right along before that.

Ellen Woods (138:57)

Yeah, I don't know much about that part of it. You could check all that with a real estate agent.

Joseph Cotton (139:00)

Well, where is this closet?

J. Carol Nash (139:02)

Oh, it's. It's right in here, Officer. And. And the blood. The blood is.

Joseph Cotton (139:07)

Where? Where's the blood, Jim?

Ellen Woods (139:11)

Officer, I swear to you, there was blood on the floor less than an hour ago. I. I saw it.

Joseph Cotton (139:15)

Uh huh.

Ellen Woods (139:16)

It was running out from under that door. We heard that noise and we got up and then we saw it. The door was locked.

Joseph Cotton (139:21)

Locked, huh?

J. Carol Nash (139:23)

Oh, no.

Joseph Cotton (139:24)

Well, it seems to be all right now. Hey, you folks aren't trying to be funny, are you?

J. Carol Nash (139:31)

Isn't there anything in it?

Joseph Cotton (139:33)

No, ma', am, there is not.

Ellen Woods (139:35)

Look, officer, we're reputable people. You can call my firm. They'll tell you all about me.

Joseph Cotton (139:38)

There's nothing wrong with this closet. Walls are solid. No trap doors.

Ellen Woods (139:43)

You think I'm lying?

Joseph Cotton (139:44)

I didn't say that, mister. Oh, you probably did hear some sort of a noise and you got a little panicky and.

J. Carol Nash (139:51)

But what about the blood? It got on my hand.

Ellen Woods (139:55)

It isn't there now, is it?

J. Carol Nash (139:57)

Yes.

Joseph Cotton (139:58)

Where?

J. Carol Nash (140:01)

I feel it.

Joseph Cotton (140:03)

Now, you folks just take it easy. You know, you're liable to hear all kinds of noises up in these canyons at night. You're from the east, you say?

Ellen Woods (140:11)

Yeah. I'm sorry, officer.

Joseph Cotton (140:13)

Ah, that's all right. That's all right. If you have any real trouble, call on us anytime. All right. Well, good night.

Ellen Woods (140:20)

Good night.

Joseph Cotton (140:20)

Good night. Hey, you Ought to have this door fixed. That's enough to scare you. Yeah, we're.

Ellen Woods (140:29)

We're going to have it fixed. We didn't say much about it after that. There wasn't much that could be said. The next day I went down to a lot and bought a little Christmas tree and some trimmings. And we tried to pretend we were cheerful, but there was an uneasiness between us that had never been there before. Ellen seemed tired and listless. Several times during the day I noticed her washing her hands with a brush, scrubbing the one that had touched the blood. That night we each took a sleeping pill and went to be sometime after midnight when I was suddenly wide awake and staring into the darkness. In some way, I knew at once and instinctively what had awakened me. Ellen was not in her bed nor in the room. The nameless thing I feared gripped at my heart until I could scarcely breathe. I opened the bedroom door and started through the house, putting on every light that I could find. There was not much to search, but I searched thoroughly through the living room, the kitchen, bathroom, den, even the garage. And all the time the dread of looking where I knew at last I must look. For I think I knew from the very first time where I'd find her. It must have been a full minute that I stood before that closet door.

Joseph Cotton (141:56)

Then.

Ellen Woods (141:59)

I opened it. She stood there, rigid, her arms at her sides, the fingers extended like claws. Her hair was over her face. Her eyes stared out of it. Her lips were drawn back in a grin, like an animal at bay. For a moment, I was frozen with the horror of it. I stretched out my hand. Very deliberately. She turned her head and sunk her teeth until they met into the flesh of my forearm. I'd raised my hand to strike at her, but already she'd relaxed her hold and gone utterly limp. She would have fallen unless I'd caught her. I carried her into the bedroom and laid her on the bed. Strangely, at that moment, my only thought was how I might revive her. Until I saw that it was not a faint, but a sleep, that she'd fallen into sleep as deep and heavy as though she'd been drugged. And so I left her. But for me, that night, there was no sleep.

