← Stars on Suspense (Old Time Radio)
Stars on Suspense (Old Time Radio)
Episode 421 - Favorites from 1950
02:37:06
We enter the 50s as our journey through the years of Suspense continues with my favorite episodes from 1950. First, Dana Andrews is a cop on the trail of a killer in a radio adaptation of Ray Bradbury’s “The Crowd” (originally aired on CBS on...
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- [00:10]
Narrator/Announcer
The hushed voice, the prowling step in the dead of night, the crime that is almost committed, the stir of nerves at the ticking of the clock, the rescue that might be too late, or the murderer who might get away. Mystery and intrigue and dangerous adventure. We invite you to enjoy stories that keep you in suspense.
- [00:54]
Podcast Host
Hello and welcome to Stars on Suspense, where today we continue our journey through the years of radio's outstanding Theater of Thrills with my favorite episodes from 1950. Now, 1950 saw a big change behind the scenes for the program. Norman McDonnell was the producer and director for the first half of the year year. But when Suspense started its new season in August, Elliot Lewis had the reins. Lewis was a man of many talents. He was an actor starring in shows like the Casebook of Gregory Hood and Voyage of the Scarlet Queen, and he memorably played sidekick to Phil Harris on the Phil Harris Alice Fay Show. But he was also an accomplished writer and director. He'd written several episodes of Suspense and and he was the director of the outstanding police drama Broadway Is My Beat. His run as the director of Suspense, a stretch that lasted until 1954, is my favorite of the series, a time when the show could still draw big stars to the microphone, but where Eliot Lewis experimented with what the medium could do in terms of sound and music. We'll hear about some more of his innovations in the years ahead, but for now, Here are my five favorite episodes from 1950, the Year in Suspense. First up is Dana Andrews in the Crowd, an adaptation of the short story by Ray Bradbury that originally aired on CBS on September 21, 1950. Now, if you've read Bradbury's story, you'll soon realize that this adaptation is one in name only, instead of Bradbury's tale of a throng of eerie observers who seem to pop up wherever there's an accident. The Suspense show is a manhunt, with Andrew's cop chasing a killer who murders in broad daylight with the hope of attracting a crowd of gawkers and onlookers. It's a very different but very good story with a script by Morton Fine and David Friedkin, arguably two of radio's best writers who were also frequent collaborators of Elliot Lewis. The pair wrote for Broadway Is My Beat, Suspense and the terrific historical anthology crime classics. It's their script, the vivid, lyrical narration and the colorful characters that make this a favorite. Then we have Milton Berle, another case of a comedian going serious on suspense. Mr. Television himself stars in Rave Notice from October 12, 1950. Burl plays an actor who Suffered too long the harsh criticisms of a director, and he finally responds with a shotgun blast. In custody, Burl plans to use method acting to convince the police and doctors that he's insane. And as a result, will be sent to an institution instead of death row. It features a great performance from Burl, who puts some of his hammier tendencies as a performer to good work. Up third, for My Money, is one of the scariest stories suspense ever produced. Cary Grant and Kathy Lewis, one of radio's best actresses and then wife of producer director Elliott, star in On a country Road from November 16, 1950. A couple is driving home when they hear a disturbing news report about an escaped killer armed with a meat cleaver roaming the woods. Then their car runs out of gas on the back road they intended to use as a shortcut. I won't say any more than that. Our fourth show stars Ray Milland in a classic meat and potatoes suspense show, an example of the type of story the program did better than almost anyone else in radio. It's after the movies from December 7, 1950. Miland and his wife, also played by the great Kathy Lewis, are enjoying a night out. He's serving on a jury, and he's been sequestered, so the couple is taking advantage of his temporary freedom. But when they stop at an ice cream parlor frequented by several jurors, they discover a note that suggests One of the 12 may be taking bribes to swing the verdict. And when the gang behind the bribe discovers Millann knows they kidnap his wife to ensure his silence. This one is a great performance from William Conrad as the sympathetic cop who comes to Milan's aid. And the twist is one you probably won't see coming. And finally, we'll saddle up and head west with Alan Ladd in a killing in Abilene from December 14, 1950. Suspense had steered clear of westerns before this point. Those stories were usually done over on Escape on the CBS Style. But under Elliot Lewis tenure, suspense took more trips back to the lawless days of the frontier. In this story, Ladd plays a man chasing his brother's killer, only to discover the man accused of another murder and facing a lynch mob. In a strange twist, Ladd has to protect the man who murdered his brother so he can make sure the killer gets a fair trial back home. So now sit back and join me as we travel to 1950 and my favorite episodes of suspense.
- [06:38]
Narrator/Announcer
Auto light and its 96,000 dealers present suspense. Tonight, Autolight brings you the Crowd, a suspense play starring Mr. Dana Andrews. All right, stand Back. Keep moving. You got other places to go. Go to him, Officer.
- [07:07]
Character/Actor
Somebody dies, somebody get killed.
- [07:09]
Narrator/Announcer
Yeah, yeah. Now you know. So keep moving. Lieutenant, I didn't see you. Didn't mean to poke you in the tummy with my Billy. What happened, Officer? Lieutenant, the way it happened, I. Officer, we got a right to know what he's all. What's going on up there?
- [07:23]
Character/Actor
I can't see.
- [07:24]
Narrator/Announcer
Get somebody to hoist you up on their shoulder, citizen. Then you'll see. Sometimes I don't understand this kind of thing, Lieutenant. Couple of minutes ago this was an empty street. Now this crowd. You still haven't told me what happened. Well, I was directing traffic up the street. A woman screamed and I thought it was just. Well, you know. But no, it was this guy laying on the sidewalk with a knife in him. Dead. Murdered. The people running around him. This crowd.
- [07:47]
Character/Actor
Is he dead? Let me look. Let me look. Get out of my way.
- [07:49]
Narrator/Announcer
I want to see. I want to see.
- [07:50]
Character/Actor
Dead, huh?
- [07:52]
Narrator/Announcer
Dead. In just a moment, Mr. Dana Andrews in the first act of the crowd. Hi. A hap. New suit? Yeah, Wilcox. You like it? Love it. Reminds me of Auto light ignition engineered spark plugs. Custom made and a perfect fit for your car. It's real hand tailoring too. You said it. Auto light engineers tailor spark plugs. Just as they tailor the complete ignition system used as original factory equipment on many leading makes of America's finest cars. That's why Ignition engineered Auto light spark plugs are world famous for quality and dependability. How to give me a lot of wear thousands of miles. Why, when you replace worn out spark plugs with Ignition engineered Auto light spark plugs, you get smoother performance, quick starts, gas savings. Hey, Wilcox, everybody knows about Auto Light spark plugs. How about my full suit? Ignition engineered Auto light spark plugs will suit your car in every season. Hap. So friends, see your friendly Autolite spark plug dealer and have him replace worn out spark plugs with world famous Ignition engineered Autolite spark plugs. Whether you choose the resistor type or the standard type, you can be sure money can't buy better spark plugs. Because you're always right with Autolight. And now with the crowd and the performance of Mr. Dana Andrews, autolight hopes once again to keep you in. Susan Spence. The call had come in from the police call box 12 minutes before had come to headquarters been transferred to me, Johnny Stilano. Because I'm a lieutenant, New York Police. Things like this are my job. It had taken me maybe five minutes to get there and already the crowd was There crowd. A ring of shifting, compressing, changing faces. Looking down at the dead man, watching the shape of death in his face. Stand back. Stand back. Officer, have you gone through this man's pocket? Do you know who he is? No, sir, I haven't had time. I'll do it. Here comes the ambulance, Lieutenant. All right, you people, why don't you move on? Give them room. Give them room. Hello, Doc. You through them? All right, boys, let him through. Come on through. Huddle away, you. I was in the army, you know. Uniforms don't mean anything to me. Here and there, on the fringes of the crowd, a man detached himself from it, bit his lip and left. Even the spectacle of death can't compete with the time clock. Get back to work and tell your friends about it. Then the sound of death fading away. And then the crowd too. And in a little while, the only thing left of it was an unconvinced passerby who looked over his shoulder at the spot and hurried on. Then the leavings of the crowd. A dead man, identified from a worn leather wallet as Edgar Dale. West 32nd Street. Name and address. Go there. Dig into a life that was done. Ask why at Edgar Dale's rooming house, A woman opened the door only halfway. Clutched her cotton wrap around high on her throat, shook her head. To most of my questions, Edgar Dale had no family, lived alone and a shrug. To what friends he worked, that's all. At the Becker Sign Painting Company on First Avenue. Maybe there, Mister, I went. Something I can do for you? I'm a police officer. Johnny Stilano. Oh. Oh. How do you do? My name is Becker. Elliot Becker. A man worked for you. Edgar Dale. I just put the phone down on the police a minute ago. They called, told me what happened. Then you know why I'm here? I believe so. You'll want to know all about Edgar. I'll help. All I can. Tell me about him. Edgar. Edgar was like anybody. Looked like anybody, talked like anybody, kept to himself. He did his job. A man who sat in the supply room and back and read science fiction magazines when he didn't go outside to have lunch. What else? I don't know. You can only judge a solitary man by the things he did to give you that impression. He listened to jokes but never told one. He clipped pictures of movie stars in bathing suits and pasted them over his workbench. Crossword puzzles, contests. The newspapers ran those things. Friends, girlfriends. I don't know, Mr. Stilano. I've wondered sometimes who might enjoy Edgar as a friend. But I Don't know. Where was he killed? Two blocks from here this morning. I saw the people running. I couldn't get away. That's too bad. How was he killed, Lieutenant? What did he look like? Hello, Johnny. Been waiting for you. What's up, Riordan? Maybe a phone calls. Five altogether. From home? I don't know. I tried to wheedle it out of him, but the man just wouldn't say. He said he'd keep trying, though. He has to talk to you personally. What else? This envelope came addressed to your special delivery. It's marked Personal. Open it. Says Personal. Open it. What is it? A picture, Johnny. Clip from this afternoon's Extra in the News. I saw it there myself. A picture of the man who was stabbed to death on the street with the crowd around him. That's it. Look what's written under it, Johnny. Yeah, I did well, didn't I? Police. Next time it will be even better. Johnny Celano speaking.
- [13:51]
Character/Actor
Oh, I finally got you in, Lieutenant. I read in the papers you were assigned to the case. The man found dead on the sidewalk.
- [14:00]
Narrator/Announcer
Yes.
- [14:01]
Character/Actor
I just called to ask you if you got the clipping I sent you. The one of the dead man lying on the street. I sent it special.
- [14:08]
Narrator/Announcer
Oh, I just got in. I haven't had a chance to look at the mail. Will you hold on just a minute while I check? Face this call, quick. Right. Johnny, I. Oh, yes, I have it here. The words written underneath. Did you write them?
- [14:25]
Character/Actor
Oh, yes, and I meant them.
- [14:27]
Narrator/Announcer
Every word.
- [14:28]
Character/Actor
There will be a next time, Lieutenant. There will be another murder.
- [14:33]
Narrator/Announcer
I. I believe you. I won't be so foolish as to think you're some kind of a crank. I can see you're a very intelligent man. It was very clever how you committed the murder. Broad daylight on the street.
- [14:45]
Character/Actor
Oh, the next one will be even more spectacular.
- [14:48]
Narrator/Announcer
Far more. Well, tell me about it. There's no need. There'll be a crowd.
- [14:54]
Character/Actor
You'll read about it. I'll send you a picture.
- [15:01]
Narrator/Announcer
I got it, Johnny. Gilbert Shoe Repair. It's right around the corner from here. I got the blotter on my desk. Gilbert Shoe Repair. I never saw that. Gilbert. Hey, Gilbert, turn off that machine. I want to talk to you.
- [15:27]
Character/Actor
Huh?
- [15:28]
Narrator/Announcer
Turn off that machine. Oh, sure, Johnny. Huh? Oh, you want your shoes, Johnny. Ain't been in here so long, I was going to put them in the window with a For Sale under him. I don't want to talk to you about shoes. Not about shoes. There's something else we can talk about about a man. He Just made a phone call from here. What man? Listen to me, Gilbert. Just a couple of minutes ago, a man came in here. I don't know what man. He made a phone call from here. Use my phone. Yeah, maybe he did. All right, so he did. You don't understand, do you? This man was a murderer. Two minutes ago, he was in here using your phone. Oh, so what am I supposed to do about it? I'm a shoemaker. But look out through the window, Johnny. See all those people? Every now and then, one of them breaks off, comes in. Once his shoes fixed. Once he used the phone.
- [16:16]
Character/Actor
Oh, yeah.
- [16:17]
Narrator/Announcer
A few minutes ago, one of them did come in and he asked to use my phone. Well, I didn't notice anything about him. I never noticed anything about any of them. They're all alike. Some are men, some are women. This one was a man. Then back into the street again. And into the street. Form the crowd. Into the wash of anonymous faces. The blob. And somewhere in it, a murderer. Then back into the office. Sit down again. Stare at Reardon again. Reardon stares back. And then get up. Walk to the window. Stare at the crowd. Phone's ringing, Johnny. Huh? John is still on, speaking.
- [17:16]
Character/Actor
You don't run so fast, Lieutenant.
- [17:18]
Narrator/Announcer
You know. You know you almost knocked me down.
- [17:20]
Character/Actor
When you ran across the street into that shoemaker shop.
- [17:24]
Narrator/Announcer
I'm close by, Lieutenant, in the payphone on the subway. 34th Street. Right fast, Lieutenant. Hello? Hello? Never mind. Reardon again. Him again. He even told me where he was. So I'd go there and close my eyes and point a finger at the five o' clock subway crowd and say, you. You're a killer. I almost knock him down. I talk to him. We chat on the phone. I can give you a category for this murderer. His phone calls, a boasting of his killing. I'm not a doctor and I know he's crazy. Sure, sure, sure you do, Reardon. I don't know where to start. Where do I start, Reardon? I. Take it easy, John. A lonely little man is stabbed to death on the street in New York City. For all I know, this killer is standing right beside me, looking down at the dead man. The killer sends me a picture. Killer calls me on the phone. The killer tells me he's in a subway at 34th Street Station. The killer. Lieutenant. Yeah? Call box report just came in. Man was pushed in front of a subway, 34th Street Station. And the pattern repeated itself, but with variation. Now the body of a man, broken, crushed without form, like a child's drawing. Of death lay on a bier of railroad ties, of glistening steel rails. Over him the shroud of a subway car and deep in the cavern, the lament of hurtling steel. The crowd. The crowd watching on the platform. No variation here. Same crowd that gathers and watches at all death's public performances. The crowd. Let me look. Let me look.
- [19:07]
Character/Actor
Get out of my way. I want to see.
- [19:09]
Narrator/Announcer
Dead. Huh?
- [19:10]
Character/Actor
Dead.
- [19:13]
Narrator/Announcer
Hey, is he really dead? Hi.
- [19:15]
Character/Actor
Here.
