← Stars on Suspense (Old Time Radio)
Stars on Suspense (Old Time Radio)
Episode 417 - Favorites from 1946
02:37:18
Not-so perfect alibis, a missing wife, and some supernatural horrors are on deck with my favorite Suspense episodes from 1946. Joseph Cotten commits an impulsive murder and has to reverse engineer an alibi in "Crime Without Passion" (originally...
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Transcript1,009 lines
- [00:00]
Joseph Cotton
Would you hand me that, please? Thank you. Now, let's see. Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt. Expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation. Or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense.
- [00:50]
Narrator
Hello, and welcome to Stars on Suspense. Where today we're continuing our journey through the years. Of radio's outstanding theater of thrills. Today I've lined up my favorite suspense shows from 1946. A collection of stories featuring some great suspense stars and some atypical journeys the series takes into the realm of the supernatural. First up is suspense institution Joseph Cotton. In one of his 18 visits to the program. He stars in Crime Without Passion. Originally aired on CBS on May 2, 1946. It's an adaptation of a 1934 film written by Charles MacArthur and Ben Hecht, with Cotton stepping into the role played by Claude Rains. On the big screen, Cotton is unscrupulous attorney Lou Hendrix. Whose affair with a showgirl comes to a sudden and violent end. Now the master courtroom manipulator must reverse engineer an alibi to cover his tracks. Very few people could play coldly detached villains as well as Joseph Cotton. And he's terrific here as a killer who methodically works on his escape plan. Then we'll hear J. Carol Nash, who we heard a few times in my 1945 Favorites episode. He stars in Commuter's Ticket from August 1, 1946. It's another story of a killer who tries to plan a perfect alibi after murdering his wife. Nash hopes that he'll blend in and disappear in the crowd on the commuter train he takes to work each and every day. But he discovers a universal truth. The time you don't want to be noticed is always the time you're the most noticeable. Up third is Robert Young, playing against his usual type from Father Knows Best and Marcus Welby, M.D. in youn'll Never See Me Again, adapted from a story by Cornell Woolrich and Originally aired on September 5, 1946. Young's wife storms out of the house after an argument, and she promptly disappears. Evidence of foul play is stacking up against him. So Young works with a sympathetic cop, played by the great radio actor Wally Mayer. To find out what really happened to his wife. Woolrich's story's always made for great suspense episodes. And this one contains some very good and eerie twists and turns. And we close with two suspense stories that deal with some otherworldly phenomenon. First, up is Lazarus walks from Halloween 1946 with Brian Donlevy as a psychiatrist with a strange new patient played by Hans Konreid. He's a man who died on the operating table before being revived. And he returned to the land of the living with an unusual, unusual gift. He can immediately tell when anyone is lying. His presence in Don Levy's house adds to tension with his wife, played by Kathy Lewis. But it also gives Don Levy an idea for how he can comfortably secure his wife's fortune. Now, Brian Donlevy wasn't the most dynamic radio actor. And although he's okay here, the real star of the show is Hans Conreid. He had one of the best voices of all time. And he's terrific in Lazarus Walks as the frustrated man who hates his gift but can't escape it. And finally, it's one of the all time best and scariest shows ever produced on suspense. From December 5, 1946, it's the house in Cypress Canyon starring Robert Taylor and Kathy Lewis as a couple who fought find their dream house and discover a nightmare behind a locked door. If you've never heard it before, you're in for a treat. And if you have heard it before, I think you'll find, as I do, that it always gets under your skin. So now let's journey back to 1946 and my favorite episodes of suspense.
- [05:26]
Joseph Cotton
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.
- [06:37]
J. Carol Nash
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?
- [06:48]
Joseph Cotton
Now, now, come and watch your temper.
- [06:50]
J. Carol Nash
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.
- [07:05]
Joseph Cotton
The nerve.
- [07:06]
J. Carol Nash
Treating me as if I was a nobody. Where do you get like that, taking up a girl's time?
- [07:11]
Joseph Cotton
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?
- [07:34]
J. Carol Nash
Probably for you.
- [07:35]
Joseph Cotton
More likely it's Eddie White calling you that dean of collegiate heroes.
- [07:39]
J. Carol Nash
Oh, yeah.
- [07:40]
Joseph Cotton
For me, by any mischance, just say I'm not here.
- [07:43]
J. Carol Nash
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?
- [08:03]
Joseph Cotton
You know all the answers.
- [08:04]
J. Carol Nash
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.
- [08:09]
Joseph Cotton
Have it your own way.
- [08:10]
J. Carol Nash
Have it your own way. Why, you.
- [08:12]
Joseph Cotton
Now cut that out.
- [08:14]
J. Carol Nash
Because you're a lawyer, you can get away with this. I'll show you.
- [08:16]
Joseph Cotton
Hey, look.
- [08:18]
J. Carol Nash
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.
- [08:24]
Joseph Cotton
No, no, no, no. Not my derby.
- [08:26]
J. Carol Nash
Your derby? Right off. Smash your face.
- [08:28]
Joseph Cotton
Now stay away from me. Now, don't come near me.
- [08:30]
J. Carol Nash
No.
- [08:30]
Joseph Cotton
That hurts.
- [08:31]
J. Carol Nash
That ain't the half of it all.
- [08:33]
Joseph Cotton
Why, you. You little vixen. How I hate you. I loathe you. I hate all of your kind.
- [08:41]
J. Carol Nash
Don't like me. Don't you dare. Lou, put down the candlestick. Lou, put it down. Lou, don't. Don't.
- [08:55]
Joseph Cotton
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.
- [19:31]
J. Carol Nash
Hendrick, Brown, Walsh and Healey.
- [19:33]
Joseph Cotton
Mr. Healey, please. This is.
- [19:35]
J. Carol Nash
Oh, oh, certainly, Mr. Hendricks.
- [19:36]
Joseph Cotton
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.
- [22:14]
J. Carol Nash
Would you mind saying that again in plain English?
- [22:17]
Joseph Cotton
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.
- [22:28]
J. Carol Nash
I don't get you, Mr. Henry.
- [22:29]
Joseph Cotton
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.
- [22:40]
J. Carol Nash
Oh, you Mustn't do that, Mr. Hendrix. You know something?
- [22:44]
Joseph Cotton
No, what is it?
- [22:46]
J. Carol Nash
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.
- [23:00]
Joseph Cotton
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.
- [23:11]
J. Carol Nash
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.
- [23:23]
Joseph Cotton
Thank you. Ms. Mora. Have you seen Common today?
- [23:26]
J. Carol Nash
No, I haven't. Of you since?
- [23:28]
Joseph Cotton
No, I. I don't trust myself to fear. Goodness knows what I Would do feeling this way.
- [23:34]
J. Carol Nash
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.
- [23:43]
Joseph Cotton
Tell Common I'll be over to the El Bravo tonight and give her a last chance to prove herself.
- [23:47]
J. Carol Nash
Oh, I'll sure give her your message, Mr. Hendricks. I sure will.
- [23:53]
Joseph Cotton
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.
- [24:31]
J. Carol Nash
I'm sorry, she doesn't answer.
- [24:33]
Joseph Cotton
Well, this is Mr. Hendricks calling. Hadn't she been in at all? I've been trying to get her all day.
- [24:36]
J. Carol Nash
She hasn't come in while I've been here, Mr. Hendricks.
- [24:38]
Joseph Cotton
How long is that?
- [24:39]
J. Carol Nash
About three hours.
- [24:40]
Joseph Cotton
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.
- [24:54]
J. Carol Nash
Good afternoon, Mr. Hendry.
- [24:56]
Joseph Cotton
Oh, has Ms. Brown come in since I called on the phone? I haven't seen her.
- [24:59]
J. Carol Nash
I'll ring her apartment again. She still doesn't answer.
- [25:08]
Joseph Cotton
Well, please give her this note when she comes back.
- [25:10]
J. Carol Nash
All right, Mr. Hendricks. I'll see that she gets it.
- [25:13]
Joseph Cotton
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.
- [27:27]
J. Carol Nash
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?
- [27:33]
Joseph Cotton
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.
- [29:44]
Robert Young
Calling me a liar?
- [29:45]
Joseph Cotton
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.
- [35:25]
Truman Bradley
Now, Roma Wines, R O M A made in California for enjoyment throughout the world. Roma Wines presents Suspense.
- [35:39]
Joseph Cotton
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.
- [35:54]
Truman Bradley
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.
- [36:27]
Robert Young
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?
- [37:04]
Joseph Cotton
Oh, man, yeah.
- [37:05]
Robert Young
Left mine at the office where I work. Consolidated Press. The wire service, you know.
- [37:10]
Joseph Cotton
Don't say.
- [37:11]
Robert Young
Oh, I'm not one of the reporters.
- [37:12]
Joseph Cotton
Uh, here's a book of matches, Keaton.
- [37:14]
Robert Young
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.
- [37:21]
Joseph Cotton
Don't say.
- [37:22]
Robert Young
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?
- [37:37]
Joseph Cotton
Look, I'm sorry. These rides are the only time I have to go over my reports.
- [37:41]
Robert Young
Oh, sure, sure. I didn't mean to put in. I just thought maybe I'd seen you in the Laurel Creek station.
- [37:45]
Joseph Cotton
No, not my station.
- [37:46]
Robert Young
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.
- [37:52]
Joseph Cotton
Keep the matches I got you.
- [37:58]
Robert Young
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.
- [38:48]
Joseph Cotton
Go.
- [38:53]
J. Carol Nash
Elvis.
- [38:53]
Joseph Cotton
Hey, Elvis.