J. Carol Nash (143:08)

Jim?

Ellen Woods (143:09)

Yes, Ellen?

J. Carol Nash (143:13)

What are you doing up so early?

Ellen Woods (143:15)

Oh, I. I got a little restless. Make some coffee.

Joseph Cotton (143:17)

Oh.

J. Carol Nash (143:20)

Oh, I had the most wonderful sleep, and I feel so rested.

Ellen Woods (143:26)

Do you?

Joseph Cotton (143:27)

Mm.

J. Carol Nash (143:29)

Jim?

Joseph Cotton (143:30)

What.

J. Carol Nash (143:31)

What's the matter with your arm?

Ellen Woods (143:32)

Oh, I. I just heard it.

J. Carol Nash (143:34)

Well, honey, it's. It's terribly swollen. Let me see.

Ellen Woods (143:37)

No, it's all right, Ellen.

J. Carol Nash (143:39)

Oh, it isn't all right. You've got to see Dr. Wesley right away.

Joseph Cotton (143:42)

Sure, I will.

J. Carol Nash (143:43)

No, now, you promise me, Jim, that you'll go the first thing this morning. How'd it happen?

Ellen Woods (143:47)

Why, there was a dog.

J. Carol Nash (143:50)

A dog?

Ellen Woods (143:51)

Yeah, I heard him trying to chew through the screen door. I went out to chase him away and he bit me.

J. Carol Nash (143:56)

Well, you mean there's all that racket and I didn't even wake up?

Ellen Woods (144:03)

No, Ellen, you didn't even wake up. It was clear to me that Ellen knew nothing of what had transpired the night before. I went to my office that morning and made a pretense of going over routine business, if only to restore my mind to some semblance of calm by the sight and sound of common familiar things. Pain in my arm had become a persistent dull throbbing. I made a late appointment with Dr. Wesley. He treated my arm with something of an arched eyebrow.

Joseph Cotton (144:36)

And. And he said, well, I've never seen anything quite like it before.

Brian Donlevy (144:41)

That is such a rapid onset of infection.

Ellen Woods (144:51)

It was dark when I left his office. I hadn't realized it was so late. Driving home, my car seemed. Seemed sluggish until I saw the needle on the dashboard and realized that I was pushing it to the utmost of its speed. I was racing home to the prevent something before it was too late. For the darkness had conspired against me. For somehow I already knew with certainty that it was the darkness and the night that I had to fear. The curves of the canyon seemed endless. And then the cold fear leaked up inside me. My house too was dark. I went slowly up the stone steps from the road, looking, praying for some sign of light or light. There was none. The house was empty. Ellen was gone. I looked with the same self torturing thoroughness. And in that closet, first of all, knowing as I did so that was hopeless. So alone in that empty house, I waited, powerless and helpless now deadened in thought and will empty as the house itself, save only for the overwhelming sense of a terrible foreboding. For sometime in the early hours of the morning, I snapped on the radio shortwave.

Joseph Cotton (146:06)

Why?

Ellen Woods (146:07)

Surely a minor question now I only know that I did. And then I heard it.

Joseph Cotton (146:11)

Car 58, car 58 go to Laurel Canyon. The 4000 block A. Report that a man has been injured or attacked. Condition thought to be critical. Ambulance will follow. That is all.

Ellen Woods (146:24)

I was there almost before the police, edging my way through the little crowd, staring down at the man lying there in his white uniform under the street light.

Joseph Cotton (146:30)

Yeah, the Milkman. Poor guy. I heard him scream. But when I got here, just like this, there's nothing. Stand back. Stand back, please. Please stand back. Well, you again.

Ellen Woods (146:41)

I. I heard it on the radio. I live just down the road.

Joseph Cotton (146:43)

Yeah, yeah, I remember. What.

Ellen Woods (146:45)

What happened?

Joseph Cotton (146:46)

Well, take a look. Maybe you can tell us.