- [19:26]
Narrator/Announcer
Autolite is bringing you Mr. Dana Andrews in the crowd. Tonight's production in radio's outstanding theater of thrills, Suspense. See, Wilcox, you have a good tailor. Sure. Sam is a suit stitcher supreme now. He never makes the pants too long since his car worries stopped. What was his trouble? Why, Sam's sedan used a tank of gas just to get out of the garage. That's ridiculous. That's what I said. I told him to stop blowing his top and have his spark plugs checked by his friendly Autolite spark plug dealer. Did he do it? Yep. Now this pleased pantaloon producer is getting a real run for his money. He replaced the spark plugs that were not functioning properly with ignition engineered auto light spark plugs. And now he gets smoother performance, quick starts, gas savings. I'll bet he thanked you, Wilcox. He did. Happy did. And he couldn't have bought better spark plugs for his car than ignition engineered auto light spark plugs. So, friends, see your friendly Autolite spark plug dealer and have him replace worn out spark plugs with ignition engineered auto light spark plugs. Whether you choose the resistor type or the standard type, you'll know why you're always right with Autolight. And now Autolight brings back to Our Hollywood soundstage Mr. Dana Andrews in Elliot Lewis's production of the Crowd. A tale well calculated to keep you in suspense. Come on, Johnny, I'll push him away for you. One side here, one side. Out of the way. Police. Out of the way. I guess we'll have to go through the car, Johnny, and out through the end to get to him. Yeah. Come on. Hey, is there a Stalano here? A Lieutenant Johnny Stalano? Wait a minute. Yeah, Stalano. Somebody on our phone booth Here wants a Lt. Stellano. Lt. Stellano?
- [21:35]
Character/Actor
On a farm?
- [21:35]
Narrator/Announcer
He's wanted. Sure, he's wanted by the draft corps. Yeah, I'm here. Don't hang up. I'm here. What's the matter, Lieutenant? You're on a uniform. Former PFC presents you with a form. Danish star no speaking. Oh.
- [21:54]
Character/Actor
Oh, I'm glad they reached you, Lieutenant.
- [21:56]
Narrator/Announcer
You see There was another dead man. Crowd much better than the first. Much. Don't you think? Much better, the man said. Much better. How good does death have to be this time? The murderer had chosen to push a man under a subway train. The crowd seemed to like this one better, too. They stayed longer after we got the body out from under the train. Legwork. Questions. A dead man. Adam Trepple, the Bronx. Inquiries. He's married, three children. Managed a supermarket. More inquiries. No motive for his murder. No one wanted him dead. Everybody said so. Johnny, I brought you a thermos of coffee. Thanks. And this envelope just came for you. Special delivery, marked personal. Mm. Give it to me. Like the last time. Like the last time. Newspaper picture. This is a triple. Under the subway train with the crowd around. Uh huh. Look at him. And look at this one. The first one I got when Edgar Dale was stabbed. Crap. Why do people always hang around other people's hurt? I'll pour you some coffee. You want coffee, Johnny? Yeah, yeah. Here. Here you are, Johnny. Johnny what? Huh? This man standing here in the picture, right up front of the crowd around Edgar Dale. This man here, not very clear. So the other picture, the one on the subway. This man also in the front row of the crowd, also not very clear. So look at him, will you? I'm looking. Hey. The same man, Reardon. The same man in both pictures. I won't say no. Me neither. Because it's the same. It could have been a coincidence. It could have just happened that way. One chance at 50,000. A hundred thousand. A thousand thousand. But it could have happened. One man, a part of a crowd, having his picture taken as a spectator of violent death on a crowded street in a subway. One man pushing his way to the front of the crowd to have his picture taken. Just because it happened to him twice on the same day by some sly smile of fortune, it was arranged for two people to die just where he happened to be. Just where there was a man with a camera to take a picture to. A picture that would give him a name in his neighborhood, make people look up to him. Don't tell me how it was. He was there twice. Then there was the other chance that he was the murderer. That's the one a policeman had to put his money on. He could do that by talking to a man he knew in a newspaper office. Man in charge of the morgue. Man named Marty Powell. You slumming, Lieutenant? Don't you ever open a window in here, Marty? Who wants fresh air? Fresh air is for the bird. You don't like it here? Go away. Still sour, Marty? You come from out there? Anything happen to it out there just before you came in? No. I didn't think so. When it does, when it dries up and blows away out there, I might sweeten up if I feel like it. What can I do for you, Lieutenant? I want to look at some pictures. Don't we all? Pictures where people were killed. Look, Lieutenant, I got files and files of those to the ceiling, see? Be more explicit. How were they killed? Accident. War. By a wife, a jealous lover. Suicide. Stop me anytime you like. I tire easy. Unloaded revolver. Well, it's hard to explain, Marty, but pictures like these local. Let me see. Mm. Pictures like unsolved murders, huh, Lieutenant? Where the killing was violent. Too violent for you boys to solve. I'll get some for you. I know he's playing. How far back, Lieutenant? Two, three years maybe. I was afraid of that. Hey, I made a selection for you. The most artistic, the most captivating. Several of these won prizes. We are very proud of. This one, for example. To your taste? Mm. Mm. Let's see some more. This one. Hold that one out, Marty. Not the one with the guy who fell out of the window or the other one. The window. I'll see some more. You've been here for two hours, Lieutenant. I told you I'd tire. Easy. More. Okay, that one. I'll take these. These two. Goodbye, Marty. You ready on that projector, Ren? Huh? Pull the screen down. Okay. Turn out the lights. That's how the first one. This is a picture of a man pulled out of the river. He was shot. This picture was taken in December 1948. Notice the crowd. Notice this spectator. The one in the front row, not wearing a hat. That's hat number two. A picture of a man who was pushed or fell out of a window from a 10 story building. June this year again. Notice the crowd and the man in the right hand corner of the crowd being pushed back by a policeman. I run the slides of the ones we had made from the newspaper clippings. The crowd around Edgar Dale. Notice that man up front on the end. Okay. The crowd around Adam Trepple. Notice the fourth man down in the front row. What do you think, Reardon? They're all the same man. You sure? The same man. It took an hour for the newspapers to hit the streets with a front page picture of a man wanted for murder. A man in the crowd who for two or three years had quietly committed murder. Four killings to our knowledge. Now we knew what he looked like. What went on Inside his mind, he liked to kill. He liked to stand with a crowd over his kill with the crowd. Liked to see death up close.
- [28:58]
Character/Actor
That man is my husband.
- [29:00]
Narrator/Announcer
Where's your husband now?
- [29:01]
Character/Actor
He's in bed. He pretends he's an invalid. Been lying there for five years. But I know he sneaks out at night when I'm asleep. Been waiting on him hand and foot for five years. And I know he's only pretending.
- [29:13]
Narrator/Announcer
We checked it. The man was an invalid. Paralyzed. Then I'm the man. I'm the man you want. I did all those killings. This picture of you we have. You don't look the same. You've changed. That's right, I've changed. I change all the time. Don't you think that's clever of me? Yes, it is. Will you wait here a moment? We're reading. Yeah, what is it, Johnny? There's a man in my office. Take him to the psycho ward for observation. Johnny Stilano speaking.
- [29:51]
Character/Actor
Please, can you come here quickly?
- [29:53]
Narrator/Announcer
Who is this?
- [29:54]
Character/Actor
I'm Mrs. James Shirley. I. I have a rooming house at 1216 East 38.
- [29:59]
Narrator/Announcer
What is it you want, Mrs. Shirley?
- [30:00]
Character/Actor
The man whose picture's in the paper. The man you're looking for. He has a room in my house.
- [30:05]
Narrator/Announcer
Is he there now?
- [30:06]
Character/Actor
No, but I expect him home any minute. Please, will you come quickly?
- [30:09]
Narrator/Announcer
Right away.
- [30:19]
Character/Actor
His name is Charles Turner, Mr. Solano. At least that's what he told me it was. He's been living here for the past seven years. I don't know much more about him than that. He comes and he goes.
- [30:28]
Narrator/Announcer
Take me to his room, Mrs. Shirley.
- [30:30]
Character/Actor
Yeah. Right down the hall. Yeah. I'll turn on the light. This is his room.
- [30:45]
Narrator/Announcer
These pictures on the wall. A man in a subway, on a street corner. A man who fell out of a building.
- [30:52]
Character/Actor
Yes. They all belong to Mr. Turner. He hung them on the wall. I never asked him. What'll happen now?
- [30:59]
Narrator/Announcer
Do you have a room near the front of the house?
- [31:01]
Character/Actor
My room.
- [31:03]
Narrator/Announcer
We'll wait for Mr.
- [31:23]
Character/Actor
It's just Delano.
- [31:24]
Narrator/Announcer
Don't worry about a thing. I'll get it. Johnny. What are you looking at me like that for? I told you to wait in the squad car. A call just come through. A guy's holding our killer. What? Yeah. Greasy spoon lunchroom down the corner.
- [31:46]
Character/Actor
Mr. Turner always eats right down the corner.
- [31:48]
Narrator/Announcer
The guy who runs the joint phoned in that our man is eating the supper there right now. Let's go. There's a crowd. That's funny. The street was deserted less than a minute ago. Let's go. All right, let us through here. Police officers. Let us through. What happened to you? You. You police? That's right. I own this place. He saw me making the phone call, ran out. I ran after him. He had a knife and. He's dead, Reardon. Huh? Johnny. He's not. He just fainted. I said he's dead. Will one of you people in the crowd go in this store and call an ambulance? This man's dead.
- [32:41]
Character/Actor
Let me through. Let me through.
- [32:45]
Narrator/Announcer
That's him. Johnny.
- [32:46]
Character/Actor
This man, is he dead?
- [32:48]
Narrator/Announcer
What happened to him? Anybody know what happened? Would you like to see him, mister? Would you like to see him up close?
- [32:54]
Character/Actor
Why? Why? I.
- [32:55]
Narrator/Announcer
The photographers will be here in a few minutes. Why don't you stick around and have your picture taken, Mr. Turner?
- [33:01]
Character/Actor
Well, you're wrong.
- [33:01]
Narrator/Announcer
My name is not Turner. I just wanted to know whether the man was dead, that's all.
- [33:04]
Character/Actor
I. I want to get out of here.
- [33:06]
Narrator/Announcer
Come back here, Turner.
- [33:07]
Character/Actor
One side.
- [33:08]
Narrator/Announcer
Come back here, Johnny. Yep. Let's go. Dead. Johnny. Look at him. Look at him. Yeah. Here comes the crowd.
- [33:32]
Character/Actor
Is he dead? Get out of my way.
- [33:35]
Narrator/Announcer
I want to see. I want to see.
- [33:38]
Character/Actor
Did he really die?
- [33:40]
Narrator/Announcer
Huh? I want to see him. Suspense presented by Autolite Tonight's star, Dana Andrews. Say, Wilcox, your tailor has a lot of satisfied customers, huh? Yes, Hap. But nowhere near the hundreds of thousands Autolite satisfies each year. Because AutoLight makes over 400 products for cars, trucks, planes and boats in its 28 plants from coast to coast. These include complete electrical systems used as original equipment on many of America's finest cars. Generators, coils, distributors, voltage regulators, wire and cables, starting motors and electric windshield wipers. All engineered to work together perfectly as part of the Autolite team. All engineered to give you unexcelled Autolight service. Don't accept electrical parts supposed to be as good. Ask for and insist on Autolite original factory parts at your neighborhood service station, car dealer, garage or repair shop. Remember, you're always right with Autolite. Next week on suspense, Mr. Joseph Cotton as star of Fly by Night. And in the weeks to come, you will hear such famous stars as Miriam Hopkins, Milton Berle and Howard Duff, all appearing in tales well calculated. To keep you in suspense. Tonight's suspense play was produced and directed by Elliot Lewis with music composed by Lucian Morowek and conducted by Lud Bluskin. Parts of this program were transcribed. The Crowd by Ray Bradbury was adapted for suspense by Morton Fine and David Friedkin. Dana Andrews appeared through the courtesy of Samuel Goldwyn. He May currently be seen in the Goldwyn production Edge of Doom. And remember, next week on suspense, Mr. Joseph Cotton in Fly by Night.
- [35:44]
Character/Actor
In, you can buy world famous Autolite resistor or standard spark plugs. Autolite staple batteries. Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night.
- [36:04]
Narrator/Announcer
This is CBS, the Columbia Broadcasting System. Autolite and its 96,000 dealers present suspense. Tonight, Autolite brings you rave notice. A suspense play starring Mr. Milton Burl. Ring out, you hymn of hate. Ring out. Send word that all who listen. No, no, no, no, no, no, no. Now what? You're supposed to be an actor, not a foghorn. Yes, sir. By what standards do you consider yourself to be an actor? You're persecuting me. I persecute nobody. A man cannot play a role. He's replaced. Replaced. There goes that persecution talk again. Replace me and I'll kill you. Witnesses. He's threatening me. Then don't talk of replacement. I'm not kidding, Norman. Replace me and I'll kill you. In just a moment, Mr. Milton Berle in the first act of rave notice. Wilcox. I say, Wilcox, I hear you're a campaign manager. You bet, Senator. And my candidates are cinched to win. What's his name? You're kidding, aren't you, Senator? He's the famous Autolite Stay Full Battery. My candidate is so well known that every valiant voter vaunts his valor and veracity. What's his platform? Why, the famous Autolite Stateful Battery needs water only three times a year in normal car use, Senator. And he's running on a platform to give longer life. 70% longer life, in fact, as proved by tests conducted according to the Society of Automotive Engineers minimum life cycle standards. And that's really an endorsement. Is your candidate prepared for a long cycle in office? Wilco. He sure is, Senator. Because every positive plate of the Autolite Stay Full Battery is protected with a fiberglass retaining mat to help reduce flaking and shedding. So, friends, join the crowd voting for the Autolite Stay Full Battery. The battery that needs water only three times a year in normal car use. See your neighborhood Autolite battery dealer. And remember, you're always right with Autolite. And now, with Rave notice and the performance of Mr. Milton Burl autolight hopes once again to keep you in suspense. Look, when I'm walking across Times Square like this, I'm just an ordinary man. Plain, unnoticeable. I watch the crowd. You wouldn't even notice me. It's as though I were. Invisible. Yeah, like that. Invisible. But wait. Come here. Come with me through this door, through here and into the darkness. Now I breathe deeply of the thick, dark air, and I become taller. My eyes drink in the gloomy shadows before become lustrous bird like noble. Here in this temple of the passions, I throw off my cloak of invisibility, and I reveal myself, my true self. For this is the theater, and I, I am an actor. Down there, beyond the empty seats, lit by the single bare bulb, are my fellow actors. And we're all here to make a play. Friend Norman. Seated alone in the third row is our director. This is the fifth day of the rehearsal. Still rather rough, stiffish and so forth. But it's not a bad little play. And you know Norman. Norman will manage somehow to spoil it. Norman will misdirect actors and lose values. And I've known Norman for years from the group theater. We were in the group together. Oh, no, no, no, no, no. But, Norman, why not? Because I'm the director and I say no. No. Very well. Try again. I wish somebody would tell me what it's all about. Life, I mean. I wish somebody would give me the word adequate. Thank you, Norman. Oh. Oh, hello there. How are we coming? Come over here. I want to talk to you. Sure, Norman, sure. What is it? This is. Well, believe me, Sam, the most difficult thing I've ever had to say. Speak out, Norman. You know me Well, I. I've had to turn over the bell ringer to Luther. The bell ringer? What do you mean, Norman? That's my part. The bell ringer. What do you mean? To Luther? Don't make it difficult for me, Sam. Difficult? I'm not making it difficult. Not at all. The bell ringer roll is mine, Norman. That's all. There's no difficulty involved. Please. You joke. No. It's not as if I hadn't warned. Tell me what's wrong. Tell me where I've stepped off. What irritates you? What doesn't fit, and I'll fix it. I'll fix it. That's my role, Norman. I carry the whole cast with that role. Don't shout, Sam. You're making a fool of yourself.
