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- [00:00]
A
Would you hand me that, please? Thank you. Now, let's see. Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense.
- [00:50]
B
Hello and welcome to Stars on Suspense with more Hollywood legends and radio's outstanding theater of thrills. Our noirevember celebration continues this week with the stars of the Maltese Falcon, John Huston's 1941 adaptation of Dashiell Hammett's classic novel. A film that became a classic in its own right. The popular line is that Hollywood remakes are never as good as the originals. But in the case of the Maltese Falcon, the third time, adapting Hammett's novel for the big screen proved to be the charm. The book had already been filmed twice before the version that made Humphrey Bogart a star and established John Huston as a major Hollywood director. Today we'll hear Mr. Bogart along with three of his co stars appearing on suspense as well as all of them reprising their roles for a Maltese Falcon radio recreation. We'll start with Peter Laurie, who played Joel Cairo, one of the unscrupulous characters in pursuit of the titular statuette. We'll hear him in Til Death Do Us Part. Originally aired on CBS on December 15, 1942. It's one of my all time favorite suspense episodes. A story penned by master mystery writer John Dixon Carr with Laurie as a man who concocts a sinister scheme to dispose of his wife and her lover. Next up is Mary Astor, who gave cinema one of its all time great femmes fatale with her portrayal of Bridget o', Shaughnessy, the mysterious woman who hires Sam Spade under false pretenses and who later presents him with quite the moral dilemma in the denouement of the story. She stars in in Fear and trembling from February 16, 1943. It's a sort of gender swapped version of our Peter Laurie show. Here Ms. Astor plays a woman who suspects her husband and his girlfriend are planning to kill her. So she makes a plan to strike first. Then we'll hear Humphrey Bogart, who starred in the picture as hardboiled private eye Sam Spade. It's the performance that cemented Bogey's reputation and set him on the trajectory for the rest of his storied career. We'll hear him in a radio adaptation of James M. Cain's Love's Lovely Counterfeit. It's the story of a racketeer's right hand man who yearns to move up in the organization. It originally aired on CBS on March 8, 1945. Now, you can't talk about the Maltese Falcon without singing the praises of Sidney Greenstreet, who earned an Oscar nomination for what was his debut film performance as the gleefully malevolent Casper Gutman. Greenstreet also made a visit to suspense, but unfortunately we only have the first half of that episode available to us today. It's the Hangman won't wait. From February 9, 1943. Green street plays the classic Golden Age detective, Dr. Gideon Fell, a creation of John Dickson Carr, who wrote our first show today. But since we only have part of that story, we'll have a second helping of Mr. Greenstreet as another classic detective, Rex Stout's Nero Wolf. Greenstreet played Wolf in a very good series that aired from 1950 to 1951. And we'll hear him in the Case of the careworn cuff from October 27, 1950. Finally, all four of our stars recreate their film roles as the lady Esther. Screen Guild Theater presents the Maltese Falcon in a broadcast from September 20, 1943. The cast of the Maltese Falcon is about to take the stage. We'll kick things off with Peter Lorre right after these messages.
- [05:18]
A
Now it's winners time again. Yes, sir. Here are the two winners. The carousel contest for the week ending November 8th. Each of these listeners wins a gorgeous $117 Jewel Harmon Gold Watch just for writing an interesting letter about. About Carrie Salt. The ladies watch goes to Mrs. A. O. Nobles Jr. Of Gainesville, Florida. Her suggestion tells you how to remove the printed dye from sugar bags or white feed bags. She suggests you damp the bags with kerosene and sprinkle on Carrie's table salt. Then roll them up tight and let them stand overnight. Next day, just wash in soapy water and watch the dye rinse away. Sounds like a wonderful idea. And here's the winner of the Man's watch. He is Mr. Sandy Riza of Cleburne, Texas, and he bases his suggestion on 30 years of experience. He says, the best thing I have ever found for smoothing rough gears and silencing their noise is the use of Kerry salt mixed with gear grease or compound. Congratulations to both of the winners. And folks, if you'd like to win one of these beautiful watches, listen for the easy rules later in this program. Meanwhile, remember, there's a fine Kerry salt for every farm and home use. There's deep, penetrating Kerry's table Salt Carries meat curing salt, carries mineral supplement salt and many others. Always look for the white bag box or cotton with a bright red band. Now let's take a quick musical trip to Blue Ribbon lands to places around the world where folks enjoy internationally famous Paps Blue Ribbon beer. Ready now. See how many you can guess. Yes. Paris is right. In gay Paris, folks just like yourself enjoy that smoother tasting Paps Blue Ribbon finest beer served anywhere. Now, Nicaragua. That's right. That's right. Managua, Nicaragua, another wonderful place where internationally famous Pabst Blue Ribbon is served and enjoyed. Next, Chicago is right. That's right.
- [07:10]
C
Yes.
- [07:10]
A
All over America. All over the world, folks enjoy that number one international favorite, Pabst Blue Ribbon finest beer served anywhere. It's the beer the whole world knows about. And remember, the quality that has carried the fame around the world is yours for the asking. The next time somebody says, what'll you have? Give them the world's best answer. That's smoother, smoother, smoother. Pabst Blue Ribbon beer. Good evening. This is your Rexall family druggist with a welcome from the 10,000 independent druggists who have made the word Rexall part of our own store names. We've done that because we recommend and sell the 2,000 or more drug products made by the Rexall Drug Company. Like Rexall Milk of Magnesia. For example, here's the milk of magnesia that's so pure and creamy smooth, so free from that unpleasant earthy taste. Even children spot the difference. Ask for the Rexall Milk of Magnesia at Rexall Drugstores everywhere. And remember, you can depend on any drug product that bears the name Rexall. And now a tale well calculated to keep you in suspense. Suspense. Tonight, Columbia brings you as a guest star Peter Laurie, one of the screen's past masters of the art of suspense. Suspense is compounded of mystery and intrigue and dangerous adventure. In this series are stories calculated to intrigue you, to stir your nerves, to offer you a precarious situation and then withhold the solution until the last possible moment. Tonight, for instance, Mr. Laurie plays for us a doctor, a husband with something dark and terrible on his mind. Was it murder? And if so, can this at last be the really perfect crime? We trust that while you are wondering, we shall keep you in suspense. For suspense, tonight, CBS presents Till Death Do Us Part by John Dixon Carr, starring Peter Laurie. Late one night In December of 1941, a man and his wife sat beside the fire in their country cottage. This man, look at him. A professor of mathematics, stout Middle aged, guileless as a child, in the remote corner of England where he lives with his pretty English wife. They say of him, jolly decent fellow.
- [10:31]
C
You know, for a foreigner, isn't he? Always a smile for everybody. And so polite. That's why it's such a shame about his wife and that young American. There hasn't been anything between them yet, I'm almost sure. But if the American stays here much.
- [10:46]
A
Longer, shall I tell you. A happy man, this Professor Craft. His cottage in the country is rather isolated. Three miles from the nearest house. No electricity or central heating or telephone. And on December nights like this, a great wind comes rushing off the Sussex Downs, rattles at the windows, growls in the chimney and makes unsteady the oil lamp on the table. Professor Irwin Craft sits before the fire in a snug book lined room. And across from him, sewing, sits his young wife, Cynthia. A domestic scene. A very domestic scene. Oh, my pet, this is wonderful, isn't it? Oh, so nice and cozy. How I enjoy our little home. It's a pleasure to be indoors on a night like this, isn't it?
- [12:02]
C
Yes.
- [12:03]
A
Did my darling have a good day?
- [12:05]
C
Just about as usual.
- [12:07]
A
No adventures, huh?
- [12:08]
C
Not exactly. I walked into the village.
- [12:11]
A
Walked? Oh, I really blame myself for burying you out here. I ought to get your car.
- [12:17]
C
That's not necessary, thanks.
- [12:19]
A
Come now, come. Did something happen to upset my little pet today?