- [38:54]
J. Carol Nash
Who is it that you, Bert? What are you doing home? Did you lose your job? Well, it gets past.
- [39:00]
Robert Young
I can't hear you.
- [39:01]
J. Carol Nash
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?
- [39:18]
Robert Young
I finished early.
- [39:20]
J. Carol Nash
We're going to get overtime. You're losing overtime.
- [39:22]
Robert Young
Well, maybe I want to have dinner with my loving wife for a change.
- [39:25]
J. Carol Nash
Well, you won't. There's nothing in the house.
- [39:27]
Robert Young
How? Couldn't we rustle up some scrambled eggs or something?
- [39:29]
J. Carol Nash
I told you, there's nothing in the house.
- [39:31]
Robert Young
What were you going to eat?
- [39:32]
J. Carol Nash
I was going out, if you want.
- [39:33]
Robert Young
To know who with.
- [39:34]
J. Carol Nash
Well, it's none of your business.
- [39:35]
Robert Young
It's Al Gorman, isn't it? You've been seeing him again, haven't you?
- [39:38]
J. Carol Nash
Well, what if I have?
- [39:39]
Robert Young
I don't want you to see him. You're my wife.
- [39:41]
J. Carol Nash
Pity you didn't think of that when you out here the sticks.
- [39:43]
Robert Young
Well, your boyfriends don't seem to have any trouble locating you.
- [39:46]
J. Carol Nash
You rented a house on the railroad tracks deliberately just to punish me.
- [39:49]
Robert Young
Well, you don't have to stay in it.
- [39:50]
J. Carol Nash
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.
- [40:02]
Robert Young
Hey, maybe I figured on more than you think.
- [40:05]
J. Carol Nash
What do you say that for? And what are you simpering about?
- [40:08]
Robert Young
What's the matter, Alva? You sound like you're scared of me.
- [40:11]
J. Carol Nash
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.
- [40:17]
Robert Young
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.
- [40:24]
J. Carol Nash
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.
- [40:33]
Robert Young
A place like this. Maybe I am crazy, but not the way you think.
- [40:37]
J. Carol Nash
There you go again, getting that silly look on your face.
- [40:39]
Robert Young
What time did you say Alf was coming to pick you up?
- [40:41]
J. Carol Nash
Seven o'.
- [40:42]
Joseph Cotton
Clock.
- [40:42]
Robert Young
That's fine. That's perfect. I'll just have time to catch the 7:15 back into town and earn that overtime.
- [40:47]
J. Carol Nash
Well, what are you waiting for?
- [40:49]
Robert Young
It's about time for the 6:45 to pass by, isn't it?
- [40:52]
Joseph Cotton
Yeah.
- [40:52]
J. Carol Nash
Do stay and enjoy it, Bert, dear.
- [40:54]
Robert Young
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.
- [41:03]
Joseph Cotton
Right.
- [41:03]
J. Carol Nash
What's the matter with you? What do you want for that poker?
- [41:07]
Robert Young
What do you think I came home early tonight for? Give you three guesses.
- [41:11]
J. Carol Nash
Right.
- [41:12]
Robert Young
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.
- [41:22]
J. Carol Nash
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.
- [41:30]
Robert Young
What you don't know, honey. What you don't know.
- [41:33]
J. Carol Nash
I'll scream. I'll scream so loud the neighbors will hear.
- [41:35]
Robert Young
Nobody's going to hear anything except this train. There, there's a big baby now. A nice long train.
- [41:42]
J. Carol Nash
Long and loud.
- [41:44]
Joseph Cotton
Go ahead, scream your head off.
- [41:46]
J. Carol Nash
Put that down. You don't know what you're doing. Get away from me. All right. Please, please listen.
- [42:14]
Joseph Cotton
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.
- [42:35]
Truman Bradley
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- [43:51]
Joseph Cotton
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.
- [44:19]
Robert Young
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.
- [46:27]
Joseph Cotton
Mind if I sit here? What?
- [46:28]
Robert Young
Oh, no, no.
- [46:30]
Joseph Cotton
I just thought maybe your wife.
- [46:31]
Robert Young
Wife?
- [46:32]
Joseph Cotton
Well, that may be that you were holding this seat for somebody.
- [46:34]
Robert Young
Oh, no, no, no.
- [46:35]
Joseph Cotton
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?
- [46:44]
Robert Young
You must not ride on the trains very much.
- [46:46]
Joseph Cotton
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?
- [46:58]
Robert Young
My hand?
- [46:58]
Joseph Cotton
What? Well, you must have cut yourself. Look, it's all covered.
- [47:01]
Robert Young
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.
- [47:28]
Joseph Cotton
Hey.
- [47:28]
Robert Young
Hey, watch it.
- [47:29]
Joseph Cotton
What's the big idea?
- [47:30]
Robert Young
Sorry. Train give a lurch. Sorry.
- [47:32]
Joseph Cotton
Well, you don't have to cry about it. Just watch it. Yeah. Hey, wait. What? Help me pick up these dominoes.
- [47:37]
Robert Young
Oh, go on, chase yourself.
- [47:38]
Joseph Cotton
Hey, come back here. What's the big idea?
- [47:42]
Robert Young
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.
- [48:04]
Joseph Cotton
Wow. Look what just dropped down from the sky.
- [48:07]
Robert Young
Can't keep us from having that force, can they?
- [48:09]
Joseph Cotton
Now, what's your limit, friend? 10% a point.
- [48:12]
Truman Bradley
Now, don't tell us you don't play bridge.
- [48:14]
Joseph Cotton
You'll be the first commuter I ever met on this run that didn't play bridge, huh?
- [48:18]
Robert Young
Oh, sure, sure, sure. I play a little. I'm not very good, though, but I'll be glad to play.
- [48:23]
Joseph Cotton
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?
- [48:32]
Robert Young
Name?
- [48:33]
J. Carol Nash
Yeah.
- [48:33]
Robert Young
For the score pad. Oh, yeah, yeah, yeah.
- [48:35]
Joseph Cotton
For the.
- [48:35]
Truman Bradley
Don't hold up the game, Jack.
- [48:36]
Joseph Cotton
Just write down Mr. X. Oh, that's good. Easy to remember. I was.
- [48:40]
Robert Young
My name's Sam. Sam Cartwright.
- [48:42]
Joseph Cotton
Oh, okay, Sam.
- [48:43]
Robert Young
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.
- [49:25]
Joseph Cotton
Well, what's the matter, Sam?
- [49:27]
Robert Young
Oh, nothing, I.
- [49:28]
Joseph Cotton
Well, play. We won't finish a rubber at this rate.
- [49:30]
Robert Young
Play. Play. Yeah, yeah, I. Oh, I'm sorry, Donna. I thought there was another trump out.
- [49:36]
Joseph Cotton
Sorry. Your race takes it, chum. Yeah.
- [49:39]
Robert Young
I thought you said you didn't play much, Sam.
- [49:41]
Joseph Cotton
Never seen such luck. Your deal, Whitney. Excuse me, Jeff. Got all your tickets? Oh, yeah. Guess my coat was over the seat check.
- [49:49]
Robert Young
That's all right.
- [49:49]
J. Carol Nash
Hey, wait, wait. Conductor.
- [49:51]
Joseph Cotton
Yeah?
- [49:51]
Robert Young
You didn't get Sam's tickets.
- [49:52]
Joseph Cotton
Yeah, Sam's too lucky. Can't let him get away with a free ride.
- [49:57]
Robert Young
I was back in the other car.
- [49:58]
Joseph Cotton
Where was that?
- [49:59]
Robert Young
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.
- [50:05]
Joseph Cotton
Hey, there's your regular monthly commuter's ticket, isn't it?
- [50:08]
Robert Young
Oh, yes. I thought I left at home. That's all right, Mr. Gavin.
- [50:14]
Joseph Cotton
Gavin? I thought you said your name was Cartwright. I.
- [50:18]
Robert Young
This is my brother in law's tax.
- [50:19]
Joseph Cotton
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.
- [50:29]
Robert Young
Me either. But Sam's going to bid, though. Sam doesn't get rotten hands.
- [50:42]
Joseph Cotton
Well, Sam, how about it? Oh. Oh. Oh, no, no.
- [50:46]
Robert Young
Hey, what's the matter with you anyway?
- [50:48]
Joseph Cotton
You look sick. What's the matter with you? Oh, I'm all right.
- [50:50]
Robert Young
Leave me alone, will you?
- [50:51]
Truman Bradley
Well, if you're gonna bed, go on in bed.
- [50:53]
Robert Young
All right, all right.
- [50:53]
Joseph Cotton
Just.
- [50:54]
Robert Young
Just wait till the train gets by.
- [50:55]
Joseph Cotton
The noise.
- [50:56]
Robert Young
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.
- [51:14]
Joseph Cotton
No.
- [51:14]
Robert Young
And here I had a seven note trump hand.
- [51:25]
J. Carol Nash
Well, come on, bid, man, bid.
- [51:27]
Robert Young
Yeah, all right. Say, I. I guess we better have a redeal.
- [51:30]
Truman Bradley
Where are the good cards?
- [51:32]
Joseph Cotton
Somebody's gotta have them.
- [51:33]
Robert Young
Say, the train's getting crowded.
- [51:35]
J. Carol Nash
Sure is, mister.
- [51:36]
Robert Young
Oh, I'm sorry, madam. Please take my seat.
- [51:39]
J. Carol Nash
Well, thank you, deary. What's the idea?
- [51:42]
Joseph Cotton
Hey, hey, where you going?
- [51:44]
J. Carol Nash
Sorry.