- [41:18]
Character/Actor
A fool.
- [41:20]
Narrator/Announcer
Norman, why are you doing this to me? Because you're not right for it. Not right? Yes. Wait. You fat pig. What do you know? No. Easy. What do you know? What do you know about acting? Easy. There. Easy, I say. Easy. Fat. Fat belly, fat head, fat face. That's enough. You know nothing. I know you. I know actors. You're no actor.
- [41:41]
Character/Actor
You stink.
- [41:43]
Narrator/Announcer
I'll kill you for saying that. I'LL kill you. Witnesses. He's threatening me again. Yes. Listen good, Norman. I'm going to kill you. I'm going to kill you. You see, you can't even deliver that line. You stink. Yes, sir? I want to buy a gun. Yes, sir. What sort of a gun did you wish to buy? One that will shoot through fat, sir. Pardon me. I'm sorry. I was thinking. What have you got? Why, pistols, rifles, shotguns? Well, I. I don't know exactly. What was it you wish to use the gun for? I want to kill a rat. A.22 would be about your best bet. Here's a nice little item. Looks pretty small. This is an awfully big rat. Fat rat. I think a shotgun. A.410. Yeah. Yeah. You think that'll do it? Oh, mister, that gun will, I guarantee. I use a gun like that myself. Single barrel, light, handy. Truly beautiful weapon. Bullets. You got bullets or shells? Shells are used in this weapon. Now, there are all kinds, depending on what weight shot you want to use. You choose it. I want one. One box. No. One bullet. One. Yeah. This rat, I'm not gonna miss. It's time. Now, he'll come out of that far door of the entrance and he'll walk this way because he's going to go into Sardis for a drink. I slide it out from under my coat and I smile and I say, goodbye, Norman. Pull the trigger. Heart or belly? Heart or belly? Belly. Yes. In the belly is cultivated paunch fatted with actors. Hearts.
- [43:49]
Character/Actor
Yes.
- [43:50]
Narrator/Announcer
Belly. Am I invisible now? I mustn't be noticed until the moment. Perhaps standing a little too tall. Sag. That's it. Perfect. The actor plays himself as a non actor. You should see this, Norman. Now, goodbye, Norman. Saga. No.
- [44:19]
Character/Actor
I'm shot.
- [44:21]
Narrator/Announcer
It hurts. Norman, you're dying. You're going to go to hell in a minute. Norman. I'm shocked. Somebody call an ambulance. Do you any good, Norman? You're dying. I'll be dead before it gets. Oh, it. Is this how you play your death scene, Norman? You're dying. Play it. Please. Somebody call an ambulance for me. Don't let me lie here.
- [44:43]
Character/Actor
Oh.
- [44:44]
Narrator/Announcer
Oh. If an actor played a death scene for you as badly as you're playing your own, Norman, do you know what you'd do? Ambulance. Help, please. Ambulance. The shotgun. He did it. Right in the middle of 45th Street. Oh, they brought him in an hour ago. Give you any trouble? Like a land. Hello. I thought you'd like to know. That guy, he's still kicking. Alive. He's alive? Yep. So you're not a murderer. Not yet. I brought your lawyer. What's that? I'm your lawyer. How do you do? Sit down, won't you? Thank you. They say he's still not dead. No, but he's sinking. How much longer? They didn't say. When he dies, I become a murderer. Yes. They'll electrocute me. Yes. Must have been crazy. I thought of that. What do you mean? Temporary insanity. I thought we might plead that. Well, why don't we? Because you threatened him before witnesses at least twice. Went to a store, chose a gun with great care, waited for him to appear. You did all this and then you shot him. That's right, I did. That's premeditated murder. First degree murder. So the temporary insanity thing is out? Way out. The only other thing I can think of is with the proof you were insane all along. Me, insane? But of course not. I should say not. What? Wait a minute. What would happen? I mean, if I were. Oh, they'd get the psychiatrists in, examine you. Send you off to be cured. Yeah. You seem very calm. I'm an actor. He's gone. And I sit here, seeming very calm. From time to time, the God passes, looks at me curiously. I know what's on his mind. He's saying this. It's a cold blooded murderer. I know. All my life I've studied the human beings. Memorized their gestures, tones, expressions, inflections, emotions. I've learned to probe every moment of my own experience from early childhood. Searched out my every reaction, emotion. Learned to feel the parallel emotions of others. The Stanislavski method of acting. I have it, know it. Of course, if we could prove you were insane all along. But I'm not. The insane man moves without motive. And I had a motive. I know you. I know actors. You're no actor. Ooh, I could do it again. No actor. No actor. No actor. I could do it again. Insane. Crazy. Nuts. I know a joke. I know a joke.
- [47:51]
Character/Actor
A wonderful joke.
- [47:54]
Narrator/Announcer
I'm gonna beat Norman even in his grave. I'm gonna have myself exonerated of his murder. Yes. Freed of the charges. It's so simple, I can hear it. Not guilty by reason of insanity. I'm gonna play the greatest role of my life. Play it without makeup, without lights, without script or cue. Going to play a part strangely foreign to my nature. I'm going to play a homicidal maniac. Autolite is bringing you Mr. Milton Berle in rave. Notable tonight's production in radio's outstanding Theater of Thrills Suspense wilcox. What's this? A campaign slogan for your candidates, right? Oh, Senator, the Autolite stay full battery is the battery that needs water only three times a year in normal car use. That's my candidate's simple, sound and superior slogan. Seems pretty dry to me. Wilcox. Why am I droll, dignitary? Let me tell you about my candidate's characteristics. He has fiberglass retaining mats protecting every positive plate to help reduce flaking and shedding. And Senator, everybody votes for Autolite stay full batteries because you can't buy a better battery for your car. What's the opposition? Wilco? No opposition, Senator. Why? With a 70% longer life as proved by tests conducted according to SAE minimum life cycle standards, who would even think of opposing an auto light stay full battery? He's in Wilcox. What did you say he was running for? For the wonderful dealers from coast to coast who sell Autolite stay full batteries to the master minded motorists who drive their cars to perfection with Autolite staple batteries. The battery that needs water only three times a year in normal car use. Better see your auto light dealer and get an auto light battery at once, Senator. Good idea, will come. And remember, Senator, you're always right with Autolite. And now Autolite brings back to our Hollywood sound stage, Mr. Milton Burl. In Elliot Lewis's production of Rave Notice, a tale well calculated. To keep you in suspense, I'm going to play a homicidal maniac. How? How? What is the most terrible thing I ever did? The thing closest to murder. I must recreate that move. Murder. Killing blood. I killed a cat once. Yeah? Yeah. I was six years old. I didn't mean to kill it, but I had this stick. It was in an alley, this cat. And I poked it just for Lassie. He didn't run. That's all I wanted to do was just to make him run. Oh, he scratched me and I hit him. He hit him across the back with a stick. And he started this hollering and squalling. And oh, I thought. Oh, I thought, I'm gonna get into trouble. Stop that noise. Stop that noise. And I hit him again to make him stop. And again to make him stop. And again. And there was blood, red blood on the gray cement. And struck and struck and struck out the screams. Struck out the light, Struck out the oil. Awful gaze of those great yellow eyes. Struck out the life Suck out the spirit and the spark. I kill a murderer I am. I kill for the thrill of silence of the cat. I am a murderer, a murderer I am. I kill without reason. That's it. That's it? That's. That's the character. All I need for turning it on is the memory. Those key points. Gray cement, cat's eyes. My feelings as a six year old. Oh, there will be refinements. I refine it. Oh, Norman, if you were only here to see this scene. You were only here. Dim the house lights. Raise the curtain. Now to get my audience in. What's that? Sounds like the shotgun guy. He's laughing. We better go see what's up. Hey, hey, hey. You. Who, who, may I ask, are you? What? Who are you? Who are you? Who are you? Oh, come on now, Mac. Calm down. I asked a civil question and I expect a civil answer. Who are you? Who are you? Who are you? He was so nice and quiet for a while there. Hey, just answer my question. That's all I ask. And that's not much reward for a hero to be asking, now, is it? Don't you know who we are? I think he's putting on an act. Hey, don't turn your head away. We know you hear us. Nats. Leave them be. You think he's kidding? What does it matter? Oh, that was lousy. You can do better than that, Sam. You're supposed to be a murderer. A homicidal maniac. So what's the emotion? Guilt. Guilt. You've got to be guilty. Guilty. Guilty, guilty. Smear yourself with the stuff. Guilty. Bloody hands. That's you. Guilty. And you want to be punished. Yeah, punished. Punish yourself. That'll do it. But a little hurt. So what? So what? Not like it hurts when they shave your head and slit your trousers and strap you to your seat. Oh, that seat. 10,000 volts coursing through this poor player's frail body. With which I am cursed. Murderer. Guilty. Guilty. Should be punished. Should be punished. One, two, three. Curtain going up. Guilty. Guilty. There he goes again. You go. Ah, what a job. Smashed him on the grace. Smashed him. Murder. Murder. I murdered him. I am a murderer. I'm a murderer. And I confess it. I confess I'm a murderer. Hey, hey. I want to confess it. You don't have to do that. I confess to purge myself of this guilt. But you did all that when you first come in here. I am a murderer. I am guilty here. I smashed him. I smashed him. What are you getting yourself so worked up about? That guy isn't even dead yet. Not dead. He is dead. He's been dead these past 36 years. 36 years old. Oh, if you won't punish me, I. Oh. Hey. Hey, what are you doing? Hey, I Am guilty. I'm guilty. And I shall be smashed as he was smashed. Your hands. You're gonna bust your hand in that wall. I shall be smashed. It is written, you know, the writing in the blood that lies across the counterpane, in the bed, under the pillow when little boys are supposed to be far away in slumberland. Shout. That's the doctor. Good, good. He's getting a doctor. My hand. My hand is killing me. Something broke then? I don't mind the bloody, scraped knuckles or even breaking the nails, but not the bones. I want to be sure I can use this darn thing when I get out of here. When, if I ever get out of here. Two cats dead. Murdered by my stick. Four cats dead. Murdered by my stick.
- [55:30]
Character/Actor
Six cats.
- [55:40]
Narrator/Announcer
Right here, Doc. I'll open the cell if you want to go. Of course I do. How long has he been doing this? Well, about 15 minutes, Doctor. Since just before he sent Schultz after. I see. All right, now you can stop that. I don't stop. I don't stop. I. I don't look. I keep right at it. I keep in the pot. Murderer. Guilty. It hurts. But if I keep at it, if I keep at it, I'm paying a price. I am paying my way out of being electrocuted. I'm going to be freed. I can only keep it up. Now stop. Keep it up. You aren't doing yourself real good this way, man. Now put it out. All right, grab it. Leave me alone. I want to pay. I am the guilty one and I want to pay the sentence to the court. Hold him in. Come on now. Let me go. Let me go. I must pay. I must pay. Steady money. The diamond needle. Oh, he's pressing the syringe. It'll knock me out. I can't act. I'm unconscious. Come on, play the part. I'm guilty.
- [56:45]
Character/Actor
I can.
- [56:47]
Narrator/Announcer
I can.
- [56:48]
Character/Actor
I will.
- [56:58]
Narrator/Announcer
So quiet here. So white. Such sweet stillness and peace. Gone. The darkness of the steel and concrete. And the cell. This white ceiling. They're watching me very carefully. The taller one, he's new. The other gave me the hypodermic. Yes, hypodermic. How long have I been out? Did I say anything while I was out? Perhaps if I keep still, they'll let me know. I must have been wrong. Are you awake? You say he showed definite suicidal tendencies? Suicidal, Immediate or simply self destruction? While I was unconscious, I listened to him. He spoke. He seemed under the delusion that he is invisible. Invisible. That's a new one. Now, wait a minute. Look. He's opening his eyes. Hello. Awake? Who are you? You remember me, don't you? No. Something to quiet you. A little while ago. A little while ago. You're trying to injure yourself that we'd think you're insane. You've decided to give that up, haven't you? If you'll only let me go. Let me out of here. I have to carry out sentence. You know how will you carry out sentence? Be smashed. I am to be smashed as I have smashed the cat? Is that the law? An eye for an eye and a tooth for a tooth? You believe in that? If you believe in the eye for eye law, don't you feel it's right that you received the same thing you gave your victim? Yes. I smashed him with a stick in the eyes that stared at me. Stick? You mean shotgun, don't you? Why would I say shotgun if I meant stick? I. I said stick. You shot the man with a shotgun. You're out of your mind. After you smashed him with the stick, what happened? What? What? What came after he was dead? Oh, I was. I was frightened. I went home. Mama was there. She said, how did you get blood on your hands? And I said, a dog licked my hand and he had blood on his teeth. Understand? You're an ector. We are all actors. We try to act innocent when we are guilty. Doctor, come outside a moment, will you? I've got them. I've got them. Just keep playing it cold and clear. What are they talking about out there? I wish I knew. Doesn't matter. I have them. I know that. I got them. I've got them. Well, I guess you'll be leaving us soon. That's what I asked for. Thank you. Thank you. You're understanding, Doctor. I am guilty and I must carry out sentence. You know that. What the doctor means is that you're going to a place where they'll help you to get well. Get well? But I am well. I'm just guilty, that's all. If you'll have the affidavits drawn up, I'll sign and get a court order committing him. Right. Means you were right all along. You know, I wasn't sure until you told me about the man who was shot. About his recovery. Oh, yes. The guards told this man he'd recovered, but he didn't comprehend the cause. He went right on screaming and punishing them, see? Well, let's go. What would they have given him were he sane? Well, that depends. The injured party refused to press the charges. He'd be out of here in an hour. Free man. Recovered? Recovered. They didn't tell me he'd recovered. How could he be recovered? I shot him. I shot him in his fat paunch. In his belly. When did they tell me? It was while I was screaming. Maybe I was really into the part then and deep in it. Couldn't have heard them. Couldn't have heard. And now. Now he will walk out of here, and I will go off to an insane asylum, married to a role that I loathe, that I hate. No.
- [60:54]
Character/Actor
No.
- [60:55]
Narrator/Announcer
Doctor, come back here. Come back here, please. It was all a joke. Doctor, come back. Come back. What is it? Listen, Doctor. Listen. I have a confession to make, Doctor. I'm not insane. Please believe me. Please believe me. Question now. Just a little confused, that's all. Yes. Yeah. Why not even confused. Don't you see? It was all a gag. It was just a gag. Of course it was. Now, you're going to a place where you can rest and everything's going to be all right. Oh, no. Believe me. Believe me. I am sane. Why shout? I'm not shouting. I only want to impress upon you. You were shouting rather loudly. Oh, look, I shot. And my lawyer said if I could prove insanity, I wouldn't go to the chair. Chair? I thought you were to be. You said smashed. Forget that. That was part of the method. Method? You know, the Stanislavsky method. It's a system of acting. What do you think, Doctor? Don't know, man. It seems to be telling you. Think so? I can fool you all over again. If you feel it's necessary to prove my point. No, I don't believe you'll be able to prove me again. Well, Doctor? Same. I say same. I say the man is in full control of his faculties. Is aware of his crime, committed it out of what society calls sober motive. And you, sir, do you agree with the doctor? It's what I've been telling you. And I say same. That makes it unanimous. Vlad, that's over.
- [62:19]
Character/Actor
Wow.