- [12:23]
C
No, no, no.
- [12:25]
A
You know, darling, I look at you and I marvel.
- [12:29]
C
You marvel at what?
- [12:31]
A
At a wife who can actually blush? Yes. With a skin so fair and a conscience so transparent that she can actually blush.
- [12:43]
C
I wasn't blushing about. About what, but anything you might be thinking. It's your horrible habit of putting everybody else in the wrong.
- [12:52]
A
Oh, but the neighbors don't think that about Papa Croft.
- [12:56]
C
Neighbors don't have to live with you. I do.
- [12:59]
A
And you mustn't scratch either. Not when we are so snug here, so cozy. And a kettle on, the fires nearly boiling. And the rum is ready. And the lemon juice and the sugar for her medicine.
- [13:13]
C
Oh, and must I drink that stuff? I don't like rum.
- [13:15]
A
But you have a cold, darling.
- [13:17]
C
I haven't got a cold. Really I haven't.
- [13:19]
A
Now, darling, twice today I heard you cough. Now, you are going to take your medicine, Cynthia, and take it here and now and not offend your clumsy old husband by refusing.
- [13:31]
C
Why do you keep on treating me like a girl of 16?
- [13:34]
A
I love to treat you like that, Cynthia, because. Because I cannot fathom your thoughts. You lock up your thoughts, and that is A dangerous English habit. You see, thoughts accumulate and won't be stifled. And sooner or later, when you least expect it.
- [13:55]
C
Well, the Count. The kettle's boiling over.
- [13:57]
A
So it is.
- [13:58]
C
Owen, please lift it down from there.
- [14:00]
A
Of course. I apologize. I apologize, my darling.
- [14:05]
C
There for a second. You know, you almost frightened me.
- [14:12]
A
I frightened you?
- [14:13]
C
I suppose it's foolish.
- [14:15]
A
Well, here we are, my dear. Here we are. Now, see, I put two tumblers on the coffee table and now a spoon in each so that the heat doesn't crack them.
- [14:30]
C
I. Dear, must you give me so much rum? Can't I have the small one?
- [14:35]
A
But we have to cure that cold of yours, Cynthia. Now comes the lemon juice. Yes, and now comes hot water to the clock. Here we are. And two lumps of sugar for each of us. There you are, darling. Now, let's drink up, huh?
- [15:01]
C
Owen, listen.
- [15:03]
A
I didn't hear anything.
- [15:05]
C
I did. Came from that cupboard over there. It sounded like your accordion.
- [15:09]
A
Oh, that's nonsense, darling. That's nonsense.
- [15:13]
C
There. There it is again.
- [15:15]
A
Well, that's only the wind. Or perhaps a rat that got into the cupboard.
- [15:20]
C
Erwin, I'm terrified of rats. Go and kill it. Would you mind?
- [15:24]
A
Oh, you really sit very heavy labours, my sweet, for one of my weight. Well. Well, if you insist. All right. Well, I'll take a good heavy poker from the fireplace. And of course, it means a little trip through the cupboard.
- [15:42]
C
Owen. Never mind.
- [15:44]
A
You haven't changed your mind, have you?
- [15:46]
C
It'd probably run out across the floor, come back.
- [15:50]
A
Wouldn't run very far, I'm sure. Well, again, if you insist.
- [15:56]
C
I can't think what's the matter with me tonight. No, no.
- [16:01]
A
Yeah, sure. Nothing upset you in the village today, huh?
- [16:04]
C
Certainly not.
- [16:05]
A
How about this young American, that fledgling doctor, what's his name?
- [16:12]
C
You mean Dr. Craig?
- [16:13]
A
That's it. Dr. Craig. Dr. Craig. Didn't someone say he was leaving today for London and then back to the States?
- [16:22]
C
I believe so. That's what Lady Randolph told me.
- [16:25]
A
And you didn't say goodbye to him?
- [16:27]
C
Certainly not.
- [16:29]
A
Well, that wasn't kind of you, darling. That wasn't friendly. What's the matter? Don't you like my nice hot rum drink?
- [16:37]
C
No, but you'd give me no peace till I do. Drink it.
- [16:41]
A
That's right, darling. That's right. Now take it down like a good girl. I'm keeping you company. See? Oh, how pretty she looks with her yellow hair in the firelight and her red mouth and her light little hands. Very pretty. Oh, there is just one other thing, Cynthia. I gave You a letter to post this afternoon. Did you post it?
- [17:08]
C
Yes.
- [17:09]
A
Registered?
- [17:10]
C
Yes.
- [17:10]
A
And did you notice to whom the letter was addressed?
- [17:14]
C
Everybody notices the address on an envelope. It was to sir. Mr. Hadaby at market Shepherd.
- [17:19]
A
That's right.
- [17:20]
C
But I don't know who he is, if that's what you mean. Oh.
- [17:23]
A
Mr. Hadaby is the coroner of this district.
- [17:27]
C
A coroner?
- [17:28]
A
That's right. That's right.
- [17:30]
C
But is there any reason why you should be writing letters to the coroner?
- [17:34]
A
Well, there will be tomorrow morning. We have been just drinking poison, my love. Why did you drop your glass, Tony?
- [17:48]
C
I don't believe you.
- [17:50]
A
No. This will interest you, Cynthia. You were a trained nurse and Weren't you? You see, the poison was aconite.
- [18:01]
C
Monkshood. No.
- [18:02]
A
Yes. Home grown in our own little garden. You know, 116 of a grain has been a fatal dose.
- [18:10]
C
There's no telephone here, no car. Not even a neighbor.
- [18:14]
A
Exactly, my angel.
- [18:15]
C
Take your hands off me. Let me get up.
- [18:19]
A
No, my pet. In about five minutes. You see, the. The first symptoms will come on.
- [18:26]
C
Symptoms?
- [18:27]
A
Yes. Our throats will grow dry. Our assets will turn dim.
- [18:34]
C
No.
- [18:35]
A
And presently we'll lose the use of our limbs. Well, there are convulsions before the end, I believe. But we won't feel them.
- [18:43]
C
Let me help.
- [18:44]
A
If. If you try to hit at me, angel, you'll upset that lamp. And, well, if you upset the lamp, this cottage would go up like tinder. We don't want to burn to death, do we, Erwin?
- [18:58]
C
Why are you doing this? Why are you doing it?
- [19:01]
A
Why do you think all Papa craft is blind, my pet? Huh? If I can't have you, Cynthia, nobody else is going to have you.
- [19:12]
C
You mean Jim Craig?
- [19:14]
A
So it is Jim Craig.
- [19:16]
C
That was nothing. My tongue slipped.
- [19:17]
A
A cynic would seem idea that your foot slipped. Do you think I don't know what happened the other night at the schoolhouse?
- [19:24]
C
Schoolhouse?
- [19:25]
A
Yes, the Market shepherd schoolhouse. At Lady Randolph's little concert in aid of the war relief.
- [19:31]
C
Nothing happened. I swear it didn't.
- [19:32]
A
No?
- [19:33]
C
No.
- [19:33]
A
Oh, then it was coincidence, I suppose, that you and that Dr. Craig didn't arrive until the concert was nearly over.
- [19:41]
C
Yes. Yes, it was. We didn't go there together.
- [19:44]
A
No.
- [19:45]
C
We met in the little hall outside the auditorium. It was just as you were finishing your number on the accordion.
- [20:00]
A
I beg your pardon. It's so dark here, I almost bumped into you. Isn't that Mrs. Cray?
- [20:06]
C
Yes. Good evening, Dr. Craig.
- [20:09]
A
We. We seem to be late.
- [20:12]
C
Very late, I'm afraid.
- [20:13]
A
I. I was detained on a case.
- [20:17]
C
I didn't feel like coming here at all.
- [20:19]
A
Just a moment, before I open that door for you. Won't it look a little funny our arriving here together?
