Episode 424 - Final Favorites - 1955 to 1962

Summary

Podcast Summary: Stars on Suspense (Old Time Radio)

Host: Mean Streets Podcasts
Episode: 424 - Final Favorites: 1955 to 1962
Date: October 23, 2025

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Overview

This episode marks the host's final selection of favorite episodes from the last years of "Suspense," one of radio’s most iconic dramatic series. Focusing on 1955 to 1962, the host highlights eight standout radio plays. As the show shifted away from celebrity guest stars toward veteran radio actors and faced a production move from Hollywood to New York, “Suspense” continued to deliver thrilling and diverse stories until its finale in 1962.

The episode includes remarkable performances by actors such as Paula Winslow, Harry Bartel, Parley Baer, Vic Perrin, William Conrad, and DeForest Kelley, showcasing genres from horror to dark comedy to tense procedural.

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Key Discussion Points & Episode Introductions

Changes in the Later Years of "Suspense"

• Regular sponsorships faded, and major film stars appeared less often.

• Veteran radio actors and up-and-coming talent took center stage:
  “Instead, these later episodes became showcases for longtime Hollywood radio actors who could sink their teeth into starring roles.”
  (Host, 01:57)

• The show's move to New York in 1960 saw a new cast from the Big Apple, including Maurice Tarplin, Elspeth Eric, Larry Haynes, and Mandel Kramer.

The Final Eight Episodes Introduced

The host presents and summarizes his chosen eight from the show’s closing years:

1. Zero Hour (April 5, 1955)

• Adapted from Ray Bradbury’s story; known as one of the scariest radio plays.
• Children across the nation play a mysterious game called "Invasion" under the guidance of a being named Drill.
• Notable Cast: Paula Winslow, Parley Baer, John Dana, Isa Ashdown as Mink.
• Memorable Moment: The chilling, ambiguous ending as a child leads an alien invasion.

“All I’ll say is it has a group of great performances... If you’ve never heard it before, I’m not going to spoil it for you.”
(Host, 07:13)

2. To None: A Deadly Drug (October 25, 1955)

• Starring Harry Bartel as a pharmacist who, by mistake, dispenses a potentially fatal prescription to a young boy.
• A tense, time-sensitive search ensues to prevent tragedy.

"It can ruin a man. And it can ruin his wife."
(Announcer, 35:57)

• Memorable Segment: The frantic procedural elements as the pharmacist, authorities, and radio station scramble to warn the boy’s mother before the medicine can be used.
• Emotionally charged scene: The pharmacist questioning his own reputation and future.

3. Variations on a Theme (February 7, 1956)

• Parley Baer stars in this dark comedy about a husband who thinks he’s plotted the perfect crime to kill his wife.
• As with many “Suspense” tales, the plan unravels spectacularly.

"Just banging on my ears. Bang, bang, bang."
(Baer's character, 66:35)

• Twist: Family plans and nosy neighbors foil the plot.

4. The Waxwork (May 1, 1956)

• William Conrad delivers a solo, one-man performance as a journalist who spends a night among wax figures of history’s most notorious murderers.
• Atmosphere: Suffocating dread and solitude culminating in psychological horror.

“No actors other than Mr. William Conrad will appear in its presentation. It’s a study in terror which has few equals.”
(Announcer, 91:16)

• Iconic Scene: Conrad’s character accosted—perhaps for real—by the killer Dr. Burdette in the eerie silence of the wax museum.

5. Fragile Contents: Death (May 22, 1956)

• Vic Perrin stars in a postal procedural with a literal ticking clock: a bomb has been mailed, and the team must track down the package before it detonates.

"Between now and 2:30, we’ve got to find a time bomb which was mailed to somebody here in town."
(Perrin as Postmaster Jordan, 127:01)

6. Flesh Peddler (August 4, 1957)

• Featuring DeForest Kelley (pre-Star Trek) as an ambitious agent who pursues a reclusive, gifted ventriloquist at a carnival.
• The carnival community resists his efforts to break the performer out, but a dark psychological twist emerges.

"Ventriloquist. A dime a dozen... But for some reason, Wilson fascinated me."
(Kelley’s agent character, 156:34)

• Memorable Moment: The shocking reveal about the dark secret behind the ventriloquist act.

7. Lanningen vs. The Ants (August 25, 1957)

• William Conrad again stars as a South American plantation owner fighting a deadly army of ants.
• An adaptation of Carl Stephenson’s story, also well-known from "Escape."
• Notable for: Nail-biting tension and a thrilling struggle of man versus nature.

"These aren’t creatures you can fight. These are army ants. They’re an elemental force. A gigantic catastrophe. An act of God."
(Commissioner, 179:46)

8. The Man Who Murders People (November 13, 1960)

• Set during the New York production era.
• On a commuter train shadowed by a series of local murders, passengers become prisoners to their fears as suspicions abound.
• Key theme: Urban anxiety and paranoia as the killer may be on their train.

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Notable Quotes & Memorable Moments (with Timestamps)

• On the changing landscape of "Suspense":

  "With that move, it lost access to the deep talent pool of west coast actors. Instead, radio’s contingent of Big Apple based stars got a chance to shine."
  (Host, 05:35)

• “Zero Hour” chilling finale:

  “Mommy. Daddy.”
  (Isa Ashdown as Mink, 31:35)

• “To None: A Deadly Drug” climax:

  “If he takes it, what’ll it do? And that dosage will probably kill him.”
  (Bartel’s character & wife, 41:36)

• “Waxwork”—the moment of terror:

  “You moved. Yes, you did. You moved. I saw you.”
  (Conrad’s character, 114:20)

• “Flesh Peddler” twist reveal:

  “Wilson is no ventriloquist. Wilson murdered my mother, and I protected him from the police.”
  (Midget/Oliver, 177:22)

• “Lanningen vs. The Ants”—on the terror of the army ants:

  “They're an elemental force. A gigantic catastrophe. An act of God. Ten miles long, two miles wide. Ants. Nothing but ants.”
  (Commissioner, 179:47)

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Key Episode Timestamps

• [00:50] – Host introduction and context for the final episodes
• [09:48] – “Zero Hour” introduction
• [36:20] – “To None: A Deadly Drug” introduction
• [67:35] – “Variations on a Theme” opening
• [91:16] – “The Waxwork” opening
• [126:40] – “Fragile Contents: Death” opening
• [154:27] – “Flesh Peddler” opening
• [179:46] – “Lanningen vs. The Ants” opening
• [214:07] – “The Man Who Murders People” opening
• [241:21] – Host’s closing remarks and series wrap-up

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Final Thoughts & Flow

The host celebrates the breadth and power of late-era “Suspense,” emphasizing its ability to deliver shivers, moral dilemmas, and occasionally—dark laughter—long after network budgets and big-name stars had faded away. He underscores the unique talent pool of radio actors and the memorable, often unsettling stories the series brought to American homes.

"I hope I hit some of your favorites, and I hope I introduced you to some shows that may become favorites of your own."
(Host, 241:23)

He hints at future episodes, invites listeners to check out his other podcast, and promises a Halloween-themed special up next.

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For New Listeners

This episode provides an excellent introduction to “Suspense”’s post-Hollywood years—showcasing its enduring capacity to entertain and unsettle. Through a range of dark and suspenseful tales, and with the host’s commentary providing rich historical context, listeners are reminded why this series remains such a cornerstone of old time radio drama.

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Recommended for fans of classic radio, suspense tales, horror, and vintage American entertainment.

Transcript

[Narrator/Announcer]

Would you hand me that, please? Thank you. Now, let's see. Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense.

[Podcast Host]

Hello and welcome to Stars on Suspense, where today our journey through the years of radio's outstanding theater of thrills comes to a close as I share my favorite installments from the final years of Suspense. Over the past few weeks and months, I've shared my favorite episodes from the 20 year run of the program. And today we're down to the final eight my favorites from the last years of the show, 1955 to 1960. Now, by this time, regular sponsorship was long gone, and outside of a few veterans, people like Joseph Cotton, Vincent Price and Agnes Moorhead, big name stars, were no longer lending their voices to Suspense. Instead, these later episodes became showcases for longtime Hollywood radio actors who could sink their teeth into starring roles. The episodes we'll hear today boast amazing performances from the likes of Paula Winslow, Harry Bartel, John Dana, Vic Parron and William Conrad. Some rising stars also made appearances in this late stage of the program. One of those Hollywood newcomers was DeForest Kelly, who starred on Suspense less than 10 years before he boarded the USS Enterprise as Dr. McCoy. But the biggest change came in the twilight of the show's run when Suspense shifted production to New York in the fall of 1960. With that move, it lost access to the deep talent pool of west coast actors. Instead, radio's contingent of Big Apple based stars got a chance to shine. People like Maurice Tarplin, Elspeth Eric, Larry Haynes and Mandel Kramer, just to name a few. They kept the lights on its suspense until some September 30, 1962. The end of the golden age of radio, when Suspense aired its final episode and brought to a close one of radio's longest running and most prestigious dramatic shows. So now, without further ado, let's get into my eight favorites from those final years of suspense. First up is an episode that all also makes my list of scariest suspense shows. Originally aired on CBS on April 5, 1955, it's Ray Bradbury's Zero Hour. If you're a longtime listener of the podcast, you know that this one is a favorite. And if you've never heard it before, I'm not going to spoil it for you. All I'll say is it has a group of great performances from Paula Winslow, Parley Baird, John Dana and Isa Ashdown, who plays Mink, the little girl at the center of the story. Our second show stars Harry Bartel, a longtime radio actor and announcer. If you're a fan of the New Adventures of Sherlock Holmes with Basil Rathbone and Nigel Bruce, you'll recognize Harry Bartel as the announcer for Petri Wine. But he could also be heard on Gunsmoke Escape and in supporting performances on Suspense. We'll hear him in To None, a deadly drug from October 25, 1955. Bartel plays a pharmacist who, through a series of errors, ends up dispensing a prescription to a young boy that could prove to be fatal if taken. The boy and his mother are on a cross country trip. They only stopped in at Bartel's Pharmacy along the way and now the pharmacist has to scramble before the boy takes a deadly dose of medicine. Parley Bear, who's probably best known as Chester Proudfoot on the radio version of Gunsmoke, is the star of our third show today, a very dark comedy called Variations on a Theme. This one originally aired on CBS on February 7, 1956, and like many a suspense episode, it focuses on a man who believes he's conceived the perfect crime. And it follows him as he plans to dispose of his wife's body, which he's hidden away in a trunk. But like so many suspense characters who have come before him, he discovers there were some things he didn't account for in his plan. Speaking of Gunsmoke, our fourth show stars William William Conrad, who memorably played Marshal Matt Dillon, Dodge City, and it only stars William Conrad. It's a one man show where Conrad plays all the characters, including the narrator. It's the Wax Work originally aired on CBS on May 1, 1956. And not only is it an incredible performance from Conrad, who is of course one the of of the giants of the radio era, but it's also a particularly scary installment of suspense, at least in my opinion. It's the story of a struggling writer who, to make ends meet for his family, decides to spend the night in Wax Museum's infamous Chamber of Horrors and then write about his experience for a local paper. It isn't long after the lights go out that the Report porter begins to feel like he's not alone. Of course, he's surrounded by wax figures of some of history's greatest monsters. But they aren't real, are they? Our next show is a terrific radio procedural and its cast features great radio performers like Herb Ellis and Vic Perrin. It's Fragile Contents Death and It originally aired on CBS on May 22, 1956. A postal inspector gets an anonymous tip that somebody has sent a bomb through the mail. And now the inspector and his diligent team have to find that package before it reaches its target and before its target opens it up. It's a tense and engrossing story with a literal ticking clock as we follow this team of inspectors as they scour the scene city in search of a bomb that they know is out there, but they don't know exactly where it's going. Then we've got DeForest Kelly in a pre Star Trek performance In Flesh Peddler originally aired on CBS on August 4, 1957 this has been a long time favorite of mine. It stars Kelly as a talent scout who spots a very gifted friend. It stars Kelly as a talent scene scout who spots a very talented ventriloquist at a carnival. But the man rebuffs all of Kelly's efforts to sign him to a contract. And the man's fellow carnival performers try to scare Kelly away. Of course, all that does is make him more curious, so he follows the carnival to try to figure out why this man would turn down a lucrative nightclub contract. He soon realizes he should should have heeded the advice of those performers. William Conrad is back in our seventh show, a classic of the radio era, one that was performed on Escape as well as suspense. It's Lanningen versus the ants. This production originally aired on CBS on August 25, 1957. Conrad plays the owner of a South American plantation who's warned to head for the hills when an army of ravenous ants is descending upon his home. But Conrad is a firm believer in man's dominance over nature, and he thinks the array of booby traps and plans he's laid out will be enough to repel the oncoming army. And for our final show today, we'll hear an episode from the New York era of suspense. From November 13, 1960. It's the man who Murders People. It's largely set on a commuter train as people head home at the end of a long day. But unfortunately they can't relax as a serial killer is stalking their city. And news has just come in that he's claimed another victim. Some reports say he may be a passenger on a command commuter train, maybe even the one that our characters are riding on this episode. So now Here are my 8 final favorite episodes of suspense. Our journey to the end of the line begins with Zero Hour.

[Narrator/Announcer]

And Now, tonight's presentation of radio Outstanding theater of thrills, suspense. Tonight, suspense brings you a repeat performance of one of the most controversial plays ever presented over your radio. It is called Zero Hour by Ray Bradbury. After the initial performance, a great number of letters were received. Some comments were highly complimentary, and an almost equal number were not. However, because so many of you did write asking to hear this provocative work of fiction, again, we present it and hope that those of you who have not heard it before will write us your opinion. So now, starring Ms. Isa Ashdown, here is tonight's suspense play, Zero Hour.

[Character Actress]

Oh, boy, this is fun.

[Narrator/Announcer]

What a game. Such excitement. They hadn't known in years. Mink talked earnestly to someone near the rose bush, though no one was there. Then the two little girls shouting, laughing at each other. Such fun. Such tremulous joy. Mink ran into the house, all dirt and sweat. For her few years she was loud and strong and definitely. And her mother, Mrs. Morris, peeling vegetables at the sink, watched with amusement as her daughter threw into a sack old pots and tools and things which were relegated to child play.

[Character Actress]

Oh, my goodness. Mink, what's going on? Oh, the most exciting game ever. Just ever. Oh, it's all right. I take these things, Mom. Well, just don't dent them and it's all right. Thanks, Mom. We won't. Bye. All right, dear. Oh, what's the name of the game, dear? Invasion. Invasion.

[Narrator/Announcer]

Invasion. And in the garden now, a serious concentration. Mink, with an assortment of pots, pans and wrenches, Forks, spoons. And her friend Anna, a little younger, tongue in teeth, taking notes on a pad.

[Character Actress]

This, this and this. What's it say? Next. Wait a minute, Mink. Well, hurry up. 4, 9, 7, A&B and X. 4, 9, 7, a&b and X. A fork and a string and a hex. Hex. Hexagonal. A fork and a string and a hexagonal. What do we do next, Mr. Drill.

[Narrator/Announcer]

And then Mink talking to the rose bush again. And to her own satisfaction at least receiving some kind of answer, which she relayed to Anna.

[Character Actress]

Triangle. How do you spell it? Oh, any old way. Doesn't matter. Now write beam. I haven't got triangle yet. Well, hurry. Zero hours by 5:00'. Clock. We haven't got all.

[Narrator/Announcer]

Then time out from Invasion for lunch. Mink bolted down the soup and coincidentally, crammed a sandwich into her mouth.

[Character Actress]

Now you slow down, Mink. Whatever's waiting will wait a few minutes longer. But I can't. Drill's waiting for me. Drill. That's a Peculiar name. Is he a new boy in the neighborhood, dear? He's new all right. Well, I don't think I've ever seen him. Which one is Drill? Oh, he's just around. You make fun? Everybody makes fun. All the kids do. Well, I don't think that's very nice. Is Drill shy? Yes, in a way. I don't know. I gotta go now, mama, if we're gonna have the invasion. Now you finish your milk, miss? Who's invading? What? Martians. Invading Earth from up there. Oh, I see. And drilled a Martian? I think so. Here's he's had a very hard time getting here. I should imagine they couldn't figure out a way to attack Earth. How to get in or something. And Drill says they have to do it by surprise and even get help from your enemy. Oh, a fifth column, huh? Uh huh. And all this time they haven't been able to figure out how to attack. Until one day they thought of children. Well, that was bright of them. And they thought of how grown ups are so busy they never look under rose bushes or on lawns. Oh, that's where Drill is now. Under the rose bush. Uh huh.

[Narrator/Announcer]

Where's?

[Character Actress]

With all his friends too. And there's something about kids under 11 with imagination. It's real funny to hear Drill talk now. It must be. You better run along out if you want to have your invasion before dark. Oh, and bath tonight, school tomorrow. You know, Drill says I won't have to take any more baths. Oh, he does, does he? And we can stay up till 10 o'. Clock. Well, your friend Mr. Drill had better mind his P's and Q's or I'm going to call up his mother. I just did. Drill says you're dangerous because you don't believe in Martians. Just like you think. Drill's a kid. Well, he's not. And they're gonna let us run the world when they get in. All of us kids. And I might even be queen. Well, that's nice, dear. Now run along. Mom. What is it, dear? Mom, when the invasion comes, we'll have to get rid of you and daddy. But I'll be sure it won't hurt very much. Well, thanks. Thanks a lot. Hello. Hello, Mary. How are things in New York? Oh, Helen, how nice. Are you in town? Oh no, I'm in Danbury. I was just thinking of you and thought I'd call. Oh, it's long distance though. You shouldn't. Oh, I can afford three minutes. How's Henry? Fine. And Bill? Oh, just fine. What about Mink. Oh, wonderful. Noisier than ever. Oh, she's got a new game now. It's taken the place of Hopscotch Invasion. Is she playing that too? Well, yes. Are yours? Same thing. Some kind of geometric jacks, I suppose. Isn't it a scream? You know, all the kids their age are playing it up here. Timmy's got a crush on some guy named Drill. I think that's what it is. Oh, it must be a new password. Mink likes him too. I didn't know it got to New York. Word of mouth, I suppose. You know, kids, funniest thing. I got a letter from my sister in Boston. She says her kids are playing it too. It's just sweeping the country. Well, I wonder where they learned it. Don't ask me. All I know is what Timmy told me at lunch. Zero hours at five o'.

[Narrator/Announcer]

Clock. When? Today.

[Character Actress]

That's when the invasion's gonna be. Oh, these kids and their imagination.

[Narrator/Announcer]

And they talked a little more. Schoolgirl friends. Casual woman talk. Mrs. Morris was thoughtful. She was thinking of other things. Of adults, of children with imagination, rose bushes, dimensions. She thought of how much she had forgotten about being a child. And she wondered about Mink and all the kids who were at that moment playing Invasion.

[Character Actress]

I will. And to Bill and the kids. Thanks.

[Narrator/Announcer]

Bye.

[Character Actress]

Goodbye.

[Narrator/Announcer]

An hour drowsed by. It was three o'. Clock. There was an occasional hum inside the coolness of the house as a car passed outside. The street was lined with good green and peaceful trees. And all across the city, in other gardens, in other places, children under 11 were excitedly playing a game, talking to rose bushes and grass, lawns, trees and shrubs. Even children in apartment houses high in the air, conferring with potted plants, cactus and ivy. Mrs. Morris finished her housework and went to the kitchen.

[Character Actress]

Oh, hello, dear. Hi, Mom. Can I have a glass of water? Course. I'll get it. PI r squared 27a over 56 to the 7th degree XT 6. What, dear? Oh, nothing, Mom. Oh, here you are. Thanks. How are things going? Huh? The invasion. Oh, that. Yes, that. Almost finished. When everything's right, Drill said we should be ready on time. Five o'? Clock? That's right. How'd you know? Helen called me from Danbury. She says that Timmy's playing it too. Hey, that's keen. I guess all the kids are, aren't they? No, not all of them. Not guys like Jimmy Wood and Bob Wilson. They're growing up and they make fun of us. They're worse than parents. They just won't believe in Drill, they're so smart. Just because they're growing up, you'd think they'd know better. They were little only a couple years ago. We'll get rid of them first. Drill says it's okay to kill them first. I don't like that kind of talk. Do you hear me? I don't like it at all. I mean it. You keep on that way and there'll be no more playing. You'll have to tell Anna to go home. And you'll stay inside until bedtime. I'm sorry. Well, I should think so. Thanks for the water, Mom. Mink. Yes, Ma? What did those. Those numbers mean? What numbers? Those numbers you were saying to yourself before. Oh, that. The other things we have to do to get Grill and his friends out. That's all. Look, dear, why don't you and Anna go down to the drugstore and get some ice cream? You don't even have to use your allowance. I'll pay for it. Haven't got time, Mom. Thanks. Well, I'd never believe I'd hear you say that. I gotta go now, Mom. Oh, wait a minute, Minka. I want you to tell me the truth. What is this invasion silliness? It isn't silly. It's just a game, that's all, Mom. We're just playing an invasion. Excuse me. I gotta get back now. I'll see you later.

[Narrator/Announcer]

It was a game called Invasion. Mrs. Morris's little girl, Mink, was playing it. So was Mink's friend Anna and all the other children under 11. It was called Invasion. And the zero hour was to be at five o'. Clock. Mrs. Morris was disturbed. She wasn't sure why, but there was something. Something about parents shutting ears and eyes to what was happening. And because she was disturbed, she did something she didn't usually do. She called her husband at the office. Hello, dear.

[Character Actress]

Oh, hello, Henry. I'm sorry to bother you, but Ms. Maxon said you weren't busy.

[Narrator/Announcer]

Oh, not too. I should be able to get home early today. Everything all right?

[Character Actress]

Yes.

[Narrator/Announcer]

You all right?

[Character Actress]

I'm fine.

[Narrator/Announcer]

Mink?

[Character Actress]

Oh, she's. Henry.

[Narrator/Announcer]

What?

[Character Actress]

Oh, nothing. I just wanted to talk to you for a minute, that's all.

[Narrator/Announcer]

Listen, are you sure you're all right?

[Character Actress]

Oh, yes.

[Narrator/Announcer]

Mink been getting on your nerves?

[Character Actress]

Not really.

[Narrator/Announcer]

You tell her to behave. When I come home, she and I are going to have a talk. As a matter of fact, she's been a little fresh lately, and I don't think it's good.

[Character Actress]

Well, she's playing outside. She's fine.

[Narrator/Announcer]

Honey, is something wrong?