- [62:20]
Narrator/Announcer
What a performance. Gentlemen, never in the history of the theater has such a performance been rendered. Nor under such adverse conditions. Just one more question. Shoot. Shoot. Why did you kill him? Kill him? But I didn't. I shot him, that's all. Shot? You mean shot, don't you? Well, don't you? Noman is dead. You are saved. You're going to repay society with your life. Norman is dead.
- [62:53]
Character/Actor
Oh.
- [62:55]
Narrator/Announcer
Treachery. Villainy. Bring down the curtain. Bring down the curtain. Suspense presented by Autolight Tonight's star, Milton Burl. Well, Wilcox, did your candidate win? Win? Senator, why the autolite Stay Full Battery is the winningest candidate the polls have ever produced. And this winsome leader is only one of over 400 autolite winners. For cars, trucks, planes and boats made by autolight in 28 plants coast to coast. These include complete electrical systems used as original equipment on many makes of America's finest cars. Spark plugs, batteries, generators, coils, distributors, electric windshield wipers, starting motors, Bullseye seal beam headlights. All engineered to fit together perfectly, work together perfectly because they're a perfect team. So, friends, don't accept electrical parts supposed to be as good. Ask for and insist on Autolite original factory parts at your neighborhood service station, car dealer, garage or repair shop. Remember, you're always right with Autolite. Next week on suspense, Ms. Barbara Stanwick as a woman who gambled. And the stake was death in the wages of sin. And in weeks to come, you will hear such famous stars as Richard Widmark, Herbert Marshall and William Holden, all appearing in tales well calculated to keep you in suspense. Tonight's suspense play was produced and directed by Elliot Lewis with music composed by Lucian Waroweck and conducted by Lud Bluskin. Parts of this program were transcribed. Brave Notice was written for suspense by James Poe. Milton Verrell appeared through the courtesy of Texaco. And remember, next week on suspense, Ms. Barbara Stanwyck. In the Wages of S.
- [65:25]
Character/Actor
You can buy Autolite Safeful batteries, Autolite Standard oil, resistor spark plugs, Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night.
- [65:34]
Narrator/Announcer
This is CBS, the Columbia Broadcasting System. Autolite and its 96,000 dealers present suspense. Tonight, Autolite brings you on a Country Road, a suspense play starring Mr. Cary Grant.
- [66:21]
Character/Actor
Relax, David. There's no hurry to get home.
- [66:24]
Narrator/Announcer
Who can relax in this mess of traffic? There must be a wreck or something up ahead.
- [66:29]
Character/Actor
This keeps up, we'll get caught in the rain.
- [66:31]
Narrator/Announcer
Yeah, it looks like a big storm building up, too. Hey, remember that shortcut?
- [66:37]
Character/Actor
Which one?
- [66:37]
Narrator/Announcer
The little tarred road that goes across Sussenta marches and comes out on the.
- [66:41]
Character/Actor
Other highway, one we took last summer.
- [66:43]
Narrator/Announcer
Yeah, I'll turn off there and duck this pile up. I'd like to get as far as possible before that storm hits. Why don't you pull out your hand?
- [66:51]
Character/Actor
David, don't get mad.
- [66:53]
Narrator/Announcer
He cut right in front of me trying to turn into that gas station.
- [66:56]
Character/Actor
Maybe he needed gas.
- [67:01]
Narrator/Announcer
Turn on the radio, huh? To all residents of Long island to be on the line of Nelly Goller, a middle aged woman described as dangerous and insane. She escaped this morning from Rescue Mental Hospital after fatally butchering A doctor, a nurse and a ward attendant with a meat cleaver. This is the same Nelly Goller who a year ago murdered three persons on a Brooklyn street. This station description of our regular news chat. At least we aren't the only crazy people on Long Island. Why did you change it?
- [67:35]
Character/Actor
I don't want to listen anymore. Let's get home quickly, David. I don't like being out here with that woman running loose.
- [67:45]
Narrator/Announcer
Uhoh, here's the storm. Roll up the window. In just a moment, Mr. Cary Grant in the first act of on a country Road. Amazing, Wilcox. Amazing. What's so amazing, Senator? Your victory in the election. My candidate's victory, Senator. The famous Autolite Stay Full battery. The battery that needs water only three times a year in normal car use. Why everybody voted for the Autolite Stay full battery. You had plenty in reserve, Wilcox Reserve. Why the auto Light Stay Stay Full battery has over three times the liquid reserve of batteries without stay full features. Didn't you campaign with fiberglass retaining mats? Sure did, Senator. Because every positive plate of the Autolite Stay Full battery is protected with a fiberglass retaining mat to prevent shedding and flaking and keep the power producing materials in place. Why your candidate is in for life, Wilcox. Longer life, Senator. Because the Autolites battery gives 70% longer life as proved by tests conducted according to SAE minimum life cycle standards. So friends, get acquainted with the Autolite Stay full battery. The battery that needs water only three times a year in normal car use. See your neighborhood Autolite battery dealer now. And remember, you're always right with Autolight. And now with On a Country Road and the performance of Mr. Cary Grant, autolyte hopes once again to keep you in suspense.
- [69:40]
Character/Actor
Why don't they put her to sleep instead of just locking her up where she can escape and kill more people?
- [69:45]
Narrator/Announcer
Put who to sleep?
- [69:46]
Character/Actor
That woman they were talking about on the radio.
- [69:49]
Narrator/Announcer
Oh, she can't help, but she does. She's sick.
- [69:53]
Character/Actor
What good does that do the people who get chopped up with a meat cleaver?
- [69:56]
Narrator/Announcer
I don't know. The laws were made before the doctors knew very much about the human mind.
- [70:01]
Character/Actor
I still don't know much.
- [70:05]
Narrator/Announcer
I can see what it is. There's a roadblock up ahead.
- [70:09]
Character/Actor
What's happened?
- [70:10]
Narrator/Announcer
I don't know. Cops all over the road, David.
- [70:13]
Character/Actor
I'll bet they're looking for that crazy woman.
- [70:15]
Narrator/Announcer
I guess so. I'll hold it a minute. What's up, officer? Just a checkup, folks. Anything in the back seat? Only the blanket and the lunchbox.
- [70:27]
Character/Actor
We went on A picnic?
- [70:28]
Narrator/Announcer
Yes, ma'. Am. Seen any hitchhikers? Nope, just traffic. Okay, move right along, please.
- [70:34]
Character/Actor
Are you looking for the crazy woman?
- [70:36]
Narrator/Announcer
Moving along. Let's go.
- [70:39]
Character/Actor
He didn't answer.
- [70:40]
Narrator/Announcer
He's busy.
- [70:42]
Character/Actor
How you doing?
- [70:44]
Narrator/Announcer
All residents and motorists on Long island are warned to be on the alert for the escaped insane woman who is somewhere on the island. She is described as tall, broad shouldered, gray haired and rather heavy. She may still be armed with the cleaver. 100 men are searching the area and they're prepared to shoot on site. Here's another bulletin on the case which just came in. Just a few minutes ago, the decapitated bodies of an elderly man and woman were found near Center. This will get us out of that traffic. The bodies of an elderly couple have just been found in their car near Center Morages on a lonely, tarred road. Police are certain they were killed by Nelly Galler, the insane woman now at large. Residents of the area are warned not to open their doors to strangers. Motorists are cautioned to stay off lonely roads and not to pick up any hitchhikers. All persons are asked to be on the lookout for this woman. Here is her description.
- [71:32]
Character/Actor
We haven't caught her yet.
- [71:33]
Narrator/Announcer
Better turn that off, darling.
- [71:35]
Character/Actor
I thought you wanted to hear it.
- [71:36]
Narrator/Announcer
That's enough to be armed with the meat. Please. This shortcut will save us a lot of time.
- [71:42]
Character/Actor
Turned off the.
- [71:43]
Narrator/Announcer
Sure, I told you when I did it. We've come over a mile already. Save us a lot of time.
- [71:49]
Character/Actor
David, didn't you hear what the radio said about staying off lonely roads?
- [71:52]
Narrator/Announcer
We only have to go across the other highway. It won't take long.
- [71:55]
Character/Actor
You sure?
- [71:56]
Narrator/Announcer
Of course. We go past Center Marches, then take the left road and come out right by the highway bridge.
- [72:01]
Character/Actor
Center Marches is where she just killed those two people.
- [72:04]
Narrator/Announcer
Oh, no, no, no. What can happen to us while we're driving? Besides our. The whole island is full of men looking for this lunatic. They'll catch him. It's just the storm. Come on, quiet down. You jumpy?
- [72:16]
Character/Actor
I guess I'm silly. David.
- [72:20]
Narrator/Announcer
What?
- [72:21]
Character/Actor
The gas gauge says empty.
- [72:23]
Narrator/Announcer
There's still a couple of gallons left when it boils to empty.
- [72:26]
Character/Actor
How long has it said empty?
- [72:28]
Narrator/Announcer
Don't know. I'll get gas when we get across to the other highway.
- [72:34]
Character/Actor
David, I'm scared.
- [72:36]
Narrator/Announcer
Relax, honey. Rain and wind always make you nervous as a cat.
- [72:41]
Character/Actor
I wish we'd stayed on the highway.
- [72:43]
Narrator/Announcer
I'd known you'd act like this. I woulda.
- [72:44]
Character/Actor
Well, it's not my fault.
- [72:45]
Narrator/Announcer
It's not mine either. I'm having trouble enough just trying to see through this storm.
- [72:49]
Character/Actor
David, let's not fight.
- [72:53]
Narrator/Announcer
Driving through these burned out woods in this kind of weather is enough to give anyone the withers.
- [72:58]
Character/Actor
Oh, goodness. It got dark so, so fast. Can hardly see ahead, even in the headlights.
- [73:06]
Narrator/Announcer
There's something ahead.
- [73:07]
Character/Actor
Don't stop, David.
- [73:07]
Narrator/Announcer
It's only a sign.
- [73:09]
Character/Actor
David. The crazy woman could be around here.
- [73:11]
Narrator/Announcer
I'm not picking up anyone. Just want to know where I am.
- [73:14]
Character/Actor
Don't get out of the car.
- [73:15]
Narrator/Announcer
I'm not. Calm down. Let's see. Center marches out right now. We'll take this road.
- [73:26]
Character/Actor
Center marches. This must be the road where she killed those people.
- [73:33]
Narrator/Announcer
Dorothy, please.
- [73:34]
Character/Actor
Sorry. So jumpy. Turn on the radio. Oh, this. This is a desolate place. We haven't even passed a house yet. Miles of woods on both sides of us.
- [73:59]
Narrator/Announcer
So dark we couldn't have seen one if it were there. This rain seems to be getting worse.
- [74:07]
Character/Actor
David, I'm just sure this is the road where that woman killed those two people.
- [74:11]
Narrator/Announcer
Stop that.
- [74:12]
Character/Actor
That's why the police had a roadblock by this road. That crazy woman might be any place.
- [74:16]
Narrator/Announcer
In these woods, but not necessarily where we are.
- [74:22]
Character/Actor
Oh, David, what's the matter?
- [74:25]
Narrator/Announcer
Oh, that's fine. What a place to run out of gas.
- [74:30]
Character/Actor
Oh, no, David. You mean we're stuck here?
- [74:34]
Narrator/Announcer
I'm afraid so. For the time being, anyway. I'm sorry, dear.
- [74:37]
Character/Actor
That crazy woman is in the woods. She'll kill us.
- [74:40]
Narrator/Announcer
She's nowhere near us.
- [74:42]
Character/Actor
David, quick, turn off your headlights.
- [74:44]
Narrator/Announcer
Why? Did you hear something, David?
- [74:46]
Character/Actor
I don't know. I don't know when I'm scared.
- [74:51]
Narrator/Announcer
I guess I should have got gas.
- [74:53]
Character/Actor
Oh, turn off the headlights, please. Why, she'll see us if you don't.
- [74:57]
Narrator/Announcer
We won't see her if I do.
- [74:58]
Character/Actor
Please, David, turn them off.
- [75:01]
Narrator/Announcer
Oh, now listen, Dorothy. Don't let this silly thing get the better of you.
- [75:05]
Character/Actor
Oh. Oh, just look at the headlights poking into darkness. Nothing but wet bushes and trees. Rain falling. Please, David.
- [75:19]
Narrator/Announcer
Oh, all right. There. Now they're off. Do you feel better sitting in the dark?
- [75:26]
Character/Actor
Only the thunder and lightning would stop and just rain.
- [75:34]
Narrator/Announcer
Look, Dorothy, there's no sense sitting here all night. It's only a few minutes past 10 o'. Clock. I'm gonna walk up the road a bit. There might be a house or something.
- [75:41]
Character/Actor
You're not gonna leave me here. I won't let you go.
- [75:43]
Narrator/Announcer
Dorothy, we can't sit here in the middle of nowhere for the rest of the night.
- [75:46]
Character/Actor
We're safer here than out there. David, she's probably hiding in the woods. She's just waiting for a chance to kill us.
- [75:54]
Narrator/Announcer
Oh, come on, Dorothy. Why should she be right where we run out of gas?
- [75:58]
Character/Actor
Why can't she be here? Please, stay in the car.
- [76:03]
Narrator/Announcer
All right.
- [76:06]
Character/Actor
Lock the doors. Me inside.
- [76:08]
Narrator/Announcer
Why? What is it now?
- [76:09]
Character/Actor
She can't get in here.
- [76:11]
Narrator/Announcer
She's nowhere near us.
- [76:12]
Character/Actor
Don't be mad at me, David. I'm so scared.
- [76:15]
Narrator/Announcer
If she's out there, she can easily smash the windows.
- [76:17]
Character/Actor
Oh, don't scare me anymore. I know I'm acting silly. I can't help it.
- [76:24]
Narrator/Announcer
I know. Come. Maybe put my arm around you. There.
- [76:28]
Character/Actor
Oh, David.
- [76:29]
Narrator/Announcer
Put your head on my shoulder.
- [76:35]
Character/Actor
Forgive me, David.
- [76:36]
Narrator/Announcer
Go ahead and call. Go on. It'll make you feel better.
- [76:45]
Character/Actor
Isn't there some popular music?
- [76:51]
Narrator/Announcer
Now to search for the escaped insane woman who has killed five persons since fleeing from a Long island mental hospital. Rain and darkness are hampering the search. Over 100 police are combing the wooded area near Center Morridges. It was near there that an elderly couple were butchered on a lonely, tarred road. In making her escape this morning, the mad woman killed a doctor nurse and. Let's leave it out for a while, huh?
- [77:17]
Character/Actor
So quiet and lonely here. Wish it were morning.
- [77:24]
Narrator/Announcer
Look, Dorothy, I'll run up the road. There might be a house.
- [77:27]
Character/Actor
No, no, David. Please. David, listen. Did you hear that?
- [77:36]
Narrator/Announcer
Why, I don't hear anything.
- [77:38]
Character/Actor
Listen. There he is. No, I keep.
- [77:44]
Narrator/Announcer
It's a dog. A little dog barking.
- [77:47]
Character/Actor
Oh, David.
- [77:49]
Narrator/Announcer
I guess it's only a lost dog. Or maybe there's a house nearby.
- [77:53]
Character/Actor
Or the crazy one. Oh, David, she's out there.
- [78:00]
Narrator/Announcer
Something hit the back of the car.
- [78:01]
Character/Actor
It's her.
- [78:02]
Narrator/Announcer
Is the door locked on your side?