- [20:26]
C
Funny? Why should it?
- [20:29]
A
No reason at all, only. Cynthia, listen to me.
- [20:35]
C
Do you know, Dr. Craig, that's the first time you ever called me by my first name.
- [20:41]
A
I did want to have a word with you somehow. Of course, you've heard the news?
- [20:46]
C
What news?
- [20:47]
A
Well, on the radio for the past couple of days.
- [20:49]
C
We're too far out to get much news. My husband isn't interested.
- [20:54]
A
He isn't interested? He isn't interested in anything but himself.
- [20:58]
C
I rather you didn't talk that way about my husband.
- [21:01]
A
I'm sorry.
- [21:03]
C
Would you push the door open a little? And in conclusion, Lady Randolph is saying something. I'm sure we've all enjoyed our friend Professor Croft's musical numbers on the accordion and the vicar's conjuring tricks and little Miss Linshaw's spirited recitations. It only remains for me to tell you that the collection for this little entertainment will amount to the we. Yes, Colonel Thompson? What is it? Colonel Thompson's going across the platform in rather a hurry. Looks like an announcement of some kind. Ladies and gentlemen, your attention. We have just received some late news by the 9 o' clock bulletin.
- [21:44]
A
I think I can guess what it is.
- [21:46]
C
Following yesterday's declaration against Japan, the Congress of the United States today declared war against Germany and Italy. No applause, please. I think I can say that these things go too deep for applause. We entered a war lightly and we have learned. But before the vicar ends this meeting, I shall ask the orchestra to play us the song numbered 83 in the book. A song we know is dear to the hearts of all Americans.
- [22:29]
A
Close the door, Cynthia.
- [22:32]
C
Jim, this doesn't affect you.
- [22:35]
A
Naturally it does.
- [22:36]
C
You won't be leaving England, probably.
- [22:39]
A
In a very short time they'll be needing doctors.
- [22:42]
C
But does a formal declaration of war make any difference? What does it mean to you? What does it mean?
- [22:49]
A
I. I can't explain it, Cynthia. It's all in that song. If they're going to need me, I'll go back.
- [22:57]
C
But can't you do just as much good here in England?
- [23:00]
A
I don't know. That depends on what the army says.
- [23:03]
C
And doesn't anything depend on what I say?
- [23:07]
A
We haven't got much time, Cynthia. That card will be out in a minute. Yes, and we won't admit it will wear.
- [23:15]
C
Admit what?
- [23:16]
A
Admit how we feel about each other.
- [23:19]
C
I haven't said.
- [23:20]
A
Nor I. I was only talking about what we Were thinking.
- [23:25]
C
No, we won't admit it. You say you can't explain about the war. I can't explain about this.
- [23:32]
A
Don't try. It's better this way.
- [23:35]
C
Erwin's been very good to me. He's such a childlike person.
- [23:40]
A
Yes, Everybody likes him.
- [23:42]
C
Oh, he has his tempers. And he's not easy to live with sometimes, in spite of what they think. But I can't do anything to hurt him because he'd never do anything to hurt me. Never? Never. Never. In.
- [24:09]
A
A very fair estimate of my character, too.
- [24:12]
C
That's exactly what I said about you.
- [24:13]
A
So you are in love with that fellow.
- [24:15]
C
I admit it now. Yes.
- [24:18]
A
Tell me, darling, do you feel anything yet?
- [24:22]
C
Feel anything, I mean.
- [24:24]
A
Dryness, muscular contraction of the throat?
- [24:28]
C
Yes.
- [24:29]
A
Oh, I thought so.
- [24:31]
C
I won't die. I won't.
- [24:34]
A
And how do you propose to stop yourself? Your only chance would be to reach the village infirmary. And I'll see to it that you don't get there.
- [24:44]
C
But what if the poison takes you before it takes me? Then you can't stop me.
- [24:48]
A
But it won't, darling.
- [24:49]
C
You seem terribly sure of that.
- [24:51]
A
You see, the amount I gave you, as you perhaps noticed, was more than I gave myself. I'm going to follow you, my little pet, into the dark. Where there are no Dr. Jim Craigs. But not too quickly. I shall still have most of my faculty. Cynthia, when your convulsions are already beginning.
- [25:15]
C
Oh, I wonder if you will.
- [25:17]
A
Why?
- [25:18]
C
Do you see that your legs don't seem any too steady.
- [25:21]
A
I don't know. It must be the heat of the fire, perhaps, or it's very hot in this room. Cynthia. Cynthia, darling, listen to me.
- [25:34]
C
Yes, Erwin?
- [25:35]
A
There. There is a copy of. Of Taylor's Medical Jurisprudence on the. There. Over on the shelf there. Please, Please get it for me.
- [25:47]
C
I'm afraid you'll have to get it for yourself, my dear. That is, if you can.
- [25:53]
A
I'll get it.
- [25:55]
C
Mind the lamp, Irwin. We don't want the house afire.
- [25:59]
A
Just as you said yourself, I'll mind the lamp. Listen to me. You know, some people's systems aren't tolerant to poisons. They experience in minutes what ought to take hours.
- [26:16]
C
Does it hurt, Owen? Does it hurt?
- [26:19]
A
Yes. But you'll find out soon enough, my pet, because. Because you'll never make three miles to the village. Never.
- [26:32]
C
You think not?
- [26:34]
A
I know it. And. And just remember, I. I shall be waiting. Waiting out in a darkened cold where there is neither marriage nor giving. In. In marriage, I'll be waiting for my little pet. To come and join me. I. I shall be waiting.
- [27:09]
C
Erwin. Irwin. Oh, I hate you. I loathe you. I'm afraid of you. But I don't want you to die because of me. And yet you are dead, Erwin. But I'm not going to join you. I've never prayed much, Erwin, but I'm praying now. Whatever comes over my wits and makes my senses weak, give me strength enough to get to the village. Just give me strength enough to get to the village.
- [28:03]
A
An empty room now, except for the motionless figure by the fire. The great wind enters through an open front door and makes the lamp shake dangerously on the tables. The whole house creaks. Otherwise, it is very quiet. Suddenly, the corpse sits up. Professor Kraft looks pleased, doesn't he? Very pleased, very alert as he moves over to a certain cupboard door. Well, and now I think the real fun can begin. Patience, patience, patience, my friend, while I open the cupboard door. Well, there we are. I hope you haven't been too uncomfortable, Dr. James Craig. I'm all right, thanks. So you managed to get the gag out of your mouth, huh? I managed it, yes. Just now. I'm too late. Well, you are still securely tied up, I'm glad to see. You know, you gave me several very, very unpleasant moments, young man, when you. When you got your foot on that accordion. Did I? Well, Cynthia thought you were a rat and wanted me to kill you. You know, she shows very good sense sometimes. I could hear both of you talking. Thanks very much. Of course you could. Of course. Excuse me, please. I. I forgot that. Yes, and I could see you, too, through a crack in the door. Well, you were intended to see us, but now, come on. First of all, I'll drag you out of here. Yes, sir. Let me take you. Yes. Now we can sit down and have a nice, cozy little chat. How much aconite did you give Cynthia? How much? Oh, about two grains. Two grains? Well, then she can't possibly. No, she can't possibly live until morning. But she can live long enough to testify that she saw me die. And how much poison did you take yourself? I. None. None at all? No, none at all. But you mixed those drinks out of the same materials I saw you do it. Well, but there wasn't any poison in the rum, young man. You see, two lumps of sugar steeped in aconite were dropped into Cynthia's gas. I marked them, and I didn't make a mistake. Can you see the beginnings of Papa Croft's plan? Why, you. You see, Cynthia left the door open, my friend, and there Is a very strong wind blowing tonight? Well, just observe how it lifts the table covers, flutters the magazines, makes the lamp tremble. I shouldn't be surprised, you know, if. If one of those lamps blew over. A fine crash in a sheet of flame. And when they come here tomorrow morning, after Cynthia's testimony in my letter to the coroner, they'll expect to find at least a few charred bones among the ruins. And, of course, they must find some remains. Whose remains? Yours? Yes. You've got me tied up pretty well, haven't you? And now, you see, now comes the best. You were last seen going towards the railway station to London and then to America. Nobody, nobody will inquire after you. Except Cynthia. That's right. Except Cynthia, who will be dead. That I waylaid you and brought you here while Cynthia was in the village will not be known to our good coroner. And I shall disappear. What do you think of it, young man? I think it's rather good. Huh? You're going to let me burn to death. Yes, And I shall enjoy the necessity. By the way, too bad you missed my performance at Lady Randolph's concert. It was very nice. But then I think you were otherwise occupied. You could call it that. Occupied. I think in making love to my wife, you hurt my vanity, young man, and you are going to suffer for it. I never made love to your wife. No? No. But I don't suppose you could possibly believe that. Are you already begging for mercy? Now, come on, now. Come on. Are you begging for mercy? No. I think, Dr. Craig, I don't like the way you're taking this.