[Character Actress]

Why, no. I told you, I was just thinking about you and wanted to talk, that's all. Nothing wrong with that.

[Narrator/Announcer]

Not a thing.

[Character Actress]

You go back to your work, dear. I'll see you soon.

[Narrator/Announcer]

All right.

[Character Actress]

What time do you think you'll be home?

[Narrator/Announcer]

Oh, about five. Maybe a little earlier.

[Character Actress]

Five? Oh.

[Narrator/Announcer]

Hey. What? Come on. What?

[Character Actress]

Well, I. I was just thinking. Nothing, really. Just Mink and you and me. Goodbye, dear.

[Narrator/Announcer]

You are okay, aren't you?

[Character Actress]

Yes, I'm fine. Goodbye.

[Narrator/Announcer]

Goodbye. Another hour passed, and it was half past four. The day began to wane. The sun lowered in the peaceful blue sky. Shadows lengthened on the green lawn. Outside, it was quiet, the two little girls more intent than ever upon their endless movement of design and power with the implements before them. Mrs. Morris watched from the window, and she had never known Mink to have such powers of concentration. She had turned on the radio and sat drinking a cup of coffee and turned over her thoughts.

[Character Actress]

Children, children, children love and hate side by side sometimes. Children love you, hate you all in half a second. Strange children. Do they ever forget or forgive the whippings and the harsh, strict words of command? I wonder, I wonder how can you forget or forgive those over and above you, those tall, silly dictators, those parents. Mom. Oh, what is it, dear? Have we got a piece of lead pipe and a hammer? Well, I don't know. They might be in the garage. What do you want them for? We just need them. Well, if you tell me what for, dear, maybe I can. Thanks, Mom. Is something wrong? Grill stuck halfway. If we could get him all the way through, it'd be easier and all the others could come through after him. But can I help? Thanks, Mom. I can fix it. You better get through, Mink. I want you to take your bath before your father comes home. Now he's coming home early.

[Narrator/Announcer]

And Mink, Mink, Mink had disappeared behind the shrubs. And Mrs. Morris knew it was ridiculous to make an issue of it. Besides, what was the issue? Invasion drill. Zero hour. Unaccountably, a cool breeze came up and although normally for that time of year it would have been relief, Mrs. Morris felt a chill. She closed the window. Time passed. A curious waiting silence came upon the street, deepening. Then from the living room, Mrs. Morris heard five o'. Clock. Zero hour. Zero hour. It had come and now it had gone. But was the clock right? And Mrs. Morris, knowing how foolish it was knowing it, went to the phone and dialed.

[Character Actress]

Silly. It's silly. When you hear the tone, the time will be exactly 4:54 and 20 seconds.

[Narrator/Announcer]

4, 54 and 20 seconds. And Mrs. Morris knew that it wasn't as silly as she had thought. Because it wasn't five o' clock yet, not zero hour yet. Then the car drove up into the driveway. Hi. Me. How's it going? Hi, Anna. Hi, Daddy.

[Character Actress]

Bye, Mr. Morris.

[Narrator/Announcer]

Got a kiss for your old man?

[Character Actress]

Haven't got time now, Daddy.

[Narrator/Announcer]

Well, that's a nice thing. What are you doing?

[Character Actress]

We're playing invasion.

[Narrator/Announcer]

Oh, swell. Your mother in the house? Uh huh. Okay. Be good.

[Character Actress]

I will. There are in a few minutes, Daddy.

[Narrator/Announcer]

All right. I'll be ready. Mrs. Morris heard him chuckle and he stepped up the walk to the front door. Mary?

[Character Actress]

I'm. I'm in the living room, dear.

[Narrator/Announcer]

Hi. Our daughter didn't have time for a kiss. How about you?

[Character Actress]

A hard day?

[Narrator/Announcer]

Not particularly.

[Character Actress]

Would you like a cocktail?

[Narrator/Announcer]

Oh, you read my mind.

[Character Actress]

Martini.

[Narrator/Announcer]

Perfect. Anything exciting happen today?

[Character Actress]

No. Oh, Helen called from Danbury. I. I told her she was crazy, but she just felt like calling.

[Narrator/Announcer]

Like you calling me this afternoon. Crazy, huh? What was that all about?

[Character Actress]

Well, I told you, I. I just wanted to.

[Narrator/Announcer]

Hey, incidentally, what's this new game the kids are playing? Invasion. That's a nice, depressing thought. Is she all right? Come to think of it, she looked kind of funny.

[Character Actress]

She's all right. What's the time, Henry?

[Narrator/Announcer]

A couple of minutes after five. Why?

[Character Actress]

No, no, the clock's wrong by your watch.

[Narrator/Announcer]

Oh, I've got two minutes too. I'm probably slow. You got something on the stove?

[Character Actress]

No, I just wondered.

[Narrator/Announcer]

Honey. Hey, look at me. What's the matter?

[Character Actress]

Nothing. Really. No, really.

[Narrator/Announcer]

Mink's been up to something.

[Character Actress]

No, of course not. I guess I'm a little tired, Upset, that's all.

[Narrator/Announcer]

You want to go out for dinner?

[Character Actress]

Oh, no. I've got a steak here.

[Narrator/Announcer]

I'll tell you what, I'll barbecue it. How that be?

[Character Actress]

Oh, fine. What was that?

[Narrator/Announcer]

What?

[Character Actress]

Well, I. I thought I heard something.

[Narrator/Announcer]

Well, I didn't.

[Character Actress]

I. I must have been imagining it.

[Narrator/Announcer]

You are jumpy. Why don't you have a drink? It'll do you good.

[Character Actress]

No, I don't want one. What's the time, Mary?

[Narrator/Announcer]

What is this? Now? I mean it. Something's wrong and I want to know.

[Character Actress]

It's silly. It's so silly. I. I'm on edge, that's all.

[Narrator/Announcer]

Mary, I am. I don't like this. That kid's done something, hasn't she? I'm gonna get her in.

[Character Actress]

No, no, Henry. But please don't. She. She hasn't. It's nothing. At all. I just.

[Narrator/Announcer]

What's that?

[Character Actress]

I. I don't know.

[Narrator/Announcer]

Those kids haven't got anything dangerous out there, have they? I noticed a lot of junk lying around.

[Character Actress]

I thought it was a game. She wouldn't have done it herself. They made her do it.

[Narrator/Announcer]

What the devil.

[Character Actress]

Maybe you better go out and tell them to stop playing now. It's after five. You tell Mink to put off the invasion until tomorrow.

[Narrator/Announcer]

Tell her it is coming from outside. What are they up to? I better take a look. Mink.

[Character Actress]

Mink.

[Narrator/Announcer]

Good luck.

[Character Actress]

Bombs.

[Narrator/Announcer]

Bombs. They're bombing.

[Character Actress]

No, no.

[Narrator/Announcer]

It.

[Character Actress]

It's upstairs. I know it is. In the attic. That's where it is.

[Narrator/Announcer]

Mary. Harriet is not up there. Mary. He ran after her, confused. Not a little frightened. She seemed to know something.

[Character Actress]

In the attic. That's where it is.

[Narrator/Announcer]

Her mind had worked that quickly. Any excuse to get him away from the outside, to get him upstairs to the attic in time. And outside there were more explosions and they could hear the children screaming with delight. It is not in the attic. It's outside. Minx. Out there. What's the matter with you?

[Character Actress]

No, no. I'll show you. Hurry.

[Narrator/Announcer]

Hurry.

[Character Actress]

Get inside. Quick. Now we're safe until tonight.

[Narrator/Announcer]

Are you crazy? Why did you throw that key away?

[Character Actress]

Maybe we can sneak out later. Maybe we can escape.

[Narrator/Announcer]

For heaven's sake, the kid's out there. Do you want her to get clear?

[Character Actress]

No. No, you don't. We've got to stay here. We've got to. It's horrible. We've got to. You've got to stay here with me.

[Narrator/Announcer]

At this point, I don't know how the devil I can get out. Where is that light? Oh, be quiet.

[Character Actress]

Please be quiet. They'll hear us. They'll find us when we please.

[Narrator/Announcer]

Well, who's going to answer the telephone? There's that noise again. It's in this house. Mary, what is this? Mary, what's happening?

[Character Actress]

You know.

[Narrator/Announcer]

Now answer me.

[Character Actress]

Stop it, Mary.

[Narrator/Announcer]

Stop it. Somebody's downstairs. Who's down there?

[Character Actress]

Who? Oh, no.

[Narrator/Announcer]

No, no, no, no, no.

[Character Actress]

Oh, hush, please. Please be quiet. They might.

[Narrator/Announcer]

And between his wife's terror and the electric humming from below, Mr. Morris felt a great fear. They trembled together in silence in the attic. Mr. And Mrs. Morris, parents of a little girl. Then they heard steps coming up the stairs and a voice.

[Character Actress]

Mommy. Daddy, where are you?

[Narrator/Announcer]

And a queer, cold light became visible under the door crack. The strange odor and the alien sound of eagerness in Mink's voice was almost more than they could bear. Each wanted to scream.

[Character Actress]

Mommy. Daddy.

[Narrator/Announcer]

And another sound and the attic lock melted. Make mink, with bright little eyes and tousled hair, peered inside and behind her tall wavering blue shadows, frightful shadows.

[Character Actress]

Peekaboo.

[Narrator/Announcer]

Suspense in which Ms. Isa Ashdown starred in tonight's presentation of Zero Hour. Next week, Suspense will bring you the story of a bomb and the man who carried it to its ultimate destination. We call it the Lunch Kit. Be sure to listen to Lunch Kit next week on Suspense. Suspense is produced and directed by Anthony Ellis. Tonight's script was written by Ray Bradbury and adapted by Mr. Ellis. The music was composed by Leif Stevens and Lucia Morowic and conducted by Wilbur Hatch. Featured in the cast were Parley Bear, Paula Winslow, Eve McVeigh, John Danar and Beverly Hanley. Sound patterns were by Bill James and Ray Kemper. This is the CBS Radio Network. And now, tonight's presentation of radio's outstanding theater of thrills, Suspense. Tonight we bring you transcribed a story of a prescription filled in error. We call it To None, A Deadly Drug. So now, starring Harry Bartel, here is tonight's suspense play To None, A Deadly Drug. Sometimes it can happen. A prescription handed a druggist a slip up somewhere. A dead person. When it does occur, it's news because it is almost unheard of. A druggist is a careful man, tempered in the tough crucible of pharmaceutical college. Filtered by a board of examiners sworn as is a physician to protect those he serves from wrong and harm. It almost never happens, but when it does, it can ruin a man. And it can ruin his wife. Manxville is on U.S. 99, near the junction of three main arteries. It's a small town, but it supports two drugstores. One is Foster's Pharmacy. It's owned and run by a young ex GI pharmacist named Cal Foster. Next to his wife Marion. He loves his pharmacy more than anything on earth. Cal has a soda fountain, but he lets a kid named Joe handle that. Cal's heart is with the gleaming scales and the sparkling bottles. That's where he was the evening it happened. Typing a label for a prescription while Marian waited impatiently.

[Character Actress]

Cal.

[Narrator/Announcer]

Mm?

[Character Actress]

You promised. It's 6:30 and you promised.

[Narrator/Announcer]

Okay, honey. I shaved. Did you get my jacket from the cleaners?

[Character Actress]

Yes. It's a half hour drive to the club and it's 6:30 already. Are you listening?

[Narrator/Announcer]

I'll just be a second. Mrs. Peabody lost her digitalis bottle. She's about to have a heart attack worrying about it.

[Character Actress]

Oh, she's as healthy as a horse. And you said you'd be ready at 6:30.

[Narrator/Announcer]

We'll just deliver this on the way to the Dan's. Oh, no, it's not far. And she's a nice old gal for a hypochondriac. Look, why don't you hang up the clothes sign on the door? I'll have another customer for sure. I'll just stick this label on her bottle and put on my jacket. Oh, too late.

[Character Actress]

Tell her you're closed.

[Narrator/Announcer]

I can't do that, darling. Yes, ma'. Am.

[Character Actress]

Hello. Can you fill a prescription for me for my son?

[Narrator/Announcer]

Well, I think so. Let's see. Tippy Smith Elixir. Phenobarbital tincture. Belladonna. What's the matter, fella? Stomachache?

[Character Actress]

No, I'm okay. He isn't either. He just doesn't like medicine, that's all. But the minute we get back on the road, he'll be miserable.

[Narrator/Announcer]

Well, this will make him feel better. A San Francisco doctor wrote this.

[Character Actress]

Yes, I meant to have it filled there, but I gotta wire. My husband's new back from Japan. He's a Navy man. And what was? Packing the car to go and meet him and getting tip out of school and everything. I forgot. And now he's got the stomach ache again and I'm trying to make another hundred miles tonight.

[Narrator/Announcer]

Well, we'll fix him up.

[Character Actress]

How much will it be?

[Narrator/Announcer]

Let's see. About $1.75. Just take a minute.

[Character Actress]

Gosh, he's a rugged guy. A kid has to be rugged for this sort of life. He's lived in half a dozen towns since he was born. No wonder he gets a stomachache. Well, he must get bored on the road. Oh, he sure does. So we listen to the radio and think up riddles and name cars and he knows every make of car on the road. Where are you headed now? Oh, the ship's coming in the center. Tippy, leave the comic book alone. You have a dozen in the car. Okay. Hey, Mom? Yes? I don't really need the medicine. I feel all right. Well, you're going to take it just the same.

[Narrator/Announcer]

All right? Now, just make up a label. You can get it back on the road. Let's see. 15 drops of glass of water every four hours. 7 and 11pm 3 and 7. You can start now if you want. It's almost seven. And then you won't have to stop on the road for a glass of water.

[Character Actress]

Oh, that's a good idea. I don't think it is. It isn't time anyway. Well, it's almost time. Oh, no. Hey, mom, while we're driving, we can play the game like the other time. You know, when I lose, I'll take the medicine. Oh, all right.

[Narrator/Announcer]

There we are. Oh, excuse me just a minute. Hello?

[Character Actress]

Oh, that horrible phone. I'm trying to get him to a dinner dance for the first time in two years. It's like getting a date with Marlon Brando. Well, at least your husband's home night. I know. Must be awful. Oh, here, I'll put on the label and you can go. How much did he say it would be? 175 out of two, as they say. Oh, and it looks as if Tippy's brought a comic book after all. With his dirty hands all over it. The comic book. Tippy's on me. Oh, thank you.

[Narrator/Announcer]

Thanks.

[Character Actress]

Thanks a lot. Good luck. Have a good trip.

[Narrator/Announcer]

Yes, Mrs. Beabock. I'm sorry. And I won't forget to drop it off. Goodbye. Oh, what a character. Where's our customer?

[Character Actress]

I gave her the medicine and she left.

[Narrator/Announcer]

You gave it to her? What do you mean?

[Character Actress]

Well, I sold it to her. I mean, I pasted on the label and sold it to her.

[Narrator/Announcer]

You what? Look, Marion, don't you ever, ever label a bottle in this store. Do you understand?

[Character Actress]

Well, Cal, don't look at me that way. That gold, my eye.

[Narrator/Announcer]

I mean it, Marion.

[Character Actress]

I'm sorry if I usurped any of your prerogatives. Pasteur. I didn't know it took a registered pharmacist to lick a label.

[Narrator/Announcer]

Well, in my store it does. Okay, let's forget it. Where's my jacket?

[Character Actress]

In the back here. Are you sure you don't want to wear your white coat so people will know you're a druggist? A pharmacist, I mean.

[Narrator/Announcer]

All right, that's enough of that. Okay, all set. Safe lock, files closed. Lights out. Let's roll, doll.

[Character Actress]

Has the stern disciple of Hygeia forgotten something?

[Narrator/Announcer]

Ooh. Mrs. Peabody's digitalis. She'll murder me. Just a second, Marion. What? What bottle did you give that woman?

[Character Actress]

What is it, Cal? What do you mean, that woman?

[Narrator/Announcer]

We've got to stop her. Where was she parked? Where'd she go?

[Character Actress]

What is it?

[Narrator/Announcer]

The bottle that's left on the sink. It's the kid's medicine. You gave her the digitalis. Now where are you?

[Character Actress]

No, Cal, I took the bottle that was in there.

[Narrator/Announcer]

There were two bottles there, Marian, and two labels. The belladonna's left and the digitalis label. Do you understand?

[Character Actress]

Oh, Cal.

[Narrator/Announcer]

Did she say where she was heading?

[Character Actress]

To meet her husband to meet his.

[Narrator/Announcer]

She. I know, but where?

[Character Actress]

I don't think she said think.

[Narrator/Announcer]

Think what?

[Character Actress]

She started to tell me. And then the boy, Tippy, it was.

[Narrator/Announcer]

Come on, come on.

[Character Actress]

He picked up a magazine. I can't remember, Gal. Maybe she didn't say.

[Narrator/Announcer]

Oh, Lord. Digitalis.

[Character Actress]

If he takes it, what'll it do?

[Narrator/Announcer]

And that dosage will probably kill him.

[Character Actress]

Mom? Yes? You think dad will know me? What do you mean, will dad know you, Willie? Well, of course he'll know you. Why wouldn't he? You said once he wouldn't. I didn't. Well, that time he called from Japan, you said he wouldn't know me now. Well, you did. Oh, Tippy, that's just something people say. Of course he'll know you. Oh, and you and he have lots of fun together before he leaves again. Turn on the radio. Okay.

[Narrator/Announcer]

And for Marge and Jim and the guys and dolls at the Maxville Driving and Kids. Now, you watch that movie now, you hear me? And for the camps in the upper valley. And for Matilda, from her mother on her 16. For sweet 16. I mean, sweet 16 to you. And for Donny.

[Character Actress]

Oh, we don't want that, Pippy. Try something else.

[Narrator/Announcer]

Just gonna play the kind of crazy wax. That's what it's gonna do. We got a real good one for you. So, from Al, your DJ pal, and krnx, the voice of the Valley. Here we are with Perfidia.

[Character Actress]

How's your stomach? It doesn't hurt a bit. I feel just fine. Boy, it's a nice night, isn't it?

[Narrator/Announcer]

Mm.

[Character Actress]

Do you like to drive, Mom? Uh huh. When I get older, I'll help you with the driving. Jimmy drives for his folks sometimes. He's three years older than you. And anyway, that's too young. Look at that lake over there. Mom. Tippy.

[Narrator/Announcer]

What? Stop it. What?

[Character Actress]

You're trying to make me forget about the medicine, aren't you? You said we could play the game before I had to take the medicine. Oh, all right, we'll start now. How many out of state licenses? Five. We won't see five in an hour.

[Narrator/Announcer]

Two.

[Character Actress]

Oh, no, you'll see two right away. Three. All right, now when I see three, you have to take your medicine. And what do you know? You see that car ahead?

[Narrator/Announcer]

Yeah.

[Character Actress]

Oh, mom, that isn't fair. Not the first car. We didn't really start yet. Oh, yes, we did. See. Ohio. One down, two to go. No more out of states.

[Narrator/Announcer]

Uh. Oh.

[Character Actress]

That doesn't look like a California plate, to me, is it? Oh, yes, it is, Mom. Oh, you're right. Well, still two to go. Oh, the things I have to do to make you take a perfectly harmless medicine. I don't like that junk. I'm beginning to believe that.

[Narrator/Announcer]

All right, Art, now let's stop that record. Our goofy engineer, he put the. I wanted Artie Shaw's for video. Which one's that? Is that that Perez somebody or something? It sounded like a free holy spin in there or something. Well, anyway, folks, for you guys and dolls, this is Olad, your DJ pal. And I've got time for a couple of more phone requests here before the 7 o' clock news. Here's a call. One of the buttons there. Let me get the. Hello? Hello? Who's this?

[Character Actress]

Mom?

[Narrator/Announcer]

Yes?

[Character Actress]

How far do we have to go tonight? Oh, about 100 miles. When will we get to San Diego? Tippy, what's wrong? Oh, nothing. Does your stomach ache again? Oh, no, honest, Mom, I'm okay. It doesn't hurt at all.

[Narrator/Announcer]

You what?

[Character Actress]

I want us to play the game. It does hurt, doesn't it? Oh, I think we better stop at the next place place and give you those drops.

[Narrator/Announcer]

You are listening to To None, A Deadly Drug. Tonight's presentation in radio's outstanding theater of thrills, Suspense. Listen in twice every weekend for exciting dramas of Gunsmoke on CBS radio. Listen Saturday and the daytime when United States Marshal Matt Dillon fights to hold the frontier against spoilers and outlaws. And listen again Sunday night on most of these same stations for an entirely new story of Gunsmoke in America's early West. Make Gunsmoke A Listening habit and you'll readily appreciate the sentiments of critics who have given this thrilling realistic program their generous applause. Gunsmoke at the star's address. And now we bring back to our Hollywood soundstage Harry Bartel, starring in tonight's production, To None, A Deadly Drug. A tale well calculated to keep you in suspense. There are certain things a druggist learns in the school of pharmacy. Certain things that have nothing to do with chemistry or toxicology or physiology. He learns the code of ethics and he reads the oath of Hippocrates. And he knows that it applies to him as well as to the physician. To none will I give a deadly drug, even if solicited, nor will I counsel such. To none A deadly drug. Yes, there are certain things a druggist learns in the school of pharmacy. But no one tells him how to track down a woman with a common name driving an unknown car on any one of three heavily traveled routes toward an unknown destination. For that, he gets the sheriff no, she didn't say where she was heading. You're sure she didn't tell your wife while you were in the back there? Marion can't remember. Is she okay? She kind of just sits there. A little shocked maybe. Foster, I just don't see how you expect us to stop this woman. We got no license number, no make a car. Last name is Smith. You don't know where she's heading. And with the traffic that we have here, we've got to stop her. What time is it? 10 to 7. You said the first dose was at 7. That's right. Hello?

[Character Actress]

Mr. Foster?

[Narrator/Announcer]

Yes.

[Character Actress]

Ready on your call to San Francisco.