- [78:03]
Character/Actor
Yes. Yes. Well, what if she breaks the windows? She's got a cleaver.
- [78:10]
Narrator/Announcer
In that flash of lightning, I saw somebody.
- [78:12]
Character/Actor
Is it the crazy woman?
- [78:13]
Narrator/Announcer
I can't tell. She's lying on the road.
- [78:16]
Character/Actor
Can you see her? Is she still there?
- [78:19]
Narrator/Announcer
Too dark to see. Have to wait for the lightning. I saw her. She's getting up now.
- [78:28]
Character/Actor
She'll kill us. She'll kill us.
- [78:32]
Narrator/Announcer
Please.
- [78:34]
Character/Actor
What is she doing?
- [78:35]
Narrator/Announcer
I don't know. She must have been running. She didn't see the car and ran right into it.
- [78:43]
Character/Actor
She's at the window right next to you.
- [78:46]
Narrator/Announcer
Oh, my Lord, look at her. Get away from that window.
- [78:51]
Character/Actor
Damn it. She's trying to get in the car.
- [78:54]
Narrator/Announcer
Look at that face and her hair. Go away.
- [78:58]
Character/Actor
Let me in. I'm not crazy. The crazy woman is after me. David, don't Let her in. Let me in.
- [79:05]
Narrator/Announcer
Let me scare her. Go away. Go away. We've got a gun. We'll shoot.
- [79:10]
Character/Actor
It worked. She's staring at us.
- [79:13]
Narrator/Announcer
I'm warning you. I'll shoot.
- [79:16]
Character/Actor
David, she's coming back. Please don't leave me out here. Please. That woman will kill me.
- [79:23]
Narrator/Announcer
Please.
- [79:26]
Character/Actor
David. Take your pipe. Hold it like a gun. It'll look like a gun.
- [79:29]
Narrator/Announcer
Where is it? Where is it? In the club compartment.
- [79:33]
Character/Actor
Here. Here it is.
- [79:35]
Narrator/Announcer
Look. I've got a gun. I'm gonna shoot.
- [79:39]
Character/Actor
She's backing away.
- [79:42]
Narrator/Announcer
Keep going before I start shooting.
- [79:46]
Character/Actor
David, she's gone. She disappeared.
- [79:51]
Narrator/Announcer
We can't get out now. All we can do is sit here all night and wait for help.
- [79:56]
Character/Actor
Can you see her? Where'd she go?
- [79:59]
Narrator/Announcer
I don't know. She's out there, though. Probably planning on how to get in this car.
- [80:05]
Character/Actor
David, what are we going to do? She's the one. I know.
- [80:08]
Narrator/Announcer
She didn't have a cleaver.
- [80:09]
Character/Actor
She must have dropped him when she ran into the car. Face is all twisted, her hair hanging down.
- [80:15]
Narrator/Announcer
And she's back there looking for the clerk cleaver. Now.
- [80:17]
Character/Actor
She'll kill us. She'll kill us. She'll kill us.
- [80:42]
Narrator/Announcer
Autolite is bringing you Mr. Cary Grant with Kathy Lewis and Jeanette Nolan in On a Country Road. Tonight's production in radio's outstanding theater of thrills, suspense. Say, Wilcox, what was your platform? Why the Autolite Stay Full battery. The battery that needs one water only three times a year in normal car use. Go on, Wilcox. Well, we pointed out that the Auto Light Stay full has over three times the liquid reserve of batteries without stay full features. Amazing. Ah, but that's not all, Senator. Because we pointed out, too, that the Autolite Stay full gives longer life. 70% longer life, in fact, as proved by tests conducted according to SAE minimum life cycle standards. We're here. Then there's fiberglass retaining mats protecting every positive plate to prevent shedding and flaking and to give the Autolyte stay full scintillating superiority. How is your plurality, Wilcox? Sensational, Senator. We got all but one vote. Why, that's positively preposterous. Sure is, Senator, because everybody's heard of the Autolite Stay Full battery. The battery that needs water only three times a year in normal conditions car use. So see your neighborhood Autolite battery dealer and remember, you're always right with Autolite. And now, Autolight brings back to our Hollywood soundstage, Mr. Cary Grant in Elliot Lewis's production of On a Country Road. A tale well calculated. To keep you in suspense.
- [82:39]
Character/Actor
The window, David. She broke the window.
- [82:42]
Narrator/Announcer
Get away from there. Stay out of the car.
- [82:44]
Character/Actor
I'm coming in. I can't stand it.
- [82:46]
Narrator/Announcer
Stay out of the car. I warn you. I've got a gun.
- [82:48]
Character/Actor
You wouldn't shoot me. Go away. You're crazy. We know all about you. I'm not the crazy woman, believe me. Let me in. Don't do it, David. She's trying to trick us. Listen to me, please. I've been running in this awful storm. My car is stuck in the ditch back there.
- [83:04]
Narrator/Announcer
How far back?
- [83:05]
Character/Actor
I don't know. It seems like miles. I heard about the crazy woman on the radio. I was afraid to stay in the car alone. Let me in. No, David.
- [83:14]
Narrator/Announcer
Go back to your own car. No.
- [83:16]
Character/Actor
It's so dark and so lonely in this storm. I locked the doors, but I was afraid. I could see things and hear things in the darkness. I couldn't stand it anymore. I got out and I ran. It's the rain. That's why I look like this. I'm not the crazy woman, Dorothy.
- [83:34]
Narrator/Announcer
Maybe she isn't the crazy woman. Maybe she's just scared and exhausted.
- [83:37]
Character/Actor
Let me in. Please, let me in. Oh, David. No. She's the one. I know. This crazy woman had a cleaver. I'm not armed. The three of us will be safer together.
- [83:49]
Narrator/Announcer
No. She makes sense to me, Dorothy. We would be safer with one more person.
- [83:53]
Character/Actor
David, I don't know. Let me in, please. I'm wet to the skin.
- [83:58]
Narrator/Announcer
I'm going to unlock the door. Dorothy.
- [84:00]
Character/Actor
David.
- [84:01]
Narrator/Announcer
All right, now get in. Make one move and I'll shoot you.
- [84:08]
Character/Actor
Good. Sit down.
- [84:11]
Narrator/Announcer
All right, now, there's a blanket on the floor back there. Try and dry yourself off with it.
- [84:15]
Character/Actor
The darkness, the rain. There's enough to drive me out of my mind.
- [84:20]
Narrator/Announcer
Just take it easy, lady.
- [84:23]
Character/Actor
I ran and ran. All I could hear was feet chasing after me, hunting me.
- [84:30]
Narrator/Announcer
Do you live near here?
- [84:32]
Character/Actor
Farther out. Near Rescue. I used to live in Brooklyn. Restview is the mental hospital. I know I'm used to the crazy people, but not a night in a lonely place like this. Not the kind who kill people.
- [84:47]
Narrator/Announcer
You live at Restview?
- [84:50]
Character/Actor
No, just near there. David, we can't sit here not knowing. If we could get to a phone. A phone? Why? To call the police, get some help. No, don't do that.
- [85:05]
Narrator/Announcer
Why not? Why don't you want the police?
- [85:08]
Character/Actor
Oh, I. I do. But you'd be killed. What do you mean? The woman, she'll kill him if he goes away from this car. Oh, there's that dog. You hear it? Somebody's out there.
- [85:22]
Narrator/Announcer
There must be a house up ahead. Maybe it's barking to be let in.
- [85:25]
Character/Actor
No, it senses somebody. There's somebody out there. The crazy woman's creeping around out there. Quick, let's get away. Look out, David.
- [85:35]
Narrator/Announcer
Let go of me. What are you trying to do?
- [85:37]
Character/Actor
Start the car. Quick, we'll get away.
- [85:40]
Narrator/Announcer
We're out of gas.
- [85:42]
Character/Actor
Out of gas?
- [85:44]
Narrator/Announcer
I don't think we parked here for the fun of it, do you?
- [85:47]
Character/Actor
Oh, such a desolate place to run out of gas. Stop barking. What does it mean? You can't just sit here. We gotta get away.
- [86:01]
Narrator/Announcer
I'm not a magician, lady. I can't make gasoline out of rain.
- [86:04]
Character/Actor
Oh, we can't stay here the whole night. You hear me?
- [86:08]
Narrator/Announcer
Let go of me. There's nothing I can do.
- [86:11]
Character/Actor
Try something. Anything. Don't just sit there. She's scaring me, David. Stop her.
- [86:16]
Narrator/Announcer
Cut it out. Cut it out. You'll have us all in hysterics.
- [86:19]
Character/Actor
All right, all right. I'm sorry. Look, I got an idea. Give me your gun.
- [86:28]
Narrator/Announcer
What for?
- [86:29]
Character/Actor
What for? I'll tell you. I want it. Give it to me. David, listen to me. I'm all right, but I can't sit here all night. I go crazy. Give me the gun. I'll go. I won't be afraid of the dark, the noises of feet following me. I'll go. I promise you. But give me the gun.
- [86:49]
Narrator/Announcer
No. Now, sit down, please.
- [86:51]
Character/Actor
I'll go. I promise. I can't stand sitting in the dark like this. Can't you stop her?
- [86:56]
Narrator/Announcer
David, I told you to shut up. If you don't, you'll have to get out of the car.
- [87:02]
Character/Actor
Not into the woods again. Oh, you're nice people, aren't you? Or do you want me to leave so you can shoot me? Is that it? We're not going to shoot you. We don't have a gun. It's only a pipe. A pipe? A smoking pipe. David, I'm sorry. Then. Then you're unarmed. I'm sorry, David.
- [87:31]
Narrator/Announcer
That's all right.
- [87:33]
Character/Actor
Why did you tell me you had a gun?
- [87:35]
Narrator/Announcer
What difference would it make to you whether I'm armed or not?
- [87:38]
Character/Actor
I don't know you. Maybe you two are more dangerous than the crazy woman. I'll tell you what I think. I think you're the crazy woman. The way you grabbed David when you wanted him to. Start the car.
- [87:49]
Narrator/Announcer
Stop it. Don't excite him.
- [87:50]
Character/Actor
Don't excite me. Why? Do you think I'm dangerous? An Old woman. You took into your car. Two of you, and you're afraid of me.
- [87:59]
Narrator/Announcer
Not afraid of you. Now sit back. And the seat. And don't try anything.
- [88:05]
Character/Actor
David. Storm is stopping. Maybe now is the time. The time for what? What are you going to do? You two are up to something.
- [88:14]
Narrator/Announcer
Oh, shut up. My wife meant now is the time to go for hell.
- [88:19]
Character/Actor
I did not. I meant now is the time for us to escape, David. Can't you see it? She's the one. She'll kill us. You're a little.
- [88:25]
Narrator/Announcer
Oh, stop it. Sit back in that.
- [88:27]
Character/Actor
You haven't got a gun.
- [88:28]
Narrator/Announcer
No, but I've got a knife, David. It's my jackknife, but it's sharp and strong, so don't try any tricks.
- [88:34]
Character/Actor
All right? Threaten me. Watch me. While that woman is out there, all you can do is sit and wait for her to make the next move. David, she can kill us like that old man and woman. It must have been on the same road. They were in their car too. They must have let her in. We'll leave, then. The three of us will walk. We'll stay close together. We'll be quiet. Anyone hiding in the woods won't hear us. Don't get out of the car, David.
- [89:01]
Narrator/Announcer
How will we find our way? It's too dark.
- [89:03]
Character/Actor
We'll find our way.
- [89:04]
Narrator/Announcer
Look out there. The road's full of shadows.
- [89:06]
Character/Actor
Get her out of the car, David. She wants to kill us. Kill you?
- [89:10]
Narrator/Announcer
Look, if you want to go, why don't you leave? We're going to stay here until some help comes.
- [89:15]
Character/Actor
Oh, I'd be helpless alone if I had a gun or something. Your knife. Oh, why doesn't somebody come? Where are the police? I can't stand this. Nobody will come. There's no one in these woods. They're burned out and deserted.
- [89:32]
Narrator/Announcer
Come on, please.
- [89:33]
Character/Actor
It was your idea to use this road. He wouldn't listen to me. And stop for gas.
- [89:39]
Narrator/Announcer
I couldn't help it. I got lost.
- [89:41]
Character/Actor
Why don't you do something? Not just sit here waiting, Waiting. Do something before we're murdered. Are you so helpless?
- [89:53]
Narrator/Announcer
All right, I am gonna do something. I'll go for help.
- [89:57]
Character/Actor
That's it. Get help, David. In her hand. I saw it in the moonlight. It glittered.
- [90:05]
Narrator/Announcer
What is it?
- [90:07]
Character/Actor
Your wife is hysterical. She was holding is a long piece of broken glass. Long and pointed.
- [90:16]
Narrator/Announcer
See?
- [90:18]
Character/Actor
She doesn't answer. She's just watching us. What is she waiting for?
- [90:24]
Narrator/Announcer
It's from a broken window. That's where she got it.
- [90:28]
Character/Actor
So what if I have it? I'm not going to sit here defenseless. She's going to attack. Don't be silly. Was all right for you to have a knife. Why can't I be armed? For whatever may come.
- [90:40]
Narrator/Announcer
Give me that broken glass.
- [90:43]
Character/Actor
Give it to you? You think I'm crazy? You couldn't protect us from anything. Oh, David. What are you doing? Why are you climbing over the seat?
- [90:52]
Narrator/Announcer
I warn you. I'm through letting my wife be terrified. Give me that glass.
- [90:57]
Character/Actor
Stay away from me.
- [90:59]
Narrator/Announcer
Once I left the car, he was going to butcher my wife with that broken glass.
- [91:02]
Character/Actor
No. No. David. David.
- [91:07]
Narrator/Announcer
Give me that glass.
- [91:10]
Character/Actor
You're crazy. Let me alone. Hold her, David. Hold her. Don't let her free.
- [91:17]
Narrator/Announcer
Drop my arm.
- [91:19]
Character/Actor
You kill me.
- [91:20]
Narrator/Announcer
Drop that glass.
- [91:25]
Character/Actor
You both gone crazy.
- [91:27]
Narrator/Announcer
Try to kill me like you were gonna murder us.
- [91:30]
Character/Actor
No, I wasn't. Don't let her get free.
- [91:32]
Narrator/Announcer
I can't hold her. She's strong.
- [91:35]
Character/Actor
If you have a knife, then I'll have glass. David. David.
- [91:41]
Narrator/Announcer
Hold her much longer.
- [91:43]
Character/Actor
I'm not crazy. Please believe me.
- [91:46]
Narrator/Announcer
She got my throat.
- [91:48]
Character/Actor
She's choking me. You're knife, David. You're knife.
- [91:54]
Narrator/Announcer
David.
- [91:59]
Character/Actor
David.
- [91:59]
Narrator/Announcer
You.
- [92:01]
Character/Actor
You killed her, David. You killed her.
- [92:06]
Narrator/Announcer
I couldn't help it. I didn't mean it.
- [92:07]
Character/Actor
Oh, you're covered with blood.
- [92:12]
Narrator/Announcer
She was gonna. Here's some lights. A car is coming. Help's coming. Hey there. You in the car. Why you park here?
- [92:31]
Character/Actor
It's the police headlamp.
- [92:33]
Narrator/Announcer
We ran out of gas. The crazy boys. What a night to run out of gas. You couldn't have picked a better spot, what with that woman running around loose.