Ellen Woods (146:51)

He was dead. And he was lying on his back and his throat had been torn out as though by the fangs of some wild animal. It is now Christmas Eve, or rather, Christmas morning, for it's a little after midnight. I've been waiting here. Here in the stillness of this empty house for nearly 24 hours, waiting for the end. Already once tonight I've heard that dreadful wailing cry. Somewhere in the hills. I've nailed up the closet door. But that I know is childish, useless. My arm is horribly swollen and turning black. But that's nothing. It's another end that I foresee as surely as other men foresee the rising of the sun. I hear the cry again. It's nearer now. I shall leave these notes in a sealed envelope and put it in a shoebox in the hope that someone will give credence to these dark and terrible events, if indeed, such nameless horrors can ever yield to mortal understanding. As for myself, I feel no longer any fear or even sorrow. Only a desire that the end and the thing that I must do may come soon. And it will be soon, I know. Yes, but there is someone at the door.

Joseph Cotton (148:38)

Someone at the door, huh?

James A. Woods (148:41)

What do you make of it, Sam?

Truman Bradley (148:43)

It's quite a yarn.

Joseph Cotton (148:45)

But what of it?

James A. Woods (148:46)

That's what I thought. Now, listen, that's not quite all of it. Clip to. It's a newspaper clip. Listen. Hollywood, December 26th. Police reported what was apparently a case of murder and suicide in Cypress Canyon sometime in the early hours of the morning. The victims were James A. Woods, a chemical engineer, and his wife, Ellen. Preliminary Investigation indicates that Mrs. Woods was killed by the blast of a shotgun in the hands of her husband, who then turned the weapon upon himself. That she fought desperately for her life, however, was evidenced by the disorder of the room and the severe lacerations inflicted upon her husband about the neck and arms. This is the second tragedy to be reported in Cypress Canyon within 24 hours, the other being the unexplained death of Frank Polanski, a milkman.

Truman Bradley (149:39)

Well, no such murders, or whatever they.

Joseph Cotton (149:41)

Were, ever occurred, if that's what's worrying you. The clipping. Well, you have those things printed up, you know.

James A. Woods (149:47)

No, no, it's not that, Sam. That story was found in an unfinished House in Cypress Canyon. No number, no nothing. Just a framework.

Joseph Cotton (149:54)

Uh huh.

James A. Woods (149:55)

Now, that house is finished when I drove by it today. Well, that's what stopped me, Sam, because it all fits. Now that it's finished. It is the house in the story. The same construction, the same vines and creepers on the lawn. Even the same number.

Truman Bradley (150:08)

So what? A guy who knows roughly what this house is going to be like writes a yarn and loses it or something.

James A. Woods (150:13)

Did he know the place was going to be listed for rental today, the Saturday before Christmas?

Truman Bradley (150:17)

Oh, Jerry, Coincidence.

Ellen Woods (150:19)

Two bits.

Truman Bradley (150:20)

You find the guy next door is a ghost story writer or something, and he's been wondering for a year what happened to that thing he wrote.

Joseph Cotton (150:27)

Okay, okay.

James A. Woods (150:29)

Coincidence. I'm sorry I bothered you, sir.

Truman Bradley (150:34)

Don't be silly. I liked it. It's a good yarn.

Ellen Woods (150:37)

That the For Rent sign you were talking about.

James A. Woods (150:39)

Oh, yeah, yeah, I'm gonna put it up outside now, huh?

Truman Bradley (150:43)

Well, so long, Jerry. And Merry Christmas again.

James A. Woods (150:46)

Well, thanks, Sam. I guess I was kind of silly.

Joseph Cotton (150:50)

All right.

Truman Bradley (150:51)

Bless him.

Joseph Cotton (150:51)

One guy named whatever it is woods with a wife named Ellen comes in.

Truman Bradley (150:55)

To rent that place from you, then you can start worrying.

James A. Woods (150:58)

Yeah, well, so long, Sam.

Truman Bradley (151:01)

So long, Jerry.

James A. Woods (151:06)

Come in.

Ellen Woods (151:10)

Oh, we're sorry to bother you, but we just happened to see that For Rent sign outside.