[Narrator/Announcer]

Oh, thank you. Hello, Dr. Peters? This is Dr. Peters. Doctor, this is Cal Foster. I got your number from a prescription. I'm a pharmacist in Manxville. Foster's Pharmacy. Yes. You treated a child named Tippy Smith, about 12 or 13. A Navy man's son. You wrote a prescription for Belladon and phenyl barbital. I think I recall. Go ahead. Well, my wife. I made a mistake. He got digitalis instead. The same dosage. Digitalis. A well built, rugged boy, blonde hair, pretty mother. Yes, that's right as I remember. Is he alive? We can't find them. They're on the road. That's why I called. Well, I'll do anything I can. Did you tell us in that dosage, do you know anything about them? Where they might be going to make a car? No. Well, they were new in the city their first visit to me. Look, I'm at home, but her address will be in my files downtown. Just a minute, please. Sheriff, if we get her address, can we find her license number? Well, sure, from Sacramento if it's a California license and if it's current. But it'll take time. It's too long and that's for sure. We've got to try. Doctor. Doctor, will you get her address? I'm on my way. I'll call back. I don't know what we can do until we find that license number. Can't you set up roadblocks? Call the state highway patrol? Where are we going to set up those blocks? Well, she's only been gone 20 minutes. How far has she driven? 12, 15 miles maybe. But which road? We don't even know where she's heading. Husband's ship was coming. And where would the navy ship come at? Oh, that's easy. San Diego, Long Beach, San Pedro, Port wanaimi. She's on 399 or 99 or maybe 466. Now, we don't know, so I call the highway patrol for an all points bullet. I want a roadblock for a woman and a kid. No car description, no license number. We don't know what road they're on. They're gonna laugh at me. It's too late anyway, Foster. We only got three patrolmen who could even get in the vicinity. You gotta forget the roadblock. Well, we've got to do something. We can't sit here and let this kid kill himself in five minutes. All right, what do we do?

[Character Actress]

They're probably playing their game, Mrs. Smith and Tippy.

[Narrator/Announcer]

What?

[Character Actress]

Their game.

[Narrator/Announcer]

What game?

[Character Actress]

They were going to play a game before he had to take his medicine. When he lost the game, he had to take it.

[Narrator/Announcer]

Foster, you better do something for your wife. All right, now, look, Marion, snap out of it, do you hear?

[Character Actress]

They were going to play a game. He gets bored on the road, so they play games and listen to the radio. And they do what? Play games and listen to the radio.

[Narrator/Announcer]

Sheriff, the radio. Krnx. We can call him. Yeah, yeah. You know, that might work at that. That's the only station most people can get in the valley on their car radios anyway. Yeah, give me the phone. Come on, come on.

[Character Actress]

Operator, give me krnx, the radio station.

[Narrator/Announcer]

That's right. Quick.

[Character Actress]

You can dial that number, sir.

[Narrator/Announcer]

Look, this is Sheriff Gibson. I haven't got time now. Get it.

[Character Actress]

Just a moment, sir. The line's busy, sir. It's their disc jockey. He takes phone requests. It's always busy when he's on.

[Narrator/Announcer]

Look, this is an emergency. I want you to break in.

[Character Actress]

I'll try again, sir.

[Narrator/Announcer]

Hello, Is Al your DJ pal? What's your musical pleasure? This is Sheriff Gibbs. I want you to make an announcement. Oh, yeah, sure. It's Sheriff Gibbs. Sheriff Gibbs, kids. And he wants to make an announcement. You. You running for sheriff again, sheriff? Listen, joker, this is Gibbs and it is an emergency. Oh, yeah, yeah, I know. He says it's an emergency. Cats. There's one in every crowd, kids. Somebody's. Somebody's always got to get in the act. Now, look, fella, just let me ask you. Somebody kidding? Come on, now, I got here. Hello, Al, will you shut up? This is Cal Foster at the pharmacy. I just sold the wrong medicine to a woman named Smith for her son. They're on the road now. We can't contact them. He's supposed to take it at 7. We think they might be listening. Are you serious? Of course I'm serious. I want you to announce that the medicine Just sold to a Mrs. Smith at Foster's Pharmacy in Manxville is the wrong medicine. It's deadly. She's to call me immediately. Well, yeah, yeah, I got it. But listen, if you think I'm sticking my neck out for a lawsuit on account of a phone call, you're nuts. But you're not. How do I know you're Foster? I sold you $10 worth of wheat germ last week. You remember a wheat germ? Yeah. Yeah, I guess you. Well, kid, I guess you're kind of curious. You heard one side of a pretty strange conversation. Now then, your old pal is gonna stick his neck way out and make an announcement. If I'm not on the air tomorrow, it means I was wrong. Guy that called first really was the sheriff. Sheriff of Manxville, I hope. Because if he asked me to make an important announcement, and if it's a bonus.

[Character Actress]

For heaven's sake, find some music, will you? Anything silly chatter or turn it off. Okay.

[Narrator/Announcer]

About a lady named.

[Character Actress]

Hey, where are we? Oh, somewhere on US 99. Going to meet your dad, man. What do you think I see on that car up ahead?

[Narrator/Announcer]

Oh, no.

[Character Actress]

It's a California plate. Oh, no, it isn't. It's orange and black. It's New York. That's two plates, one to go. Go slower, will you, Mom? Slower, so I won't catch up on any more out of state cars.

[Narrator/Announcer]

Mm. Mm.

[Character Actress]

You're gonna take your medicine.

[Narrator/Announcer]

Well, Foster, it's almost seven. We'd have heard by now. I guess they weren't listening to the radio. I guess not. That announcement, that took guts. I sure hate to see it get wasted.

[Character Actress]

I gave him a comic book. I did call it. I didn't mean to hurt him.

[Narrator/Announcer]

Darling, nobody thinks you meant to hurt him. Here, sit down now. Take some of this. It'll make you feel better.

[Character Actress]

No, no, I'm all right. I've got to think.

[Narrator/Announcer]

I've got to think. Maybe she didn't say where she was going.

[Character Actress]

Tippy was looking at the magazine. I was by the cash register. She was about to tell me, and then she saw Tippy. The ship's coming into. Into San. San San something.

[Narrator/Announcer]

San Pedro, San Diego. She'd take 99, either one. Well, can you send out that information for a roadblock? Yeah, if there's a highway patrol officer on 99, he might try. Without a description. But one officer trying to handle all those cars? I don't know. Well, how about the places she'd stop? She has to get water for the kid for the medicine. Where would she stop? There are 10 restaurants to a mile down there. She's probably around Starrett by now. Let's see. How could we tell which one she'd pick? The kid might have taken it by now, anyway.

[Character Actress]

Mom? Yes? Suppose I'm well by the time you see the other license plate. Suppose my stomach doesn't ache anymore. Yes. Do I still have to take it? You sure do. You don't want to be sick to meet your dad, do you? Uh, Mom?

[Narrator/Announcer]

Hmm?

[Character Actress]

Look what I found in the glove compartment. Your old earring. Oh, that's interesting. Look at her, Mom. Look at it. What's going on here? Why the sudden interest of my old jewelry? Oh, nothing. Why, you little sneak. That car that passed, it has a Texas plate. Well, almost fooled you. Okay. It's the medicine for you. It's past seven anyway. I need a glass of water for it. Oh, we'll stop at a restaurant. There's one. Oh, it looks pretty scroungy. Look for a nice one. Okay, I'll look. I'll just bet you will. Name. Name the restaurant, Sheriff. All of them, please.

[Narrator/Announcer]

Well, let's see. There's Tepet's. And then just about a block, Cappy's. Lasky's. The AM Cafe.

[Character Actress]

I remember that. Oh, she wouldn't take a boy in there. It's dirty.

[Narrator/Announcer]

Yeah, past that. I think it's a green bowl. Yeah, in the Valley cafe. Look, there's 50 of them.

[Character Actress]

Please, please.

[Narrator/Announcer]

Further on, let me see. I think that. What's it, Merritt's?

[Character Actress]

Yeah.

[Narrator/Announcer]

And then Tiny's.

[Character Actress]

Oh, I remember Tiny's. The big place with all the glass and the big neon chicken on the highway.

[Podcast Host]

Yeah, that's the one.

[Narrator/Announcer]

That's the one.

[Character Actress]

Okay, I'll. Give me the phone.

[Narrator/Announcer]

Oh, honey.

[Character Actress]

Well, that's where I'd stop. It is. Operator? Yes, ma'. Am. How about some ice cream after the medicine tip? Okay. I want chocolate, please. All right. And what would you like? Oh, a dish of vanilla for me and a glass of water from my boy's medicine, please. Oh, I'm okay now, Mom. Honest. Just like my little boy. They all hate medicine. Oh, this one's impossible. Thank you. 15 drops. You want to count them?

[Narrator/Announcer]

Tip.

[Character Actress]

I might get an extra one in by mistake. Oh, no. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15. Okay, pal. There it is. Mom.

[Narrator/Announcer]

Mm.

[Character Actress]

It smells funny. You drink it, or I'll tell your dad what a baby you were about it. All right, stop. Stop it. What? What in the world? I'm Sorry.

[Narrator/Announcer]

Sorry.

[Character Actress]

Are you Missy Smith? Yes.

[Narrator/Announcer]

What?

[Character Actress]

Take. Take the phone. Take the phone. Please. The phone. But how?

[Narrator/Announcer]

Hello?

[Character Actress]

Oh, no. No, it couldn't be.

[Narrator/Announcer]

Oh.

[Character Actress]

Oh, yes. Yes. Thank you. Mom, are you sick?

[Narrator/Announcer]

Sick?

[Character Actress]

Oh, maybe a little. Maybe just a little bit.

[Narrator/Announcer]

It's news when it happens. A drugstore mistake. Because it almost never does happen. Stories of mistakes taken prescriptions in the profession of pharmacy are practically non existent. When it does occur, it can ruin a man. Because this profession is hard on its own. When one falls short, it can ruin a man or it can mold him.

[Character Actress]

What'll happen to this cow, this store? It's your life.

[Narrator/Announcer]

I don't know. I started from scratch once before.

[Character Actress]

I know, but it's not fair. It wasn't your fault at all.

[Narrator/Announcer]

It's my pharmacy, darling. Anyway, don't worry.

[Character Actress]

Will they take your license?

[Narrator/Announcer]

I don't know yet. That isn't what matters. It's the people.

[Character Actress]

The people?

[Narrator/Announcer]

The people we know. My customers. They come in blindly. They put their lives in my hands. That's what'll hurt even if I keep my license. Hello, Mrs. Smith. Where's Tippy?

[Character Actress]

In the car. He's tired.

[Narrator/Announcer]

I don't know what to say.

[Character Actress]

There's nothing to say. And there's nothing for you to say either, Mrs. Foster. I didn't really come all the way back to talk.

[Narrator/Announcer]

Why did you come back, Mrs. Smith?

[Character Actress]

Why? Well, you could give me Tippy's medicine.

[Narrator/Announcer]

Suspense, in which Harry Bartel with Charlotte Lawrence and Eve McVeigh starred in tonight's presentation of To None, a deadly Drug. Next week, the story of man's assault against nature. We call it the Mountain. That's next week on suspense. Suspense is produced and transcribed by Anthony Ellis. Tonight's script was written by Hank Searles. The music was composed by Rennie Garaghan and conducted by Wilbur Hatch. Featured in the cast were Virginia Eyler, Sami Ogg, High Aberbach, Larry Thor, Jack Crucian and John Stevenson. When people are in trouble, what do they do? If the trouble is serious and they want help fast, they call the police. Every Friday night over most of these same stations, CBS radio picks up the threads of a startling story of people in trouble who call the police. And just as often of police who call on people seen to be in trouble. Working out of the 21st Precinct, there's fast moving drama and intimate glimpses into the dangerous as well as human side of police work. Friday nights on CBS Radio when you're invited to hear the 21st Precinct. SAM SA and now tonight's presentation of radio's outstanding Theater of Thrills, suspense. Tonight we bring you a transcribed story of a man who thought the best way to commit murder was to plan it first. We call it Variations on a Theme. So now, starring Peter Harley Bear, here is tonight's suspense play, Variations on a Theme. Dear old girl, your head. Your head is bleeding. Hello? Who? Oh, no. No, she isn't here. Well, this is Mr. Milford. Oh. Oh, Mrs. Wadwood. How are you? Oh, fine. Just fine. No, she left this morning. I'm taking the train this afternoon. No, the. The kids aren't going till Thursday. I imagine so. All right, I'll tell her you called. Oh, I'm sure she'll write. Goodbye. Joe. Joe, can you hear me? That was Mrs. Watwood. I told her you left this morning, but that old Harrison's gonna miss you. But I won't. Come to think of it, not many people are gonna care one way or the other. You're just a habit, Joe. A bad habit. There, that hurt your ears, Joe? That's what I've had with from you yapping at me for the past 20 years. Just banging on my ears. Bang, bang, bang. I hope you're comfortable in there, dear. You've got a long trip to take. It had taken me five years to work it out and a couple of minutes to do the thing. It was the morning we were to go up to the cabin for a month. Beautiful Tuesday morning, July. Warm, sunny. I had the trunk all ready for her. She was finishing packing in the bedroom and, as usual, nagging, griping.

[Character Actress]

Herman. Herman, did you pack your hairbrush?

[Narrator/Announcer]

Yes, dear.

[Character Actress]

Oh, I don't know why you want to take all that fishing tackle. You never catch any fish anyway. What time they coming for the luggage?

[Narrator/Announcer]

One o', clock, I told you.

[Character Actress]

Oh, I don't feel right taking off and leaving the children to follow if anything. Herman, for heaven's sake, what are you doing with that trunk? We don't need a trunk. Now, you get that thing put away.

[Narrator/Announcer]

Ah.

[Character Actress]

Oh, it's all dusty. Look at my nice, clean room. What are you doing with that trunk, Herman?

[Narrator/Announcer]

I need it to pack, dear.

[Character Actress]

Have you gone out of your mind? We are packed.

[Narrator/Announcer]

No, not quite. Joe, I forgot something.

[Character Actress]

Now, you're not taking another thing.

[Narrator/Announcer]

Oh, yes, I am. Oh, I. I wanted to do that for a long time. She wasn't dead. I didn't hit her hard enough for that. Just out like a light. I taped her hands behind her back, folded her up nicely and taped her ankles particularly. Oh, particularly. I enjoyed putting 2 yards of electrical tape over her mouth. She came to just as I got her in the trunk. You should have seen her eyes. Just before I put the lid down. I told her what was going to happen. You've never looked better, dear. Now, don't you worry about a thing, because I have taken care of everything. You're going on the train with the rest of the baggage. And when we get to Pineycrest, old man Butterfield will haul you out to the cabin. And then tonight, when it's nice and dark, I'm going fishing, dear. And I'm going to put you in the boat, take you out of the middle of the lake and drop you down. Is it metal? Tranche. It'll sink. If you'd ever listened long enough to hear what anybody else was saying, you might remember that they have never found the bottom in that lake. Oh, you're thinking that Mr. Butterfield will wonder where you are, why you haven't showed up. That's what you're thinking, isn't it? Well, I'm going to be worried. See, I put you on the train this morning and had some work to clean up in the office, so I had to take the next one. But I'll figure you stopped off to see. See your mother in Greenwood. You said that you might remember. You. You talked to her the other night and said you might. There were two witnesses. That's sickening. Mrs. Dolman and your dear girlhood friend Louise. Their husbands had any sense, they'd murder them, too. And besides, even if anybody does suspect anything, corpus delicti, you know, just find the body and nobody's going to. Ah, it's worth taking a chance, dear. Have a nice trip. Oh, incidentally, in case you're wondering why I didn't kill you just now, I want you to have time to think for the next three hours. Go through a little what you've put me through for the last 20 years and keep your big mouth shut. I made some coffee and waited for the expressman. Every once in a while I'd creep up, quiet as a mouse, go over to the trunk and give it a kick right where her ear was. And every time I did it, I felt a year younger. At one o', clock, right on the nose. Mr. Milfin? That's right. You've come for the luggage. Yes, sir. Well, it's all there. Suitcases, trunk, fishing tackle. Oh. Gotta do a little fishing, huh? I sure am. The trunk's pretty heavy. Oh, Would you like me to give you a hand? Oh, no, no, that's all right. I've got the dolly. Right. Okay, Here we go. Oh, boy, that. That thing really weighs. Yeah. Well, it's all right. There's nothing breakable in there. It is a good, solid trunk. They don't make them like that anymore. I guess not. Well, I'll put the rest of the stuff on top of the trunk. All right. Be careful of my tackle, that's all. I know what you mean. Okay. Is that it? Yep, that's it. One trunk, three suitcases, fishing tackle. Will you sign here, please? Sure. There you are. Thank you. What time will they be at the station? Oh, about 20 minutes. Oh, fine. I'm catching at 2:00'. Clock. Oh, they'll be there. That's fine. Thanks a lot. Oh, don't mention thanks again. Oh, have a good trip. Catch a fish for me. I will. Well, that's that. I went in the kitchen, had another cup of coffee and didn't wash the cup and saucer or the coffee pot. I didn't have to. And there wasn't anybody to tell me I was messing up the kitchen. It was about 10 after 1 when the doorbell rang again. Mr. Milford, can I use your phone? Well, what's the matter? I can't get the pickup started. It's that distributor again. I told him at the garage. See here, I've got a train to catch. You. You've got to get the luggage to the station. I'll have them send out another pickup. It shouldn't take more than 15 minutes. I'm awful sorry. Well, couldn't you fix it? Try again. I just can't miss that train. I've tried, Mr. Milford, believe me. All right, I suppose you'll have to. But please tell them to hurry, will you? Sure. Dog on distributor. I told him. I told him. Sure hate to put you out, Mr. Milford. Hello. Let me have the routing desk. Okay, I'll wait. Oh, Mr. Milford, it never fails when you're in a hurry, it never fails. Do you think it's safe leaving the things out there? Maybe you ought to bring them in. Oh, no, no, no, it's all right. It's all right. As soon as I'm through, I'll go out and sit in the pickup. Say, look, it's almost 1:15. Don't you worry. We'll get you stuff there on time. Come on, come on. On the phone. Hello? Hey, what's happening, honey? Well, I got a customer here who's got to catch a train. My truck's broken down. Well, he says in 45 minutes. Okay, okay. Oh, boy, that's some service. I work for them, mister, and it's a good job. But I tell you sometimes, boy. Oh, for heaven's sake.

[Character Actress]

Hello, Herman. Jo still here?

[Narrator/Announcer]

No, no, she. She's gone, Louise. She caught the 11 o' clock train.

[Character Actress]

Oh, that's funny. She said she was going to stop by for a minute.

[Narrator/Announcer]

Well, she was late. Listen, I. I can't talk now. The expressman's here. Why?

[Character Actress]

Is that all your luggage on the truck?

[Narrator/Announcer]

Yes. Yes, it is.

[Character Actress]

Oh, I think that's very sensible, taking the trunk. I told Joe she ought to. Things don't crease so much. Nothing annoys me more than having all my nice summer things all creased when I take them out of the suitcase.

[Narrator/Announcer]

You're gonna have to excuse me, Louise. I'm trying to get this expressed.

[Character Actress]

I'm nervous, Herman. Goodness, you make the body nervous being so nervous. You men, you enjoy Jack. I'll bet Joe did all the packing. And all you have to do is see it gets to the station. You men, honestly. Talk about nervous. When are Julie and William going up?

[Narrator/Announcer]

The day after tomorrow.

[Character Actress]

Oh, yeah, that's right. They're spending a couple of days at the beach with the Buford kids.

[Narrator/Announcer]

Huh?

[Character Actress]

Honestly, I don't know how you let him go there alone. I've heard. Well, there's been talk of pretty wild parties. Of course, it's none of my business.

[Narrator/Announcer]

Thanks for stopping by. L. Louise. Goodbye.

[Character Actress]

Well, I think you're being very rude, Herman. I think you're being very rude.

[Narrator/Announcer]

What did they say? Well, it's nothing to worry about, Mr. Milford. The other pickup will be on its way in a couple of minutes. Oh, my. Look, it's 20 past 1. Now, you just take it easy. I'll go out and see if I can't get that pile of junk started. You just take it easy. You'll make it all right. Now remember, take it easy. Darn it, Louise, I could have killed her. No, let Jack kill her. I had my own problems. I. I tell you, those women, she would notice the trunk. Oh, well, that wouldn't mean too much. I had the other one, a duplicate, already up at the cabin to bring back. Nobody'd seen me take it there. I was safe on that. I don't mind telling you, I was a little nervous waiting for that truck to come. Of course, there was some. Some consolation. Sun was nice and hot, shining right on the trunk outside. Joe must have been roasting nicely. Just like that lamb she was always cooking every Saturday for 20 years. Roast lamb. She Knew I hated it. That's why she made it. No more roast lamb ever. Ah, the tractor.

[Character Actress]

Hi, dad.

[Narrator/Announcer]

Hi, Popovich. Julie. William, what is. What are you doing home? Oh, Mac. Buford got sick. Appendix or something. Real square. We all got thrown out. No beach party, Nothing.

[Character Actress]

So we decided to go up to the cabin with you.

[Narrator/Announcer]

Yeah. We put our suitcases on the truck outside, and we're all set. Let's go, Pop. You are listening to Variations on a Theme. Tonight's presentation in radio's Outstanding Theater of Thrills, Suspense. You can't expect the rest of the world to know how strongly you favor. Our democratic way of life. Unless you tell them. And you can tell them the resounding truths about freedom. By lending your support to the Crusade for freedom. Yes. $1 sent to Crusade for Freedom. Will pay for a minute of truth on Radio Free Europe. Send your truth dollars to Crusade for Freedom. Care of your local postmaster. That school. Crusade for Freedom, care of your local postmaster. This has been a public service message from CBS Radio. And now we bring back to our Hollywood soundstage. Parley Bear. Starring in tonight's production. Variations on a Theme. A tale well calculated to keep you in suspense. I knew they'd be better off without her, but what could I say? Kids, I got your mother outside in the trunk. I'm gonna drop her in the lake when we get up to the cabin. They like me. Maybe they like me better than her. But she. If she was their mother, they might be sympathetic. Because she nagged them almost as much as she did me. Still, murder. I didn't think they'd go for that. So of course, I didn't tell them. But I was in a mess. How was I going to get rid of her with the kids around? Well, they were all excited to get going and called a taxi. And by the time it got to the house. The other express truck had arrived and taken off with the trunk and the cases. We made it to the station with five minutes to spare. I guess I'm a fatalist. What's done's done. What's to be is to be. I figured I'd get rid of the kids long enough when we got to the cabin to take care of Joe. As we walked along the platform past the baggage car. I saw them loading the trunk. I must admit, I got a kick out of the way they banged it around. Funny how you get a kick out of something like that. You want the sports section, Pop? Hmm? Oh, no, thanks. I read it.

[Character Actress]

You look tired.

[Narrator/Announcer]

I do?

[Character Actress]

You need a good rest.

[Narrator/Announcer]

Right you and me'll do some fishing. Maybe this evening, huh, Pop? Well, I don't know. Maybe.