- [51:44]
Robert Young
Next is my station.
- [51:45]
Joseph Cotton
So long.
- [51:51]
Robert Young
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.
- [52:06]
Joseph Cotton
Ticket. Ticket. Didn't get your ticket.
- [52:09]
Robert Young
You punched my ticket. It was in the other car. I was playing cards, remember?
- [52:12]
Joseph Cotton
Remember?
- [52:13]
Robert Young
Let me think now. No, no, it's all right.
- [52:15]
Joseph Cotton
Here.
- [52:15]
Robert Young
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.
- [52:24]
Joseph Cotton
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.
- [52:32]
Robert Young
Then you do remember.
- [52:33]
Joseph Cotton
Well, never mind about that.
- [52:34]
Robert Young
Tell me, do you remember muching my ticket? Do you remember me?
- [52:38]
Joseph Cotton
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.
- [52:52]
Robert Young
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'.
- [53:07]
Joseph Cotton
Clock.
- [53:08]
Robert Young
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.
- [54:27]
Joseph Cotton
Yeah.
- [54:28]
Robert Young
Yeah, that's what I kept telling myself.
- [54:33]
Joseph Cotton
Uh, Mr. Gavin?
- [54:34]
Robert Young
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.
- [54:45]
Joseph Cotton
An account of your movements last evening and last night.
- [54:49]
Robert Young
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.
- [54:57]
Joseph Cotton
Yeah, yeah, yeah, I know, I know. You're under arrest, Mr. Gavin, on suspicion of murder.
- [55:02]
Robert Young
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.
- [55:08]
Joseph Cotton
I can prove it.
- [55:09]
Robert Young
I've got my time card and a night watchman as a witness.
- [55:12]
Joseph Cotton
Well, you picked a mighty poor witness, Mr. Gavin.
- [55:14]
Robert Young
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.
- [55:24]
Joseph Cotton
I think we'd Better go somewhere private where we can take down your statement. Okay, okay.
- [55:29]
Robert Young
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.
- [55:39]
Joseph Cotton
True.
- [55:40]
Robert Young
Your story. Had the check with your wife's. My wife's?
- [55:43]
Joseph Cotton
Yeah.
- [55:44]
Robert Young
Oh, we had a little trouble locating her, but she gave us a statement. Where'd you locate her?
- [55:49]
Joseph Cotton
In the hospital. She had a bad accident.
- [55:52]
Robert Young
Fell off a step ladder and cracked.
- [55:53]
Joseph Cotton
Her head on an aniron.
- [55:54]
Robert Young
Oh, is she all right?
- [55:56]
Joseph Cotton
Oh, sure, sure. Luckily, a friend dropped in just after it happened and they got her to the hospital in time.
- [56:02]
Robert Young
Well, listen, listen, you've got to take me there. I've got to see her right away.
- [56:05]
Joseph Cotton
Yeah, sure, sure, after we get your snap statement. And the money.
- [56:10]
Robert Young
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.
- [56:18]
Joseph Cotton
He came to and surprised you, so.
- [56:20]
Robert Young
You let him have it with a wrench.
- [56:21]
Joseph Cotton
Being dopey and an old guy was just too much for his heart. We got you cold, Gavin.
- [56:28]
Robert Young
Your prints are all over that wrench. Nice fresh prints. Oh, listen, you got me all wrong. I. What time does it happen?
- [56:35]
Joseph Cotton
Oh, around 7:30.
- [56:36]
Robert Young
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.
- [56:43]
Joseph Cotton
Will she?
- [56:44]
Robert Young
The way she told it to us.
- [56:45]
Joseph Cotton
You weren't home at any time.
- [56:46]
Robert Young
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.
- [56:59]
Joseph Cotton
Oh, they'll rem.
- [57:15]
Robert Young
Well, it must be somebody who'll remember me. Ah, that's all right.
- [57:18]
Joseph Cotton
We'll take enough trips to strike an average.
- [57:20]
Robert Young
Oh, here, here.
- [57:21]
Joseph Cotton
This woman. Hello. Do you remember me?
- [57:23]
J. Carol Nash
I beg your pardon?
- [57:24]
Robert Young
Two nights ago on this car. Remember? I gave you a seat.
- [57:26]
J. Carol Nash
Oh, how considerate.
- [57:28]
Robert Young
Do you remember me?
- [57:29]
J. Carol Nash
Let me think, deary.
- [57:30]
Robert Young
Try the places for face, lady.
- [57:32]
J. Carol Nash
No, I really couldn't, dear. But I just wish somebody give me a seat now.
- [57:41]
Robert Young
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.
- [58:02]
Joseph Cotton
No, I'm afraid I don't place you. But.
- [58:05]
Robert Young
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.
- [58:10]
Joseph Cotton
You must have mistaken us for somebody else.
- [58:20]
Robert Young
Oh, here, here. At last you remember me.
- [58:23]
Joseph Cotton
Well, if you don't mind, I have this reading that I.
- [58:25]
Robert Young
We met the other night. Five nights ago it was.
- [58:28]
Joseph Cotton
Is that so?
- [58:28]
J. Carol Nash
Yeah.
- [58:29]
Robert Young
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?
- [58:36]
Joseph Cotton
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.
- [58:52]
Robert Young
But I did take the 715 that night. I'm telling the truth.
- [58:55]
J. Carol Nash
There. There.
- [58:56]
Robert Young
That's the conductor out on the platform. Look, I found the conductor.
- [58:59]
Joseph Cotton
Why bother, Gavin?
- [59:03]
Robert Young
Conductor, do you remember seeing me on this one a week ago?
- [59:06]
Joseph Cotton
Well, I'm afraid one face is pretty much like.
- [59:09]
Robert Young
I know.
- [59:09]
Joseph Cotton
But.
- [59:10]
Robert Young
But I lost my commuter ticket. We talked about it.
- [59:12]
Joseph Cotton
Lost the commuter ticket? What. What's the name for?
- [59:14]
Robert Young
Gavin? Can't you remember me?
- [59:16]
Joseph Cotton
No, but I might have some tickets here. I find a few strays once in a while.
- [59:19]
Robert Young
Oh, that's it. That's my ticket. Let me see that.
- [59:22]
J. Carol Nash
My ticket.
- [59:23]
Robert Young
That's my name on it, see? You found this on the 715.
- [59:26]
Joseph Cotton
Well, Mr. Couldn't say what run it was. They shuttle the cars around, you know. That's what I thought. Anything else?
- [59:33]
Robert Young
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?
- [60:18]
Joseph Cotton
Yes, yes, she told me plenty.
- [60:21]
Robert Young
She told you I was home? I couldn't have murdered the watchman.
- [60:24]
Joseph Cotton
She signed a detailed statement to that effect.
- [60:27]
Robert Young
Then my alibi's good?
- [60:28]
Joseph Cotton
Oh, sure.
- [60:29]
Robert Young
I couldn't have killed the watchman?
- [60:30]
Joseph Cotton
Oh, your alibi for the watchman will stick all right, Gavin. But I'm afraid we'll still have to hold you for murder.
- [60:38]
Robert Young
You see, your wife just made a new statement telling us what actually happened.
- [60:43]
Joseph Cotton
When you came home.
- [60:44]
Robert Young
Well, yeah, yeah, sure, we had a quarrel. I'm sorry. Matter of fact, I should have told.
- [60:49]
Joseph Cotton
And just after she signed the statement, she passed away. What? Dead? She did?
- [61:00]
Robert Young
Are you sure?
- [61:01]
Joseph Cotton
Oh, there's no doubt about it, Gavin. Well, it's getting late. I gotta check in. You were ready to go?
- [61:10]
Robert Young
Yeah, yeah. You think they'll give me an inside cell?
- [61:14]
Joseph Cotton
I can get you one if you want it.
- [61:16]
Robert Young
Thanks. Thanks a lot.
- [61:17]
Joseph Cotton
I'd like that.
- [61:19]
Robert Young
Nice and quiet, away from the tr.
- [61:37]
Truman Bradley
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.
- [62:34]
Joseph Cotton
Quick as a wink.
- [62:35]
Truman Bradley
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.
- [63:03]
Robert Young
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.
- [63:37]
Joseph Cotton
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.
- [64:01]
Truman Bradley
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.
- [65:00]
Joseph Cotton
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.
- [65:14]
Truman Bradley
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.
- [65:35]
Joseph Cotton
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.
- [65:50]
J. Carol Nash
What does it look like to you?
- [65:51]
Joseph Cotton
Like your wine. Walking out on me. Got everything you need?
- [65:55]
J. Carol Nash
Well, at least I'm glad you're showing your true colors. I'd rather have thought it out now than later.
- [66:00]
Joseph Cotton
Didn't take you long, did it, baby? You're looking for your coat. It's in there.
- [66:04]
J. Carol Nash
Thanks.
- [66:05]
Joseph Cotton
Need any money?
- [66:06]
J. Carol Nash
I don't need anything from you. Including your wedding ring. Here. You know what you can do with it?
- [66:11]
Joseph Cotton
Sure. Hawk it. Well, pick a nice quiet hotel.
- [66:15]
J. Carol Nash
I don't have to pick a hotel. I'm no orphan.
- [66:17]
Joseph Cotton
When you get good and sick of it, come on back. Maybe I'll still be here.
- [66:21]
J. Carol Nash
You'll still be here. You'll never see me again as long as you live.
- [66:27]
Joseph Cotton
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.
- [67:13]
J. Carol Nash
Hello?
- [67:14]
Joseph Cotton
Oh, hello. Is this Mrs. Alden? Yes. This is Ed, Janet's husband.