- [32:53]
C
I really don't.
- [32:54]
A
Don't you?
- [32:55]
C
No.
- [32:56]
A
You ought to be afraid. All decent men should be afraid. And no man is heroic when he sees death coming. But you are as white as a plate. You can't eat your eyes off me. And you seem to be expecting something. Maybe I am expecting something. You are? Well, I think I can persuade you to tell me what's on your mind, my friend, if I use the poker out of the fire, you see. You see, I'm a mathematician. I leave nothing to chance. Do you hear that, Professor Kraft? A car has stopped out in front. Well, they won't come in here. But of course they will. It's probably the Home Guard. Look, you fool. You've left the front door standing wide open in a blackout. Don't be childish. Do you think to upset me with that? Something's upset you. Take a look at yourself in a mirror. Nothing, nothing can upset my plants now. Everything is ready. My clothes and my Money are in a stable. This place, this pretty little cottage will be a furnace. All I have to do is. All I have to do is pick up that lamp, you see, like this. And something is wrong with me. You're not acting this time, are you? You're not pretending now. You. You swine. What have you done to me? I have done nothing to you.
- [34:27]
C
You.
- [34:28]
A
You have done something to me. I can feel it. There is sweat all over me. My. My throat choking.
- [34:39]
C
This way, Lady Randall. Through the gate and up the path. That.
- [34:45]
A
That sounded like. Like my wife's voice. It was Cynthia's voice.
- [34:52]
C
A person would think you were drunk. I'm sorry, Lady Randall. Stopping me in the road and asking to be taken to the infirmary at 80 miles an hour. And then finding there was nothing wrong.
- [35:01]
A
With you and bread but as can be. It is impossible. Oh, but it is. You see, your plans didn't include the fact that Cynthia doesn't like rum. Remember? You poured a very large drink for her and a small one for yourself. And you filled both glasses with hot water. Remember when she got got you to leave her come over to this cupboard. She changed the glasses. Then you're the one who swallowed the poison. Two grains of aconite.
- [35:28]
C
No. Help me.
- [35:30]
A
Please. Help me. Nothing on earth can save you. Help me, please.
- [35:36]
C
In the name of Philip, please.
- [35:39]
A
Please help me. Nothing on earth can save me.
- [35:42]
C
Please.
- [35:43]
A
No, you won't.
- [35:47]
C
Then.
- [35:48]
A
And then I'll show you. I'll take you with me. I'll take everybody with me. Where are you going?
- [35:59]
C
I'll get that lamp.
- [36:02]
A
I'll take you with me. Why, look at you. You can't even see. You're blind. You're staggering straight into that cupboard. I'll take you.
- [36:12]
C
I'll take you with me. I'll kill. Jim. Jim, what are you doing here?
- [36:28]
A
Come in, Cynthia. Come in and take a look at the man who died twice. And so ends Till Death do Us part. Starring Peter Laurie, tonight's story of suspense. Columbia presents these tales of mystery and intrigue and dangerous adventure for your relaxation and enjoyment. Next Tuesday, there'll be another in this series. Same hour, 9:30 Eastern. War time. Mr. Laurie was starred as Professor Kraft. He was supported by Alice Frost as Cynthia, David Gothard as Dr. Craig and Mercedes McCambridge as Lady Randolph. William Spear, the producer. John Deetz the director. Bernard Herman, the composer, conductor. And John Dickson Carr, the author. Our collaborators on suspense, this is the Columbia Broadcasting System. Suspense. This is the man in black here again to introduce Columbia's program suspense. Our star tonight is Ms. Mary Astor, one of Hollywood's most charming and resourceful actresses, and a lady who is no stranger to the art of keeping audiences in suspense. Ask anyone who saw her in the Maltese Falcon or across the Pacific. The story called In Fear and Trembling by J. Donald Wilson is tonight's tale of suspense. If you have been with us on these Tuesday nights, you will know that suspense is compounded of mystery and suspicion and dangerous adventure. In this series are ten tales calculated to intrigue you, to stir your nerves, to offer you a precarious situation, and then withhold the solution until the last possible moment. And so it is. With In Fear and trembling and Ms. Mary Astor's performance, we again hope to keep you in suspense. At the edge of the cliff overlooking the sea sits a greystone mansion, weather beaten by the storms of several decades. To this mansion, Gilbert Durant brought his bride, Lucia. That was four years ago. Gilbert and Lucia were quite happy until a year ago when Lucia's half sister Beverly, came to live with them. Gradually, something began to happen. Lucia felt it, felt that some insidious horror was beginning to gnaw at her happiness. She began to know that Gilbert's ardor was beginning to cool. He became more absorbed in his writing. Then she felt the cold clamminess of the great stone structure creeping about her, clutching at her heart. Anyone who saw her could tell that fear was growing in her mind, a fear of something which she could not or would not explain. One evening, Lucia, having excused herself at dinner, tossed on her bed in a fretful sleep.
- [40:32]
C
No, don't. Don't.
- [40:35]
A
Get away from me.
- [40:39]
C
Mrs. Durant. Mrs. Durant, what's wrong? Oh, Benson, come in. What on earth is wrong? Why were you screaming? Oh, Benson, I must have been dreaming. It was horrible. You're right as a ghost. Sh. You like a le. Yes, I know. Oh, Mrs. Benson, I can't stand it. It's driving me mad. That makes the fourth or fifth time I'm doing the same thing. The same in every detail. I've never heard you scream before. No, that's probably because. What? Oh, it always comes a little closer to me. Tonight it almost reached me.
- [41:10]
A
It?
- [41:12]
C
What do you mean? I don't know what it is. It's a figure, a human figure. But I can't tell whether it's a man or a woman. It comes through that door and walks slowly across the room with its arms outstretched, reaching for me. Are you sure you were dreaming? Now that I think of isn't like a dream, an ordinary dream. Its Reality seems to carry over even after I'm awake. That's what's made you so ill. This dream, if it is a dream, means something. Is that what you think? It's a premonition?
- [41:46]
A
Perhaps.
- [41:48]
C
What time is it? Nine o'.
- [41:50]
A
Clock.
- [41:51]
C
Where's Gilbert? Your husband went horseback riding over an hour ago. Did he go alone? Your sister went with him. Beverly, why didn't he ask me to go? Well, you've not been yourself lately. Not been feeling well? Yes. Yes, of course. Well, if you're feeling better, I'll go back to my room. Oh, yes, I'll be all right. Thank you, Miss Benson. Good night. Good night. Carefully, Gilbert.
- [42:26]
A
Lucia lay there for a while, staring wild eyed at the patch of moonlight on the bedroom door. Listening, waiting.
- [42:37]
C
Then, as the clock struck half past.