[Character Actress]

You know Mother. She'll have a million things for us to do when we get there. I can hear her now.

[Narrator/Announcer]

Ah, let her stew. It's vacation time.

[Character Actress]

How was she this morning, dad?

[Narrator/Announcer]

Oh, all right. Her usual self. Your mother's a rather nervous woman, you know.

[Character Actress]

Nervous, Pop?

[Narrator/Announcer]

You know, this year I've been studying some psychology and. Well, Pop, she's your wife and our mother. But boy, if I've ever seen a psychotic. That's it. No, no, no, no. You. You really shouldn't talk about your mother that way.

[Character Actress]

Oh, dad, sometimes I wonder how you put up with it.

[Narrator/Announcer]

I'll bet right now she's complaining all to herself. It's either too hot or too cold. Yes, I can. I imagine it's the heat more than the cold right now.

[Character Actress]

You know, I hope I find a man like you to marry. The patience of a saint he'd need.

[Narrator/Announcer]

To be if he married you.

[Character Actress]

Oh, hearty. Haw, haw.

[Narrator/Announcer]

Nah, nah, nah. Don't quarrel, children. Hey, Julie, you remember last year, that fellow, what was his name? Well, you remember, he was at the. Something was bothering me. I mean, aside from the fact that my wife was doubled up in a trip a few cars away from where we were sitting. It had been bothering me ever since we left the house. And suddenly I knew what it was. The heat. The heat. You know what happens to tape when it gets warm? Wet. Particularly if it's in contact with flesh. Well, I can tell you, it gets loose. And I had a horrible vision of that electrical tape over Joe's mouth slipping. Oh, I could almost hear Dad. I felt the pretty warm myself.

[Character Actress]

Dad. Dad, are you all right?

[Narrator/Announcer]

Oh, I was daydreaming. Very Freudian, Pop. Very Freudian. Yes. Look, I. I feel a little restless. I'm gonna walk up to the smoker. Hey, swell. We'll all go. Well, I, I, I'd kind of like to go alone.

[Character Actress]

Go ahead, Dad.

[Narrator/Announcer]

I won't be long. We had about 10 minutes before the train pulled into Pineycrest. I thought that if she had made a sound. And when she made it, she made a lot of it, somebody would have heard her by now. There'd have to be some kind of a commotion at the baggage car. When I got to the connecting door to the baggage car, there wasn't a soul. Still, I wanted to be sure. If I was going to be caught, I might as well be caught right then. Really wouldn't make any difference So I pounded on the door. Yes, sir. Oh, well, I was a little worried about my fishing tackle. I wanted to be sure it was on the car. I'm sorry, no, no admittance. Oh, yes, well, I. I suppose it's there. Where are you getting off? Piney Crest. There's a metal trunk, some suitcases and tackle to be put off there. Yes, that. That's mine. Thank you very much. Okay. Just before he closed the door, I caught a glimpse of the trunk. It was standing on end, her head down, I hope. I felt. 20 minutes later we were loading the suitcases on old man Butterfield's pickup truck. He was mighty glad to see us and mighty worried about Joe not having arrived yet. I explained about her visit to her mother. Well said. Mighty glad to see you folks Anyway. My stars, Mr. William, you've grown a lot. We'd better get the trunk on. William, you take this corner and I'll get on the other side. And you push in the middle, Ms. Butterfield. Okay, Bob. Now all together. One, two, three. Oh, that's a mighty heavy trunk, Mr. Milford. Oh, we're going to be up here for a month. Well, folks, fishing has been a might slow, just a might. But it should be picking up any day now. Fellas have been getting some nice strikes with bug eyed poppers. Mighty nice strikes. Oh, that's fine. How's your wife, Mr. Milford? Just fine, just fine. Oh, proud piece of woman that Mr. Milford. Proud piece, Ms. Judy. You favor her.

[Character Actress]

Thank you, Mr. Butterfield.

[Narrator/Announcer]

You say she'll be up around 7, eh? It depends on how long she stays where she is. It was a pretty narrow washboard road from station to our cabin, about eight miles. I could hear the luggage bouncing around in the back. The kids talked about everything that kids talk about when they start a vacation. And it. It made me feel good listening to them. Well, we got to the cabin and the load. Mr. Butterfield took off. And there we were, the four of us, including Joe in the trunk. My, it was a beautiful afternoon. Boy, the old place hasn't changed. Pop let you and me go down to the lake. What do you say?

[Character Actress]

That's a good idea. I'll get things unveiled.

[Narrator/Announcer]

No, no, you kids go on down. I'd feel better putting everything away myself. It'll make your mother happier.

[Character Actress]

Oh, Pa, we'll all do it together. Might as well start with a trunk. Yours and mother's clothes in that. Dad.

[Narrator/Announcer]

Well, you kids take your suitcases up to your rooms. I'll take care of the trunk.

[Character Actress]

Okay.

[Narrator/Announcer]

We'll still have time to fish before dark. Dad. They went upstairs. I had to be very fast now. I dragged the trunk into the storage room, left it there in a corner, draped an old sheet over it and brought out the empty duplicate trunk which I. I'd driven up to the cabin six months earlier. I was afraid they'd hear me, but they were too busy chattering to each other as they unpacked. Oh, Joe would have been proud of me if she'd seen how quickly I got the clothes out of the suitcases and put away. When the kids came back downstairs, the trunk stood open and empty in the middle of the floor. Hey, that was quick work. Here, I'll help you put the trunk in the storeroom. All right, Son. Lift it. I got it. Okay. Careful. Don't be afoot. All right, Pop, Can I use your spinning outfit? I'd like to feel a bass on it. Oh, of course, I'm not saying it'd be as much fun as the old fly rod, but can I try? Sure you can. Oh, thanks. Gee, this is going to be a swell vacation, Pop. I hope so.

[Character Actress]

What time do you think Mother will be here?

[Narrator/Announcer]

Well, she must have stopped off at Greenwood to see Grandma, so I imagine it ought to be around seven. She said it'd be about then.

[Character Actress]

All right. Why don't you two do some fishing for an hour and I'll start dinner.

[Narrator/Announcer]

Fine, dear, fine. This is a wonderful steak, Julie.

[Character Actress]

Thank you, dad.

[Narrator/Announcer]

Great.

[Character Actress]

Don't talk with your mouth full. You know, I'm getting worried about Mother. It's almost half past seven.

[Narrator/Announcer]

Oh, I wouldn't worry, dear. She's probably.

[Character Actress]

What was that?

[Narrator/Announcer]

What was what? I heard it. Like a knocking. Woodpecker, probably. Hey, that's no woodpecker.

[Character Actress]

What is it?

[Narrator/Announcer]

I don't know. Oh, dear. Where's it coming from?

[Character Actress]

It's not outside. It's Pop.

[Narrator/Announcer]

A rat, maybe. I think it's coming from the storeroom.

[Character Actress]

Sounds like a woman. Listen.

[Narrator/Announcer]

It is in the storeroom.

[Character Actress]

I'm scared.

[Narrator/Announcer]

You stay here. Come on, Pop.

[Character Actress]

Be careful.

[Narrator/Announcer]

Pop. It's coming from over there under the sheet. It's. It's. It's your mother, William. The tape slipped. I was afraid it would. Pop. Come on.

[Character Actress]

Mother's in there. Mother.

[Narrator/Announcer]

Help me unstrap it. William, don't just stand there. What's she doing in there? That's a pretty stupid question. She'll answer. Oh, my house. She'll answer. Pop. Oh, stop saying Pop. All right, stand back.

[Character Actress]

Mother. Ma.

[Narrator/Announcer]

Ma. Here, I'll get the tape off.

[Character Actress]

Ma.

[Narrator/Announcer]

I'LL have to think of something else. This won't work again, that's for sure.

[Character Actress]

He tried to murder me. He tried to murder me. That's what he did.

[Narrator/Announcer]

He tried to murder me.

[Character Actress]

Herman. Herman, did you pack that hairbrush?

[Narrator/Announcer]

Yes, dear.

[Character Actress]

I don't know why you want to take all that fishing tackle. You never catch any fish anyway. What time are they coming for the luggage?

[Narrator/Announcer]

One o', clock, I told you.

[Character Actress]

Oh, I don't feel right taking off and leaving the children to follow if anything. For heaven's sake, what are you doing with that trunk? We don't need a trunk. You get that thing put away. Oh. Oh, it's all dusty. Look at my nice, clean room. What are you doing with that trunk, Herman?

[Narrator/Announcer]

Nothing, dear. I decided not to.

[Character Actress]

Not to not do what? What's the matter with you, Herman?

[Narrator/Announcer]

Nothing. Just a little idea I had. I'll think of something else. Suspense, in which Harley Bear starred in tonight's presentation of variations on a theme. Next week, the true story of a daring escape through the Iron curtain of Czechoslovakia. We call it Listen, Young Lovers. That's next week on Suspense. Suspense is transcribed in Hollywood by Anthony Ellis, who also wrote tonight's script. The music was composed by Renee Garrigan and conducted by Wilbur Hatch. Featured in the cast were Paula Winslow, Helen Kleeb, Sam Edwards, Barbara Fuller, George Walsh and Peter Leeds. Joan Loring, young Broadway star and winner of both the Donaldson and the Critics Circle Awards, will be adding to her prestige as a dramatic actress tomorrow night when she stars in the Payoff Girl. Tomorrow night on the FBI In Peace and War. Stay tuned for five minutes of CBS News, to be followed on most of these stations by the Jack Carson Show. The Radio Workshop presents the new and unusual Friday nights on the CBS Radio Network. SA and now, tonight's presentation of radio's outstanding Theater of Thrills, Suspense. This evening, suspense brings you what we feel as a particularly unusual and absorbing story. No actors other than Mr. William Conrad will appear in its presentation. It's a study in terror which has few equals. So now, starring Mr. Conrad, here is tonight's suspense play by a.m. burridge. The Wax Work. While the uniformed attendants of Mariners Waxworks Were ushering the last stragglers through the great glass panel double doors, the manager sat in his office interviewing Raymond Houston. The manager was speaking. There's nothing new in your request, sir. And in fact, we refuse it to different people. Mostly young bloods who tried to make bets about three times a week. I should say we have nothing to gain. Something to lose by letting People spend the night in our murderers. Then, if I allowed it and some young idiot lost his senses, what would be my position, eh? But your being a journalist somewhat alters the case. Hewson smiled. I suppose you mean that journalists have no senses to lose. No, no, no, of course not. But one imagines them to be responsible people. Besides, we have something to gain here. Publicity and advertisement. Yes, exactly, said Hewson. And there I thought we might come to terms. The manager smiled. Yes, I know what's coming. You want to be paid twice, do you? You know, it used to be said years ago that Madame Tussaud would give a man £100 for sleeping alone in the chamber of Honors. Well, I hope you don't think that we've made any such offer. What is your paper, Mr. Houghton? Well, I'm freelancing at present, sir, working on space for several papers. However, I would find no difficulty in getting the story printed. I'm sure the Morning Echo would use it like a shot. A night with mariners, murderers. No live paper could turn it down, sir. Yes. How do you propose to treat it? Well, I shall make it gruesome, of course. Gruesome? With just a saving touch of humor. The manager nodded and offered Houston his cigarette case. Very well, Mr. Houston. You get your story printed in the Morning Echo, and there'll be a five pound note waiting for you when you care to come and call for it. But first of all, you realize it's no small ordeal that you're proposing to undertake. I'd like to be quite sure about you. I'd like you to be quite sure about yourself. I own I shouldn't care to take it on. I should hate having to sleep down there alone among them. Why? Asked Hewson. Oh, I don't know. Isn't any reason, I suppose. I don't believe in ghosts. If I did, I should expect them to haunt the scene of their crimes, the spots where their bodies were laid, instead of a cellar which happens to contain their waxwork effigies. Well, it's just that I couldn't sit alone among them all night without seeming to stare at me in the way they do. After all, they represent the lowest and the most appalling types of humanity. The whole atmosphere of the place is unpleasant. And if you're susceptible to atmosphere, sir, I warn you that. But you're in for a very uncomfortable night. Houston had known that from the moment when the idea first occurred to him. His soul sickened at the prospect. But he had a wife and a family to keep. So Here was a chance not to be missed. The price of a special story in the Morning Echo with a five pound note to add to it. Besides, if he wrote the story well, it might lead to an offer of regular employment. The manager smiled at him and rose. Well, I think the last of the people must have gone by now. Oh, there is one condition I'm afraid I must impose upon you, sir. I must ask you not to smoke. We had a fire scare down on the murderers 10 this evening. I don't know who gave the alarm, but whoever it was, it was a Voltzman. Fortunately, there were very few people down there at time or there might have been a panic. Now, if you're ready, we'll make a move. He led the way through an open barrier and down ill lit stone stairs which conveyed a sinister impression of giving access to a dungeon in a passage. At the bottom were a few preliminary preliminary horrors, such as relics of the Inquisition, a rack taken from a medieval castle, branding irons, thumb screws, and other mementos of man's cruelty. The men. Beyond the passage was the murderer's den. It was a room of irregular shape with a vaulted roof and dimly lit by electric lights burning behind inverted bowls of frosted glass. It was by design an eerie and uncomfortable chamber, a chamber whose atmosphere invited its visitors to speak in whispers. The waxwork murderers stood on low pedestals with numbered tickets at their feet. Recent notorieties rubbed Dusty's shoulders with the old favorites. Fertell, the murderer of Weir, stood as if frozen in the act of making a sharp window gesture to young bywaters. And there was Lefroy, the poor half baked little snob who killed for gain so that he might ape the gentleman within five yards of him. At Mrs. Thompson, that erotic romanticist hanged to propitiate British middle class matronhood. Charles Peace, the only member of the vile company who looked uncompromisingly and entirely evil, sneered across a gangway at Norman, Thorne, Brown and Kennedy. The two most recent additions stood between Mrs. Dyer and Patrick Man. The manager, walking around with Hewson, pointed out several of the more interesting of these unholy notabilities. That's Crippen. I expect you recognize him. Insignificant little beast who looks as if he couldn't tread on a worm. Oh, and that's Armstrong. Looks like a decent, harmless country gentleman, doesn't he? And there's Olvaquier. You can't miss him, of course, because of his beard. And this one. Who's that? Houston asked in a whisper. Here come Here, have a good look at him. This is our start turn. He's the only one of the bunch that hasn't been hanged. The figure which Houston had indicated was that of a small, slight man, not much more than five feet in height. It wore little waxed mustaches, large spectacles, and a caped coat. There was something so exaggeratedly French in its appearance that it reminded Hewson of a stage caricature. He could not have said precisely why the mild looking face seemed to him so repellent, but he had already recoiled a step, and even in the manager's company it cost him an effort to look again. But who is he? He asked. That, said the manager, is Dr. Burdett. Houston shook his head doubtfully. I think I've heard the name, but I forget. In connection with what? The manager smiled. You'd remember better if you were a Frenchman, you know. For some long while, that man was the Terror of Paris. He carried on his work of healing by day and of throat cutting by night. Why, he killed for the sheer devilish pleasure it gave him to kill, and always in the same way with a razor. After his last crime, he left a clue behind him which set the police upon his track. But he was much too clever for them. When he realized that the coils were closing about him, he mysteriously disappeared. And ever since, the police of every civilized country have been looking for him. There's no doubt that he managed to make away with himself and by some means which has prevented his body coming light. One or two crimes of a similar nature have taken place since his disappearance. But he is believed, almost for certain, to be dead. And the experts believe these recrudescences to be the work of an imitator. It's queer, isn't it, Ms. Hewson, how every notorious murderer has imitators. Hewson shuddered and fidgeted with his feet. I don't like him at all. What eyes he's got. Yes, this figure's a little masterpiece. You'll find the eyes bite into you very much. Excellent realism, then, for Bodette practiced mesmerism and was supposed to mesmerize his victims before dispatching them. Indeed, had he not done so, it's impossible to see how so small a man could have done his costly work. There were never any signs of struggle. I thought I saw him move, said Houston with a catch in his voice. The manager smiled. You'll have more than one optical illusion before the night's out, I expect, sir. Well, I'm sorry. I can't give you any more light? Because all the lights are on. For obvious reasons, we keep this place as gloomy as possible. Well, Mr. Heussen, good night. Housing wheeled a swivel chair, a heavy one, upholstered and plush, a little way down the central gangway, and deliberately turned it so that it back was toward the effigy of Dr. Burdette. For some undefined reason, he liked Dr. Burdett a great deal less than his companions. Busying himself with arranging the chair, he was almost lighthearted. But when the manager's footfalls had died away and a deep hush stole over the chamber, he realized that he had no slight hope ordeal before him. The dim, unwavering light fell on the rows of figures, which were so uncannily like human beings that the silence and the stillness seemed unnatural and even ghastly. He missed the sound of breathing, the rustling of clothes, the 101 minute noises one hears when even the deepest silence has fallen upon a crowd. And the air was as stagnant as water at the bottom of a standing pond. It must be like this at the bottom of the sea, he thought. He faced these sinister figures boldly enough. They were only waxworks. So long as he lets that thought dominate all others, he promised himself that all would be well. It did not, however, save him long from the discomfort occasioned by the waxen stare of Dr. Burdette, which he knew was directed upon him from behind. The eyes of the little Frenchman hearted and tormented him, and he itched with a desire to turn and look. My nerves have started off already, he thought. And then another voice in his brain spoke to him. It's because you're afraid that you won't turn and look at him. The two voices quarreled silently for a moment or two, but at last he slewed his chair around a little and looked behind him. Among the many figures standing in stiff, unnatural poses. The effigy of the dreadful little doctor stood out with a queer prominence, perhaps because of a steady beam of light beat straight down upon it. Gilson flinched before the parody of mildness which some fiendishly skilled craftsman had managed to convey in wax, met the eyes of for one agonized second, and then turned again to face the other direction. He's only a wax work like the rest of you, Yosan muttered defiantly. You're all only waxworks. They were only waxworks, yes, but waxworks don't move. Oh. Not that he had seen the least movement anywhere, but it struck him that in the moment or two while he'd looked behind him. There had been the least subtle change in the grouping of the figures in front. Crippen, for instance, seemed to have turned at least one degree to the left. Or, thought Hewson, perhaps the illusion was due to the fact that he had not slewed his chair back into its exact original position. But there were Brown and Kenneth. Surely one of them had moved his hands. Yson held his breath for a moment and then drew his courage back to him. As a man lifts a weight. He took a notebook from his pocket and wrote quickly. Memo Deathly silence and unearthly stillness of figures like being at bottom of c hypnotic eyes. Dr. Burdette. Figures seem to move when not being watched. He closed the book suddenly over his fingers and looked around quickly and awfully over his right shoulder. He had neither seen nor heard a movement, but it was as if some sixth sense had made him aware of one. He looked straight into the vapid countenance of the which smiled vacantly back as if to say, it wasn't I. No, of course it wasn't he, or any of them. It was his own nerves. Or was it? Then why all that silent unrest about him, a subtle something in the air which did not quite break silence and happened whichever way he looked, just beyond the boundaries of his vision? He swung round quickly to encounter the mild but baleful stare of Dr. Burdette. And then, without warning, he jerked his head back to stare straight at Crippen. He'd nearly caught Crippen that time. You better be careful, Crippen. And all the rest of you. If I do see one of you move, I'll smash you to pieces. Do you hear? He ought to go, he told himself. Already he had experienced enough to write his story, or 10 stories for the matter of that. Well, then, why not go? The Morning Echo would be none the wiser as to how long he'd stayed. Nobody'd care, so long as his story was a good one. Yes, but the manager one never knew. Perhaps the manager would quibble over that five pound note which he needed so badly. He wondered if his wife were asleep, or if she were lying awake and thinking of him. She'd laugh when he told her that. He'd imagine that he'd imagined this was a little too much. It was bad enough that the waxwork effigies of murderers should move when they weren't being watched, but it was intolerable that they should breathe. Somebody was breathing. Or was it his own breath, which sounded to him as if it came from a distance? He Sat rigid, listening, straining, until he exhaled with a long sigh his own breath. After all, if not something, had divined that he was listening and had ceased breathing simultaneously. Hewson turned his head swiftly around and looked all about him, out of haggard and hunted eyes. Everywhere his gaze encountered the vacant waxen faces, and everywhere he felt that by just some least fraction of a second he had missed seeing a movement of hand or foot, a silent opening, a compression of lips, a flicker of eyelids, a look of human intelligence now smoothed out. They were like naughty children in a classroom, whispering, fidgeting and laughing behind their teacher's back, but blandly innocent when his gaze was turned upon them. No, no, this would not do. This distinctly would not do. He must clutch at something, grip with his mind upon something which belonged to essentially, to the workaday world, to the daylight London streets. He was Raymond Hewson, an unsuccessful journalist, a living and breathing man. And these figures grouped around him were only dummies, so they could neither move nor whisper. Well, what did it matter if they were supposed to be lifelike effigies of murderers? They were only made of wax and sawdust and stood there for the entertainment of morbid sightseers and orange sucking trippers. Oh, that was better. Now, what was that funny story which somebody had told him in the Falstaff Pub yesterday? Oh, yes, he recalled part of it, but not all. For the gaze of Dr. Burdett urged, challenged, and finally compelled him to turn. Yuson half turned and then swung his chair so as to bring him face to face with a wearer of those dreadful hypnotic eyes. His own eyes were dilated and. And his mouth, at first set in a grin of terror, lifted at the corners in a snarl. And then Hewson spoke and woke a hundred sinister echoes.

[Character Actress]

You moved.

[Narrator/Announcer]

Yes, you did. You moved.

[Character Actress]

I saw you.