- [67:19]
J. Carol Nash
Oh, yes. How is Janet?
- [67:22]
Joseph Cotton
Isn't she there with you?
- [67:24]
J. Carol Nash
With me? Why, no. Isn't she with you?
- [67:28]
Joseph Cotton
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?
- [68:15]
J. Carol Nash
I think it was West Hampton.
- [68:28]
Joseph Cotton
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.
- [69:20]
J. Carol Nash
Must be somebody lost away. Yes?
- [69:24]
Joseph Cotton
I'm Ed Bliss, Janet's husband.
- [69:26]
J. Carol Nash
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.
- [69:35]
Joseph Cotton
Yeah.
- [69:36]
J. Carol Nash
I'm so sorry.
- [69:39]
Joseph Cotton
I've nothing to worry about.
- [69:41]
J. Carol Nash
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.
- [69:51]
Joseph Cotton
How do you do?
- [69:51]
J. Carol Nash
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.
- [70:04]
Joseph Cotton
Pleased to meet you, Ed.
- [70:05]
J. Carol Nash
Well, I guess we'd better be going.
- [70:07]
Joseph Cotton
Oh, yeah, yeah, I guess we have.
- [70:08]
J. Carol Nash
I certainly do hope that you're wife.
- [70:10]
Joseph Cotton
I wouldn't worry about devouring. Oh, you heard about it, did you?
- [70:14]
J. Carol Nash
Well, Ed, you see, they dropped in a little while after you phoned and we thought it was all.
- [70:19]
Joseph Cotton
That's all right.
- [70:20]
J. Carol Nash
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.
- [70:32]
Joseph Cotton
Well, I didn't think it was necessary to. Oh, that's all right. It's okay.
- [70:37]
J. Carol Nash
Well, then come on into the living room and tell us about it.
- [70:41]
Joseph Cotton
There's nothing much to tell that you don't know, is there? No.
- [70:44]
J. Carol Nash
No, I suppose not.
- [70:46]
Joseph Cotton
Sit down. Thanks.
- [70:48]
J. Carol Nash
Can't I get you something to eat?
- [70:49]
Joseph Cotton
No, thanks.
- [70:50]
J. Carol Nash
Or some coffee or something?
- [70:52]
Joseph Cotton
I think I'll pass up the refreshments this time.
- [70:55]
J. Carol Nash
Well, I know how you must feel.
- [70:57]
Joseph Cotton
Yeah, I guess you do.
- [70:59]
J. Carol Nash
But I still can't. I just.
- [71:01]
Joseph Cotton
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.
- [71:19]
J. Carol Nash
Oh, Joe, how can you talk about. About when?
- [71:24]
Joseph Cotton
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.
- [72:30]
Brian Donlevy
Maybe I have.
- [72:32]
Joseph Cotton
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.
- [74:29]
Truman Bradley
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.
- [74:38]
Joseph Cotton
Grand estate wines for grand estate wines.
- [74:42]
Truman Bradley
Presented by Roma afford you the ultimate in wine excellence. Discriminating wine users know this and regard your offering of grand estate wines as.
- [74:52]
Joseph Cotton
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.
- [75:06]
Truman Bradley
You see, Roma created this limited bottling.
- [75:08]
Joseph Cotton
Of magnificent grand estate wines especially to.
- [75:12]
Truman Bradley
Please those who know fine wines with choicest grapes, infinite patience, necessary time and age, old skill. Roma master vintners endowed each grand estate.
- [75:24]
Joseph Cotton
Wine with fine qualities of wine greatness.
- [75:28]
Truman Bradley
So the host who possesses all five grand estate California wines is sure of pleasing all tastes at all times.
- [75:37]
Joseph Cotton
For smart entertaining, delight your guests with.
- [75:39]
Truman Bradley
Grand estate medium sherry, ruby port or golden muscatel.
- [75:44]
Joseph Cotton
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.
- [82:56]
Brian Donlevy
Funny.
- [82:56]
Joseph Cotton
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?
- [83:21]
J. Carol Nash
I don't know.
- [83:21]
Joseph Cotton
Was she here?
- [83:22]
J. Carol Nash
Yes.
- [83:23]
Joseph Cotton
Where's she now?
- [83:23]
J. Carol Nash
I don't know.
- [83:25]
Joseph Cotton
Did she leave with your husband? I don't know. Why didn't you tell me she was here the other night?
- [83:29]
J. Carol Nash
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.
- [83:39]
Joseph Cotton
What did you lock yourself up in here for?
- [83:43]
J. Carol Nash
I knew when Joe left this morning. There's something. Something terrible. When you Came. I was frightened.
- [83:51]
Joseph Cotton
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.
- [84:31]
Brian Donlevy
It's.
- [84:31]
Joseph Cotton
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.
- [85:01]
J. Carol Nash
Get back.
- [85:02]
Joseph Cotton
You heard me.
- [85:02]
J. Carol Nash
Get back.
- [85:03]
Joseph Cotton
Mrs. Oliver, did you.
- [85:05]
J. Carol Nash
The Janet.
- [85:07]
Joseph Cotton
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.
- [86:08]
J. Carol Nash
I'm not Mrs. Alden. That's Mrs. Alden.
- [86:20]
Joseph Cotton
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?
- [86:28]
J. Carol Nash
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.
- [86:35]
Joseph Cotton
Well, who got the idea of the killer? You or Joe?
- [86:37]
J. Carol Nash
He did. When he saw me giving her a sedative. 1. She was pretty sick.
- [86:41]
Joseph Cotton
Premeditated, eh? Why did you do it? Money, of course.
- [86:44]
J. Carol Nash
She kept a lot of bonds around the house. That's what Joe wanted.
- [86:48]
Joseph Cotton
Is that why you moved from Eastport to West Hampton?
- [86:50]
J. Carol Nash
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.
- [86:59]
Joseph Cotton
When did he do it?
- [87:00]
J. Carol Nash
About a week after we got there one night. By morning, she was where you found her.
- [87:15]
Joseph Cotton
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?
- [88:03]
J. Carol Nash
Yes.
- [88:04]
Joseph Cotton
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.
- [88:09]
J. Carol Nash
I know.
- [88:10]
Joseph Cotton
Got your keys, Ed? Yeah, yeah. Quiet. Look. Look.
- [88:20]
Robert Young
There's a light.
- [88:20]
Joseph Cotton
That's the door to the cellar. Come on. Listen. He's digging. The lights have gone out.
- [88:29]
Robert Young
He must have heard us.
- [88:30]
Joseph Cotton
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.
- [89:07]
J. Carol Nash
Ed.
- [89:08]
Joseph Cotton
Here, Ed. Come on. Help me. I. Hey. Hey, Ed, where you going? Put up your hands, Ed. Okay. They're up.
- [89:22]
J. Carol Nash
Ed. You could at least have done it yourself instead of hiring a murderer.
- [89:44]
Joseph Cotton
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.
- [91:46]
Truman Bradley
William Speer, with a basket of grand estate wines. A gift for the distinguished star of tonight's suspense play, Robert Young Bob, these.
- [91:55]
Joseph Cotton
Grand Estate wines are our way of thanking you for a really wonderful performance. Well, thank you, Bill, for this wonderful basket.
- [92:01]
Truman Bradley
You know, Mr. Young, each grand Estate.
- [92:03]
Joseph Cotton
Wine is a limited bottling of outstanding excellence.
- [92:06]
Truman Bradley
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.
- [92:18]
Joseph Cotton
For the ultimate in wine goodness. I'm impressed. And I've learned something.
- [92:21]
Truman Bradley
Well, discriminating wine users everywhere are learning the young. They're finding out that Grand Estate wines.
- [92:27]
Joseph Cotton
Offer a rich new experience in wine enjoyment.
- [92:30]
Truman Bradley
Choicest grapes and the patient perfection of.
- [92:33]
Joseph Cotton
Winemaking serve to establish Grand Estate Wines.
- [92:36]
Truman Bradley
By Roma as the crowning achievement of vintner skill.
- [92:40]
Joseph Cotton
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.
- [94:28]
Truman Bradley
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.
- [94:51]
Joseph Cotton
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.
- [95:05]
Truman Bradley
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.
- [95:26]
Joseph Cotton
Yes.
- [95:26]
Truman Bradley
Right now, a glassful would be very pleasant as Roma wines bring you Brian, Don Levy and a remarkable tale of suspense.
- [95:40]
Brian Donlevy
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.
- [96:40]
J. Carol Nash
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.
- [97:02]
Brian Donlevy
Really, Aunt Jane, you mustn't interfere.
- [97:04]
J. Carol Nash
You know Robert doesn't want me to go back on stage.
- [97:07]
Brian Donlevy
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.
- [97:20]
J. Carol Nash
Yes, I know, Robert. I know. You're right.
- [97:23]
Brian Donlevy
After all, I am a doctor. It's my business to know these things. I'll get it. Probably the hospital.
- [97:30]
Joseph Cotton
Hello?
- [97:31]
Brian Donlevy
Yes, this is Dr. Graham.
- [97:33]
Joseph Cotton
Who?
- [97:35]
Brian Donlevy
Oh, yes, yes. Why, of course. When would you like to see me? All right, fine. No, no, no trouble at all.
- [97:44]
Joseph Cotton
Very well.
- [97:44]
Brian Donlevy
I'll be expecting you. Bye, Isabel. Good heavens. Who do you suppose that was?
- [97:51]
J. Carol Nash
Who?
- [97:52]
Brian Donlevy
Roger Holcomb. Do you remember the case? Roger Holcomb.