- [42:39]
A
Ten, the door opened and a figure stepped into the room and moved noiselessly through the moonlight to Lucia's bed. Suddenly, Lucia opened her eyes.
- [42:52]
C
Gilbert, don't.
- [42:54]
A
Don't. Lucia. What's wrong with you?
- [42:56]
C
What are you doing in my room?
- [42:58]
A
I just wanted to know how you felt.
- [43:00]
C
How long have you been standing there?
- [43:01]
A
Oh, just a few seconds.
- [43:03]
C
I was dreaming, I guess. When I woke up. You startled me.
- [43:07]
A
Why were you yelling? Don't. Don't.
- [43:09]
C
I don't know. I haven't the slightest idea.
- [43:12]
A
I talked with Dr. Hendy about you today. I told him how run down you were and he suggested that I get a tonic for you. I'll drop in at the drug store on my way home tomorrow evening.
- [43:22]
C
A tonic?
- [43:22]
A
Yes. What?
- [43:24]
C
Well, what is it?
- [43:25]
A
Oh, I don't remember. Something. Something in strychnine.
- [43:29]
C
Strychnine?
- [43:30]
A
Yes, he said it would give you an appetite.
- [43:33]
C
Where have you been, Gil?
- [43:35]
A
Oh, I've been riding. Nice moonlight night. Very pleasant.
- [43:39]
C
Did Beverly enjoy it?
- [43:41]
A
Yes. She's an excellent rider. I decided to buy that filly from Thompson. Going over there tomorrow afternoon.
- [43:47]
C
Is Beverly going with you?
- [43:48]
A
Yes. She's a good judge of horse flesh. Why?
- [43:51]
C
Nothing. I just asked.
- [43:54]
A
Well, good night, Lucia. You had breakfast?
- [43:59]
C
Yes. Good night.
- [44:06]
A
Something, something and stricken. Something, something and stricken. Lucia jumps from her bed, rushes down to the library, snaps on the light and steps to the shelf holding the encyclopedia. She runs her fingers down the long line of books. L, M, N, O, P. And then she stops and stares. The S to T is missing. Then she sees it on the desk. The missing volume. She rushes to the desk and stares down at the open page.
- [44:35]
C
Yes. Yes, that's it. Stricken.
- [44:42]
A
I'll tell you what, Beverly. I'll leave the deal entirely up to.
- [44:44]
C
You up to me, Gil? That's not fair.
- [44:47]
A
Why not?
- [44:48]
C
Suppose she turns out to be a lemon?
- [44:50]
A
I don't think she will. Because you're going to have the job of training her.
- [44:53]
C
Oh, you certainly flatter me.
- [44:55]
A
Not in the least. Oh, good morning, Lucia.
- [44:59]
C
I just realized what time it was. You'll be leaving in a few minutes.
- [45:03]
A
Yes, it's nine this very minute. Step on it. More coffee, Beverly?
- [45:07]
C
No, thanks. How do you feel, Lucia? Better. Much better. You better eat something. No, no, I can't.
- [45:13]
A
At least some coffee.
- [45:14]
C
Yes, I'll have some coffee.
- [45:15]
A
I've got to run. See you later, Lucia.
- [45:17]
C
Yes, Gil.
- [45:18]
A
And I'll see you this afternoon at 2, Beverly.
- [45:20]
C
Yes, I'll meet you in town at 2. Oh, Gil, don't forget Lucia's medicine.
- [45:25]
A
No, I won't. Bye, Lucia.
- [45:30]
C
Are you meeting Gill in town, Beverly? Yes. He wants me to decide on that filly he's interested in. Where did you learn so much about horses? Seems to be natural. Why don't you get interested in horses, Lucia? Why should I? What are you interested in? Well, I am interested in a few things. My husband in particular. You don't act interested in anything. Really. Well, if you'll take my advice, you'll snap out of this coma and get some pep. Does Gil like women with pep? No man cares about a woman who sits around and mopes. I think you're a hypochondriac. Do you? You should do something about it. I intend to. I intend to do something about it. I'm glad to hear it. Get out. Do things, play games, golf, tennis, swim and ride. Maybe this medicine will fix you up. You know all about it, do you? What is it? I don't know. It's a tonic. A builder upper. I wish I could believe that. But at least you can try. It won't hurt you. No. I wonder. Oh, come in. Dr. Hanby.
- [46:42]
A
Well, Lucia, Why did you call me out here? What's wrong?
- [46:44]
C
I just couldn't make it into town.
- [46:46]
A
Oh, it can't be as bad as Orlando.
- [46:49]
C
Did Gilbert talk to you about me yesterday?
- [46:51]
A
I saw Gil for a few moments at the club during lunch. Said you were run down.
- [46:55]
C
Did you give him a prescription for me?
- [46:57]
A
Oh, never do that until I've examined the patient.
- [47:00]
C
You didn't give him a prescription?
- [47:02]
A
Well, no.
- [47:03]
C
What did you suggest for me?
- [47:05]
A
Oh, I don't know. Mentioned a few tonics he might get for you. Smoke of beef iron and wine and sherry and egg and I don't remember what else.
- [47:14]
C
Then you mentioned nothing specifically.
- [47:16]
A
I don't think so.
- [47:19]
C
I see now.
- [47:21]
A
What seems to be wrong with you, Lucia?
- [47:23]
C
I don't know exactly. But something has been happening to me that. Well, frankly, I'm afraid I'm losing my mind.
- [47:33]
A
We all feel that way.
- [47:35]
C
I'm serious. Things happen to me in the night.
- [47:38]
A
What sort of thing?
- [47:39]
C
At first I thought they were just nightmares. But when you have a nightmare, you wake up and the fear is gone. You realize the truth. But this vision that comes to me haunts me through the waking hours as well.
- [47:49]
A
Vision?
- [47:50]
C
Something. I think it's a person. Comes through my bedroom door, comes toward my bed with outstretched arms as though it intends to strangle me. Each time it comes a little closer. And my fear is that eventually it will get to me before I wake up.
- [48:05]
A
See? You always dream the same dream.
- [48:10]
C
If it is a dream, yes.
- [48:13]
A
And who is the person?
- [48:13]
C
I don't know.
- [48:15]
A
You don't think it's really a dream?
- [48:17]
C
No, I think it's a premonition.
- [48:22]
A
Have you any basis for such a fear in real life? Is there someone or something that you're afraid of, Doctor?
- [48:28]
C
I'm convinced they're not dreams. That I'm not asleep. I'm positive they're not mere dreams.
- [48:33]
A
Well, I think it's all due to your rundown condition. You probably don't sleep as soundly as you should. So you transfer sounds in the night to greens.
- [48:42]
C
And that's exactly what I mean. If I'm only half asleep, I may be transferring actual movements and sounds into dreams. In other words, if someone slams a door in the night, I may half hear it and attribute it to a dream. But then perhaps I'm not dreaming. Don't you see?
- [49:02]
A
I think you'd better come into town and have a thorough physical.
- [49:06]
C
You mean a checkup by a psychiatrist?
- [49:07]
A
Oh, I may have someone help me. It's the usual thing, you know.
- [49:12]
C
Oh, Dr. Henby, I'm so proud.
- [49:14]
A
No, no, no, no. Everything's going to be all right.
- [49:17]
C
I'm afraid. Afraid that. That I'm going to die. That someone is trying to kill me.
- [49:23]
A
Oh, you're not going to die. That's ridiculous.
- [49:27]
C
I'll call you and make an appointment.
- [49:29]
A
That's better. Very well. In the meantime, try not to think about it. Keep your mind on the brighter side.
- [49:36]
C
Yes, I'll try.
- [49:40]
A
All afternoon and on into the evening. That awful gnawing of jealousy and fear occupy every moment. Gill and Beverly. How could they do such a thing? And how far will they go to get you out of the way? Lucia. Will they stop even at murder? Are you asleep, Lucia?