[Narrator/Announcer]

You move. Then he sat quite still, staring straight before him, like a man found frozen in the Arctic snows. Dr. Burdette's movements were leisurely. He stepped off his pedestal with the mincing care of a lady alighting from a bus. The platform stood about 2ft from the ground. Above the edge of it, a plush covered rope hung in arc like curves. Dr. Burdett lifted up the rope until it formed an arch for him to pass under, stepped off the platform and sat down on the edge, facing Hewson. Then he nodded and smiled and said, good evening. I need hardly tell you that not until I overheard the conversation between you and the worthy manager of this establishment did I suspect I should have the pleasure of a companion Here for the night. You cannot move or speak without my bidding. But you can hear me perfectly well. Something tells me that you are, shall I say, nervous? My dear sir, I have no illusions I am not one of these contemptible effigies miraculously come to life. I am Dr. Burdenet himself. He paused, coughed, and shifted his legs. Pardon me, but I am a little stiff. Please let me explain. Circumstances with which I need not fatigue. You have made it desirable that I should live in England. I was close to this building this evening when I saw a policeman regarding me. I thought a little too curiously. I guessed that he intended to follow and perhaps ask me embarrassing questions. So I mingled with the crowd and came in here. A coin brought my admission to the chamber in which we now meet, and an inspiration showed me a certain means of escape. I raised a cry of fire, and when all the fools had raised rushed to the stairs, I stripped my effigy of the caped coat which you behold me wearing, donned it, hid my effigy under the platform at the back and took its place on the pedestal. The manager's description of me, which I had the embarrassment of being compelled to overhear, was biased but not altogether inaccurate. Clearly I am not dead, although it is as well that the well think otherwise. No. His account of my abbey, which I have indulged for years, although so necessity, less frequently of late, was in the main clue. For, you see, the world is divided between collectors and non collectors. With the non collectors, we are not concerned. The collectors collect anything according to their individual tastes, from money to cigarettes, cards, from molds to matchboxes. I collect throats. He paused again and regarded Hewson's throat with interest mingled with disfavor. I am obliged to the chance which brought us together tonight, and perhaps it would seem ungrateful to complain from motives of personal safety. My activities have been somewhat curtailed of late years, and I am glad of this opportunity of gratifying my somewhat unusual whim. But you, sir, you have such a skinny neck. If you will overlook a personal remark, I should never have selected you from choice. I like men with thick necks, thick red necks. He fumbled in an inside pocket and took out something which he tested against a wet forefinger and then proceeded to pass gently to and fro across the palm of his left hand. This is a little French razor. The blade, you will observe, is very narrow. They do not cut very deep, but deep enough. In just one little moment you shall see for yourself. And now I shall ask you the little civil question of all the polite barbers. Does the razor suit you, sir? He rose up, a diminutive but menacing figure of evil, and approached Houston with a silent, furtive step of a hunting panther. You will have the goodness to raise your chin a little. Thank you. And a little more. Just a little more. Ah. Thank you. Messy is your mercy. Mercy. I me. Over one end of the chamber was a thick skylight of frosted glass, which by day let in a few sickly, unfiltered rays from the floor above. After sunrise, these began to mingle with the subdued light from the electric bulbs. And this mingled illumination added a certain ghastliness to a scene which needed no additional touch of horror. The waxwork figures stood apathetically in their places, waiting to be admired or execrated by the crowds who would presently wander fearfully among them in their midst. In the center gangway, Hewson sat still, leaning far back in his swivel chair. His chin was uptilted, as if he were waiting to receive attention from a barber. And although there was not a scratch upon his throat nor anywhere upon his body, he was cold and dead. Dr. Burdett, on his pedestal, watched the dead man unemotionally. He did not move, nor was he capable of motion. But then, after all, he was only a waxwork. Suspense in which William Conrad starred in tonight's presentation of the Waxwork. The music for tonight's program was composed by Lucian Morowek. Next week we bring you a story based on fact. A man's last hours in a death cell awaiting execution. We call it the Phones Die First. That's next week on Suspense. Suspense is produced and directed in Hollywood by Anthony Ellis. Tonight's story was written by a.m. burridge. The orchestra was conducted by Wilbur Hatch. Stay tuned for five minutes of CBS News to be followed on most of these same stations by my son Jeep. America listens most to the CBS radio network. And now, tonight's presentation of radio's outstanding theater of thrills, Suspense. Tonight we bring you a story of a postmaster and his desperate search for an unwelcome package. We call it Fragile Contents. Death. So now, starring Victor Perrin, here is tonight's suspense play, Fragile Contents Death. All it took was a phone call. Until it came that morning. Everything at the post office was the same as it had always been. I was just another postmaster, 40 years old, with a postal problems of some 80,000 people to look after. All it took was that call to make things a nightmare. As I said, the day was just a day. I remember I was making up my mind to get busy on the stuff piled on my desk. It was 9:15. Morning, Mr. Jordan. Oh, morning, Hartley. I'm just gonna send for you. Don't tell me all this. This heat is for me? That's right. Didn't anybody weed it out? It's been weeded, Mr. Jordan. Well, if I must, I must. Even a parcel. I see. Yeah, yeah. It's marked personal. From Paxton and Brown something or other Broadway, New York. Oh, I remember. Sure. This must be that new type of lawn sprinkler I ordered for the wife. I should have had it sent to the house. Put it over there, would you? I'll take it along when I go home. Here. That's fine. Post Office. This is Jordan. Jordan. That Postmaster Jordan? That's right. What can I do for you? Plenty. You got a bomb someplace in the mail down there. Is this a joke? Listen carefully. This is no joke. A guy I know sent another guy a bomb. A time bomb. It'll be delivered here in town. It was supposed to be set to go off at seven tonight, but it ain't. He forgot to change the timer before he shipped it. It's set for 2:30 this afternoon, five hours from now. I don't like that. Maybe some poor guy like a mailman will get it instead of the guy you supposed to. That's why I'm telling you about it. You gotta find it and stop it. One other thing too. It's fixed so it'll go off when you open the package. You got all that? Sure, I got it. But how do I recognize this bomb? Who's it addressed to? I ain't telling who sent it. I don't care about who sent it. Who gets it. Who gets the bomb. Hello? Hello, Hartley. Yes, sir. You probably heard enough of that to know what's going on. Something about. About a bomb in the mail. Yeah. Now listen carefully. I'm only going to tell you once. Get out of here on the double. I want the assistant superintendent of mails and the dispatcher, Stuart and Fox. Get him in here as quick as you can. You got that? Yes, sir. Operator, this is Jordan. How many inspectors are in today? Do you know?

[Character Actress]

Just a moment, Mr. Jordan. Mr. Williams is in. Mr. Jackson left word he'll be out in Lincoln county until tomorrow. And Mr. Thompson entered the hospital this morning to have his appendix out.

[Narrator/Announcer]

Well, ring Ed Williams for me, please. Tell him to get over to my office right away. It's all urgent.

[Character Actress]

Yes, sir.

[Narrator/Announcer]

Oh, Fox, M. Sit down. Yes, sir. Something wrong? Plenty. Bomb in the mail. You Know much about it? I'll tell you later. Williams and Stewart are in on this too. Man, are we ever in for a busy day. Hartley said there was a. Hurry up. Call that door on my face, Joe. Come on in, Ed. Close the door. Sit down, both of you. Now sit down and listen. Uh. Oh. No raises this year. I've been waiting for him to spring it on us. Button it up, Joe. Here's what we do have staring us in the face. I just told Fox a minute ago there's a bomb in the mail someplace. Oh, bomb? That's right. A few minutes ago I got a phone call. I don't know who it was. All I got were these facts. It's now 9:30. Between now and 2:30, we've got to find a time bomb which was mailed to somebody here in town. Somebody does. Don't have any name at all. He didn't get around to that. Either he wouldn't tell me or he was cut off. I'm hoping. Just a slender hope. I know. I'm hoping he'll call back, but we can't count on it. How do we know this isn't a leg pull, Doug? We don't. But we can't afford to take chances with somebody's life. Would you? No. What kind of a package? We don't know. Any kind. It's great. That spreads your field out something terrific, Stuart.

[Character Actress]

How?

[Narrator/Announcer]

Well, you not only have your truck packages, you have carrier packages too. Carrier wouldn't have that big a package. Still, with the powerful explosives we have nowadays and the small wiring circuits, possible. Why not? Yeah, I'll give you another one. How about a newspaper roll? That's big enough, isn't it? Carriers handle them, don't they? That's right. Now, here's what I think. If that thing was mailed early this morning, it's either out there in the parcel post bin or at one of the substations. If it was mailed last night, it's probably on one of the trucks right now. Or else it's been delivered. Or else it's been delivered? Yes. A lot of stuff's off the trucks by now. That complicates it. But let's do what we can as fast as we can. Fox, you round up all of the special delivery cars, send them out after those trucks and get all the packages back here. We'll go over them after they get here. Okay. Try to get the drivers to remember what's been delivered and where. Skip the insurance deliveries. This won't be insured. Get as much back as you can. But what if they can't remember everything? You leave that to me. But do this, too. Call the substations, get all their stuff in here. All right. Anything else? Not now. All right, I'm on my way. Stuart, you'll go through our own stuff in the back. Let's see. Delivery from New York Central's number three hasn't come over from the station yet, has it? No. That makes it a little better. Get everything we've got together in one place and keep it there. Keep the out of town packages out of it. Just add the stuff from the substations and the trucks as it comes in. And the pickup trucks, of course. What? Some of the drop boxes out in the suburbs are for letters and parcels both. We'd get some packages coming in on the pickups from those boxes. I'd forgotten that. The trucks should be in by 11. We might as well go ahead with everything else until I get here. Just so we get them as soon as they come in. I'll leave that to you. If we're going to do all this, I'd better get on it. No use standing around here any longer than necessary. No, no, go ahead. You want me to check the factors, right? I don't have to tell you your business, Ed. I know your record as an inspector is a one. Well, fill me in a little more, will you, Doug? Okay. Shoot. Well, this a time bomb? That's what he said. We have less than five hours now. Yeah, I got that. Well, what else about it? Would it be safe to open? No, no. It'll go off if you open it. He said so. Oh, rougher and rougher. I'm going to get help, Doug. All you want. Use your phone. Help yourself.

[Character Actress]

Thanks. Operator, outside line. Thank you.

[Narrator/Announcer]

State police, Company A. Sergeant Rock speaking. Now, Rocky, this is Ed Williams, post office. Is Jesse in today? Yeah. You want him? No, don't call him. No time. Tell him to come on over here right away, would you? Sure. What do you want with explosive experts? You got a pump? Maybe. Keep it under your hat. You know me. Another thing, Rocky. You guys got the fluoroscope just now? A touchy one, huh? No, we loaned it to Company E up in Foreman. I could use it, that's for sure. It's only about 100 miles. I'll call them up and get him to fly it in. Probably get it to you in about an hour or a little over. Oh, good. And you'll tell Jesse? Yeah, we'll do. Now to work, Doug. Same here, boy. Yeah, how about those carriers? About a hundred of them, aren't there? 94. Can you do it? Can you hit them all? I don't know. All I can do is try. Bet you're thinking the same thing I am. Remembering the same case. Bowling Green, Kentucky. Yeah. That poor devil of a carrier. Alive, but barely. That's one reason I want to find this bomb before our luck runs out. I want you to see that. That it doesn't run out. I hope you're right, Ed. I sure hope you're right. You are listening to Fragile Contents. Death. Tonight's presentation in radio's outstanding theater of Thrills, Suspense. For you, the choice between living an ethical life or that of a fugitive from the law may be an easy one to make. But for the young parolee in tomorrow night's drama on the FBI in peace and war, the choice is more difficult. His old criminal friends want to involve him in an easy money scheme. When he comes to the turning point, that moment at which he must decide between staying straight or going back to a life of crime, the temptation is most intense for drama that packs a human interest punch. Don't miss the turning point tomorrow night when the FBI in peace and war is on the air over most of these same stations. And now we bring back to Our Hollywood soundstage Mr. Victor Perrin, starring in tonight's production, Fragile Contents. Death, a tale well calculated. To keep you in suspense, they were all on it now. Williams, Fox, Stewart and all the others we could trust to keep a cool head. The lid was on every place possible. To the average man by buying his 3 cent stamp. It was business as usual. We didn't even let the majority of the help know it. But off in one of our fairly isolated corners, a pile of packages was growing. I looked at the clock. 10:20. Just about an hour gone. Four hours left. Stu, how are things going? Who knows? Well as can be expected in a thing like this, I suppose. Better wipe off that sweat before somebody tumbles that the day isn't that hot. Thanks. Sit down, huh? Are any of them wise yet? Don't think so. It'll probably get out. Things have a way. Yeah, that they do. How are you standing at yourself? Well, I. You worried? Not very happy. None of us are. I keep thinking, what if I get hold of the thing? Ever been in an explosion? No. You weren't in the service now. Ever see an explosion? Been close to one? Yeah. Well, I came by once just after a gasoline truck tangled to the pole and took off. It was a pretty bad sight, see? Would you like to take the day off? I wouldn't think of it. Nobody'd blame you. I wouldn't, I promise you. I can't do that, Doug. What if I did and the thing got by and I could have prevented it? I'm nervous. Maybe I don't like the setup. Maybe. But I'm not chicken. I'm staying with it. I figured you would, Joe. They say every soldier figures the next bullet isn't going to get him. That's the way I'm figuring myself on this deal. Good idea. The only thing we have to worry about. Joe. Where is this one aimed? 1132 hours gone. I went back to the mail room. Hello, Doug. How's it going? Well, we have all this over here so far. A lot of work. Any leads, Ed? Not yet. Not even anything suspicious? Well, how can you tell? I can't tell, really. Sometimes there's something about the handwriting or the printing of the. I guess you just feel it sometimes. I don't know. I don't get anything like that in this stuff. Not even a fake return address? Not a one in the lot. None of the locals anyway. We've checked them all fluoroscoping yet. Well, the plane's in. They phoned me a few minutes ago. It's on the way up. Over. Be here any minute. Well, Mr. Jordan, telephone. Okay. What line? On eight. Thank you. I'll get it. This is Jordan. Mr. Jordan, this is Malloy in truck 15. Yes, Malloy. I got the word about getting back these packages. Everything's practically okay. Only this my second delivery. I left one off at this place, 1724 Lime Street. I go back there a while ago and nobody's home. They were there when you left the package? Yeah. A fat bald headed guy took it, as I remember. We'll check the neighbors. I already have, Mr. Jordan. Nobody knows for sure where they went. There's some talk about them leaving for Washington this morning, but I can't pin it down. They drove anyway. Car's gone. Garage is empty. That's using your head, Malloy. At least we have something to shoot at. Do you remember the name? No, I don't. But that fat guy sure looked like a crook. Dabbed him for one the minute I was that. Well, Miller came driving out and caught me and said you were hunting a package of stolen goods in the mail. Maybe he shot off his mouth too much, huh? Wasn't I supposed to know? No, no, Malloy, it's all right. I forgot that he knew what we were after. Will you say you got everything Else? Yeah. Be right in. If you say so. You do that. Check. Foxy. Yeah. Look up 1724 Lime street and get the name. Anything else? Get that name, then get onto it. The state police to intercept them if possible. Those people received a package this morning. They may have left town for Washington. They're probably driving. With luck, they may not have opened that parcel yet. It's a real long shot, sir. Going on a trip carrying an unopened package. I doubt it. It's against common sense. But we have to try. You try, Foxy. 12 o' clock, lunchtime. I ordinarily eat at Bailey's, but not today. We had sandwiches and coffee brought in. The coffee was welcome, but we didn't seem to be very hungry. Alone in my office sipping coffee, all I could think about was the time was half gone. This is Jordan, darling.

[Character Actress]

Haven't you forgotten something?

[Narrator/Announcer]

Oh, hello, dear. Forgotten something?

[Character Actress]

I'm down at Bailey's waiting for you. I've been here 25 minutes. We're lunching together today, remember?

[Narrator/Announcer]

Oh, yes. Well, look, Alice, I'm afraid I'm gonna have to stand you up. Something's come up.

[Character Actress]

You'll be sorry. There's the best looking man sitting in here all by himself. The tall, rugged, iron gray type. You know how I go for those. He'd probably be very glad to buy me a meal.

[Narrator/Announcer]

You try them and see. I have confidence in you, sweetheart. Anything to save us a buck.

[Character Actress]

Then you definitely aren't coming.

[Narrator/Announcer]

I'm afraid not. I'll tell you all about it tonight sometime.

[Character Actress]

Remind me never to marry a busy executive again. Bye.

[Narrator/Announcer]

Bye. What do you got? Foxy things in my mind, Doug. First, let me get this one off. The cops picked up the Morgans. The Morgans? Yeah, the couple who were driving to Washington found him in a service station on the edge of town. They got the package? Well, they'd already opened it. Nothing much in it except some fancy sports shirts from Morgan himself. Then they're on their way again. Yeah, with apologies. I understand they were scared silly, though. Morgan offered to show the cop the shirts. Even wanted to give him one. Afraid they were stolen goods. I'm glad that's cleaned up. Yeah. Say, just had a call from the Woodmont branch. Go on. Do you remember Spicer? Spicer? Yeah. Suspicion of robbing the mails. What about him? Looks as though he hung one on himself this time. Well, how's that? Well, as I say, this clerk out at Woodmont put a bunch of packages in the bins just before he quit last night. He remembered one for Dr. Turner. This Turner, it seems. Collects magazine, first edition. Sometimes these aren't worth insuring. Sometimes they are, but they're always worth something more than their original price. And this package looked like one of those. What about the carrier? Spicer? Well, it seems he blew in just as the place was about to close. Said he forgot a bag of his with some new shoes that he bought. He drifted through and then right out again. Nobody paid any attention at the time. And this morning, Turner's package is gone. Is that it? Where's Spicer? It's his day off. Substitute's working. They're sure the package is gone? Well, Turner called to ask if it came in and they couldn't trace it. That's how they were sure it's missing. Well, I don't have to tell you the next move, do I? No, I already tried. Called his rooming house. He's not in. Didn't come in last night either. I called the police. I'd better do that, Foxy. Thanks. Even if he has the thing, he surely opened it by now. Think so myself. But we can't be sure. We can't take chances. I better call.

[Character Actress]

Operator.

[Narrator/Announcer]

Get me the police station. Ed, any luck with this pile of stuff? Well, one that's uncertain. Trying to make up my mind. Right. So let's see here. It's not very big. Wouldn't have to be addressed to Jack Gordon. 128 Andrew Street. That anybody important? Never heard the name. If you ask me, it's a kid. What makes you think so? Return address, Columbia Foods Incorporated. Some serial coupons. Fluoroscope indicates a watch inside. Let's put a stethoscope on it. Okay. Get it ticks. All right. My question, Is it a dollar watch or is it it a watch? Probably. Probably. Let's play it safe. That's what I thought. Take it outside. Ordinarily, yes, but we couldn't detect anything that would trigger the thing. So we'll put it in the water bucket here. Did you put wetting agent in the water? Yeah. It'll soak through the wrapping quicker than throw anything else inside that much faster. That does it. Inside takes a little longer. Reminds me of the time I put in as an inspector. I hear you were pretty good, Doug. Just lucky. Getting the Walkers lucky. Well, better have a look at your toy here. Easy, easy. Up she comes. There. Looks as though we were right the first time, Doug. Here, Have a pocket watch. Genuine Hoppy. Keep it for a souvenir. That's one kid we all watch. Will A budget standard. It'll strain it, but it won't break it. Let's step out back. I need a cigarette. Good idea. You heard about this carrier, Spicer? Yeah, Foxy told me. Get him yet? The police haven't. Maybe the police haven't got him, but that's it. The clock's hands were still going. Around 1:30. Just about one hour to go. And still we hadn't found that bomb. We hadn't found it. We hadn't found the missing carrier. All we had found was a new headache every few minutes. Mrs. Jordan. Mr. Jordan, this is Malloy again. The driver, you know. Oh, yes, Malloy. Do you have something new? Well, sorta. You see, Mr. Jordan, it's like this. While I was eating lunch, I kept thinking. And all of a sudden I remember this other package I delivered this morning out on Beach Avenue. So I drive over here to see about it. I'm at the house now. Have you got the package? Have they opened it? No, it ain't open. Well, you. You better talk to this lady, Mr. Jordan. She won't listen to me. Here. Mrs. Bates, this is the postmaster on the line himself. In person. Hello.

[Character Actress]

This driver says you're the postmaster. Is that right?

[Narrator/Announcer]

That's right. This is Douglas Jordan.

[Character Actress]

I don't understand all this about the package which came from my husband. First this man delivers it, now he wants to.

[Narrator/Announcer]

But he's perfectly right, Mrs. Bates. We'd very much like to have that parcel.

[Character Actress]

I don't see why. It has my husband's name on it. It's the correct address. I'm afraid I can't give it back until my husband has a chance to examine it.

[Narrator/Announcer]

What did our driver tell you, Mrs. Bates?

[Character Actress]

He had some story about stolen goods. But that doesn't make sense. Anyone would know that my husband was someone.

[Narrator/Announcer]

Someone may have confused him with another Bates. Have you thought of that?

[Character Actress]

No, I hadn't. But I'm still sure that my husband should pass judgment on this. If I were to take the responsibility and I were wrong.

[Narrator/Announcer]

Let me take the responsibility, Mrs. Bates.

[Character Actress]

He might not see it that way. He might say I let myself be talked into something.

[Narrator/Announcer]

Mrs. Bates, believe me, I'm sure your husband would be the first to thank us. If he only knew, on my word of honor, we must have that package.

[Character Actress]

Well, it's your responsibility. Understand here, young man. But I don't think my husband will thank you. He doesn't like anyone connected with the government. None of you for that.

[Narrator/Announcer]

I'm sorry, Mrs. Bates, but thank you for giving Us, that parcel. But it wasn't what we were after. A box of advertising pencils, that was all. Then it was half an hour. I forced myself to stay in my office waiting for a call that they'd caught Spicer or that someone, somewhere had turned up something. Ed, any luck? Not a bit. We've combed everything. Not a thing. They haven't caught up with Spicer yet. I think that's a false lead. Anyway. If he has a thing, he's opened it by now. That leads us nowhere. Yes, it does. Somebody's forgotten something. That. That must be it. Maybe. Could be all a hoax, you know. What's the matter? Don't you want it to be a hoax? All this effort and nothing to show for it. That it? Want to repeat the Walker business? Catch a murderer through the mail? No, Ed. No. I just want to be sure. By the way, he's out, you know. Who? Steve Walker. The brother. He's out of jail. Didn't you know? Why are you looking so funny? Steve Walker. He said he'd get me. Yeah. So what? Where did I put it? Where's that lawn sprinkler? Lawn sprinkler? Now I know. Where'd that package come from? I've had it right here all day. Didn't even think about it. Came early this morning. Let's not think. Let's move. Give me that. Is there time? I think so. Better be. Get it under the fluoroscope. Look. That's it, brother. That's it. All right. Do you have time to take it out to a safe place? No, sir. All we do is put it in a water bucket, take it into the alley and pray. Okay, here goes. Water. Get through that wrapper. Doug will give it an hour, just in case. Five minutes, 15. 30 minutes, 45. One hour and then. Well, Doug, there it is. All in little pieces. Be glad those pieces aren't you. I am, Ed. I am a pretty good collection of evidence. You can go after Steve Walker with this, Doug. Mr. Jordan, telephone coming on four. This is Jordan.