- [97:55]
J. Carol Nash
Roger Holcomb. I remember it.
- [97:57]
Brian Donlevy
Of course you do. The fellow who was brought back from the dead is the newspapers.
- [98:02]
Joseph Cotton
About a year ago.
- [98:03]
J. Carol Nash
Oh, yes.
- [98:04]
Brian Donlevy
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.
- [98:13]
J. Carol Nash
What does he want to see you about?
- [98:15]
Brian Donlevy
I don't know. Something to do with his experience. Obviously he was in a terribly agitated state.
- [98:20]
Joseph Cotton
Poor fellow.
- [98:21]
Brian Donlevy
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.
- [98:28]
J. Carol Nash
Oh, the poor man. Why in the world would he do that?
- [98:30]
Brian Donlevy
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.
- [98:48]
J. Carol Nash
Oh, that's notoriety. Some thrive on it, some don't. One man's meat is another man's point.
- [98:53]
Brian Donlevy
Well, that must be Holcomb now. I'll take him into the office.
- [99:05]
Joseph Cotton
Dr. Graham? Yes.
- [99:07]
Brian Donlevy
You're Roger Holcomb?
- [99:08]
Joseph Cotton
Yes.
- [99:09]
Brian Donlevy
Come in.
- [99:10]
Joseph Cotton
Thanks.
- [99:11]
Brian Donlevy
It's a pleasure to meet you, Mr. Holcomb.
- [99:14]
Joseph Cotton
Is it?
- [99:16]
Brian Donlevy
Sit down. Why did you come to me, Mr. Holcomb? Holcomb.
- [99:21]
James A. Woods
Well, I was told that you specialized in strange cases, things that other men can't explain.
- [99:29]
Brian Donlevy
Yes, that's true in a way.
- [99:32]
James A. Woods
You know what happened when I got.
- [99:33]
Joseph Cotton
Out of the hospital.
- [99:34]
James A. Woods
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.
- [99:46]
Brian Donlevy
Yes, I remember that.
- [99:48]
James A. Woods
Then you remember that my answer was always the same. That I remembered nothing, that I knew nothing.
- [99:54]
Joseph Cotton
Well, I was wrong. Oh.
- [99:57]
Brian Donlevy
What did you experience during those four minutes?
- [100:00]
James A. Woods
I don't know, but it must have been something. Something I don't even dare to think about.
- [100:06]
Brian Donlevy
How do you know this?
- [100:08]
James A. Woods
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.
- [100:28]
Joseph Cotton
And then it happened.
- [100:31]
Brian Donlevy
What happened?
- [100:32]
James A. Woods
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.
- [100:45]
Joseph Cotton
Have resisted than I could have resisted breathing.
- [100:48]
James A. Woods
I said, madam, you were born in May, weren't you?
- [100:52]
Joseph Cotton
May 30th.
- [100:53]
James A. Woods
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.
- [101:08]
Joseph Cotton
Wow.
- [101:09]
Brian Donlevy
And this condition has existed only since your.
- [101:13]
James A. Woods
Since my four minutes beyond the grave?
- [101:17]
Joseph Cotton
Yes.
- [101:18]
James A. Woods
It's as though. Well, this will sound. It's as though in that brief time I had Glimpsed eternity that I'd seen.
- [101:29]
Joseph Cotton
Revealed all truth of all the ages.
- [101:32]
James A. Woods
Now, I know that sounds foolish, but.
- [101:35]
Brian Donlevy
This is most amazing. Tell me you have family and friends who are understanding.
- [101:42]
Joseph Cotton
Oh, for heaven's sake, doctor.
- [101:43]
James A. Woods
Don't you understand what this has done to me?
- [101:45]
Joseph Cotton
Yes.
- [101:46]
Robert Young
I had a family, friends, girl I.
- [101:48]
James A. Woods
Was gonna marry today.
- [101:50]
Joseph Cotton
I'm an outcast, a pariah.
- [101:52]
James A. Woods
I'm shunned, feared.
- [101:55]
Joseph Cotton
It's hate. Hate it.
- [101:57]
Brian Donlevy
Mr. Holcomb, I believe that this condition is very real to you. Causes you very real anguish. And I want to help you.
- [102:07]
James A. Woods
Do you think you can?
- [102:08]
Brian Donlevy
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?
- [102:16]
Joseph Cotton
I'd do anything, anything in the world.
- [102:18]
James A. Woods
To be a normal man.
- [102:20]
Brian Donlevy
Well, you'll have your own quarters. You'll be quite comfortable, I assure you.
- [102:23]
James A. Woods
Well, I'm sure it's a lovely house.
- [102:25]
Joseph Cotton
What I've seen of it.
- [102:26]
Brian Donlevy
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?
- [102:40]
Joseph Cotton
What's the matter? The inheritance was not yours. It was your wife's.
- [102:45]
James A. Woods
Behind your house is your wife's.
- [102:47]
Joseph Cotton
You are penniless. That's true.
- [102:52]
Brian Donlevy
I don't know why I lied to you. Pride, I suppose.
- [102:55]
James A. Woods
I'm sorry. I told you I couldn't help it.
- [102:57]
Joseph Cotton
I'll go now.
- [102:58]
Brian Donlevy
No. No, please. It was my fault. It's a small matter.
- [103:00]
Joseph Cotton
But you see, now I want to help you. Do you believe me now?
- [103:07]
Brian Donlevy
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.
- [103:32]
Joseph Cotton
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.
- [103:56]
Truman Bradley
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.
- [105:05]
Joseph Cotton
And now, Roma wines. Bring back to our Hollywood soundstage Brian Donlevy in Lazarus Walks, a tale well calculated to keep you in suspense.
- [105:32]
Brian Donlevy
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.
- [106:18]
J. Carol Nash
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.
- [106:53]
Brian Donlevy
Oh, I hope we're not interrupting.
- [106:55]
J. Carol Nash
Of course not, darling. Hello, Roger.
- [106:58]
Joseph Cotton
Hello, Isabel. Mrs. Pot.
- [107:00]
J. Carol Nash
Good afternoon. How are you feeling, Roger?
- [107:03]
Joseph Cotton
Well, bet. I think.
- [107:05]
Brian Donlevy
I think it would be better if we didn't discuss our. Our states of mind, Isabel.
- [107:10]
J. Carol Nash
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.
- [107:21]
Brian Donlevy
You're sure we haven't interrupted some conversation?
- [107:24]
J. Carol Nash
Of course not. We were just discussing how helpful you've been in getting Isabel back to our work again. Roger.
- [107:35]
Joseph Cotton
No, you are not. You were telling Isabel to divorce her husband.
- [107:40]
Brian Donlevy
Isabel, I'm sorry.
- [107:42]
J. Carol Nash
I'm sorry. Roger. Roger, come back here.
- [107:45]
Brian Donlevy
Isabel, is that true?
- [107:47]
J. Carol Nash
You brought him in here deliberately?
- [107:49]
Brian Donlevy
Is that true?
- [107:50]
J. Carol Nash
It doesn't matter. Oh, you've known how I felt for a long time.
- [107:54]
Brian Donlevy
Yes, I'm afraid I have.
- [107:55]
J. Carol Nash
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.
- [108:06]
Brian Donlevy
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.
- [109:00]
J. Carol Nash
Robert, you. You will help me, won't you?
- [109:04]
Brian Donlevy
Of course I will, darling.
- [109:06]
J. Carol Nash
Robert, does he have to have dinner with us tonight?
- [109:10]
Brian Donlevy
Roger? Isabel, you know how I stand on that.
- [109:13]
J. Carol Nash
Oh, yes, I know, but just this once.
- [109:15]
Brian Donlevy
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.
- [109:24]
J. Carol Nash
I know, darling. Of course, you're right, but.
- [109:26]
Joseph Cotton
Roger.
- [109:27]
Brian Donlevy
Come in, Robert. Yes?
- [109:30]
Joseph Cotton
I was wondering if I mightn't be excused just tonight.
- [109:34]
Brian Donlevy
You're having dinner with us, Roger.
- [109:35]
Joseph Cotton
Must I?
- [109:36]
Brian Donlevy
You know you must, Roger, and you know why.
- [109:38]
J. Carol Nash
Roger, don't you Want to meet Mr. Sirinsky? He's really a wonderful person.
- [109:43]
Joseph Cotton
Yes, indeed. I would, very much.
- [109:45]
J. Carol Nash
You know Roger. I made my debut with him in 1934. I did a concert with him every year until every.
- [109:52]
Brian Donlevy
Until Isabel was very talented.
- [109:56]
J. Carol Nash
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?
- [110:08]
Joseph Cotton
I'm so glad, Isabel.
- [110:09]
J. Carol Nash
And Robert has finally given his consent, haven't you, dear? Robert.
- [110:15]
Joseph Cotton
I'm sorry. What was it you said, Isabel?
- [110:18]
J. Carol Nash
I said you'd given your consent to my playing with Sirinsky.
- [110:21]
Brian Donlevy
I. Isabel, you know I don't want you to think that I'd ever stand in your way.
- [110:30]
J. Carol Nash
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?
- [110:38]
Joseph Cotton
Well, I.
- [110:39]
James A. Woods
Please, Isabelle, don't ask me things that I can't.
- [110:41]
J. Carol Nash
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.
- [110:50]
Brian Donlevy
Isabel, please.
- [110:51]
J. Carol Nash
I am going to play now. I'll be better than I ever was. You know I will, don't you? Don't you?
- [110:58]
Joseph Cotton
Yes.
- [110:59]
Brian Donlevy
Yes, of course. Isabel, you play wonderful.