- [92:41]
Character/Actor
Officer, we want to tell you.
- [92:44]
Narrator/Announcer
A farmer up the road called and said his dog's been barking at something. We caught her. Who'd you catch? The crazy woman. She. She's in the back seat. Dead. What? No, no, she's alive. Hurt bad, though. She was trying to kill us. Well, we'll get her to a hospital. You two had better come with me. We captured that crazy woman a half hour ago. I don't know who this lady is. Suspense presented by Auto light. Tonight's star, Mr. Cary Grant. Well caught. Did your candidate's entire ticket get into office? Yes, sir, Senator. Along with the Autolyte stay full battery. The voters elected all of the 400 products made by Autolyte for cars, trucks, planes and boats in 28 plants coast to coast. These include complete electrical systems used as original factory equipment on many leading makes of America's finest cars. Generators, coils, distributors, voltage regulators, electric windshield wipers, wire and cable Starting motors, all engineered to fit together perfectly, work together perfectly because they're a perfect team. So friends don't accept electrical parts supposed to be as good. Ask for and insist on Autolite original factory parts at your neighborhood service station, car dealer, garage or repair shop. Remember, you're always right with Autolite. Next week on Suspense for your Thanksgiving holiday. Listening Mr. Ozzie Nelson and Ms. Harriet Hilliard as stars of Going, Going, Gone. And in the weeks to come, you will hear such famous stars as Van Heflin, Alan Ladd and Cornell Wild all appearing in tales well calculated to keep you in suspense. Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morak and conducted by Lud Bluskin. On a Country Road was written for suspense by Walter Bazar. And remember, next week on suspense, Ozzie Nelson and Harriet Hilliard in Going, Going.
- [95:26]
Character/Actor
You can buy Autolite stay full batteries, Autolite standard type or resistor type spark plugs, Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night.
- [95:36]
Narrator/Announcer
This is CBS, the Columbia Broadcasting System. Autolite and its 96,000 dealers present suspense. Tonight, Autolight brings you after the movies, a suspense play starring Mr. Ray Milan. I'd been called to jury duty a couple of weeks before all this happened. It was one of those kind of sensational trials. And a judge told us jurors not to go out in any public places where we might be approached or influenced. So I'd been sticking pretty close to the hotel. So it was a real treat when they said we were free for a couple of days because the witness was sick. Of course, the movies is a public place, but Ann didn't think that would really count. And neither did I. We went to the early show across the street from the hotel and got out about half past nine.
- [96:48]
Character/Actor
I thought she was darling. I didn't care so much for him, though.
- [96:52]
Narrator/Announcer
I didn't think she was too hot either. Say, what's the difference, really? The first movie I've seen since the trial started. How much? Some ice cream.
- [97:00]
Character/Actor
We got those little cakes at home. Some ice cream might go nice with them.
- [97:05]
Narrator/Announcer
I don't know if I can go home. You mean this jewelry thing?
- [97:08]
Character/Actor
Oh, you're free for a couple of days. Isn't that what they told you? Not gonna do any harm for you to sleep home tonight.
- [97:16]
Narrator/Announcer
I suppose not. What kind do you want? What ice cream?
- [97:20]
Character/Actor
Chocolate.
- [97:21]
Narrator/Announcer
Come on. Well, well, hello there. How are you this evening, folks? Yeah, fine. Just fine. What can I do for you? About a quart of ice cream. Chocolate. Right. Say, how's the trial going? You're on the jury, aren't you? Yeah, but I'm not supposed to talk about it. Oh, yeah, I should know better than to ask. I bet you we have five, seven jurors a day come in here from the hotel across the street. Hey, you think you've been on this trial a long time? Some people stay on for months. Well, I'll tell you what I think about this Harmon fella. I'm not supposed to let anybody talk to me about it either. Oh, say, that's right. I forgot about that. Well, that'll be 60 cents. Yeah, I got it, Ann. Now, what did I do with my wallet at 60 out of one? And thank you. Well, I hope now that you know us, you'll trade here sometimes even after the trial's over. My name is adelson. Well, I'm Mr. Bennig and this is my wife, Anne. I'm happy to know you. I hope you'll be through with the thing real soon. I hope so, too. Good night.
- [98:27]
Character/Actor
Al?
- [98:27]
Narrator/Announcer
Yeah?
- [98:28]
Character/Actor
Look what I found.
- [98:30]
Narrator/Announcer
What?
- [98:31]
Character/Actor
An envelope on the floor right here.
- [98:32]
Narrator/Announcer
Somebody dropped something, huh?
- [98:34]
Character/Actor
Yeah, it's open, too. I wonder if we should, you know, to find the owner.
- [98:44]
Narrator/Announcer
Say, hey, money bills. Hey, let me see.
- [98:50]
Character/Actor
How much is there, Al? Al? How much, Al?
- [98:55]
Narrator/Announcer
$10,000. Huh?
- [98:58]
Character/Actor
10,000. Who dropped $10,000 on the floor of a drugstore?
- [99:08]
Narrator/Announcer
In just a moment, Mr. Ray Milan in the first act of after the Movies. Hello there. Harlow Wilcox. Why, it's Santa Claus. That's right. What are you doing here, Santa? Well, I thought you'd like to hear about Dasher, Dancer, Prancer and Vixen. Your reindeer? No, no. My ignition engineered auto light spark plugs on a sleigh. Oh, I turned in my sleigh for a sky sedan. And since I replaced my worn out reindeer, I mean spark plugs with ignition engineered auto light spark plugs, why, I've been getting. I know. Smoother performance, fast starts, gas saving. Ignition engineered auto light spark plugs, you know, are world famous for quality and dependability. Ah, how right you are, Harlow. Now, I know what you mean when you say ignition engineered. Autolite spark plugs are designed by the same Autolite engineers who designed the coil, distributor and all the other important parts of the complete ignition systems used as original factory equipment on leading makes of America's finest cars. That's why auto light spark plugs work as a perfect team with your car's ignition system. Well, hang up a big stocking, Harlow. You've been a good boy. To tell me about ignition engineered auto light spark plugs. Glad to do it, Santa. And whether you choose the resistor type or the standard type, you'll be right because you're always right with autolight. And now with after the movies and the performance of Mr. Ray Milland, auto light hopes once again to keep you in suspense. $10,000. You mean the envelope was just laying.
- [100:59]
Character/Actor
There on the floor? I almost stepped on it. And then I picked it up and I saw there was something in it. Al, what should we do?
- [101:05]
Narrator/Announcer
Gee, a thing like this, I don't know what to say. If I was you, I'd keep it. That's what I do. And since it was in my store. Oh, no, we couldn't do that. Well, I could. It ain't stealing. You found it, and it was my store you found it in.
- [101:20]
Character/Actor
We better turn it in.
- [101:21]
Narrator/Announcer
Look, if there's a reward, we'll get together on it, won't we?
- [101:24]
Character/Actor
There's some kind of a note in it.
- [101:26]
Narrator/Announcer
A note?
- [101:26]
Character/Actor
Yeah, and with the money, this is your first half as agreed in no signature. It doesn't make much sense to me.
- [101:39]
Narrator/Announcer
Me either. Hey, where you going with that money?
- [101:42]
Character/Actor
If anybody comes looking for it, we live on 5th Street, 229.
- [101:45]
Narrator/Announcer
If as a reward, we'll see you get your share. Mr. Adelson. Come on in.
- [101:49]
Character/Actor
Don't worry, Mr. Adelson.
- [101:50]
Narrator/Announcer
Don't worry. $10,000 is a lot of money. I said there was nothing to worry about. But I wasn't feeling quite as breezy as I sounded. $10,000 is an awful lot of money. Anne was still trying to figure it out when we got home. One thing I'd always said about Ann, she had a good mind. Now she remembered the note and she took off from there.
- [102:20]
Character/Actor
Al, it must mean something. It was written to somebody. It must mean something to them. After all, it's $10,000.
- [102:28]
Narrator/Announcer
Let's get on with the ice cream.
- [102:30]
Character/Actor
All right.
- [102:31]
Narrator/Announcer
Look, Annie, if nobody claims it by tomorrow, we'll put an ad in the paper or something. It's not our worry. Yeah, chocolate.
- [102:40]
Character/Actor
We could keep it, couldn't we? I mean, the law says finders keepers. If nobody can prove it's theirs, we can keep it, can't we? Isn't there a law?
- [102:48]
Narrator/Announcer
Well, I guess as far as the law is concerned, we could keep it.
- [102:52]
Character/Actor
Of course, we'd have to give part of it to Mr. Adeline.
- [102:54]
Narrator/Announcer
Mm.
- [102:55]
Character/Actor
I don't know, Al. That money belongs to somebody, all right.
- [102:59]
Narrator/Announcer
If they claim it. All right if they don't. Well, all right, why worry about it?
- [103:03]
Character/Actor
Belongs to whoever that note was written to.
- [103:06]
Narrator/Announcer
Uh huh.
- [103:06]
Character/Actor
Now listen, listen. This is your first half as agreed in the, eh, business. But if they are not hung up when the time comes, don't expect to get the rest or stay healthy very long. No signature.
- [103:22]
Narrator/Announcer
No signature.
- [103:23]
Character/Actor
Al, that last part about staying healthy, that's a threat. That's what it is.
- [103:30]
Narrator/Announcer
Threat. Well, yeah, it could be.
- [103:32]
Character/Actor
The man who's giving the money is threatening the man who's getting it. That if he doesn't.
- [103:37]
Narrator/Announcer
Doesn't what?
- [103:38]
Character/Actor
Al, don't be so dense. Help me a little. Doesn't do what they're paying him to do. It's a bribe. Don't you see, Al? This money is a bribe.
- [103:50]
Narrator/Announcer
Bribe? That's right, Annie. You could be right at that.
- [103:54]
Character/Actor
Well, now we're getting somewhere. All right, a bribe. And it has something to do with something being hung up. If they are not hung up when the time comes, it says what could be hung up that's so important to anybody? Jury. That's it. A jury that can't reach a verdict. Al, I'll bet that's it. Somebody is trying to bribe somebody on a jury to what? Al, those initials, E. H. Edward Harmon. The name of the man that's on trial. The jury that you're on.
- [104:31]
Narrator/Announcer
Gee, I don't know, Anne. They all seem like such nice, decent people.
- [104:36]
Character/Actor
Listen, listen, this is your first half, the $10,000 as agreed in the eh. That is the Edward Harmon business. But if they are not hung up as a jury, don't expect to stay healthy.
- [104:52]
Narrator/Announcer
Yeah, yeah, it does make sense, Annie.
- [104:55]
Character/Actor
Al, we've got to call the police.
- [104:58]
Narrator/Announcer
Police?
- [104:58]
Character/Actor
For sure. We've got to report it right away.
- [105:01]
Narrator/Announcer
Well, maybe I should give it the district attorney in the morning.
- [105:04]
Character/Actor
No, don't you see, Al? You're on that jury. Why, if we delay telling them for even an hour, they may think you've got something to hide.
- [105:12]
Narrator/Announcer
No, I think I better wait till the morning.
- [105:14]
Character/Actor
If you don't phone them, I will right away. Now.
- [105:18]
Narrator/Announcer
Well, I hope you're right. I hope this is the right thing to do. My name is Albert H. Bennig. That's right. I live at 229 Fifth Street. Yeah, I want to report something to you. There's a drugstore on the corner across the street from the courthouse. And my wife and I were in there earlier this evening and my wife found something. Yeah? Well, on the floor it was an envelope with $10,000 in it and a note. And we think it has something to do with the Edward Harmon trial? Yeah. No, just my wife. Yeah, she's sitting right here with me. Yeah, that's what I think. You'd be doing me a great favor if you'd. Yes, we'd. Wait right here. We'll be expecting you.
- [106:08]
Character/Actor
What did they say?
- [106:09]
Narrator/Announcer
They said they'd send somebody up just as soon as they could.
- [106:12]
Character/Actor
Well, weren't they excited about it? Didn't they say anything?
- [106:15]
Narrator/Announcer
Well, Ann, I guess with people like that, these things are just sort of routine.
- [106:27]
Character/Actor
That must be them now, Al.
- [106:28]
Narrator/Announcer
I'll go.
- [106:29]
Character/Actor
I must say, they took their time about it.
- [106:32]
Narrator/Announcer
Oh, good evening, gentlemen. Come in. Thanks. You're Mr. Bennig? Albert H. Pennig. That's right. This is my wife.
- [106:40]
Character/Actor
How do you do?
- [106:40]
Narrator/Announcer
Yeah, how do you do?
- [106:42]
Character/Actor
I sort of expected to see someone in uniform. I should have known, I suppose.
- [106:46]
Narrator/Announcer
Uniform, yes.
- [106:47]
Character/Actor
You gentlemen are from the police, aren't you?
- [106:49]
Narrator/Announcer
No. No, we're not. Oh, you expecting the police lady?
- [106:55]
Character/Actor
Yes, we were.
- [106:56]
Narrator/Announcer
Better not take too much time, Johnny. I think you people got something that belongs to us. Something you found. The drugstore on the corner. Oh, we lost it there. Druggist told us you had it.
- [107:09]
Character/Actor
Well, we did find something. Yes.
- [107:11]
Narrator/Announcer
10 grand and 500 in a white envelope. Well, I guess it's theirs all right, Ann.
- [107:15]
Character/Actor
Yes, but.
- [107:16]
Narrator/Announcer
But. But what?
- [107:19]
Character/Actor
Well, I'm sure it's yours, but there was something else too.
- [107:23]
Narrator/Announcer
We better just give it to a man. The note. I always said that was foolish. There was a note?
- [107:28]
Character/Actor
Yes.
- [107:30]
Narrator/Announcer
You read it?
- [107:31]
Character/Actor
We glanced through it, of course. We thought it might tell us who the money belonged to.
- [107:35]
Narrator/Announcer
And it did, didn't it?
- [107:38]
Character/Actor
No. Oh, no.
- [107:39]
Narrator/Announcer
Come on, lady. Now, wait a minute. This is a gun mask. The note told you that the dough was to buy off somebody on the jury of the Harmon trial, didn't it? You talk too much, Johnny. Come on, let's get out of here. What's the difference? Use your head. What about it, Mrs. Benning? How did you know it was in the note? We gotta know these things. We work for Mr. Harmony. We know you're on the jury too, Mr. Benning.
- [108:03]
Character/Actor
Al.
- [108:04]
Narrator/Announcer
Where are you from, Mrs. Benning? I mean, where do you folks live? What part of the country?
- [108:11]
Character/Actor
Why, Washington. Spokane. Washington.
- [108:14]
Narrator/Announcer
All right, Mr. Bennett. You go on down that trial tomorrow. Just know nothing had happened. Anybody asks you about your wife, you tell them she's gone on a little visit to her folks in Spokane.
- [108:26]
Character/Actor
Visit to my folks?
- [108:28]
Narrator/Announcer
The case will go to the jury on Friday. If everything goes like it should, your wife will Be back here safe and sound first thing Monday morning. Oh, good Lord.
- [108:37]
Character/Actor
But you can't do a thing like this.