[Character Actress]

Well, I couldn't bear the thought of you plodding away down there now. Maybe you'd like to hear the story about my luncheon. It was the most.

[Narrator/Announcer]

It better be good, honey. Wait till you hear the one I've got for you. Suspense, in which Mr. Victor Perrin starred in tonight's presentation of fragile contents, Death. Be sure to listen next week when we again bring you another presentation of radio's outstanding Theater of Thrills, Suspense. Suspense is produced and directed in Hollywood by Anthony Ellis. Tonight's story was written by John F. Souter. The music was composed by Renee Garag and conducted by Wilbur Hatch. Featured in the cast were Vivi Janis, Leonard Weinrib, Helen Cleave, Herbert Ellis, Ted Bliss, John Larch, Charles Seale and Frank Gerstel. This Friday night, the CBS Radio Workshop takes you on an exciting excursion into the world of fantasy as it recounts Antoine de Saint Azupery's delightful story of the Little Prince. A bestseller in America as well as France and a joy to readers of all ages, the Little Prince is sure to be one of your all time dramatic favorites as you hear it this Friday night over most of these same stations on the CBS Radio Workshop. Stay tuned for five minutes of CBS News to be followed on most of these same stations by my son Jeep. You hear American America's favorite shows on the CBS Radio Network. Sam Suspense. And the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson. One of the greatest pleasures we find in this business of keeping you in suspense is the discovery of new talent and of unusual story twists in what you're about to hear. We think we have combined both the twist. You'll never guess it, no matter how familiar you are with that mystical literary device. The ventriloquist dummy and the new talent. Two young men. Bob Jorn, whose first radio play this is, and DeForest Kelly, a bright new luminary in the Hollywood firmament. Put them all together and you have a strange half hour ahead. Listen, listen then as DeForest Kelly stars in Flesh Peddler, which begins in exactly one minute. It took mighty men to conquer mighty America. And the men set before themselves even mightier heroes. Some real, some not. For instance, there was the legendary keelboatman Mike Fink. Let Mike tell you about himself. I'm a salt river roarer. I'm a ring tailed squealer I'm a regular screamer from the old massstep whoop. I'm the very infant that refused his milk before its eyes was open and called out for a bottle of old rye. I love the women and I'm chock full of fight. I'm half wild horse and half cockeyed alligator. I can hit like fourth proof lightning and every lick I make in the woods lets in an acre of sunshine. I can outrun out, jump out, shoot out, brag out, drink and out fight any man from Pittsburgh to New Orleans and back again to St. Louis. Come on, you flatters, you bodgers, you milk white mechanics and see how tough I am to chaw? I ain't had a fight for two days and I'm spiling for exercise.

[Character Actress]

Quo k a doodle doo.

[Narrator/Announcer]

Folklore belongs to every nation's legendary past. And I guess we Americans have our share of some tall ones. And now, Mr. DeForest Kelly in flesh Peddler, a tale well calculated. To keep you in suspense, I'm an agent, a booking agent. Flesh Peddlers, we are sometimes unkindly called. But I don't peddle flesh. I sell talent. Singers, musicians, nightclub acts. And I'm pretty good at it. I've got an instinct for talent. When I find a new act that's really got it, I go after it until it's mine only. The ventriloquist team of Wilson and Oliver. I wish I'd never heard of them. Then I could sleep better nights. My wife and I were vacationing in the Catskills last summer, and the night before we were due back in York, New York, a carnival pulled into town. I don't want to sound like a snob, but to me the carnival is the lowest form of show business. I hate them, but my wife Gloria loves them. Since I love Gloria, we went to the carnival.

[Character Actress]

Pete. Isn't it exciting?

[Narrator/Announcer]

It's just cheap noise.

[Character Actress]

Oh, I wish it had come to town sooner.

[Narrator/Announcer]

I wish it hadn't come to tomorrow.

[Character Actress]

Oh, come on, Pete. You might even find some new talent here. Why not?

[Narrator/Announcer]

Freaks are for side shows, honey, not class spots.

[Character Actress]

You never can tell. A bearded lady might go great at the Copa.

[Narrator/Announcer]

I can tell. Folks, right here for the wonder of the midway. Hey, the one and only Alexander Wilson and his lovable little dummy pal, Oliver. Hey, you've seen Ben Philippus before, you say I. Hey, but you never seen anything to equal Wilson. The remarkable Wilson and Oliver. Hey, don't pass us by, friends.

[Character Actress]

Pete, let's go in.

[Narrator/Announcer]

Ventriloquist. A dime a dozen.

[Character Actress]

Come on, I want to see him.

[Narrator/Announcer]

Honey, you've seen a hundred just like him.

[Character Actress]

Or maybe he's one in a hundred.

[Narrator/Announcer]

All right, all right. We pushed through into the small tent and took our places on the hard, uncomfortable benches. Wilson was already seated on the platform, a typical childishly dressed dummy on his lap. He was a man in his 50s, I'd say, with the saddest face I've seen in 15 years of show business. When the people were in, he suddenly sprang the dummy to life.

[Character Actress]

Shut the doors. Shut the doors. All President accounted for, Mr. Wilson.

[Narrator/Announcer]

You're sure, Oliver?

[Character Actress]

Sure.

[Narrator/Announcer]

But then say hello to the People.

[Character Actress]

Hello to the people.

[Narrator/Announcer]

Oh, now come, Oliver. You can do better than that. I can? Yes.

[Character Actress]

Well, you ought to know.

[Narrator/Announcer]

The routine was awful dull, time worn. But for some reason, this Wilson fascinated me. He had a talent, all right. His handling of the dummy was amazingly accurate. As the act went on, I began to think that Wilson was even better than the Barkard said he was. And he was going over with the house Wilson had Oliver sing while he himself smoked a cigarette. After a few more gag routines and a couple of neat tricks, the performance was over and I knew I had to sign the act. I parked Glory on the merry Go Round and then went looking for Wilson. I walked back of the midway through the maze of painted trailers that were home to Kearney people. Suddenly, the door to one of them flew open and a woman stepped out, a neatly trimmed beard covering her chin. What do you want? I'm looking for Alexander Wilson. Wilson? Why? I'm a talent agent from New York. I'd like to talk to him. Agent? Yes. Peter Harris. And you're Bernice. It's on the posters. Oh, yes, of course. Bernice. What do you want with Alexander Wilson? I told you, I. Who is it? Bernice Callend, Agent. Never mind. Go back in. Uh, Agent, I'm looking for Mr. Wilson. Oh, well, I'm Arthur. You caught my knife act. You know, I could pin a fly to a penny of 40ft. Quiet. Don't mind him. Flesh peddler. Go away. Go home. Agents are no good for us. Leave Wilson alone. And you know, like I could put out a candle flame with a pen knife at 30ft. Agent Man. Arthur. And go back in. Maybe he could sell my axe. Go in. All right. Wilson's in trailer 17. Agent Man. Hey, if you ever need a gun. Shut up, Arthur. Shut up.

[Character Actress]

Get in there.

[Narrator/Announcer]

Forget what he said. Arthur is. Well, he isn't quite bright. You know what I mean? Yeah. What's so wrong about seeing Wilson? There are plenty acts like his. You don't need him. Well, you've got my curiosity going now, Bernice. I hadn't intended that. But forget your curiosity and go home now. Why? Believe me, flesh peddler, you will thank me for this advice someday. Which is trailer 17, I couldn't see. What? Why Bernice was so huffy was none of her business anyway. I roamed through the trailers with my cigarette lighter held high, looking for number 17. Finally, I found it. A small aluminum antique set apart from the rest, with a pre war Chevy attached to it. The trailer was completely dark. Mr. Wilson. What is it? I'M Peter Harris. I'd like to talk to you. What do you want? Well, I'm an agent, Mr. Wilson. I'd like to see you. Just a minute. Yes? I just caught your act, Mr. Wilson. Enjoyed it very much, thank you. I'd like to do business with you. Do business? Here's my card. My office places Axe on all four networks and all the principal nightclubs. I'm afraid it's out of the question. I never play in nightclubs. But I never play nightclubs, Mr. Harris. Well, could I come in for a moment, explain my setup? Maybe when you. No. Forgive me for appearing short, but I'm not interested in any offer you have to make. To begin with, I can get you 200 a week. Excuse me. 250. I'm very tired. If you'll pardon me. Okay, Mr. Wilson. But will you tell me why you want to stay with a two bit freak show when you could make a small fortune working with me? No. No, I'm afraid I can't tell you. Good night. I suppose I should have forgotten all about it, but I'm not used to the brush off. Like I say, when I see an act I want, I go after it until I get it. And then. There was something about Wilson's reluctance that wasn't somehow on the level. As I walked back toward the bright lights, the noise of the midway, a figure stepped from behind one of the darkened trailers. So you saw him? Oh, Bernice, yes, I saw him. And are you satisfied? Not at all. Just more curious. Exactly. Only fools push their noses into other people's business. Flesh Peddler Harris is the name. And only fools get themselves and other people into trouble. Trouble? All I wanted was to offer him a nice fat job. 250 a week and he slammed the door in my face. Alexander Wilson cannot leave this carnival. Why? You don't know, Mr. Harris, and you're not going to know. Know what? Stop asking foolish questions. Your curiosity can do a great deal of harm. Bernice, where does the carnival go from here? Really, Mr. Harris, you don't expect me to look? I can ask any one of the barkers or setup men. Ask them then. All right, I will. But remember, flesh peddler, if you follow us to Poughkeepsie, out. Poughkeepsie? Very well.

[Character Actress]

Now you know.

[Narrator/Announcer]

But if you follow us and try to see Wilson again, you are a fool. In just a moment. We continue with suspense. One of the more colorful lumberjack jacks of the Midwest was a lad named Whiskey Jack. Sort of fellow who could single Handed lick an entire logging crew or swim one of the Great Lakes with one hand tied behind his back. But as in all heroes lives, there came a tender moment. As legend recalls, Whiskey Jack was not much for learning. Certainly couldn't write his name. It was always the big X that he made on any slip of paper. Then one day he came in, quick, quiet, like a little subdued. And when they gave him his pay envelope, he signed for it with great deliberation. The clerk looked, stopped, and called out, hey, Jack. Why the two exes. Whiskey Jack replied, why, son, I have just met me a lovely young lady in the next river town. And we was hitched. So I thought it only proper and fitting that a married man should change his name. Folklore belongs to every nation's legendary past. And I guess we Americans have some good ones. And now we continue with the second act of Flesh Peddler, starring Mr. DeForest Kelly. A tale well calculated. To keep you in suspense, Gloria and I drove back to Manhattan the next morning. And two days later, I hopped a Poughkeepsie local out of Grand Central. The more I thought about Wilson, the more of a challenge he became. I wanted him for my list, but more than that, I wanted to find out what was behind Bernice's strange attitude. Now I wish I'd forgotten about the whole thing. In Poughkeepsie, I checked into a hotel, took a cab to the carnival grounds at the edge of town. It was late afternoon as I pulled up in front of the gaudy tents and booths waiting for the evening crowds. I made my way through the cluttered midway, looking for Wilson's aluminum trailer and hoping I wouldn't run into Bernice. Agent man.

[Character Actress]

Hey.

[Narrator/Announcer]

Hey, agent man. Hello. Hello. Remember me? Arthur the knife thrower? I can pin a fly to a penny. Yes, I. I remember you. And you've come for me. What's that? You come all this way to get me for your agency? Well, no, I'm afraid not. Oh, well, that's all right. I mean, you know, like, I've been giving it a lot of thought, and I don't think I could go with you. Anyway. I said I couldn't leave Bernice in the carnival. My sister says Carney folk should stay with Carney folk. Your sister? Bernice. Oh, Arthur, why is Bernice so. So close mouthed about Mr. Wilson? She acts as though she's afraid of him. Us carny folks stick together, see? Like we don't. Like other people sticking their noses into our business. Bernice said that? Yes, Arthur. Where's Mr. Wilson's trailer? I don't know. Oh, come now, Arthur. Bernice says you know. I know. Bernice says too much. I don't know anything, agent man. Well, I have to go practice my knife throwing now. I gotta practice every day, you know. You know. Well, it was clear Bernice had given Arthur his instructions. And no thanks to him, I find. Finally found Wilson's trailer set off from the rest. Mr. Wilson? Mr. Wilson? The door to the trailer was unlocked and it swung open at my mouth. Wilson obviously wasn't there, but I didn't think he'd mind if I went in and waited. The inside of the trailer was dim and musty. I left the door open to let in what little sunlight the day had left and sat in the lone chair in front of the makeup table. I was just about to reach for a cigarette when I had the feeling that I wasn't alone. I turned slowly in the chair and the back of my neck began to crawl. There on a shabby army cot, was Wilson's dummy, propped up against the wall. The steady, unchanging expression of its face with the staring eyes in pain. Smog ran back at me. It was weird and uncomfortable to be so close to this lifeless thing, unmoving wooden, that seemed so real and alive on the platform in that tent. I tried to ignore it, but I couldn't. I looked away, but I could still feel it there, grinning at me in the early evening dimness. When I could stand it no longer, I got up and walked out of the and bump right into Bernice. What did I tell you, flesh peddler? Bernice, I. What were you doing in there? Waiting for Wilson. What did I tell you? Now, look, Bernice, I don't like you or anyone else telling me what I can or can't do. I want to see Wilson again. I'm waiting here. Come with me, please. I must talk to you privately in my trailer. Sit down. Well, what's on your mind, Bernice? I didn't really think you'd follow us. I told you, I'm not easily discouraged.

[Character Actress]

Mr. Harris, I must warn you again.

[Narrator/Announcer]

To leave now without seeing Wilson. I don't think you understand me. I'm used to getting what I go after.

[Character Actress]

Mr. Harris.

[Narrator/Announcer]

I intend to see Wilson, to try to talk him into signing a contract. And you've said so far all that you've said is go away. Can you give me a good reason for not seeing him? Okay. Then why did you insist on dragging me in here? Mr. Harris, can you assure me your.

[Character Actress]

Interest in Wilson does Not go beyond signing him as a client?

[Narrator/Announcer]

What do you mean?

[Character Actress]

Your interest in Wilson wouldn't by chance.

[Narrator/Announcer]

Be in his past, his private life, and not in his professional talent? I never heard of him until I caught his act three days ago. Mr. Harris, I'd hoped I wouldn't have to tell you this. I didn't realize you were so stubborn. But yes, well, Alexander Wilson lost his mind many years ago. That doesn't disturb you? It might if I believed you. Bernice. What? I don't think Wilson's nuts. Apparently, something's bothering him. Something big, maybe. But it's not insanity. I suppose you know Wilson better than I do. I didn't say that. But a man in my business meets every kind of person there is. The cheats, the phonies, the right guys, the bums. So? So you develop an instinct about people. And my instinct tells me Wilson is not insane. You'll have to try something better to scare me off. Mr. Harris, Wilson thinks he's a murderer. You are trying to scare me, aren't you?

[Character Actress]

If that's necessary. To protect you and us, yes.

[Narrator/Announcer]

You think he might murder me too?

[Character Actress]

I don't mean that.

[Narrator/Announcer]

Actually, he never murdered anyone. Look, Bernice, you don't make sense. Don't you understand?

[Character Actress]

No, I said Alexander Wilson thinks he is a murderer.

[Narrator/Announcer]

He thinks he murdered a woman a long time ago. He's lived with this thought for years.

[Character Actress]

Nourished it until he really believes it.

[Narrator/Announcer]

It's driven him out of his mind. Bernice, do you expect me to believe a cockamamie story like that? It's the truth. So? Don't you see?

[Character Actress]

The only place for him is here.

[Narrator/Announcer]

In the carnival with his own kind.

[Character Actress]

We understand him.

[Narrator/Announcer]

Well, hasn't anyone tried to help him? To make him realize he's beyond that now?

[Character Actress]

But with us, he's all right. Outsiders disturb him.

[Narrator/Announcer]

You haven't scared me off. Bernice, you've got to stay away from him. Why? If anything you've told me is true, it's only half the truth. It's enough for you to know. From you, maybe. Perhaps Wilson will tell me the rest. I've warned you. I will not warn you again. Paul. Bernice. Oh, hello again, Agent man. Hi, Arthur. How's your throwing arm? Well, come in, Arthur. Mr. Harris is just leaving. Yes. So long, Bernice. Goodbye, Mr. Harris. When the trailer door closed behind me, I guess Bernice would start talking her fury out on Arthur. So I moved around to the small window in the back of the trailer to see if I could learn anything. More. I don't care. I don't even want you to say hello to him.

[Character Actress]

Nothing.

[Narrator/Announcer]

Understand? Well, you know, just saying hello don't hurt, does it? Bernice, I don't want you to open your mouth in front of that man, even to yawn. I had to lie to him to.

[Character Actress]

Get him away from here. And I don't want you saying anything.

[Narrator/Announcer]

To bring him back. All right, Bernice. Just pray he goes back to his flesh peddling in New York on that first prank. Just as I thought Bernice had lied to me. I was determined to get to the bottom of this double talk about Wilson more than ever. This. This had become more important to me than signing him to the usual seven year management contract. When I got back to Wilson's trailer, there was a light inside. Who's there? It's Peter Harris again. Who? Peter Harris. I spoke to you a few days ago. And what do you want? I want to talk to you, Mr. Wilson. Go away. But I've come all the way from New York. I must ask you to leave at once. Look, Mr. Wilson, I'm not a detective. All I wanted when I first met you was to book you into the big time. But now there is something more. I think you need help. You need help badly. No, you're mistaken. Can I come in and talk to you? Good heavens, no. Well, how about having a drink with me before the show? You look like you could use one. Please leave me alone. Wilson. Wilson. Don't you see what these people are doing to you? For some reason you're a haunted man. And this carnival is the worst place in the world. Leave me now. Leave me, please. These people are all the help I need. Leave me alone. I'll be at the hotel overnight. If you change your mind. Wilson, call me now. I was mad. If he wanted to rot there going with a carnival and until it wasted away, it was no business of mine. I had a few drinks in my room at the hotel, phoned Gloria that I'd be home the next day. Went to bed. Yes, Mr. Harris? Wilson, can you meet me right away? Right away. What time is it? I don't know. It's after midnight. It's 11 30. Well, I. Please, please, I must talk to you. Can you meet me? Sure. Okay. Where are you calling from? An all night drugstore. Where is it? Wait, wait. No, not here. Meet me at my trailer. Okay? And please, hu. It took me longer to wake the cab driver in front of the hotel than it did to get to the carnival grounds. I told the cab to Wait. And made my way through the darkened tents and trailers to number 17. Come in. What's the matter, Mr. Harris? I've changed my mind. I. I want to leave with you tonight. Tonight? Well, what's the. Mr. Harris, you're the first person outside of the carnival I've talked to in more than two years. You're the first person I've had the courage to approach. Go on. I trust you, Mr. Harris. I can't see why, but I know you'll believe me and help me. I can't live like this anymore. Sure, sure. Now, just take it easy.

[Character Actress]

No, no, no.

[Narrator/Announcer]

Listen to me. Two years ago, I killed a woman. Beautiful woman. I loved her more than I've ever loved anything or anyone in my life. When I tried to tell her how much I loved her, she laughed at me. I couldn't stand that laugh. I understand, Wilson, but that isn't exactly justification. She and her son. She was divorced. Were working in this very carnival. When I first saw her, back in my hometown in Illinois. Yes, I fell in love with. Oh, you can call me a rube, anything, but I was in love. I quit my job and followed the carnival for months. That's how much I loved her. And she laughed at me. So I shot her one night. And then I wanted to die too. And when I saw her lying there at my feet, I wanted them to hang me. But they laughed at me. They laughed at you? The law, the police. They didn't believe I'd done anything. They wouldn't let me give myself up. Where did you get this crazy idea, Wilson? It isn't a crazy idea. It's the truth. Look, lots of people get lots of funny ideas. They think about something they want to do. And they think about it so much that they. They really believe they've done it. It was real from the beginning. I killed her. I did. But there was no evidence against me. Listen, Wilson, you're not making sense. Listen. He destroyed every bit of evidence so he could punish me himself. The police couldn't arrest or even suspect me. Who destroyed what evidence? Wilson? Her son, Oliver. Oliver?

[Character Actress]

Yes, Mr. Harris. He's referring to me.

[Narrator/Announcer]

A trick. No. Wilson was too upset to be tricked. I wheeled at the sound of his voice. And there in the doorway stood Wilson's dummy, Oliver, a small but capable pistol in his hand.

[Character Actress]

You are just as curious as Bernice said you were, Mr. Harris.

[Narrator/Announcer]

Oliver.

[Character Actress]

Bernice told me a lot about you. You had to know, and now you do.

[Narrator/Announcer]

No. You're not.

[Character Actress]

You shocked to learn I'm a Midget. I must admit you gave me quite a start when you made yourself at home in the trailer this afternoon.

[Narrator/Announcer]

But that was.

[Character Actress]

That was me, Mr. Harris. Fortunately, I's already made up for the evening performance.

[Narrator/Announcer]

Mr. Harris hasn't done anything. Oliver, let him go.

[Character Actress]

That depends on you. You see, Mr. Harris, Wilson is no ventriloquist. I guess that's obvious now.

[Narrator/Announcer]

It is.

[Character Actress]

Wilson murdered my mother, and I protected him from the police.

[Narrator/Announcer]

But why?

[Character Actress]

Why? So the law couldn't punish him. What satisfaction would there have been for me if they'd just hanged him? He'd been dead in an instant. Is that enough punishment for a man who has murdered your mother? No. He deserved more, and I've given it to him. I've punished Alexander Wilson for years.

[Narrator/Announcer]

That's right, Mr. Harris. He's held this over my head ever since. Sitting on my lap at every performance, reminding me night and day. Well, well, I've had as much as I can stand. So go ahead, Oliver, shoot. Shoot, Oliver, be sensible. If you pull that trigger there, you're they.

[Character Actress]

Bernice and Arthur and everyone else. Bernice already knows. And now I don't care if the others do, too.

[Narrator/Announcer]

For heaven's sake, shoot me. Get it over with. Shoot me, you monster. Shoot me. With horror, frozen on his face, Wilson slipped at the floor again. Then Oliver turned on me, the pupils of his eyes tiny with madness and his frail little body trembling.

[Character Actress]

I'm afraid this is one act you can't book, Mr. Harris.

[Narrator/Announcer]

Oliver.

[Character Actress]

You wanted to know everything.

[Narrator/Announcer]

Oliver. Now, wait. Wait.