- [111:03]
Joseph Cotton
No. No, Robert. No, that's untrue. You're very certain that Isabel will be prevented from ever playing again by death.
- [111:13]
J. Carol Nash
Death.
- [111:14]
Joseph Cotton
Oh, Isabelle, forgive me. Forgive me.
- [111:18]
J. Carol Nash
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.
- [111:45]
Brian Donlevy
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.
- [112:47]
J. Carol Nash
Roger. Roger.
- [112:50]
Joseph Cotton
Yes?
- [112:51]
J. Carol Nash
It's me, Isabelle.
- [112:53]
Joseph Cotton
What do you want?
- [112:54]
J. Carol Nash
Let me in, please. No, please. It's terribly important.
- [112:58]
Joseph Cotton
Robert said.
- [112:59]
J. Carol Nash
I know, but he said. He said it would be all right this time.
- [113:04]
Joseph Cotton
Are you sure?
- [113:05]
J. Carol Nash
Yes. Yes, please.
- [113:07]
Joseph Cotton
All right. Now what do you want?
- [113:10]
J. Carol Nash
I want to talk to you, that's all.
- [113:12]
Joseph Cotton
What about that's so important?
- [113:14]
J. Carol Nash
Roger, why don't you ever leave your room anymore?
- [113:18]
James A. Woods
Can't you guess?
- [113:20]
J. Carol Nash
Do you think I hate you, Isabelle?
- [113:22]
Joseph Cotton
I don't know what to think.
- [113:23]
J. Carol Nash
You do, don't you?
- [113:24]
Joseph Cotton
I warned him. I told him it would happen.
- [113:27]
James A. Woods
Now I'm going mad up here thinking.
- [113:28]
Joseph Cotton
Of the anguish I've caused.
- [113:30]
J. Carol Nash
But, Roger, I don't. You must believe me.
- [113:32]
James A. Woods
I know what it's been like for.
- [113:34]
Joseph Cotton
You having me here.
- [113:34]
J. Carol Nash
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.
- [113:51]
James A. Woods
Well, I don't distrust you, Isabelle.
- [113:53]
Joseph Cotton
You've been more wonderful, but you're.
- [113:54]
J. Carol Nash
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.
- [114:01]
James A. Woods
I've often felt I wanted to talk to you.
- [114:03]
Joseph Cotton
To beg your pardon.
- [114:04]
J. Carol Nash
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.
- [114:17]
Joseph Cotton
Does.
- [114:18]
James A. Woods
Does Robert think so too?
- [114:20]
J. Carol Nash
No.
- [114:21]
Joseph Cotton
Then he didn't tell you it was all right to see me?
- [114:24]
J. Carol Nash
No. I lied to you.
- [114:26]
Joseph Cotton
You what?
- [114:27]
J. Carol Nash
I lied to you.
- [114:28]
James A. Woods
You lied to me, and it didn't happen.
- [114:31]
Joseph Cotton
Isabel, don't you see?
- [114:33]
J. Carol Nash
I am getting well.
- [114:34]
Joseph Cotton
It didn't happen.
- [114:34]
J. Carol Nash
I know. I know, Roger. I don't think it does happen anymore. Except. Except with Robert.
- [114:40]
Brian Donlevy
With Robert?
- [114:42]
Joseph Cotton
But what makes you think that I.
- [114:43]
J. Carol Nash
Know something about the way he acts, the way he is.
- [114:46]
Joseph Cotton
But, Isabelle, he is curing me. Then perhaps you should.
- [114:49]
J. Carol Nash
No. Don't you understand? We must see each other. We must talk.
- [115:01]
Brian Donlevy
Isabel.
- [115:02]
Joseph Cotton
Robert, Something's happened that I must tell you. Please.
- [115:04]
Brian Donlevy
You're completely overruled. But, Robert, I must insist. Isabel, why did you do this?
- [115:10]
J. Carol Nash
I'm sorry.
- [115:11]
Brian Donlevy
You have to have a sedative right away. Isabel, get the bottle from your room.
- [115:15]
J. Carol Nash
Mine?
- [115:16]
Brian Donlevy
Yes, yes.
- [115:16]
Joseph Cotton
Hurry.
- [115:17]
J. Carol Nash
All right.
- [115:19]
Joseph Cotton
Robert, she lied to me.
- [115:20]
Brian Donlevy
Yes, yes, I know. But, Roger, I must absolutely forbid you to talk now. You must trust me.
- [115:26]
Truman Bradley
All right.
- [115:27]
James A. Woods
But later I want to have a long talk.
- [115:29]
Brian Donlevy
Of course we shall.
- [115:29]
J. Carol Nash
Here it is. And I brought my hypodermic tool.
- [115:32]
Brian Donlevy
I'm glad you did. The other one's mislaid somewhere. Will you give it to him, please?
- [115:36]
J. Carol Nash
I.
- [115:37]
Joseph Cotton
Yes.
- [115:37]
Brian Donlevy
This has upset me rather badly. My hands are shaking.
- [115:39]
J. Carol Nash
Oh, Robert, I'm terribly sorry.
- [115:41]
Brian Donlevy
No matter now. Give him the hypodermic. The upper arm. That's right.
- [115:44]
J. Carol Nash
Yes. There.
- [115:49]
Brian Donlevy
Thank you. Leave us now, please, Isabel.
- [115:52]
J. Carol Nash
Yes. All right.
- [115:57]
Brian Donlevy
How are you feeling now, Roger?
- [115:59]
Joseph Cotton
Huh? I'm fine, Robert.
- [116:02]
James A. Woods
I think I'm better than I have been in months.
- [116:05]
Brian Donlevy
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.
- [116:15]
Joseph Cotton
I. I do.
- [116:17]
Brian Donlevy
It's only that I'm afraid for your help, Roger.
- [116:24]
Joseph Cotton
No. You're afraid of murder.
- [116:41]
Brian Donlevy
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.
- [117:10]
Joseph Cotton
Isabelle.
- [117:13]
J. Carol Nash
Robert. You frightened me.
- [117:16]
Brian Donlevy
What were you doing?
- [117:17]
J. Carol Nash
Why, nothing.
- [117:18]
Brian Donlevy
Don't lie to me, Isabel.
- [117:20]
J. Carol Nash
I'm not. I was.
- [117:22]
Brian Donlevy
You were coming from Roger's room.
- [117:23]
J. Carol Nash
No. No, I swear I wasn't.
- [117:25]
Brian Donlevy
Isabelle, don't you understand? That you're sick? That I've insisted on these things for your own good and his.
- [117:31]
J. Carol Nash
All right. I was going to talk to him, but I haven't.
- [117:34]
Brian Donlevy
Oh, Isabelle, why do you try to tell me that?
- [117:36]
J. Carol Nash
But it's true, Robert. Really true.
- [117:39]
Brian Donlevy
Is it Roger?
- [117:43]
Joseph Cotton
Roger.
- [117:44]
J. Carol Nash
What? What's the matter?
- [117:47]
Joseph Cotton
Look, Robert.
- [117:51]
J. Carol Nash
Oh, no. It couldn't be.
- [117:54]
Brian Donlevy
It is. He's dead.
- [117:57]
J. Carol Nash
Dead?
- [117:59]
Brian Donlevy
The hypodermic by his side. The drug. Your drug. Your hypodermic.
- [118:04]
J. Carol Nash
But it's only a sedative.
- [118:06]
Brian Donlevy
Except that in large quantities, it's fatal. You know that.
- [118:09]
J. Carol Nash
Oh, Robert. No. No, listen to me.
- [118:11]
Joseph Cotton
Oh, Isabel. Why?
- [118:13]
Brian Donlevy
Why, when I warn you.
- [118:14]
J. Carol Nash
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.
- [118:25]
Brian Donlevy
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.
- [118:56]
Joseph Cotton
Yeah, yeah. Their fingerprints, all right, on both the bottle and the hypodermic.
- [119:00]
Brian Donlevy
Those would be my wife's, of course. They both belong to her.
- [119:05]
Joseph Cotton
Is that true, Mrs. Graham?
- [119:08]
J. Carol Nash
Yes.
- [119:09]
Joseph Cotton
Dr. Graham. Do I understand you're formally charging your wife with the murder of Roger Holcomb?
- [119:15]
Brian Donlevy
You could hardly expect me to do that, could you, Inspector? I am simply telling you the facts.
- [119:20]
Joseph Cotton
Yeah, well, you've carefully avoided saying anything definite as to your suspicions, Doctor. But I get the distinct impression she hated him.
- [119:32]
Brian Donlevy
My wife has been mentally ill for some time. There are many people who can testify to that. She will plead insanity, Inspector.
- [119:39]
Joseph Cotton
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.
- [120:05]
Brian Donlevy
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.
- [121:37]
Truman Bradley
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.
- [122:02]
Brian Donlevy
Grand Estate wines. Well, that kind of Oscar has tasted for you, Ken.
- [122:06]
Truman Bradley
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.
- [122:16]
Joseph Cotton
Yes.
- [122:16]
Truman Bradley
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.
- [122:27]
Brian Donlevy
You're killing me. I'm starved. I never eat before a broadcast.
- [122:31]
Truman Bradley
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.
- [122:59]
Brian Donlevy
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.
- [123:06]
Truman Bradley
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.
- [123:27]
Brian Donlevy
Well, that I've got to hear. Well, thanks, Ken and Bill and Lud, it's been swell as usual.
- [123:33]
Truman Bradley
Well, thank you again, Brian. And we all think you are great. In Paramount's two years before the mass.