- [50:12]
C
No, I'm not asleep.
- [50:18]
A
How are you feeling?
- [50:19]
C
I. I seem to have developed a headache.
- [50:22]
A
Have you eaten anything today?
- [50:23]
C
No, I didn't care for anything.
- [50:25]
A
Well, this will help you better. Take a dose now. I'll measure it for you.
- [50:30]
C
What is it?
- [50:32]
A
It's the tonic.
- [50:33]
C
Did Dr. Hanby prescribe it?
- [50:36]
A
Yes. Yes, he did.
- [50:40]
C
Where's Beverly?
- [50:41]
A
Down in the library.
- [50:42]
C
Did you buy the horse?
- [50:43]
A
Yes. Beverly thought she was a fine animal.
- [50:45]
C
I didn't know Beverly knew so much about horses.
- [50:47]
A
She's a horsewoman after my own heart, is she? Rides like the wind, too.
- [50:52]
C
She had intended to go home tomorrow. Is she staying on?
- [50:56]
A
She's got to. I wouldn't think of her leaving now.
- [50:59]
C
Why not?
- [51:00]
A
Well, for one thing, she's going to train the horse.
- [51:02]
C
And what else?
- [51:04]
A
Why, nothing else. Here, take this. It's a little bitter, but you'll get used to it.
- [51:11]
C
You'll go ahead.
- [51:12]
A
It won't hurt you.
- [51:13]
C
I don't want it.
- [51:14]
A
And why not?
- [51:15]
C
It has poison in it.
- [51:18]
A
I suppose it does have a little, yes, but only enough to act as a tonic.
- [51:21]
C
I don't want it. I won't take it.
- [51:23]
A
Are you going to act like a child? Take it and quit arguing.
- [51:25]
C
I won't.
- [51:26]
A
I won't take it. Swallow it down.
- [51:28]
C
I can't take it.
- [51:29]
A
You're impossible. I'm afraid you need this medicine. But you're so confoundedly stubborn. You'd rather sit around and mope all day. Very well. There it is. You can take it or not. I'm disgusted, trying to help you pull out of this. Good night.
- [51:41]
C
No, no, no, no. Wait, Gil. I'll take it. I'll take it.
- [51:44]
A
I don't care whether you do or not. There.
- [51:48]
C
I've taken it. Terribly bitter.
- [51:52]
A
Well, that's more like it. Now take another dose. Around 11.
- [51:56]
C
Gil. Where's Mrs. Benson?
- [51:59]
A
Why? I told her she could have the night off. Thought you might like to spend the evening in town. You.
- [52:03]
C
You let her off?
- [52:04]
A
Yes. She's been sticking pretty close lately.
- [52:07]
C
Yes. Yes, she has. Good night.
- [52:11]
A
Good night, Lucia.
- [52:19]
C
What's wrong, Gil? You look upset.
- [52:21]
A
I am. Lucia didn't want to take it.
- [52:24]
C
No? Why not?
- [52:25]
A
She's afraid of medicine.
- [52:27]
C
What are you going to do?
- [52:28]
A
She finally took a dose of him. But if I know her, she'll never take another drop.
- [52:33]
C
She's got to take it, Gil. You've got to figure out a way to make her take it.
- [52:37]
A
It can't be disguised. It's Too bitter.
- [52:39]
C
Try something else.
- [52:41]
A
I'll try and coax her into it again.
- [52:43]
C
Isn't there something that tastes more pleasant or something you could put in milk or orange juice?
- [52:50]
A
I don't know. I'll find something.
- [52:53]
C
Of course you will. You got to.
- [52:55]
A
Jeez. Wait a minute. There's someone listening outside the door.
- [53:01]
C
Oh. Oh, sir.
- [53:03]
A
Well, Benson, what are you doing standing here in the dark?
- [53:06]
C
Why, I was just going upstairs to see if Mrs. Durant wanted anything before I went out.
- [53:10]
A
I see. By the way, I'm staying home for a couple of days, and I thought that since you've been staying so close to the job, you'd welcome a few days leave.
- [53:19]
C
Leave? Why, yes, but Mrs. Durant may prefer that I stay.
- [53:24]
A
I think you'd better take a little rest yourself. You needn't come back till Friday.
- [53:29]
C
But I. I don't need a rest.
- [53:32]
A
You come back Friday.
- [53:33]
C
Yes, very well, sir.
- [53:36]
A
But that night, for once, the good Mrs. Benson disobeys orders. A few minutes before 12, she returns to the mansion. No lights are burning, so she makes her way quietly through the back entrance, slips up the stairs and taps light on Lucia's bedroom door.
- [53:55]
C
Mrs. Durant? Mrs. Durant?
- [53:59]
A
Then she turns the knob, opens the door and snaps on the light.
- [54:05]
C
Mrs. Durant, are you here?
- [54:07]
A
Then Benson steps quickly toward the bed. The bed is empty, but a horrible sight meets her eyes.
- [54:16]
C
Ah. Blood. Blood all over the bed. Oh. Get me the police department.
- [54:32]
A
All right, Mrs. Benson. Now just calm down and tell us what happened this evening.
- [54:36]
C
Well, earlier in the evening, Mr. Durant told me that I could have the night off since I'd been staying close to Mrs. Durant for some time. Then later he said he decided to let me off until Friday. I didn't want to go, but he insisted.
- [54:50]
A
Was there anyone else in the house?
- [54:52]
C
Yes. Mrs. Durant's half sister, Beverly.
- [54:54]
A
Did you leave the house?
- [54:56]
C
Yes, but I sneaked up the back stairs and told Mrs. Durant I'd be back about midnight.
- [55:02]
A
If you had till Friday, why did you come back at midnight?
- [55:05]
C
Because we were both frightened.
- [55:08]
A
Of what?
- [55:08]
C
Well, Mrs. Durant had been having premonitions that someone was trying to kill her.
- [55:15]
A
Who was trying to kill her?
- [55:16]
C
She didn't know, but she was terribly frightened.
- [55:19]
A
Is that all? No.
- [55:22]
C
Her husband tried to get her to take some medicine he had brought home. She refused, and he got angry.
- [55:28]
A
How do you know he was angry?
- [55:30]
C
I. I heard him talking about it to Beverly. They were in the library, and he told Beverly that Lucia was stubborn. Beverly said that he'd have to think of some other way.
- [55:41]
A
Did Mrs. Durant suspect her husband and Beverly of trying to do away with her? Yes. Yes, she did.
- [55:49]
C
She was convinced that Mr. Durant and Beverly were in love and wanted her out of the way.
- [55:53]
A
I see. Mm. Well. So you came back tonight because you anticipated that something was going to happen?
- [56:01]
C
Yes. House was dark, so I came up the back stairs, knocked on her door. When I got no answer, I came in, turned on the lights, saw she was gone. And then I saw the bed all covered with blood. She wouldn't take the poison, so they did it another way. That's what they planned in the library.
- [56:21]
A
Where are they now? Any idea?
- [56:23]
C
Well, they didn't expect me back tonight, so they're probably gone to dispose of the body, intending to come back here and clean the place up later.
- [56:31]
A
I see. Anybody else know about Mrs. Durant's fears?
- [56:35]
C
Yes. She talked to Dr. Hanby. I called him right after phoning the police and told him about it. He knows.
- [56:41]
A
Dr. Hanby. Captain Drake, what in the world is the meaning of this? From all indications, Mrs. Durant has been murdered and the body disposed of. Doctor, I understand Mrs. Durant told you that she was afraid that something was going to happen to her. That she was going to die. Who told you that? Mrs. Benson here. I see. Well, she did call me in this morning. She'd been having strange dreams. Premonitions, she called them. I called them hallucinations. What do you think it was? She couldn't tell whether it was a man or a woman. But someone was always approaching her bed without stretched arms, trying to choke. Do you think it was more than a dream? She was a sort of hypochondriac. I asked her to come into town where I could give her a thorough examination. I didn't take her story too seriously, but this certainly puts a different slant on the entire picture. Yes. We haven't found the body, but I have men out looking now. We'll find it. Here's Mr. Durant and his sister in law. They found them about half mile down the beach. Oh. How are you, Durant? What in the world goes on here?