- [108:39]
Narrator/Announcer
You can be reasonable, Mrs. Bennet. We gotta. You people know too much about this thing. Well, we wouldn't say anything. I promise. I swear it. Now how can we take a chance like that? Armin is up for murder. Better get your things together, Mrs. Penic. Go with us in. We ain't got all night though. I'll take the money, Mr. Penic, before I forget. Forget it. Thanks. I hope you understand our position. What are you gonna do? Well, obviously the money went to the wrong party. So we gotta use another method. Everything goes like it should on that jury, your wife will be okay. But if it doesn't. You can't. You can't do that. Oh, but we can. Saves us a lot of money too. And Mr. Bannigan, not a word to the authorities. Your wife would make a cute corpse. Autolite is bringing you Mr. Raymond in after the movies. Tonight's production in radio's outstanding theater of thrills, suspense. Hey, Santa Claus. No kidding? Did you really name your Autolight spark plugs after your reindeer? I certainly did, Arlo. How come? Well, for one thing, those reindeer were always unexcelled for fast starts, smooth performance and gas savings. And so are those ignition engineered auto light spark plugs. They sure are, Harlow. And of course those reindeer are famous as a perfect team. Just as ignition engineered auto light spark plugs are famous for working as a perfect team with your car's ignition system. Because, you see, they're designed by the same Autolite engineers who design the complete ignition systems used as original factory equipment on many leading makes of America's finest cars. That's why you say they're ignition engineered. Hey, Harlow? Sure, Santa. So, folks, see your friendly Autolite spark plug dealer and have him replace worn out spark plugs with ignition engineered Autolite spark plugs. And whether you choose the standard type or the resistor type, remember, you're always right with Autolight. And now Autolight brings back to our Hollywood soundstage. Mr. Ray Milan in Elliot Lewis production of after the Movies. A tale well calculated to keep you in suspense. After they left, I just sat there. Maybe another guy would have rushed right off and done something, but I couldn't. I had to think. It had all happened so suddenly in less than an hour. The whole thing. And picking up the money on the floor at the drugstore. And then figuring out from the note that it was a bribe to someone on the jury of the Harmon trial. The jury I was on. And those gangsters arriving and claiming the money and taking Ann as a hostage for my verdict. The police hadn't arrived. I left home, sneak out the back way, took the side streets and went to the office of the chief of detectives. So you came down here. What are we sitting here for? Why don't we do something? We got to know what we're doing before we start doing it. Anyway, from what you told me, I don't think she'll be in any real danger. No real danger? She's been kidnapped by gangsters. But why? That's what doesn't make sense to me yet. I told you the money was some kind of a bribe. They thought we knew about it. But you didn't. How could we? And just picked up the money off the floor and they said that they'd have her back by Monday. That's what they said. You can believe him if you want to, but she's my wife. Okay? Okay. What do these two cookies look like? I don't know. Average size, Doc, I think. I don't remember what they look like. You catch their name? I didn't ask him. You're not going to be much help for a while, are you? Okay. It's all right. By the way, my name's Dan. Oh, mine's Al. You'll probably be seeing quite a lot of me in the next day or two, so we might as well get acquainted. And Al? Yeah? Take it easy. We'll find your wife. His being friendly like that made me feel a lot better. But we still weren't doing anything. First he got on a lot of pictures and I had to go through all those, but of course I couldn't recognize anybody. And then he started making phone calls that didn't make much sense to me either, except that he figured they might have the stolen car and he was trying to check on it. Finally, he called the police car and we drove back toward the courthouse. It was 12 o', clock, but Mr. Adelson hadn't left the store. He was anxious enough to talk, but didn't look as though he was going to get us any place. I tell you, Lieutenant, it was right there on the floor.
- [113:36]
Character/Actor
Right there.
- [113:36]
Narrator/Announcer
Yeah. But when you talk to these two men. Oh, yes. Well, I talked to them, the one that is. And he said he'd lost an envelope, he thought, in my store. And I said, yes, we'd found it and Mr. Bennett had it. So you talked to him. What did they look like? Well, now, how can I know what they look like when they called me on the telephone. Okay. I guess that's all, Mr. Adelson. I'm sorry, Lieutenant. I wish I could help you. That's perfectly all right. If there's anything else, we'll call you. Hey, Mr. Bennick. Yeah? Did you tell him about the note? Note? Yeah, the note that was in with the money. So there was a note? Sure. In with the money, wasn't it, Mr. Benny? What about it, Al? Well, I. I'm sorry. I. I guess I forgot. We drove back to 5th street and parked in front of our apartment. Dan didn't say a word until we got into the elevator. Then he spoke to the elevator boy, not to me. You take Mrs. Benig and a couple of men down tonight, about 10:30? Yeah, that's right. Police? Mm. What'd they look like? I couldn't really tell you. They had their hats pulled down, sort of. One was tall and the other was short. That's about all I noticed. Oh, wait a minute. Yeah, the tall one had kind of a limp. He had a cane. A limp, huh? You hear any names? Yeah, now that you speak of it. The short one called the tall one Johnny. Funny, I didn't think of it. A tall one and a short one. And the tall one's name was Johnny, and they had a limp. Bet that breaks the case wide open, huh? Yeah. Yeah, I'll see that you got a citation. We got off at my floor and I opened up the apartment and we went in. And he still didn't say anything. He prowled around the apartment, poking into bureaus and closets for not saying a word. Then he came out in the living room and sat down in the big armchair and looked straight at me. All right, O. What about the note? Well, I. I'm sorry, Dan. I didn't think it was important. You're not sore, are you? Me? What have I got to be sore about it? You're what? Yeah, I'm sorry. And what about the note? Well, all it said was something like, this is the first half, as we agreed, and no signature. Have you got it? No. They took it when they took the money. And you couldn't remember that one was a tall guy and the other was a short guy and that the tall guy's name was Johnny. But I was all upset. I didn't even know if I heard his name. Are you trying to protect. No, no. I've told you everything I can. Okay, forget it. Let's see. A bribe. That means that somebody wants something or is on the spot. The fix will be on By Monday, they say. Now, who is there in this town that employs gunsos that would have a deal with that much dose set for next Monday, There could be a million deals like that. Quiet. Let me think a minute, will you, Johnny? A cane and a short guy. It's on the tip of my tongue. And it wasn't so long ago either. Sure, sure. Why didn't I think of it? Think of what? Bill Quindlen, the defense lawyer in the Harmon case. Those are his boys. Had him up a dozen times. He always comes and gets them off. The Harmon trial? Yeah. This Harmon is up on a murder rap. A bank robbery, a guard was killed. His lawyer's Bill Quinlan. Quinlan's bribed more juries than I got hairs on my head. If you can ever prove it, Get a couple of hung juries and they let you off the hook. He's pulled it plenty of times. Well, isn't that a little far fetched? It's like I say, Al, that's all we've got. I'll have the boys check the jury list anyway. Where's your phone? In there. Dan. Yeah? Dan, I'm on that jury. You what? Well, don't you see? If I opened my mouth, they'd kill her. They told me so. So that's it. I didn't dare tell you, Dan. I hoped you'd find her without you long legged, thick headed idiot. Don't you think I've been in this business long enough to know it a little better than you do? Don't you think I know how to give people protection when I have to? Do you think we go around trying to get people killed? Do you know any more that you haven't told me? No. You know who the juror is they're trying to bribe? Nope. Okay. At least now we know where to start looking. Dan? Yeah? You're not sore at me, are you? Me? No. What have I got to be sorry about? We knew where to start looking, but it wasn't as easy as that. I was still on the jury, of course, and it didn't dare make a move against Harmon. Because of Ann. The case went to the jury and there was still no word of her. And of course I had to vote not guilty. They understood that. But as it turned out, the vote was 8 to 4, so it didn't really matter. With a hung jury, Harmon was scheduled for a new trial anyway. By now was Monday, the day Ann was supposed to return. But there was no word. What if they'd found out? The police knew I was on the Jury. It was nearly midnight when Dan came to the apartment. He looked at as though he hadn't slept for three days. I hadn't either. He told me to come along with him. He didn't say much until we were way down on Avenue C in the Lower east side. Don't let it get out, fella, But I think we're going to come out all right. When'd you find out? About an hour ago. We trailed Harmon. That's why he got bail. Dan, don't kid me. Are you sure that she's. As sure as we can be. We know where they are. She'll be there. Now, that's the place. Third house down. Ellis, you and Wilson stake out the back. Farley, Edwards, take the front. I'm going in. All right, get going. Dan? Yeah? I want to go with you. You stay in the car. I'm going with you. Okay. Come on now. Let's go. There's a light in the front. They may give us a little reception. I'll. They wouldn't do anything to her, would they, Dan? I'll try the door. It's locked. Can we bust it open? I got a skeleton. All right, close it behind you so the street light won't show us up. Okay. They're coming now. Those are my boys. Let's try in here. I don't think anybody's around. Come on. Maybe they took us someplace else. Quiet. No, Al, you better stay out. Why? What is it? What is it? It's her, Al. Your wife. She's dead. She was dead. And the next day, there was the funeral. A lot of friends came around and shook hands and looked at me sad. And I stood by where she was lying with all the flowers around her. This wasn't the way it was supposed to work out. Dan came, too. For a long time, he stood there looking at her and my friends and me. You called them, didn't you? I called him, yeah. You called them. And she thought you were calling the police. That's why the police never showed up. I called them. She was so insistent, I had to call somebody. I didn't think they'd take her away. I thought they'd just take the money and leave, forget the whole thing. But they took her, too. What about the money? The money they paid me for the trial. The money for the trial? The $10,000. I told you, they took it. They took the money and they. And they took her. All except $500. I kept that in my pocket. They didn't get that. That's what I paid for the funeral with. I know we had the numbers of the bills. When we picked them up later last night. They had it all. Except $500. That's what brought me back to you. It's funny. I did it for her. To buy her nice things. And all I bought her was a funeral. Say goodbye, Elle. You'll have to come with. Suspense Presented by autolight. Tonight's star, Mr. Ray Milan. @ my workshop, we make toys for all the little girls and boys. We work hard to make them right. Make them perfect. Like Auto Light. You said it, Santa. Autolite makes more than 400 products. For cars, trucks, planes and boats. In 28 plants from coast to coast. These include complete ignition systems. Used as original factory equipment. On many makes of America's finest cars. Generators, coils, distributors, voltage regulators. Wire and cable starting motors. All engineered to fit together perfectly. Work together perfectly. Because they're a perfect team. So, friends, don't accept electrical parts supposed to be as good. Ask for and insist on original factory parts. At your neighborhood service station, Car dealer, garage or repair shop. And because all Auto Light parts are original factory parts. You can be sure you're right. Because you're always right with Autolite. Next week on suspense. Mr. Alan Ladd as star of A Killing in Abilene. And in weeks to come, you will hear such famous stars as Dennis Day, Cornell Wild and Ginger Rogers. All appearing in tales well calculated to keep you in suspense. Suspense is produced and directed by Elliot Lewis. With music composed by Lucian Morowek. And conducted by Lud Bleskin. Parts of this program were transcribed after the movies. Was written for suspense by Jack Finney. And was adapted by Robert L. Richards and David Ellis Raymond appeared by arrangement with Metro Goldwyn Mayer. Producers of the Technicolor picture King Solomon's Minds. With Deborah Carr, Stuart Granger and Richard Carlson. And remember, next week on suspense. Mr. Alan Ladd in A Killing in Abilene.
- [125:01]
Character/Actor
You can buy world famous Autolite resistor type or standard type spark plugs. Autolite staple batteries. Autolyte electrical parts. At your neighborhood Autolite dealers. Switch to Autolite. Good night.
- [125:11]
Narrator/Announcer
This is CBS, the Columbia Broadcasting System. Autolite and its 96,000 dealers present suspense. Tonight, Autolite brings you A Killing in Abilene. A suspense play starring Mr. Alan Ladd. I traveled hard for 300 miles to find the man who killed my brother. I'd come down out of the Snake Range that morning. Followed the river trail through the canyon. That afternoon. Had found Pleasant Valley. A handful of buildings. Desolate and huddled in the cold shot Shadows of the mountains around. Tall, dark. No man appeared as I rode through the town. Only a dog challenged, and he from a safe distance. Then it was quiet. About a quarter of a mile beyond an easy rise, I saw what had happened to the people of the town. There were maybe 60 or 70 standing in a circle. And as I. I got closer, I. I saw they were gathered around two men. Two men who were digging. You stay put. Horse chose a look on the face of the people standing there. Even the kids peeking from behind skirts and trouser legs. And it was something I'd seen before. It wasn't a good look. It was the look some people had had two years before in Abilene. When we discovered my brother's body. In just a moment, Mr. Allen Ladd in the first act of Killing in Abilene. Hi, Arlo. What do you got there? Christmas present, Hap. You get one already? Yes, siree. It's an auto Light Stay Full battery that needs water only three times a year in normal car use. Why, my car will really cut a caper over this capable Christmas cheer. You believe in giving your car some holiday spirit too, eh, Harlow? I sure do, Hap. And because the Autolite Stay Full battery has over three times the liquid protection of batteries without stay full features, it helps eliminate one of the greatest causes of battery failure. And that's mighty important to the spirit of every car owner. And your gift will last a long, long time too, Harlow. Right you are. Because the Autolite Stay Full battery gives longer life. 70% longer life, in fact, as proved by tests conducted according to SAE Minimum life cycle standards. A wise selection, Harlow. Yes, friends, for quick, dependable starting, treat your car to an Autolite Stay Full Battery. The battery that needs water only three times a year in normal car use. See your neighborhood Autolite battery dealer. And remember, you're always right with Autolite. And now with a killing in Abilene and the performance of Mr. Alan Ladd, autolyte answers many requests in bringing you a story of the Old West. Hoping once again to keep you in susp. Hold up a minute. What's the matter? I hit something. Wait. Better go slow. Dig around this side here. I. I can't do it anymore. One of you boys take over. I'll do it, Jim. Somebody's got to. It's him, all right. I seen his shirt. You were right then. Ben. Jake. Jake Garvey. You're a sheriff. Better come take a look. Yeah, that's him. That's Fred Carson, all right. The other women folk led her way. The men stayed and pushed in a little closer to the pit and waited there until the job was finished. Then they noticed me. What are you doing here, stranger? Where are you from? You're the sheriff. That's right. Jake Garvey. Man is my name. From Abilene. So I'm looking for a man in these parts. Calls himself Lee Burridge. Who did he say, Sheriff? He said Lee Burridge. Ben, you tell him we'll take care of him. What do you want him for? What's it matter what he wants him for? We know what we want him for. Come on, now. There ain't gonna be no trouble. I'm the law in Pleasant Valley. I'll say what we do. We elected you sheriff, Jake. We can unelect you, like Ben said. It was Burridge killed him. You know it. I've got to talk to you about Burridge, Sheriff. It's important. All right. My office, back at the meeting house. We don't need no talk about birds. We need to do something about the ugly sun. Come down, boys. Let's get on back to town. We'll take her as she comes. Smoke? No, thanks. The boys want to know why you're here. So do I. We don't like strangers. What do you want with Lee Burridge? I had a brother killed out in Abilene. Burridge did it. Oh, he and another one drove a herd into the railroad. Burridge got drunk and killed my brother. Buried him, same as here. We found this pouch near the grave. His name burned into it. It's taken me two years to find him. Now I want to talk to him about it. The boys are pretty sure he killed Fred Costin, too. So am I now. Maybe so. Fred Carson isn't my business. My brother is. And I want to see his killer back in Abilene. Standing trial. I made a promise I'd bring him back, that there'd be no more killing. We didn't know your brother, but we knew Fred. And we liked him. You can help take care of Burridge here, if you ever mind, to try him here. You mean on both charges? No need for that. What do you mean, take care of him? How did he kill your brother? His head was beat in. He was beat to death? Yeah. Same as he did to Fred. Men who do a thing like that don't need no trial. Not for you, maybe, but there'll be no more killing in my family. We'll give him a fair trial here in Abilene. But a fair trial. If Bird's done these killings he's gonna pay for it here. I don't go for lynching. We don't call it lynching when we hang a man for murder. If you don't like it, go on back to Abilene. Maybe I'll do that when I take Lee Burridge out for trial. I don't know what you're trying to do. I suspect it's get Burridge out of town. If I'm right, you're heading into a lot of trouble. Let's go get him, Ben. One of you boys gonna direct me to where Lee Burridge lives? We could, but Felton Klein. What do you want with him? Just want to talk. Anybody got objections? Yeah. Who are you? Ben Chaffey. Ain't gonna be no talking. He's done what he's done, he's gonna pay for it. Ain't nobody gonna stand the way time use riding out of here. And if I don't? Then I'll help you climb off. Ben. We don't need no private wars here. Why does he live? Come on, boy. Turned away from me and moved into the sheriff's office leaving me alone. Walk down the strangely quiet street towards the hills. The thunderhead was beginning to gather. Moving in slowly. Near the end of the street two men were building a coffin in front of a small house. This is where I'll find Mrs. Carson. Why do you have to come meddling around here at a time like this? Can't you leave a widow for her sorrow? Cause he's a stranger, Bob. Boy, strangers don't have no time for other people's sorrow. Maybe you're right, old timer. Maybe they got too many themselves.