James A. Woods (151:15)

Well, yeah, I hung it out just this minute.

J. Carol Nash (151:17)

Is. Is the house available?

James A. Woods (151:20)

Sure, sure it is.

Ellen Woods (151:22)

Let me introduce myself. My name is James A. Woods, and this is my wife, Ellen.

Joseph Cotton (151:28)

How do? Wow.

James A. Woods (151:31)

Looks like it's fixing to, right?

Ellen Woods (151:35)

Yes, it does, doesn't.

Truman Bradley (152:01)

Suspense Presented by Roma Wines R O M A Roma wines selected for your pleasure for from the world's greatest reserves of fine wines. Tonight's show marks the third birthday of suspense on the air. And this is Ken Niles asking our star of the evening, Robert Taylor, to help us celebrate.

Ellen Woods (152:20)

Why didn't you tell me before, Ken? If I'd only known, I'd have baked a cake.

Truman Bradley (152:23)

Well, Bob, all suspense parties are surprise parties. As an old hand on suspense, you know that in our plays the tables are usually turned on the star. So tonight, although it's our birthday, we're going to give give you a present. Here it is. A gift basket of grand estate California wines. From Roma, America's greatest vintner, to our distinguished anniversary guest, Robert Taylor.

Ellen Woods (152:46)

Thanks, Ken. You turn a nice table and you.

Truman Bradley (152:49)

Can set a nice table with Grand Estate Burgundy in your basket.

Joseph Cotton (152:52)

Bob.

Truman Bradley (152:53)

For grand Estate Burgundy means rare dining Pleasure adds memorable distinction to holiday dinner. Even everyday meals are outstanding in taste. When Grand Estate Burgundy is served. Yes, all grand estate wines presented by Roma are limited bottlings of outstanding taste excellence.

Ellen Woods (153:13)

That I know about grand estate wines, Ken.

Truman Bradley (153:15)

But did you know that for grand estate wines, Roma selects only the choicest grapes? Then the ancient skill of Roma master vintners, necessary time and America's finest winemaking resources guide the cuvee of this grape treasure to rich taste luxury. That's why discriminating wine users everywhere look to grand estate wines as the crowning achievement of vintner skill.

Ellen Woods (153:39)

Reason enough. And now, Ken, who's all set to star on suspense next Thursday.

Truman Bradley (153:43)

It's that very wonderful actress and wonderful girl, miss Susan Peters. Susan will appear as a young lady in straightened circumstances who finds herself mistaken for a very rich young lady and who is forced into continuing the deception of with murder as a result.

Ellen Woods (153:58)

I'll certainly make it a point to listen. And before I go, I'd like to thank this really great company of actors who have played with me tonight, and particularly Kathy Lewis, who played Ellen.

J. Carol Nash (154:06)

Thank you, Bob.

Joseph Cotton (154:08)

Tonight's original suspense play was written by Robert L. Richards. Next Thursday, same time, you will hear Ms. Susan Peters as star of suspense.

Truman Bradley (154:20)

Produced by William Spear for the Roma Wine Company of Fresno, California. This is cbs, the Columbia Broadcasting System.

Narrator (154:45)

We just heard Crime Without Passion, Commuter's ticket, you'll never see me again, Lazarus Walks and the House in Cypress Canyon. That will do it for this week's show, but it doesn't do it for my list of favorites from 1946. As I was putting this episode together, I realized what a stacked year this was for suspense. So tune in this weekend for a bonus show with the second half of my favorites from that year. We've got Agnes Moorhead, Vincent Price and Edward G. Robinson, just to name a few. I'll be back next week as we continue our journey with my favorites from 1947. And 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, and we're also doing a bonus series Wednesdays in July. In celebration of the new Superman movie, I'm releasing episodes featuring installments of one of Superman's greatest radio adventures, his battle against the atom Man. 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 listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com I'll be back next time with more of my favorites from 46. Each of them a tale well calculated. To keep you in.

Joseph Cotton (156:19)

Suspense, 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. Through our behavior, we encourage the respect of our children and make them better neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.