[Character Actress]

I'm really sorry. For your sake. He asked me to let you go, but under the circumstances. No, I'm sorry. Mr. Harris.

[Narrator/Announcer]

Flashed by my head and landed cross quivering in Oliver's chest, a long, gleaming knife blade. And there was Arthur in the doorway of the trailer with Bernice, his face like stone, watching Oliver crumple the little distance to the floor. Slowly the faces of the others appeared in the doorway, silent. The terror I was holding back was a physical pain. I walked to the door and stood looking down at the little body lying awkwardly like a dummy now. A lifeless thing, unmoving, staring even with the traces of a painted smile grinning up at me. This couldn't have gone on any longer, I suppose the police will come now, and at last there'll be an end to it. Go home, flesh peddler, and forget all about us. I went home. But I haven't forgotten. And I'm afraid I never will. Suspense. In which DeForest Kelly starred in William N. Robeson's production Of Flesh Pet written by Robert Juron. Suspense has been brought to you through the worldwide facilities of the United States Armed Forces Radio and Television. Television Service Suspense and the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson. The security of mankind is guaranteed by the balance of nature. If there weren't bigger fish to eat, smaller fish, eventually there would be more fish than water for them to swim in. The rabbit is public enemy number one in Australia because there is no indigenous predator with a craving for hasenfeffer. The law of the jungle is implacable. And when it is broken, when nature's balance is upset, man had better head for the hills. In a moment, we bring you a classic story of nature's imbalance. On one side, the frightful Formicidi Doriolini ants, millions of South American army ants. And on the other, a man who knew no fear. Listen. Listen then, as William Conrad stars in Leiningen vs. The Ants, which begins in 60 seconds. The folklore of America is filled with accounts of superhuman sailors like old Stormalong and extraordinary ships like the courser. Perhaps our confidence in our strength to meet any challenge enabled our forefathers to chart the unknown. Perhaps that's why we just had to have the largest sailing vessel ever built. She was so big that all the officers and men were mounted on horses. Her masts penetrated the clouds and the top sections were on hinges so they could be bent over to let the sun and moon pass. Well, it was during one of those September storms when suddenly the courser found herself heading down the English Channel between Calais and the cliffs of Dover. But the channel just wasn't wide enough. The captain shouted to old Stormalong at the wheel, will she make it? May scrape a bit of paint off' n our sides, said old Stormalong, but she'll go through. Send all hands over and soap the sides. And you know, they soaked that ship so good, that big hulk slipped through just as sweet as honey. Of course, ever since then, the cliffs of Dover have been pure white. That's from the courser's soap and the action of the waves. Folklore belongs to every nation's legendary past. And I guess we Americans have our share of some tall ones. And now, William Conrad in Leiningen vs. The Ants. A story well calculated. To keep you in suspense. I first met Leining while performing my duty as commissioner of the Toto Santo district along the upper reaches of the Santissima River. As my. As my boat neared his plantation landing, I saw him upon the river bank regarding me with mild interest. A great hulk of a man with bristling gray hair, bulky nose and lucid eyes. His entire appearance somehow suggested an aging and shabby eagle. I came quickly to the point of my visit and issued my warning. Leningran puffed placidly at a huge cigar and seemed unimpressed. As decent of you paddling all this way just to give me the tip, Commissioner. But even a herd of crocodiles couldn't frighten me from my plantation. You don't understand. These aren't creatures you can fight. These are army ants. They're an elemental force. A gigantic catastrophe. An act of God. 10 miles long, 2 miles wide. Ants. Nothing but ants. And each one as big as your thumb. Why they can strip a man's body to a skeleton in six minutes. Commissioner, in the three years I've been here I've met and defeated more than one catastrophe. Flood, drought, plague. I'm not going to run from this one. I tell you Laningen, you don't know these ants. But he nearly sat there puffing at his cigar and regarding me with a grin. And I knew it was hopeless. As I boarded my launch and cast off I felt a sudden resentment toward this obstacle. Madman. And yet with it was something else. I'd never met a man like this before. Couldn't help wondering, watching the commissioners launch until it rounded a bend and was lost to sight. There was a strange look in his eyes as he stared back at me. Clearly he thought me insane. Well, he would have not been the first to think so. But I knew my own powers. I was sure of myself. I had seen my defeated many times and always for the same reason. That only strengthened the central argument of my life. That intelligence, directed or right, always makes man the master of his fate. That evening I called my Indian workers together in front of the plantation house. And I saw their faces go ashen with as I told them that the ants were coming. Then one of the men stepped forward. Blas the foreman. Senor, we have worked hard here for these three years, all of us. We have built the finest plantation in this district. We all share in has been a home for all of us and our families. Now the ants come. Yes, now the ants come. These ditches we dug last year, they were for the ants. They were for the ants. If we moved our families across the river, the ants could not reach them. That's right. Your families would be safe. And you? The ants are mighty. We know what they can do. But we think that you are mightier. We Will stay and fight against the ants with you. I knew that the men would give me that answer. I counted on it. And suddenly I thought of the commissioner and wondered what he would say at such an unquestioning confidence. Would he still think I was insane? At least I knew he would not soon forget the day spent in warning all the plantations in my district. Sleep was out of the question for me. All that night. I could think of only one thing. One man, Linendon. One man who calmly evaluated his chances against a deadly menace. Coolly decided he could win and was willing to stake his life on it. To risk a horrible death for it. It was terrifying, and yet it was fascinating. And when dawn came, I knew that the fascination of that man was more than I could resist. That line engine's fight was drawing my mind, was drawing me back to. Toward that plantation and death. And there was nothing I could do about it. I had to go back. The second act of suspense continues in one minute. Do you know the Social Security benefits to which you will be entitled when you separate from the service and take a civilian job? Here's a tip from Social Security. When you open an account at a store, a special record is usually started for you. When you get a Social Security account card, a personal record is also started for you, using both your name and the number of your card to be sure your Social Security record is correct. It's a good idea to check your Social Security record every few years to get a statement of your earnings. From the Social Security records. You can use postcard form 7004. This form is yours by writing to Social Security Department, 15 Hollywood 28, California. That's postcard form 7004. And now we continue with act two of Line and Linen versus the Ants, starring William Conrad. A tale well calculated to keep you in suspense. It was 10 o' clock in the morning when I rounded the bend below Leiningen's plantation. I put him at the dock and tied up the launch. And then I saw him standing on the bank about, arms folded, stubby cigar in his mouth and a sardonic grin on his face. Back for another warning, Commissioner? No. Back to Stowawayle? Yes. You don't seem very surprised. I'm not. You expected me? I thought you'd be bank. Come along. We'll get some horses. You'll want to ride around the plantation, take a look at the defenses. I've rigged defenses. How? Have you had time? I've always known that sooner or later the ants would come. Well, yes. I'd like to see the defenses. And the ants? We'll be getting a glimpse of them before long, I should think. Yes, and the ants. The defenses Leiningen had devised were quite impressive. Surrounding three sides of the plantation like a huge horseshoe, was a ditch 12ft wide. The end of this ditch ran into the river which formed the fourth side of the plantation. And at the up river entrance to the ditch, Leiningen had constructed a dam by which river water could be diverted. A large hand wheel controlled the floodgate of the dam. As we approached the ditch and rode along it, I could see that it was nearly full. How do you like my first line of defense, Commissioner? Well, it's reassuring. Like a moat around a castle. Unless the ants know how to build rafts, they won't reach the plantation. But this is the only the auto moat. There's a better one than this. Come along. We'll go up to the high ground where the buildings are. We can get a view from there. Linen. Ah, I didn't see any women or children around the plantation. Or any animals. Yes, that's right. We moved them across the river. Then even you think that there's danger. Not because cause of danger, Commissioner. Matter of efficiency. Efficiency cuts down on the efficiency of the men if they're worried about their families. Critical situations only become crises when oxen and women get excited. Ah, here we are. See the ditch? Well, it's much smaller than the other. You've noticed how all the buildings are on this piece of high ground. The center ditch surrounds them and it's lined with concrete. Just. But even filled with water, this is no barrier. It's not big enough. Why, if the ants get this far, they'll. They'll get no further. This ditch wasn't built for water, Commissioner. You see the pipes leading into it? See those storage tanks on the hill? Huh? Gasoline. They can throw up a wall of flame. You got to bet they won't like that. Oh, I dare say they won't. Look, Commissioner, over there on the horizon. Yes, There are your ants. Look at them. It was a sight I'll never forget. Over the range of hills as far as I could see, crept a darkening hem, ever longer and broader, until the shadows spread across the entire slope. And then downward, downward, uncannily swift. And all the grass and bushes on the unfortunate. The entire slope was being mowed as by a giant sickle, leaving only the vast moving shadow, extending, deepening and moving rapidly nearer. They're a hideous linearthe. Oh, Leiningen, we can't last against that. Look at Them? Why, they could fill your ditches with their corpses and still have enough to destroy every one of us. We've gotta run for it. No, they haven't gotten to us yet and they never will. Come along. We'd best get back to the men. The hostile army was approaching in perfect formation. No human battalions, however well drilled, could ever hope to rival the precision of that advance along a front that moved forward as uniformly as a straight line. The ants drew nearer and nearer to the water ditch. And as they approached, two outlying wings of the army detached themselves from the main body and started marching along the side of the ditch, no doubt expecting at some point to find a crossing. And during this hour long flanking movement, the main army remained still across the scant 12ft of ditch. I stared at them and they seemed to stare back at me. Act three of Suspense follows in one minute. This is Johnny Baker with communism on the spot. The Communists often talk about the will of the people, but unfortunately their actions don't match their words. For example, in January 1918, the Bolsheviks broke up by force of arms the Constituent assembly, the first and only parliament in Russian history, freely elected by universal suffrage. The Bolsheviks dispersed this democratic body by military force because they feared the will of the people, which had given them only 25% of the vote and their leading political opponent twice that number. The Communists have never come to power in a free election anywhere. And they probably never will. Not the will of the people, but their own will to power is their main concern. And now we continue with Act 3 of Leiningen vs. The Ants, starring William Conrad, a tale well calculated to keep you in suspense. Around four in the afternoon, the ant scouts having found no crossing, there was a stirring among the main army. And then an immense flood of ants about 100 yards in width commenced, paw in a glimmering black cataract down the far slope of the ditch. Thousands drowned instantly, but the rest began using the bodies as bridges. Lannigen immediately swung into action. Tanayo, get to the dam. Open the floodgate wider. Get the water in the ditch moving faster. Si, senor. Look at them. Drowned by the thousands. Yes, but they keep coming. All right, men, busy with the shovels now. Dump some sand and clods on them. See how they like that. You. You with the petrol sprinklers, start pumping. That's it. I don't like it, Commissioner. They don't like it a bit. Look at them. Yes, but how about the ones on the far side of the ditch? Whole clumps of them rolling into the water. The Rest are using them for bridges. Yes. Now we're skipping Tenayo. He should be at the dam by now. Senor, the ants are crossing the ditch on the clouds of earth. If you climb up on this side even now. Yes, I see them. I see them. Use your ship shovels on the men. Club the crawlers. What's the matter? I see you. They crawl up on my shovels.

[Character Actress]

They crawl in my arms.

[Narrator/Announcer]

Into the petrol, you idiot. Douse your paws in the petrol. Don't stop. Now the rest of you problem. We cannot hold them back. We must run. Run now. And you doomed, every one of you. You've got to fight them back. Here's your shallow. You're dead if you stop. Keep at it, though. Keep at it. Ah. T all got the floodgates up and the water's running faster now. Yes. Look at the ants. They can't hold their own against the current. Now they're being washed away faster with the shovels. Look at them, Commissioner. We've beat them. We've beat them. It was true. Leiningen had won at least the first round. The floodgates were left open to forestall any night crossing. I allowed myself to hope that the ants would go on, would pass us by. But when the dawn came, the dark blanket was still there, motionless across the ditch. And then we noticed a feverish activity on the other side of the plantation. Here a grove of tamarind trees lined the far end of the ditch. And every tree swarmed with the crawling insects. But instead of eating the leaves, they were merely gnawing through the stem so that a thick green shower fell steadily to the ground. Well, it looks as if it's feeding time for our friends, huh? Blas, have all the petrol pumps brought here. And get everyone over here except the lookouts on the other side. And then pass out the shovels. Are you going to deprive them of a meal? Meal? Aren't they cutting down the leaves for food? I wish they were. What do you mean? I said if they wanted to get across, they'd have to have rafts. And that's just what they've got. Those leaves are the rafts. Even as he spoke, the leaves went tumbling down the far bank by the thousands. The current drew them away from the bank, and each leaf carried several ants. Don't worry. As long as you keep spraying them and shoveling dirt on their wraps, they can't land. But Signoria will be too many. It's true. Look. Morley's in the ditch all the time. Why, they'll Have a solid carpet to walk across in a minute. Not so fast, Commissioner. I've still got a trick up my sleeve for them. The water. The ditch is drying up. Yes, of course it's drying up. That's the plan. Those are the orders I sent to the dam. Are you mad? As soon as it's empty. What's to prevent the answer? Look. The water's way down. It's almost dry. They'll be able to come across the bottom. They'll not make it if the man at the dam carries out his orders. He should have opened the gates again by now. Do plug the ants. Yes, right. What a chance to take if anything should happen here. Here comes the water. Now we'll give the crawlers in the ditch a good ride up to the river. Yes. There. That. Look at him go. Lightning's tactics were successful at first. The violent flow of water raced through the ditch, overwhelming leaves and ants and sweeping them along. Three times the ditch was emptied. Three times the ants raced across the bottom, and three times the water arriving just in time, carried them away. But the fourth time, as the water lowered nearly to the bottom of the ditch, we waited in vain for the rushing waters. And then. Sir, you. What's the matter? What's gone wrong? At the dam, the ant. Just as the man at the dam lowered the water almost to the bottom, the ants attacked the dam. Before he could open the floodgate, he was almost surrounded. He ran. The ants kept coming. They were across the ditch. Leiningen stood motionless, absorbing the news of his defeat without a word. Then he raised his pistol and fired three. The prearranged signal for all the men to retreat instantly to the second line of defense. The concrete line ditches two miles from the point of invasion. Soon after we arrived there, the natives commenced straggling in silently. Leiningen waited until all of them had gathered, and then he spoke to them. Lads, we've won the first round, lost the second. But we'll smash the crawlers yet. Anyone who thinks otherwise can draw his pay. And there are rafts enough on the river. And plenty of time still to reach them. You stay, then. Good. Thank you, lads. And you, Commissioner, I. I can't persuade you to give up the fight? You cannot. Well, then I stay too. Yes, I knew you would. Senor. Senor, a few of the ants have reached the ditch. They're trying to get across a nice. I didn't think they would. There's plenty of food out there for them. Food I've spent three years in raising. It ought to Last them until morning, anyway. Yes, we were safe for the moment. But the next morning the black swarm was solid around us, and their shock troops were hard at work. They were dropping shreds of bark and twigs and leaves into the petrol, forming a floating bridge across the surface of the liquid linen. Stood silently watching this operation, and I could see a grudging admiration in his face. Then, after several hours, the attack came down the ditch. They poured thousands of them and across the bridge of twigs rapidly approached the inner side. Leiningen sat motionless, watching them. Uh huh. Leiningen, for the love of God, don't sit there like a statue. They'll be on us in a moment. Let them fill it first. No. All right, everyone back from the ditch. Come on, Ross, hand me the torch. Now we'll see how our friends like a little heat around us. Flames from the ditch shot into the air, devouring the ants by the millions. It was some time before the petrol burned down to the bed of the ditch. But when it did, the devils came back for more again lineage and fired the ditch to destroy them. And still again they came on. But at each successive firing, the task of the ants grew easier because of the film of ash which now covered the petrol. And as they returned to the assault, time after time, a slow, sickening horror crept into my mind. I looked quickly at Leiningen and then at the gasoline tanks. He read my gaze and nodded slowly. That's right, Commissioner. We could hold them off forever if our supply of petrol was unlimited. But it isn't. We've got enough to fill the ditch once more. And then. Pickle. Pickle. Come back now. The idiot jumped the ditch. He'll never make it to the river. Pick her all. Come back. Merciful God. He's. It's too late. Blas. Keep the men back with your gun. Don't let anyone else try for the river. Ninogen, isn't there any way? Any way at all? We've got to do something. We could be away. There must be. Yes, yes, yes. What is it? We'll flood the whole plantation. Flood? But how? We've got to close the floodgate at the dam. That'll do it. You're mad. The dam is nearly two miles away. Two miles of. And lads, listen to me. Listen, lads. I'm proud of you. Now there's still a chance. By shutting the floodgates in the dam and flooding the whole plantation from the river. The moment I'm over the ditch, set fire to it. That'll allow time for the flood to wash away the ants. Then all you have to do is wait for me. Why, it's impossible. You can't get to the dam, let alone get back. That's where you're wrong, Commissioner. I'll get there and I'll get back. Take care of things while I'm gone, huh? I watched him as he calmly pulled on high leather boots, drew gauntlets over his hands and stuffed the spaces between britches and boots, gauntlets and arms with petrol soaked rags. He shielded his eyes with close fitting mosquito goggles and plugged his nostrils and ears with cotton. Then the natives drenched his clothes with petrol. Leiningen was ready. And as he stood calmly surveying the course, ready for the run, I realized that this was as it should be. I, Leiningen, would meet the ants and defeat them. Or be defeated by them. Linen versus the ants. I ran. I ran in long, equal strides with one thought, one sensation in my being. I must get through. I dodged all trees and shrubs. Except for the split seconds my souls touched the ground. The ants would have no opportunity to alight on me, and I ran on. I was halfway to the dam before I felt ants onto my clothes and a few on my face. I struck at them mechanically, scarcely conscious of their bites. The dam drew toward me slowly. The distance drew less and less. Finally, only a hundred yards away. And 50. And then I was there. I gripped the ant covered wheel, but hardly had I seized it when a horde of ants flowed over my hands and arms. I strained and slowly the wheel turned and turned more. The floodgate was swinging slowly shut. Then it was shut and the water was rising, rising behind the breakwater, closer to the top and closer. And then it was spilling over. The flooding of the plantation had begun and I let go of the wheel. For the first time I realized that I was coated from head to foot with the fiends. Tongues of fire stabbed at me, bit through my flesh, and I almost fainted with a pain as I ran, knocking ants from my body, brushing them from my bloody face, and then one bit me just below the rim of my goggles and I managed to tear it away. But the agony of the bite and its venom drilled into the eye nerves, and I saw now through circles of fire into a milky mist. I was almost blinded, but I knew that if I tripped and fell, I ran on, my heart pounding as if it would burst, blood roaring in my ears, a giant's fist battering my lungs. Then I could see dimly that wall of flame at the ditch, but it was too far away. I could not last half that distance. And I stumbled. Then I fell. And I felt myself being swarmed over, devoured. And I tried to rise. Great weight. And then I remembered six minutes and nothing but bones. I couldn't let that happen to me. I couldn't die like that. To my feet. To my feet. Drag myself forward toward the flame, the ditch, the ring of flame. Closer now, only a little further. 10 steps. It seemed we had waited for hours. When all at once, through the blazing ring around us. An apparition hurtled and fell full length on the ground line. Engine alive with ants. Unconscious, with blazing eyes and lacerated face. We rushed to him, stripped off his clothes. And tore at the ants that covered him. His body seemed all almost one open wound. In one place I could see a white bone. Later, as the curtain of flame lowered. I looked out where that blanket of ants had been. And saw only a vast expanse of water covering the entire plantation. The ants were gone, drowned. And Linogen had won. He lay on his bed. His body swayed from head to foot with bandages. But Leiningen was still alive. Commissioner, everything in order? They're gone. The ants are gone. I told you I'd come back, even if I am a bit streamlined. And then this amazing man grinned, shut his eyes and quietly fell asleep. Suspense in which William Conrad starred in William N. Robeson's production of Leiningen vs. The Ants. Adapted by Robert Rife from the original story by Carl Stevenson. Listen. Listen again next week when we return with Man From Tomorrow. Starring Frank Lovejoy. Another tale well calculated to keep you in suspense. Supporting Mr. Conrad in Lingen vs. The Ants. Were Ben Wright, Lou Merrill, Donald Buka and Don Diamond. Suspense. Suspense has been brought to you through the world. Worldwide facilities of the United States Armed Forces Radio and Television Service SA SAM radio 59 WROW. First on the dial. And now another tale well calculated to keep you in suspense. Are you a commuter? When you hurry onto that late train in the evening, how do you choose your seat? You try to get as far as possible from the big black cigar. Or as near as possible to somebody reading your favorite periodical. Next time, look out. You may be sitting next to the man who murders people. Now, before tonight's story of suspense. Let's listen to some words of wisdom from a good friend of your yours and mine. The host of CBS Radio's Daily House Party. Hello, this is Art Linkletter with a few words about that crippling disease known as arthritis. What is arthritis? It's the most widespread chronic disease in the United States. Actually, more than 11 million people suffer with arthritis. Men, women, even children. 11 million. No wonder it's called our country's greatest crippler. What causes this cruel disease? Nobody knows. It's still a medical mystery. The Arthritis and Rheumatism foundation is searching for the answers and they need your help. Research is costly. So is treatment. This humane work can be carried out only with your support. So send a generous contribution today to your local chapter of the Arthritis and Rheumatism Foundation. Remember its care today and a cure tomorrow. Dinobury, Roseville, Milburn. All right.

[Character Actress]

Wait, wait, please.

[Narrator/Announcer]

Public.

[Character Actress]

Conductor.

[Narrator/Announcer]

United Here. Separate.

[Character Actress]

Oh, I thought I'd never watch it, Mr. Buck.

[Narrator/Announcer]

Bundles. Look.

[Character Actress]

Oh. Oh, my packaging.

[Narrator/Announcer]

Stay right on there. I'll get them. Here's your half box newspaper. Well, no wonder you girls stumble wearing those spike heels.

[Character Actress]

My purse. Where's my purse?

[Narrator/Announcer]

Right here. Don't worry.

[Character Actress]

Give it to me.

[Narrator/Announcer]

Hey, watch it. You'll dump this stuff again. And our two boxes. I guess that's everything.

[Character Actress]

So I didn't have enough to worry about. Everything has to go wrong.

[Narrator/Announcer]

Take it easy, miss. You caught the frame. That something.

[Character Actress]

I wish I didn't have to take it.

[Narrator/Announcer]

Well, too late now. Boy Over.

[Character Actress]

I wish I didn't have to take it. This is horrible.

[Narrator/Announcer]

What's the matter, miss?