- [57:31]
C
What's wrong?
- [57:32]
A
Doctor, take a look at that bed. What happened? Lucia. Where is she? We thought you might enlighten us on that point. What do you mean? Where is she? It's. Is Lucia dead?
- [57:48]
C
Oh, Gil. What.
- [57:49]
A
What happened? We think your wife has been murdered. Murdered? What are you doing here, Mrs. Benson? I thought you were gone until Friday. Why did you tell her to go until Friday? I thought she needed a rest. She'd been having long hours. Where is Lucia? Where have you and your sister in law been? Why, I slipped upstairs and saw Lucia was asleep. So we decided to take a little ride down the beach. It's still early. Mm. Didn't take anything with you? Certainly not.
- [58:17]
C
What do you mean by that? What would we take?
- [58:19]
A
I don't know. I just asked. Did you two try to get Lucia to take some medicine?
- [58:24]
C
No.
- [58:24]
A
Wait a minute, Beverly. That won't do any good. Yes, we did. Lucia was run down and needed a tonic, but she refused to take medicine. Why did she refuse? I don't know. Maybe she was afraid of being poisoned. Poisoned? Why should I want to poison her? Lucia was my wife. How long has your sister in law, Beverly, been here with you? Well, I don't know. Quite some time.
- [58:49]
C
Just a minute. Are you inferring that Gil and I.
- [58:53]
A
I'm not inferring anything. I merely asked you a question.
- [58:56]
C
Oh, Gil, tell him.
- [58:57]
A
Just a moment, Beverly. Mrs. Benson, what have you been saying? What did you tell Liz?
- [59:01]
C
I told him the truth.
- [59:02]
A
You think I planned to kill Lucia, Is that it?
- [59:04]
C
Yes. You and this woman.
- [59:06]
A
You're out of your mind.
- [59:06]
C
You tried to get her to take some medicine. She knew you were in love with her sister and that you were trying to poison her.
- [59:11]
A
And how did she come to that conclusion?
- [59:13]
C
She had premonition.
- [59:14]
A
That means nothing.
- [59:15]
C
And besides, I heard you talking. You and Beverly planning the whole thing.
- [59:19]
A
What?
- [59:19]
C
She's lying. I heard you when you realized Lucia wouldn't take the medicine. Beverly said you'd have to think of some other way.
- [59:26]
A
Some other way to what?
- [59:27]
C
To get rid of her. To kill her.
- [59:29]
A
There must be some. Dr. Hanby, you know better than this. Do you think I had a reason back of wanting to know about various medicines? No. No, I didn't. Not at the time. But now. Now what? Well, sorry to say, it all adds up to something suspicious. Seems more than just coincidental. Do you think I killed Lucia? Look about you. Look at the room. What else am I to think? What was the truth you tried to give your wife?
- [59:58]
C
It had strychnine in it.
- [59:59]
A
Is that right, Durant? Yes, it was one of the things Dr. Hamby mentioned. It was iron, quinine and strychnine. Did you mention that, Doctor? Well, I suppose I did. It's commonly known tonic. Did you add anything else to it, Duran? Certainly not. How about it, Sergeant? What's the report? The bottle contained iron, quinine and Strickland and a heavy content of arsenic. Arsenic? But that isn't possible. I put nothing in it. Where would I get arsenic? It was in there just the same. Good heavens, Doctor, this isn't true. You know it isn't. I hate to say it, Gil. The evidence looks bad for you.
- [60:37]
C
Ben knows what this is all about. She's lying. She knows Gil wouldn't do such a thing. She's back of it all.
- [60:43]
A
Why?
- [60:44]
C
I don't know. But believe me, I'll find out if I have.
- [60:47]
A
That'll do. That'll do. Under the circumstances, I think it all better come down to headquarters so we can keep you separated. Come on. And no more talking. After 48 hours, hours of relentless grilling, endless questioning, Hill and Beverly are released on a writ of habeas corpus. Weeks go by, and Lucia's body has not been discovered. So the district attorney makes a public announcement that no murder charges can be preferred against them due to lack of corpus delicti. The failure to produce the body. Lucia's body. Then one evening, Beverly and Gil talked in the library. Beverly, I. I want you to know how wonderful. I think you've been stuck right beside me. Never lost your nerve and, well, you're one girl in a million.
- [61:34]
C
Oh, thanks, Gil. But it isn't over yet. They won't stop their search for Lucia's body and. And if they find it, we haven't a chance.
- [61:42]
A
I know, but what can we do about it?
- [61:44]
C
Well, why couldn't we leave the country together? Not necessarily. They'd be sure to follow us. But we could go separately in different ways and.
- [61:52]
A
And meet someplace later on. Is that what you mean?
- [61:54]
C
Yes, that's what I mean.
- [61:57]
A
It seems a bit mad. That would be equal to an out and out confession.
- [62:01]
C
Oh, but Gilliby. Fine Lucius body. We haven't a chance. It's too strong against us.
- [62:05]
A
We could never come back, Beverly.
- [62:06]
C
What of it? I don't want to die, Gil. And I don't want anything to happen to you.
- [62:13]
A
Doubly. I don't know what to say.
- [62:16]
C
I'm frightened, Gil. I can't stay here with such horrible fear hanging over me. I'll go mad if you don't go. Then I will. I'll leave tonight.
- [62:24]
A
Please, Beverly, I need you more than ever now. Please don't go.
- [62:27]
C
Don't worry, Gilbert. She won't leave you. Good heavens. Lose you. I won't let her leave you. I'll see that you both go together and stay together for a long, long time.
- [62:38]
A
Lucia. What? Lucia. We thought you were dead.
- [62:41]
C
Disappointed, aren't you?
- [62:42]
A
Where have you Been?
- [62:43]
C
What are you going to do with that gun? You thought I was dead. Well, I'm not. I'm live enough to pull this trigger. I've been hiding for weeks. And I've been behind those curtains for the last 20 minutes. I heard every word. Now I know you're in love with each other. Now I know you wanted to do away with me.
- [63:01]
A
In love? Beverly and I.
- [63:03]
C
From the day she came here. She took you away from me. I didn't.
- [63:07]
A
We never thought of such a thing. Never.
- [63:08]
C
Never ended.
- [63:09]
A
Alma.
- [63:10]
C
Why lie about it?
- [63:11]
A
You've let your imagination run away with you, Lucia. You're insane.
- [63:13]
C
You think so? Well, if I am, it's your fault. Yours and Beverly's. You've driven me insane. Both of you. I had a plan to get even with you. To make you pay for what you've done. But it failed.
- [63:22]
A
What plan?
- [63:23]
C
You see, I didn't know about the law of corpus delicta die. But I do know. And this time there will be a body. Two bodies. Yours and Beverly.
- [63:32]
A
You're a suspicious minded devil.
- [63:34]
C
I plan to trap you on a murder charge. My murder? But it's going to be your murder now.
- [63:38]
A
You were convinced that Beverly and I were in love?
- [63:40]
C
Of course. I never needed a dream nor a premonition. I cut myself and smeared blood on the bed and disappeared. When I found they couldn't touch you without the corpus delicti, I came back to kill you.
- [63:51]
A
Lucia. You fool. Fool. You vicious minded fool. I'm going to tell you something. And go ahead and shoot me if you will. Lucia. Not until now, this very moment, has the thought of loving Beverly ever occurred to me.
- [64:09]
C
You never love Beverly?
- [64:11]
A
No. But I can tell you this, Lucia. Now that I've seen you as you really are, I could never love you again. Never.
- [64:19]
C
Gail.