- [134:53]
Character/Actor
Yes?
- [134:54]
Narrator/Announcer
I'd like to talk to you. Man. Could I come in? What?
- [134:58]
Character/Actor
Can't you see this house is in mourning?
- [135:01]
Narrator/Announcer
Ma', am, I know how you feel.
- [135:03]
Character/Actor
How can you know what I feel?
- [135:06]
Narrator/Announcer
I had a brother once, killed by this man. Burge.
- [135:11]
Character/Actor
Oh.
- [135:14]
Narrator/Announcer
I'd like you to help me. It was two years ago my brother was killed. His wife would like the killer brought back to Abilene for trial. I'd like you to speak to your friends and let me take him away.
- [135:25]
Character/Actor
He didn't give my friend a chance before he killed him. He's a cruel, ugly man. He's a killing man. You can see it in his eyes. I understand how that woman feels. I feel the same way. I want him killed too, but here, where I can watch.
- [135:48]
Narrator/Announcer
And will you tell me where he lives? Don't tell him nothing, Mrs. Carton. You'll go warn him all. Let him go if he wants, I say. A man's got one life to live and he's got a right to lose it. Any dang way pleases him. I'll tell you where you can find Lee Bridge. Few miles outside of town where the canyon spread. I saw his hut set against a firebolt. There's no growing thing in the rocky ground except one sick twist of tree. Stunted limbs reaching out. Empty. Waiting. Hold it. Easy, horse. Easy. Draw your gun down. You. I won't mess with the next one neighbor brought down. I'm Jeff Mander. It was my brother Seth you killed in Abilene. That's who you are. You've caused me enough trouble. Get out of here. They'll give you a fair trial there. Stay here and you're gonna be lynched for Fred Costin's killing. Don't come no closer. Nobody's going to lynch me while I got this. Listen to me. I don't hold no love for you. I shouldn't care what happens to you. Well, it took me two years to find you. Now I'm taking you out. I've come no closer. Put up your gun. I'm warning you. Put up your gun. I knew he was shooting to miss. But I didn't know what would happen if I moved closer. So I got out of his. Canyon was clouding over heavy when I rode into town again. Maybe an hour, hour and a half after I'd left the sheriff's office. The streets were still empty. But in a couple of the houses I saw curtains moving, windows and shadows duck away as I looked at them. I wondered if the old man had told them I'd gone to see Burge. And if they knew what they planned doing about Old Timer. Yeah. I see you had to talk with Boridge. You see you ain't wearing a gun. He get the drop on you? Yeah. Surprised he didn't kill you. So was I. Did you tell him I'd gone there? Yep. What'd they say? They said if you get Burridge first they'd get you. They said you should go back where you came from while you still can. I will. After I settle with Burge. Where's the sheriff? I went off with the boys. After Burge? Yep. They're gonna wait till dark. Then they're gonna string him up. Why are they gonna wait till dark? I wanna be with them. I thought you didn't like lynchings. I don't. But I wanna be there. I was told if you come back to town, you'd have to be with them. Don't make me use this. Son. Just turn around and we'll join the rest of them. All right. And I'd suggest you stop your talking about Lee Burridge. From what I overheard, you close to sharing a rope with him. Autolite is bringing you Mr. Alan Ladd in a Killing in Abilene. Tonight's production in radio's outstanding theater of Thrills, suspense. Well, Harlow, only eight shopping days till Christmas. Well, that doesn't bother me, Hap. I'm giving everybody an Auto Light Stay Full Battery. The battery that needs water only three times a year in normal car use. Even folks without cars? Why, sure. Why should they be denied the pleasure of having that fine, fit, faithful friend that gives 70% longer life? Says who? Harlem. Why, Everyone knows the Auto Light Stay full battery gives 70% longer life. And this is proven by tests conducted according to SAE Minimum Life Cycle standards. Sounds mighty powerful. It sure does. And it's because every positive plate in an Autolite Stay Full battery is protected by a fiberglass retaining mat. To help reduce shedding and flaking and keep the power producing materials in place. Go on, Harlow. Go on. Well, friends, this Christmas present your car with a famous Autolite Stay Full Battery. A battery that needs water only three times a year in normal car use. See your neighborhood Autolite battery dealer tomorrow. And remember, you're always right with Auto Light. And now, Auto Light brings back to our Hollywood soundstage. Mr. Alan Ladd in Elliot Lewis's production of the Killing in Abilene. A tale well calculated. To keep you in suspense, we rode out of Pleasant Valley the whole night. And me. We rode fast, without speaking. Through scattered herds of cattle on the lower rangeland rolling in from the east. The black cows smothered the mountain tops. The old man still held the gun on me. Oh, you wind horses. Won't be dark for a couple hours yet. Lynching parties get their guts after dark. How come you weren't with them waiting for you? I. I thought you'd be around. Besides, I seen the lynching once. Too much trouble. Yeah. You still figuring to take Porridge with you to Abilene? I can try. Ain't that going to be a might, Darren? Without a shooting iron? Might be. I'm surprised after two years looking for him. You didn't shoot him when you found him. That's not what I come for. Why not? Killed your brother? I made a promise to somebody. His wife. Yeah. Mine too. What was it between Costa and Burge? Well, I don't know. Nobody seen much of Burrige. In the past couple of years. Ever since Ben told us about how he was a killer. Ugly man. Just ugly. Mean. You said Ben told all of you birds was a killer. Yeah. Yes. Your brother, he killed. That right? That's right. And now because of him, you might get killed. But why? They think you made it up about your brother. They think you're trying to take Burridge away. Do you? Well, I haven't decided yet. We board the stream here. I'll watch your footing. Sonny. Yeah. They haven't seen you yet. You still got time to get out. You let me go. No. No. I've come this far. I'll finish it. Well, I always said a man's got one life and he's got a right to lose it. Any dang way pleases him. Hello, Chef. Thought you'd left Pleasant Valley. We decided he ought to come with us where we can watch him. You decided, Ben? What do you say, mister? I'll tell you what he says, Sheriff. He says he wants Burrige one way or the other. Yes, de Joine. That's what he says. Get off of the horse, mister. All right. Now say that lie to me and I'll make you choke on it. I want Burge as bad as the rest of you. I'd prefer him to stand trial. That's the difference. I don't want this lynching. We can avoid it. Well, take your hand off your gun, Ben. He ain't armed. Take it easy, Ben. We decided what to do. You're here because I want you here. Burge killed Fred Costin in a fight. Now we going to settle it. Burge kills easy. I seen him do it once before. He's not going to do it again. You saw him kill my brother. I thought you didn't believe me. I saw it. You need more of a trial than that. I looked at the faces, angry, filled with hate. And I thought of the ugly man up in the canyon. In the broken down shack. I wondered if he knew what was waiting for him a mile or so away. It was quiet then. Storm clouds are quickening. The end of the day. The party became shadow, sitting nervously or smoking. Two of the men had some whiskey and were building their courage for the night's work.
- [145:35]
Character/Actor
It's nearly dark.
- [145:37]
Narrator/Announcer
I didn't think you'd come.
- [145:40]
Character/Actor
I had to.
- [145:42]
Narrator/Announcer
All the way.
- [145:43]
Character/Actor
My Fred's dead.
- [145:46]
Narrator/Announcer
So is my brother.
- [145:48]
Character/Actor
My Fred was a good man. Never hit me. But he was a dark man with drink like those two.
- [145:57]
Narrator/Announcer
What was it between Burge and him?
- [145:59]
Character/Actor
We'd lost some chickens. Fred said that man stole them when he came to town for supplies. Fred and him got to fighting. That man hated him and beat him. Fred was terrible hurt. Afterwards, everybody laughed and made jokes.
- [146:19]
Narrator/Announcer
They laughed at their friend.
- [146:21]
Character/Actor
Oh, it was men laughing. No harm. But to a dark man like Fred, it was bad. He swore to get even. That was last Saturday. He went in to drink and didn't come back. We all thought he rode out someplace for shame.
- [146:41]
Narrator/Announcer
Why do you think birds killed him?
- [146:44]
Character/Actor
They were all talking about it.
- [146:46]
Narrator/Announcer
Who was?
- [146:47]
Character/Actor
All the men. Saturday night, they said Fred and that man were arguing.
- [146:53]
Narrator/Announcer
Who heard them?
- [146:54]
Character/Actor
Ben did. When Fred didn't come back, we all knew that man had killed him. He did, and he's going to pay for it.
- [147:05]
Narrator/Announcer
Who found the grave, ma'? Am?
- [147:08]
Character/Actor
Ben did. I'm sorry for your brother's wife, but it's gotta be this way. Just like the Holy Book says. An eye for an eye.
- [147:21]
Narrator/Announcer
Let's go, boys. It's time to ride. We rode to the widening of the canyon dismounted and went the rest of the way to the hut on foot. We took one horse with us. He's there, all right. There's a light inside. Hold up, boys. Bob, you, Jim and Needle, come with me. Right here. We'll bring him out. The rest of you stay here. What side? You're too quick tonight, Ben, and given too many orders. You stay still. Trying to get him away, son? I might. He was like an Injun I knew once. Had to shoot him five times before he knew he was dead. What do you want here? You know what we want buried. Get out of here. Get off my lamp. You come outside quiet like. We don't want no trouble. Trouble? I ain't asking for trouble. You asked for it when you killed Fred Coston. Costin? Who killed? I didn't kill him. Save your breath while you still got it. Come on. Let her go up and smoke. He won't be using it anymore. Kill your. I'll kill you all for this. You done your last killing. Get that rope over that limb. Is this your doing, Ben? Yeah. Tie his hand, Bob. I'll hold him. You're gonna blame this one on me too, Ben. Shut up. I said he didn't do it. He didn't do it. Let it go, son. You can't stop him now. Gotta talk to him before they do. He didn't do it. Now I know it. Wait a minute. Take my gun. Thanks. The flames in the shadows victor of the ugly man's face. The rope was around his neck. He knew he was going to die. But as I came near him, I could see in the light. There was no fear in his eyes. Only hate. Lifted onto a horse. The rope was tightened. He was ready to be lynched. Then he saw me. One request, Sheriff. What? Burridge? Let me talk to him a minute. The stranger here for a minute. No more talking. Kick that horse out from under him. No, don't, Bob. Not let him talk. Why do you think I killed your brother? They're trying to get away or something, Jake. Shut up, Ben. Let them have their say. Why? We found your pouch near my brother's grave. Your name on it. And tonight Ben told me he saw you do it. I didn't. I wasn't with Ben that night. Ben wanted to drink and I didn't. He left me, took my pouch with him. What does it matter about his brother? It's Fred Costin we're hanging him for. I didn't kill Fred Costin either. Listen, mister, I didn't kill your brother. He's talked enough. He killed Fred Coston. I told you that. What about it, Burges? I didn't kill Fred Coston. He's a lyin skunk. Let's get it over with. I say let him talk. Where'd you get that gun, mister? How did you know where Fred was buried, then? How did you know where Fred was buried? Mrs. Kostin says you found the grave. How'd you know where it was? Answer him, Ben. You told me where it was. Ben, I. I saw him burying poor Fred. That's how I knew. If you saw the burial, why didn't you stop? Birch then was none of my business. But it is now. What made you change your mind so fast? Stay away from that horse, man. Get up.
- [151:06]
Character/Actor
Get up.
- [151:08]
Narrator/Announcer
Cut him down. You cut him down. I think you'll be coming back to Abilene with me, Ben. You think so? You all right, son? Yeah. Barge he live? Rest easy, son. You done a good job. But you ain't going to keep your promise about your brother's killer. There's no sense taking Ben Chaffee back to Abilene. We'll bury him here. Suspense presented by autolite Tonight's star, Mr. Alan Ladd. Christmas shopping can be fun. It doesn't have to kill one. Give an auto light stay full battery. Only three times a year do you fill one. And that's because the Autolite stay full battery is the battery that needs water only three times a year in normal car use. And it's one of more than 400 products for cars, trucks, planes and boats made by autolight in 28 plants coast to coast. These include complete electrical systems used as original equipment on many leading makes of America's finest cars. Electric windshield wipers, starting motors, voltage regulators, coils, distributors, wire and cable generators, all engineered to fit together perfectly, work together perfectly because they're a perfect team. So friends, don't accept electrical parts supposed to be as good. Ask for and insist on original factory parts at your neighborhood service station, car dealer, garage or repair shop. And because all autolite parts are original factory parts, you can be sure you're right. Because you're always right with Autolite. Alan Ladd will soon be seen in Paramount's Technicolor production Branded Next week on suspense, Mr. Dennis Day, a star of Christmas for Carol. And in weeks to come you will hear such famous stars as Cornell Wilde, Ezio Pinza and Ginger Rogers, all appearing in tales well calculated to keep you in suspense. Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morowek and conducted by Lud Bluskin. Portions of this program were transcribed. A Killing in Abilene was written for suspense by Gil Dowd and Anthony Ellis. And remember, next week on suspense Mr. Dennis Day in Christmas for Carol.
- [154:26]
Character/Actor
You can buy Autolite staple batteries, Autolite standard type or resistor type spark plugs, Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night.
- [154:37]
Narrator/Announcer
Better production means better living. That ideal has given America the world's highest standards of living. Learn how you can help to improve our economic life. For the free booklet the Miracle of America, write box 10, Times Square Station, New York City. This is CBS, the Columbia Broadcasting System. Foreign.
- [155:11]
Podcast Host
We just heard the crowd rave. Notice On a Country Road after the movies and a Killing in Abilene. That will do it for this show. Thanks for joining me. I'll be back next time with my favorites from 1951. In the meantime, you can check out down these Mean street, my old Time Radio Detective podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com Meansts OTR and every bit is appreciated. Now, good night until next time. Time when I'll be back with my favorite episodes from 1951, each of them a tale well calculated to keep you in.
- [156:07]
Narrator/Announcer
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.