[Character Actress]

Oh, I'm sorry. I didn't realize I was speaking out loud.

[Narrator/Announcer]

Something you're reading in that paper bother you?

[Character Actress]

Yes. I wish I hadn't bought the paper.

[Narrator/Announcer]

Not. Not by any chance the Roseville murders you're reading about?

[Character Actress]

But how did you know?

[Narrator/Announcer]

Everyone has those murders on his mind these days.

[Character Actress]

I guess I'm awfully cowardly.

[Narrator/Announcer]

Not at all. I know a lot of strong men who find themselves afraid of the dark since those bodies began to turn up around Roseville. It's not something to take lightly.

[Character Actress]

You don't sound very scared.

[Narrator/Announcer]

Me? No. As a matter of fact, I've always been rather interested in murder.

[Character Actress]

Interested?

[Narrator/Announcer]

Yes. Murderers are very clever people, you know. Geniuses, some of them. You can learn a lot studying these cases.

[Character Actress]

Learn? I wish someone would learn who the killer is. What's the matter with the police anyway? Why don't they catch him?

[Narrator/Announcer]

Why don't they? Because he's cleverer than they are, that's why. This man is the coolest, smartest killer that's ever been known in these parts, my girl. Here, let's look at what the paper says.

[Character Actress]

Oh, no, no, please. I can't bear to see that picture again. Poor man, he murdered last week.

[Narrator/Announcer]

Now, I studied that picture for some time. Myself found it very interesting, you know, figuring out just what kind of a man he was, what kind of trick he might fall for. Just how he'd react when he knew he was going to be murdered.

[Character Actress]

Please don't.

[Narrator/Announcer]

Well, you're trembling. Well, I believe you're really frightened.

[Character Actress]

Don't you see? I live in Roseville.

[Narrator/Announcer]

Oh, live in Roseville, huh?

[Character Actress]

How do you think it feels to get off at that lonely station at night, not knowing in what shadow this. This creature may be standing watching me.

[Narrator/Announcer]

So you live in Roseville. Say, I'm not far from there myself. You ever pass Arthur Jenkins Antique Shop on Boley Road? That's my place.

[Character Actress]

I remember seeing it. My aunt's very interested in antiques.

[Narrator/Announcer]

You must bring her in sometime. I'll show her my personal collection.

[Character Actress]

That's very kind of you.

[Narrator/Announcer]

Glad to do it. Old weapons are my specialty. I got some pretty rare stuff. But getting back to this murder, must we?

[Character Actress]

Mr. Jenkins?

[Narrator/Announcer]

Tickets. Have them ready, please. Where did I put that darn thing? Tickets, please.

[Character Actress]

Here you are, conductor.

[Narrator/Announcer]

Thank you. Everything okay now, miss?

[Character Actress]

Oh, yes, thanks. I was just awfully nervous about missing the train. My aunt worries, though, if I'm not on the early one.

[Narrator/Announcer]

I know how it is. Well, you get your supper hot tonight. Here's my ticket. Thank you. Tickets. Have your tickets ready. Yeah. Let's see now, where were we? Oh, yes, the paper. Oh, here. I. Now, first victim, two months ago. Young mechanic from the Parkway filling station. Found in the reservoir, stabbed in the heart. Apparently thrown out of a car. No clues whatever.

[Character Actress]

And he was such a nice young fellow. We often talked while he was servicing my car. Then when I. When I saw this in the papers.

[Narrator/Announcer]

Second murder. Wealthy broker. Left New York on a 445 when he was. And never arrived home.

[Character Actress]

Just like the poor mechanic.

[Narrator/Announcer]

Body turned up three days later at the foot of the Mill Road embankments. Again, a knife wound in the heart. But no knife, no weapon, no clue, just a body.

[Character Actress]

That's the one that horrified me. So. Suppose I should have a flat tire in my car tonight when I get to the station, I'd have to phone the garage and then sit and wait in the dark shed all alone.

[Narrator/Announcer]

I can see how you feel.

[Character Actress]

Or even if I try to drive to the garage, I'd have to go slowly, and it's right through the woods.

[Narrator/Announcer]

And.

[Character Actress]

And.

[Narrator/Announcer]

And the man who murders people jumps out of the woods in front of your car. Yes. Definitely something to be nervous about.

[Character Actress]

I hate to leave the house to go to work in the morning. And Poor, poor Aunt Maude. She worries all day till I get home.

[Narrator/Announcer]

Doesn't a pretty girl like you have a boyfriend to look out for?

[Character Actress]

Well, I haven't been living in Roseville very long.

[Narrator/Announcer]

You know, I've been thinking. I get off the station after Roseville, but if you like, I could get out and see you to your car and then take the bus on up.

[Character Actress]

Oh, I couldn't let you do that.

[Narrator/Announcer]

It's not much out of my way at all. Matter of fact, I often drive down that way in the evenings. It's a beautiful drive up the mill road past the reservoir. But you're looking at me so strangely. I think I will go with you and see to your car.

[Character Actress]

No, no, I don't want you to.

[Narrator/Announcer]

Well, we can talk about it later, but get back to the murderer again. You know, I wouldn't mind being called crazy if I could baffle the police as cleverly as this fellow does. Last week. Now that was the third.

[Character Actress]

Will you stop?

[Narrator/Announcer]

What? What's the matter?

[Character Actress]

Stop talking about the Roseville murder. I don't want to hear anymore. I tell you. I don't want to talk about bodies being found and. And fiends with long knives hiding in the woods.

[Narrator/Announcer]

Come, come now. You mustn't let yourself get so excited. Now, this man who strikes so quick, cruelly. Don't you wonder what started him murdering? Do you suppose power was what he wanted power over? Pardon me. May I sit down? Huh? What? Is this seat taken?

[Character Actress]

No, no, I. I turned it forward so I could put my bundles there. But I can move them here.

[Narrator/Announcer]

I'll. I'll just pile them on top of each other. There plenty of room. Well, I think I'll go back and have a smoke.

[Character Actress]

Goodbye, Mr. Jenkins.

[Narrator/Announcer]

I'll talk to you again later. In just a moment, we will return for the second act of suspense. Do you start out for a drive in a car with the fear fateful anxiety of a soldier going into battle? Cars have been created for our pleasure and convenience. However, carelessness has made them responsible for more human death than any planned carnage in the history of man. It's hard to know why people who have no desire to destroy themselves should be guilty of this kind of irresponsibility. Despite the many automatic features in today's automobiles, nothing has yet been invented to take the place of human intelligence in control. Whenever you take your car out, whether for an errand in the neighborhood or a long trip on the highway, remember, it takes only one split second of inattention on your part to make all the safety features of your car meaningless. To turn the whole comfortable, luxurious machine into a weapon as personally destructive as any H bomb. Drive with constant caution, common sense and courtesy. Keep your car from destroying you. Miss, are you crying?

[Character Actress]

No, no, it's nothing.

[Narrator/Announcer]

Gosh, is there. Is there anything I can do? I mean, I'm sorry.

[Character Actress]

I'm the one who should apologize. It's silly of me, but I've been so nervous. And then that man.

[Narrator/Announcer]

That man? You mean that heavyset guy who just left?

[Character Actress]

Yes, that.

[Narrator/Announcer]

Has he been annoying you?

[Character Actress]

Oh, no, no, no. It's not that really, really. It's just that. Well, I live in Roseville.

[Narrator/Announcer]

Oh, I. Oh, yeah.

[Character Actress]

I guess you've heard of the murders that have been going on in that area.

[Narrator/Announcer]

I'll say. Some guy's been knifing people at night and leaving the bodies around.

[Character Actress]

Yes, and the killer is still at large. And, of course, everyone in the neighborhood is terribly frightened.

[Narrator/Announcer]

Police can't seem to get any clue at all on the case.

[Character Actress]

No, and the papers are so full of it that it's hard to put the ghastly thing out of your mind.

[Narrator/Announcer]

About this guy who was sitting here.

[Character Actress]

But that's what I'm getting at. I was terribly nervous to start with. And this man sat down beside me just as we were leaving New York. And first thing you know, he. He started to talk to me about those murders.

[Narrator/Announcer]

He's got a charming approach.

[Character Actress]

I didn't want to talk at all all. Especially about that. But he couldn't stay off the subject, son. And he kept saying what a genius the murderer is and talking about the men that were killed and how they felt when they. When they knew they were going to be murdered.

[Narrator/Announcer]

Oh, now, please don't cry again. What's the matter with that guy, talking to a girl like that?

[Character Actress]

And then he said he'd get out at Roseville with me and take me to my car. And I was scared and didn't want him to, and he insisted.

[Narrator/Announcer]

Insisted, did he? Wait till that guy comes back. I'll tell him a thing or two. What are you going on here, you? I'll tell you what's going on.

[Character Actress]

Oh, now, now, please.

[Narrator/Announcer]

Look, You've annoyed this lady till she's almost hysterical, that's what. Why, what are you talking. Who do you think you are, forcing your conversation on a girl who's frightened and nervous and wants to be left alone? Who says I forced myself on the girl? You must be crazy. There's something wrong with one of us. But it's not me. Now get out of this car, do you hear me? What do you mean ordering me around the train? I mean business, bro. This is the next time I see you hanging around this lady, I'll knock your block off. So get going before I really get. I never heard of such a thing. I don't think he'll be any more bothered.

[Character Actress]

I was sure he was going to hit you.

[Narrator/Announcer]

Having a little trouble up here? No, it's. It's all right. Conductor. Fellow was a bit annoying to the lady, but nothing serious. We. We straighten it out. I don't know if it's the murders or what, but this Roseville run sure is hard on the nerves lately. Guess all your passengers are a little jittery up here. A guy annoys girl, lady smacks another lady's kid. Man breaks a window cuz it won't open. I don't know. Well, that's that.

[Character Actress]

All quiet.

[Narrator/Announcer]

Uhhuh. Gosh, I'm sorry to let you in for that scene, but I thought it was best to show him I meant business.

[Character Actress]

I guess you're right, but. Oh, I'm glad it's over.

[Narrator/Announcer]

What? A train ride all included on your commutation. No extra charge for the fireworks.

[Character Actress]

I'm just exhausted. You'd think I've been doing the work.

[Narrator/Announcer]

Well, you've. You've been under a strain. How about sitting back and relaxing? Let me fix that back for you.

[Character Actress]

Oh, thank you.

[Narrator/Announcer]

There. Now just take it easy from here in. It's been pretty nerve wracking for you.

[Character Actress]

I. I don't know what I would have done if. If you hadn't come along.

[Narrator/Announcer]

Mr. Mr. MacKenzie. Bill McKenzie.

[Character Actress]

Mr. McKenzie.

[Narrator/Announcer]

You know, I. I believe I've seen you on this train before.

[Character Actress]

I'm certainly glad you saw me this time.

[Narrator/Announcer]

I'm glad too, for more than one reason.

[Character Actress]

Well, now that it's over, I. I guess I was a bit silly about the whole thing. That man didn't really have such a bad face at all.

[Narrator/Announcer]

He's no monster. Just tactless, that's all.

[Character Actress]

That's right. But me with my frayed nerves waving in the breeze. I suspect a rabbit of being the Roseville murderer if I met one on the mill road in the dark.

[Narrator/Announcer]

It's true the guy is probably harmless, but there's no reason why I should go on annoying you, even unintentionally.

[Character Actress]

Well, I do thank you for stopping him. By the way, my name is King Murray, Mr. MacKenzie. I live just outside of Roseville, the other side of the reservoir.

[Narrator/Announcer]

Glad to know you, Ms. Murray. I live in Newbury myself. But look, if you're still frightened.

[Character Actress]

Oh, thank you, but I don't feel a bit frightened.

[Narrator/Announcer]

Now.

[Character Actress]

My car is quite near the tracks and it's only a 10 minute drive home.

[Narrator/Announcer]

I'm sure you'll be all right. Because I could see you home and then I could grab a bus back to Newbury if you'd like me to.

[Character Actress]

Oh, it won't be necessary really, Mr. MacKenzie.

[Narrator/Announcer]

Call me Bill, won't you? Since we're kind of neighbors, we ought to get better acquainted.

[Character Actress]

All right, Bill.

[Narrator/Announcer]

Kay.

[Character Actress]

Yes?

[Narrator/Announcer]

I told you I've seen you on the train before. Yes. Well, to tell the truth, I've. I've noticed you particularly.

[Character Actress]

That's flattering.

[Narrator/Announcer]

And since luck has brought me your acquaintance, may. May I take the advantage of it and suggest I'd like to see you again sometime? Well, I. How about dinner or a show some night or whatever you'd like to do? I'd like to, but it's kind of sudden, Kay. But please say yes.

[Character Actress]

Well, you might come up to the house some evening and meet my aunt.

[Narrator/Announcer]

You mean when? I have a stamp of approval. We can go on from there.

[Character Actress]

That's about.

[Narrator/Announcer]

Suits me fine. Let's see. This is Wednesday. How about tomorrow night?

[Character Actress]

Afraid I can't make it tomorrow.

[Narrator/Announcer]

Oh, Friday then.

[Character Actress]

Friday will be all right. About 8 o'.

[Narrator/Announcer]

Clock. Nobody? Nobody. I've got to get off here. Are you sure you don't want me to ride up with you?

[Character Actress]

Oh, no thanks, Bill. I'm not scared anymore.

[Narrator/Announcer]

How about your address, Kay?

[Character Actress]

Oh, I'm on Fern Cliff Road, number 42. It's a big white house just off the Mill Road.

[Narrator/Announcer]

I'll find it. All right. See you Friday. Kay. Bye. In a moment, we will return for the third act of suspense. Hi. Maybe you'll recall this tuneful reminder of times past. This is Dennis James with something else worth remembering. It's this. You're so right to stay regular with Kellogg's All Brand. See, it's the normal, natural way to youthful regularity. The whole brand content of Kellogg's All Brand supplies your system with all the bulk forming food that you need every day. There's only one All Brand. It's Kellogg's All Brand. So relieve irregularity from lack of bulk as millions do with a bowl full of Kellogg's All Brand each morning. A double L, hyphen, B, R, A, N. It's Kellogg's All Brand.

[Character Actress]

Oh, darn. These doors, they never do open.

[Narrator/Announcer]

Here, miss, let me do It.

[Character Actress]

Oh, scared me. Conducting? Yes. Will you please? I have so much to carry.

[Narrator/Announcer]

She'll just let me get in there.

[Character Actress]

Oh, look how my bun goes. Oh, by heaven's sake.

[Narrator/Announcer]

Oh, say, I'm sorry. That was clumsy of me. Let me pick him up again, dear.

[Character Actress]

Oh, look out. Don't step on that bag.

[Narrator/Announcer]

I got him rolling all over here. Wait till I catch that hat box. Ah, here's the two packages. Hat box and pocketbook. And your newspaper.

[Character Actress]

Thank you, conductor. Here, I'm through with the paper. I'll let you enjoy the Roseville murders.

[Narrator/Announcer]

Oh, thanks, miss. Wait a minute. There you are. You got everything?

[Character Actress]

Yes, thank you. May I sit down?

[Narrator/Announcer]

I. Certainly. But why? What do you want?

[Character Actress]

I want to apologize to you, Mr. Jenkins. I've been feeling dreadful about that young man being so hasty with you.

[Narrator/Announcer]

Young Sir Galahad, huh? If I annoy you, why don't you keep away from me?

[Character Actress]

That's just it. You don't annoy me.

[Narrator/Announcer]

Well, if I don't, you certainly.

[Character Actress]

Look, honestly, Mr. Jenkins, it's hard to explain just how it happened, but. Well, I was so tired and nervous and all, and the young man got the impression that you'd been upsetting me.

[Narrator/Announcer]

A bit impetuous of him, wasn't it?

[Character Actress]

I guess it was. Actually, I. I know you didn't mean to upset me. And I was terribly embarrassed when he spoke to you that way.

[Narrator/Announcer]

Pretty embarrassing all around, I'd say.

[Character Actress]

I didn't know what to do. He meant. Well, you see, and it all happened so fast anyway. I thought I'd walk back and find you to tell you how sorry I am over the whole mix up.

[Narrator/Announcer]

Well, I don't know. I. I am not accustomed to being taken for a masher.

[Character Actress]

But you weren't at all. I wouldn't have been speaking to you in the first place if you hadn't looked like a respectable person.

[Narrator/Announcer]

Well, I certainly wasn't being treated like that.

[Character Actress]

And I would have enjoyed talking if I hadn't been so unstrung. But you know what nerves can do to a person.

[Narrator/Announcer]

Well, I knew you were jumpy about something the first time I looked at you.

[Character Actress]

My name is Kay Murray, Mr. Jenkins. Can't we shake hands and no hard feelings.

[Narrator/Announcer]

Well, all right, young young lady. I guess it was all just a misunderstanding.

[Character Actress]

I didn't intend to be rude and. Well, it's nice of you to understand.

[Narrator/Announcer]

Hey, here's your station now.

[Character Actress]

Yes, we're right on time. Oh, let's see. Have I got everything?

[Narrator/Announcer]

You. You have quite an armful. You know, Ms. Murray, I'll repeat that offer I made before, if you like. I mean, about seeing you to your car. If you want me to.

[Character Actress]

Oh, no, it really isn't necessary.

[Narrator/Announcer]

Pretty dark night, young lady.

[Character Actress]

Gee, I don't know. Now that it comes right down to it, I. I guess I would feel better if you'd walk over with me. Then I can drop you off at the bus station. If you're sure it won't make you too late.

[Narrator/Announcer]

Oh, no. I never run on a schedule. I'm often busy half the night.

[Character Actress]

But we'd better hurry.

[Narrator/Announcer]

Is the car far?

[Character Actress]

No, no. Just the other side of the grove.

[Narrator/Announcer]

Watch your step. Jump. Which way?

[Character Actress]

Oh, right over here. There's a path, all right.

[Narrator/Announcer]

See the. But you don't stumble. You certainly don't waste much electricity in these stations.

[Character Actress]

Now, this is the bad part. In through the trees here. What? I'm glad you came.

[Narrator/Announcer]

It's dark all right, and quiet. The train. Don, did you hear something?

[Character Actress]

What do you mean?

[Narrator/Announcer]

There it is again. Let's stop a minute. Hear it? There's someone following us.

[Character Actress]

I don't hear a thing. It must have been the trees.

[Narrator/Announcer]

What? I could have sworn. Well, maybe not. Let's go.

[Character Actress]

Oh, gee, you really had me worried for a moment. Strange what tricks mental suggestion can play.

[Narrator/Announcer]

Very strange.

[Character Actress]

Why, there probably isn't a living soul within half a mile of here.

[Narrator/Announcer]

Not at this time of night.

[Character Actress]

Now, if I'd been alone and thought I'd.

[Narrator/Announcer]

There he is. Look. Between the trees. Stand still, both of you. He's got a gun case. Stand still. No.

[Character Actress]

No, it can't be.

[Narrator/Announcer]

I. Don't move you.

[Character Actress]

Here.

[Narrator/Announcer]

It's not too dark for me to shoot straight. You.

[Character Actress]

Who is it?

[Narrator/Announcer]

It's the. The conductor on the Roseville train cave. If you'll just step back on the path and put your hands over your head.

[Character Actress]

No, no, you'll.

[Narrator/Announcer]

Don't run, Kay. He'll shoot.

[Character Actress]

He'll never get.

[Narrator/Announcer]

You. You've killed her. I doubt it. I aimed too low. Let's see. That's what I thought. Bullet didn't even touch her. It's those heels. She tripped and hit her head. He almost got away from you. Well, what are you waiting for? Where's the knife? You'll see it soon enough. First, come over and give me a hand with this girl. I won't help you. I won't move. Do I have to get disagreeable? Why don't you kill me and get it over with? Just a minute. Who do you think I Am. I know who you are. One day everyone will know. Do you hear? You can't get away with it. Hold it, mister. I happen to be riding that train as special investigator. What? This gal dropped a purse boarding in Grand Central and was so edgy about it, I began to wonder what was inside. I managed to spill her bundles later and get a quick look in the purse while retrieving them. Then I remembered the madman's third victim was last seen walking with a pretty girl. Why do you think I followed the two of you? I. I don't know. I. What. What was in the purse? You ever see one of these? A. A pruning knife? You never know what's turned a normal mind into a crazy whirlpool of hate.

[Character Actress]

Oh, me.

[Narrator/Announcer]

I would have been the fourth victim.

[Character Actress]

My purse. Where is it?

[Narrator/Announcer]

You're trading it for a pair of bracelets, sister. Sure. I never thought the man I was after would be wearing spike heels. Suspense. Foreign. You've been listening to the man who Murders People. Written for suspense by Mariana Norris. In a moment, the names of our players. And a word about next week's story of suspense. Ever stop to think about this? Radio is the swiftest, most flexible news media medium. In addition, as veteran CBS newsman Lowell Thomas observes. I wonder if you are taking full advantage of something that radio can do best of all that is, keep you informed on national and world events. The Daily Human Show. That's what I'm here for. And I hope that you will join me each evening for a fast swing around the world. Lowell Thomas. Each morning, Monday through Friday night at this radio address. Now, here's news about CBS News. Soon, broadcasting's foremost news service brings you twice the coverage. Double the detail, double the depth. Starting Monday, November 28th, each weekday, CBS News goes double for you for a full 10 minutes every hour on the hour. The first word in speed, the last word in accuracy. CBS News goes double for you soon. On CBS Radio. Heard in tonight's storm were Vivian Smolen as K. George Petrie as Jenkins, Alan Manson as Bill. And Maurice Tarplin as the conductor. Listen again next week when we return with Night on Red Mountain by William N. Robeson. Another tale well calculated. To keep you in suspense. Wrow Albany, New York.

[Podcast Host]

We just heard Zero Hour to None. A Deadly Drug, Variations on a Theme, The Waxwork, Fragile Contents, Death, Flesh Peddler, Lanningen Versus The Ants. And the man who Murders People. That will do it for this run of my favorite episodes of suspense. Thanks for joining me over the last few months. As I went through this series, I hope I hit some of your favorites, and I hope I introduced you to some shows that may become favorites of your own. I'm still playing around with some ideas for how I want to keep the podcast going. I'll be back next week for sure with a Halloween themed installment, but stay tuned in the weeks to come. In the meantime, you can check out down these Mean Streets, my old Time Radio Detective podcast. New episodes of that show are out on Sundays, and if you like what you're hearing, and if you'd like to lend support to the show, you can visit buymeacoffee.com Meansts OTR I'll be back next time, just in time for Halloween with some scary stories, each of the matale well calculated to keep you in.

[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.