- [123:38]
Joseph Cotton
Next Thursday, same time, you will hear Mr. Jack Carson as star of suspense.
- [123:45]
Truman Bradley
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.
- [123:56]
Joseph Cotton
Immediately over most of these stations.
- [124:13]
Truman Bradley
This is cbs, the Columbia Broadcasting System. And now, Roma Wines. R O M A Roma Wines present Suspense.
- [124:42]
Joseph Cotton
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.
- [124:57]
Truman Bradley
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?
- [125:39]
James A. Woods
Kind of early with your greeting, aren't you, Sam?
- [125:41]
Truman Bradley
Well, I gotta get them in sometime. I may not see you again until next Christmas.
- [125:44]
James A. Woods
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.
- [125:51]
Truman Bradley
What's on your mind, Jerry?
- [125:53]
James A. Woods
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.
- [126:01]
Truman Bradley
You sound like it's serious.
- [126:03]
James A. Woods
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.
- [126:13]
Joseph Cotton
Oh, yeah.
- [126:13]
James A. Woods
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.
- [126:22]
Truman Bradley
What do you want, police protection from the mob?
- [126:25]
James A. Woods
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.
- [126:46]
Joseph Cotton
Yeah.
- [126:46]
James A. Woods
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.
- [127:02]
Ellen Woods
What's funny about it?
- [127:03]
James A. Woods
Well, mind you, this thing was found in an unfinished house in Cypress Canyon. House was only just started building.
- [127:10]
Joseph Cotton
All right.
- [127:11]
James A. Woods
Well, listen, Sam, I want to read it to you if you got the time. And you'll see what I mean.
- [127:16]
Joseph Cotton
I should.
- [127:17]
James A. Woods
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.
- [127:25]
Ellen Woods
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.
- [128:43]
J. Carol Nash
Jim, look.
- [128:44]
Joseph Cotton
What?
- [128:44]
J. Carol Nash
That sign in front of that real estate office.
- [128:46]
Joseph Cotton
Oh, yeah.
- [128:47]
J. Carol Nash
Don't you see what it says? For rent, furnished two bedroom house. Close in immediate occupancy.
- [128:52]
Ellen Woods
Yeah.
- [128:53]
J. Carol Nash
Aren't you gonna stop?
- [128:53]
Ellen Woods
Oh, Ellen, you know, a sign like that, it'd mean right out in plain sight in front of a real estate office.
- [128:57]
J. Carol Nash
Oh, yeah.
- [128:58]
Ellen Woods
But, Jim, do they want $600 a month?
- [129:00]
J. Carol Nash
We'll never know until we ask.
- [129:01]
Ellen Woods
Well, if it's any good at all, There are probably 50 people fighting for it right back there.
- [129:04]
J. Carol Nash
Now, honey, there's no harm in trying now, is there?
- [129:07]
Ellen Woods
You really want to go back.
- [129:08]
J. Carol Nash
Oh, it's probably foolish, but what can we lose?
- [129:11]
Joseph Cotton
Okay.
- [129:11]
J. Carol Nash
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.
- [129:31]
Joseph Cotton
Come in.
- [129:35]
Ellen Woods
Oh, we're sorry to bother you, but we just happened to see that for rent sign outside.
- [129:39]
James A. Woods
Oh, yeah, I hung it outside just this minute.
- [129:42]
J. Carol Nash
Is. Is the house available?
- [129:44]
James A. Woods
Why, sure. Sure it is.
- [129:47]
Ellen Woods
Let me introduce myself. My name is James A. Woods, and this is my wife, Ellen.
- [129:53]
Joseph Cotton
How to do. Wow.
- [129:57]
James A. Woods
Looks like it's fixing to rain.
- [130:00]
Ellen Woods
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.
- [130:46]
James A. Woods
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.
- [130:59]
J. Carol Nash
Doesn't sound as though that door had ever been opened.
- [131:01]
Joseph Cotton
Why?
- [131:01]
James A. Woods
A little oil on the hinges.
- [131:04]
J. Carol Nash
Oh, sure.
- [131:04]
Joseph Cotton
Now.
- [131:05]
James A. Woods
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.
- [131:11]
J. Carol Nash
Yes.
- [131:12]
James A. Woods
Now, over here is a little den. Paneled, you see. Radio, fireplace. Really a very attractive little room, particularly for a man.
- [131:20]
Joseph Cotton
Uh huh. Yep.
- [131:21]
James A. Woods
Now, the. The bedroom's off the living room here. Everything's all on one floor, you understand. It's quite nice.
- [131:28]
Joseph Cotton
I.
- [131:29]
J. Carol Nash
Yes.
- [131:30]
James A. Woods
You can see you get the morning sun here. There's a view of the canyon through these fun windows. You got cross ventilation.
- [131:36]
Ellen Woods
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.
- [132:11]
J. Carol Nash
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?
- [132:21]
Ellen Woods
Why don't we just leave them where they are?
- [132:23]
J. Carol Nash
Jim, we can't. They're too awful.
- [132:25]
Ellen Woods
All right, put them in the closet, then.
- [132:27]
Joseph Cotton
I can't.
- [132:27]
J. Carol Nash
Both the closets are jam full.
- [132:29]
Ellen Woods
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.
- [132:34]
J. Carol Nash
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?
- [132:42]
Joseph Cotton
Bring them in here. Okay. Okay.
- [132:45]
J. Carol Nash
Guess you'll have to help me with this door. I can't get it open.
- [132:48]
Ellen Woods
Let me see it. Of course you can't, silly.
- [132:52]
Joseph Cotton
It's locked.
- [132:53]
Ellen Woods
Where are those keys we found on the desk?
- [132:55]
J. Carol Nash
Here they are.
- [132:58]
Ellen Woods
No, not this one. Sure, this one won't work. Feels like an awful solid door for a closet.
- [133:06]
J. Carol Nash
That's one solid door in the house.
- [133:09]
Ellen Woods
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?
- [133:15]
J. Carol Nash
Yeah. Yeah. All right. Jim, if you could just help me move this armchair.
- [133:19]
Ellen Woods
Oh, Ellen, will you let it go until tomorrow? You know what time it is.
- [133:22]
J. Carol Nash
But, honey, I'd like to get the place looking just a little bit.
- [133:24]
Ellen Woods
It's almost midnight. In fact, it's exactly what was that? Tomcat, I guess out in the brush somewhere.
- [133:33]
J. Carol Nash
Sounded near. Hope that doesn't go on all night.
- [133:38]
Ellen Woods
There's much we can do about it. Come on, Ellen. I'm dead tired.
- [133:41]
J. Carol Nash
All right, Jim. All right.
- [133:44]
Ellen Woods
Where'd you put the toothpaste, honey?
- [133:46]
J. Carol Nash
It's right in the medicine cabinet.
- [133:48]
Ellen Woods
Oh, yeah.
- [133:49]
J. Carol Nash
Jim, we ought to get some firewood tomorrow. You know, a fire in that living room would make all the difference in the world.
- [133:54]
Joseph Cotton
Club Sunday.
- [133:56]
J. Carol Nash
Well, Monday, then. Jim, I think red curtains are what we need, don't you?
- [134:00]
Joseph Cotton
Mm. Mm.
- [134:01]
J. Carol Nash
You know, just at least for the living room anyway. The ones in there now have just got to come down.
- [134:06]
Ellen Woods
Yeah, I suppose they do.
- [134:08]
Joseph Cotton
What do you think of Red?
- [134:10]
Ellen Woods
Well, I guess it's all.
- [134:13]
J. Carol Nash
Jim. That's Some tom cat, Jim, sounded in the house.
- [134:22]
Ellen Woods
How could it be in the house? Ellen, we've been over every inch of.
- [134:25]
J. Carol Nash
The house except that closet.
- [134:28]
Ellen Woods
How could a cat or anything else be in the closet that's been locked up for over a year?
- [134:33]
J. Carol Nash
I don't know.
- [134:33]
Ellen Woods
It's probably under the house. A wildcat or mountain lion or something. I hear they have them in California.
- [134:38]
J. Carol Nash
Jim, I don't like it.
- [134:39]
Ellen Woods
Well, neither do I like it. But there's nothing we can do about it tonight.
- [134:42]
J. Carol Nash
Maybe we ought to call somebody. The police or some neighbor.
- [134:45]
Ellen Woods
Silly Ellen. You act like a kid. Come on, let's go to bed, huh?
- [134:50]
Joseph Cotton
All right.
- [134:50]
J. Carol Nash
I suppose it is silly. Jimmy, did you lock the door?
- [134:54]
Joseph Cotton
Yeah. Yeah.
- [134:56]
Ellen Woods
Can I turn out the lights now?
- [134:57]
J. Carol Nash
Yeah. All right.
- [135:00]
Ellen Woods
Good night, Ellen. Sleep tight.
- [135:01]
J. Carol Nash
Good night, Jim.
- [135:08]
Ellen Woods
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?
- [135:24]
J. Carol Nash
Yes.
- [135:25]
Ellen Woods
Did you have a nightmare or something?
- [135:27]
J. Carol Nash
No. I heard it, too.
- [135:30]
Ellen Woods
Well, that didn't sound like any cat.
- [135:31]
J. Carol Nash
Put on the light.
- [135:32]
Joseph Cotton
Yeah.
- [135:35]
J. Carol Nash
Seemed to be out there, Jim. In the house somewhere.
- [135:38]
Ellen Woods
I'm going to look into this.
- [135:39]
J. Carol Nash
Jim. You be careful.
- [135:40]
Ellen Woods
Come on.
- [135:41]
Joseph Cotton
Where's my shotgun?
- [135:42]
J. Carol Nash
In the den, I think. Jim.
- [135:45]
Joseph Cotton
What?
- [135:47]
J. Carol Nash
There. There's something wet.
- [135:51]
Joseph Cotton
What wet?
- [135:53]
J. Carol Nash
Running from under the closet door. Sticky.
- [135:57]
Joseph Cotton
Ellen, don't. Don't touch it.
- [136:00]
J. Carol Nash
I had to, Jim. It's blood.
- [136:14]
Joseph Cotton
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.
- [136:33]
Truman Bradley
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.
- [137:46]
Joseph Cotton
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.
- [138:13]
Ellen Woods
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.
- [138:51]
Joseph Cotton
You just moved in here, you're saying?
- [138:53]
Ellen Woods
That's right, officer.
- [138:53]
Joseph Cotton
You can.
- [138:53]
Ellen Woods
You can see we're still unpacking.
- [138:55]
Joseph Cotton
And the place has been empty right along before that.
- [138:57]
Ellen Woods
Yeah, I don't know much about that part of it. You could check all that with a real estate agent.
- [139:01]
Joseph Cotton
Well, where is this closet?
- [139:03]
J. Carol Nash
Oh, it's. It's right in here, Officer. And. And the blood. The blood is.
- [139:08]
Joseph Cotton
Where? Where's the blood, Jim?
- [139:12]
Ellen Woods
Officer, I swear to you, there was blood on the floor less than an hour ago. I. I saw it.
- [139:15]
Joseph Cotton
Uh huh.
- [139:16]
Ellen Woods
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.
- [139:21]
Joseph Cotton
Locked, huh?
- [139:23]
J. Carol Nash
Oh, no.
- [139:24]
Joseph Cotton
Well, it seems to be all right now. Hey, you folks aren't trying to be funny, are you?
- [139:32]
J. Carol Nash
Isn't there anything in it?
- [139:33]
Joseph Cotton
No, ma', am, there is not.
- [139:35]
Ellen Woods
Look, officer, we're reputable people. You can call my firm. They'll tell you all about me.
- [139:39]
Joseph Cotton
There's nothing wrong with this closet. Walls are solid. No trap doors.
- [139:43]
Ellen Woods
You think I'm lying?
- [139:44]
Joseph Cotton
I didn't say that, mister. Oh, you probably did hear some sort of a noise and you got a little panicky and.
- [139:51]
J. Carol Nash
But what about the blood? It got on my hand.
- [139:55]
Ellen Woods
It isn't there now, is it?
- [139:58]
J. Carol Nash
Yes.
- [139:59]
Joseph Cotton
Where?
- [140:01]
J. Carol Nash
I feel it.
- [140:03]
Joseph Cotton
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?
- [140:12]
Ellen Woods
Yeah. I'm sorry, officer.
- [140:14]
Joseph Cotton
Ah, that's all right. That's all right. If you have any real trouble, call on us anytime. All right. Well, good night.
- [140:20]
Ellen Woods
Good night.
- [140:21]
Joseph Cotton
Good night. Hey, you Ought to have this door fixed. That's enough to scare you. Yeah, we're.
- [140:29]
Ellen Woods
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.
- [141:57]
Joseph Cotton
Then.
- [142:00]
Ellen Woods
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.
- [143:09]
J. Carol Nash
Jim?
- [143:10]
Ellen Woods
Yes, Ellen?
- [143:13]
J. Carol Nash
What are you doing up so early?
- [143:15]
Ellen Woods
Oh, I. I got a little restless. Make some coffee.
- [143:18]
Joseph Cotton
Oh.
- [143:20]
J. Carol Nash
Oh, I had the most wonderful sleep, and I feel so rested.
- [143:26]
Ellen Woods
Do you?
- [143:27]
Joseph Cotton
Mm.
- [143:29]
J. Carol Nash
Jim?
- [143:30]
Joseph Cotton
What.
- [143:31]
J. Carol Nash
What's the matter with your arm?
- [143:33]
Ellen Woods
Oh, I. I just heard it.
- [143:35]
J. Carol Nash
Well, honey, it's. It's terribly swollen. Let me see.
- [143:38]
Ellen Woods
No, it's all right, Ellen.
- [143:39]
J. Carol Nash
Oh, it isn't all right. You've got to see Dr. Wesley right away.
- [143:42]
Joseph Cotton
Sure, I will.
- [143:43]
J. Carol Nash
No, now, you promise me, Jim, that you'll go the first thing this morning. How'd it happen?
- [143:48]
Ellen Woods
Why, there was a dog.
- [143:50]
J. Carol Nash
A dog?
- [143:51]
Ellen Woods
Yeah, I heard him trying to chew through the screen door. I went out to chase him away and he bit me.
- [143:57]
J. Carol Nash
Well, you mean there's all that racket and I didn't even wake up?
- [144:04]
Ellen Woods
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.
- [144:37]
Joseph Cotton
And. And he said, well, I've never seen anything quite like it before.
- [144:42]
Brian Donlevy
That is such a rapid onset of infection.
- [144:51]
Ellen Woods
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.
- [146:06]
Joseph Cotton
Why?
- [146:07]
Ellen Woods
Surely a minor question now I only know that I did. And then I heard it.
- [146:12]
Joseph Cotton
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.
- [146:25]
Ellen Woods
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.
- [146:31]
Joseph Cotton
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.
- [146:41]
Ellen Woods
I. I heard it on the radio. I live just down the road.
- [146:44]
Joseph Cotton
Yeah, yeah, I remember. What.
- [146:46]
Ellen Woods
What happened?
- [146:47]
Joseph Cotton
Well, take a look. Maybe you can tell us.
- [146:51]
Ellen Woods
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.
- [148:39]
Joseph Cotton
Someone at the door, huh?
- [148:41]
James A. Woods
What do you make of it, Sam?
- [148:44]
Truman Bradley
It's quite a yarn.
- [148:45]
Joseph Cotton
But what of it?
- [148:46]
James A. Woods
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.
- [149:40]
Truman Bradley
Well, no such murders, or whatever they.
- [149:42]
Joseph Cotton
Were, ever occurred, if that's what's worrying you. The clipping. Well, you have those things printed up, you know.
- [149:47]
James A. Woods
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.
- [149:55]
Joseph Cotton
Uh huh.
- [149:55]
James A. Woods
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.
- [150:08]
Truman Bradley
So what? A guy who knows roughly what this house is going to be like writes a yarn and loses it or something.
- [150:13]
James A. Woods
Did he know the place was going to be listed for rental today, the Saturday before Christmas?
- [150:17]
Truman Bradley
Oh, Jerry, Coincidence.
- [150:20]
Ellen Woods
Two bits.
- [150:20]
Truman Bradley
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.
- [150:27]
Joseph Cotton
Okay, okay.
- [150:29]
James A. Woods
Coincidence. I'm sorry I bothered you, sir.
- [150:34]
Truman Bradley
Don't be silly. I liked it. It's a good yarn.
- [150:37]
Ellen Woods
That the For Rent sign you were talking about.
- [150:40]
James A. Woods
Oh, yeah, yeah, I'm gonna put it up outside now, huh?
- [150:44]
Truman Bradley
Well, so long, Jerry. And Merry Christmas again.
- [150:46]
James A. Woods
Well, thanks, Sam. I guess I was kind of silly.
- [150:50]
Joseph Cotton
All right.
- [150:51]
Truman Bradley
Bless him.
- [150:52]
Joseph Cotton
One guy named whatever it is woods with a wife named Ellen comes in.
- [150:56]
Truman Bradley
To rent that place from you, then you can start worrying.
- [150:59]
James A. Woods
Yeah, well, so long, Sam.
- [151:01]
Truman Bradley
So long, Jerry.
- [151:06]
James A. Woods
Come in.
- [151:11]
Ellen Woods
Oh, we're sorry to bother you, but we just happened to see that For Rent sign outside.
- [151:15]
James A. Woods
Well, yeah, I hung it out just this minute.
- [151:18]
J. Carol Nash
Is. Is the house available?
- [151:21]
James A. Woods
Sure, sure it is.
- [151:22]
Ellen Woods
Let me introduce myself. My name is James A. Woods, and this is my wife, Ellen.
- [151:28]
Joseph Cotton
How do? Wow.
- [151:32]
James A. Woods
Looks like it's fixing to, right?
- [151:35]
Ellen Woods
Yes, it does, doesn't.
- [152:01]
Truman Bradley
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.
- [152:20]
Ellen Woods
Why didn't you tell me before, Ken? If I'd only known, I'd have baked a cake.
- [152:24]
Truman Bradley
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.
- [152:47]
Ellen Woods
Thanks, Ken. You turn a nice table and you.
- [152:49]
Truman Bradley
Can set a nice table with Grand Estate Burgundy in your basket.
- [152:53]
Joseph Cotton
Bob.
- [152:54]
Truman Bradley
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.
- [153:13]
Ellen Woods
That I know about grand estate wines, Ken.
- [153:15]
Truman Bradley
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.
- [153:40]
Ellen Woods
Reason enough. And now, Ken, who's all set to star on suspense next Thursday.
- [153:44]
Truman Bradley
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.
- [153:59]
Ellen Woods
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.
- [154:07]
J. Carol Nash
Thank you, Bob.
- [154:08]
Joseph Cotton
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.
- [154:20]
Truman Bradley
Produced by William Spear for the Roma Wine Company of Fresno, California. This is cbs, the Columbia Broadcasting System.
- [154:45]
Narrator
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.
- [156:19]
Joseph Cotton
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.