- [64:19]
A
Wait. Beverly.
- [64:21]
C
But I was sure. I was convinced that you ever.
- [64:26]
A
You were sure only because your warped jealous mind convinced you that there was something between us.
- [64:31]
C
You mean I.
- [64:32]
A
You certainly made a sorry mess of your life, Lucia.
- [64:35]
C
Then I. All I've done is killed your love. Oh, Gil.
- [64:42]
A
Yes, Lucia. And you have no one to blame. No one but your own miserable self. Lucia, don't. Lucia.
- [64:57]
C
Oh, Gil. Gil.
- [65:00]
A
Yes, but it's probably the best thing for her and for us. And so closes in fear and trembling. Starring Metro Golden Mayor's Mary Aster, Tonight's tale of suspense. The broadcast originated in Columbia Square in Hollywood. This is your narrator. The man in black conveys to you Columbia's invitation to spend this half hour in suspense with Us again next Tuesday when another of the screen's lovelier leading ladies, Geraldine Fitzgerald, will star in the uneasiness easy drama called Will you walk into my parlor? William Speer, the producer, Ted Bliss, the director, Matt Gluskin, the musical director, Lucian Morowic, the composer and J. Donald Wilson, the author, collaborated on tonight's suspense. This is the Columbia Broadcasting System. Now, Roma Wines present. Suspense. Tonight, Roma Wines present Humphrey Bogart in Love's lovely counterfeit. Suspense is presented for your enjoyment by Roma Wines. That's R O M a Roma Wines, those excellent California wines that can add so much pleasantness to the way you live, to your happiness and entertaining guests to your enjoyment of everyday meals. Yes, right now, a glass full would be very pleasant as Roma Wines bring you. Suspense. This is the man in black here for the Roma Wine Company of Fresno, California, who tonight from Hollywood bring you as star Mr. Humphrey Bogart, who is currently being seen in the Warner Bros. Production to have and have not. Mr. Bogart appears with us tonight in a characteristic tale by James M. Cain, the author of Double Indemnity and other noted contributions to the literature of dangerous adventure and troubled romance. And so, with Love's lovely counterfeit and with the performance of Humphrey Bogart, Roma Wines again hope to keep you in suspense. That's all right, lefty. Open up. Oh, it's you, Ben. Come on in, Ben. Sal here yet? No, not yet, but he ought to be pretty soon, huh? What's he got on his mind? I wouldn't know, Ben. Okay. Hey, what's that coming down the street? Oh, that must be those poor suckers of Citizens League. They're having a political parade. Yeah, there they are. You can see them through the window. That must be Jansen, huh? The guy they're running for mayor. That's right. The doll riding with him. What's the matter? Don't you read the papers? Sure. Yeah, read little Abner. Who's that, Davey May? Her name is June Lyons. She's his new secretary or something. But everybody says she's the brains of his campaign. Yeah, I could use little brains like that myself. Not that kind you couldn't. Not that missionary kind. What about this Jansen? I keep forgetting that you're new around. Around here. Jansen doesn't have a chance. He's putting out a lot of publicity. He must have some dough behind him. Yeah, but you can't elect a reform ticket in a town like this, Ben. Saul's machine is too strong. Not unless you got some dirt. Some real dirty dirt that smells so Bad people can't ignore it. And who's gonna get anything on Saul? With half of the police force on his payroll, Saul isn't even worried, huh? Ah, why should it be? Saul puts up the dough, Maddox wins again, and Saul keeps on running the town. That must be saw. Hiya, Lefty. Hiya, Benny. Hiya. See your draft board today? Yeah, I saw him. What'd they say? Same thing. I still got that hernia from football. That football hernia comes in pretty handy, don't it? What's that crack supposed to mean? What's the matter, Benny? Can't you take a joke? Sure, I can take a joke. What'd you get on this afternoon, Benny? I guess you forgot this is my day off. I said, what's it going on this afternoon? Nothing that I can remember now. Why? Little job. What kind of a job? I got a tip. Some friends of mine may be in a little trouble. Something about a bank. Why don't you stick to the bookies in the gambling, Sal? You'd be safer. Listen, Benny, anytime you think you're big enough to run this business, just let me know. I'll be glad to work something out for you. What's the job? These kids are gonna crack the Castleton first national just after closing time. They got a room here in this hotel. Room 480. They'll be back here about 3:30. You see, I own this hotel and I want you to go up and collect the room rent. I'm giving them good protection, so I figured it'll come to about 20 grand. Yeah, I figure on getting somebody else to collect it. I said get somebody else. I don't like guns and I don't like gunsold. And you know it's. Listen, you punk. You think you're a big guy, don't you? A big guy with muscles. And I'm just a little guy. That's what you think, isn't it? But if you try to cross me, I'll have you crawling to me on your knees. When I get through with you, you'll. You'll. You'll beg me to use a gun on you because you're yellow, aren't you?
- [71:36]
C
Aren't you?
- [71:39]
A
What's the room number? 480. Come on, Lefty. Okay. Gee, that was lousy. Skip it. You're going to do it, though, aren't you? Sure. I'll see you up there. 3:15. By the way, what'd you say that dame's name was? What dame? That dame with Jansen. That brains of the opposition. You mean June Lyons. Yeah, that's it. Now, wait a minute, Ben. You know that's poison. If Saul ever thought that. You know, Lefty. As lions interest me in more ways than one. Tonight, for suspense, Roma wines are bringing you as star, Mr. Humphrey Bogart, whom you have heard in the first act of Love's lovely counterfeit, a radio play from the novel by James M. Cain, which is tonight's tale of suspense, presented by Roma Wines. This is Truman Bradley for Roma Wines. Mention the name of Elsa Maxwell and you picture a famous hostess expert in every phase of entertaining. Mention a meal featuring fish or fowl and Elsa Maxwell pictures. But let's hear it in our own words.
- [73:09]
C
The thought of a piping hot fish or chicken dinner naturally calls up for me the picture of glasses of chilled Roma Sauternes at each plate. Roma, California Sauterne is delicate, pale gold in color, delightful in bouquet and even more important, exquisite in taste. Roma Sauternes goes perfectly with any food and tastes as good whether served in ordinary or fancy glasses. The one important thing to remember about this distinguished Sauterne is the name Roma.
- [73:42]
A
Each glassful of golden Roma, Saturn reflects the heritage of all Roma wines. Choice grapes slowly brought to perfection in fertile California's choicest vineyards, then gently pressed, then carefully guided with the ancient winemaking skill of Roma wineries to the full goodness you enjoy in every Roma wine. Roma wines do not vary, are always high in quality of bouquet, color and flavor. Yet all this Roma wine goodness is yours for only pennies a glass. No wonder more Americans enjoy Roma than any other wines. R O M A Roma wines. And now it is with pleasure that Roma wines bring back to our soundstage Mr. Humphrey Bogart, who, in the character of Ben Grace keeps an adventurous rendezvous in love's lovely counterfeit, a tale well calculated to keep you in suspense. All right, get rolling.
- [74:59]
C
Are you?
- [74:59]
A
That's right. Get rolling. So you're June Lyons, the brains of the opposition.
- [75:07]
C
What's this hot tip you told me about over the phone? I don't have much time.
- [75:11]
A
What's the matter? You worried?
- [75:13]
C
Not particularly.
- [75:14]
A
You don't have to be. I'm not interested in you.
- [75:17]
C
Why do you want to see Jansen elected?
- [75:19]
A
Suppose you let me ask the questions. All right, I'll ask you the same one. Why are you working for Johnson?
- [75:26]
C
Oh, I'm just one of those crazy idealists, I guess.
- [75:29]
A
Just a missionary, huh?
- [75:30]
C
Well, Janssen may not be the best man in the world, but at least he isn't hooked up with a racketeer like Sol Casper. The way Maddox is.
- [75:37]
A
June.
- [75:38]
C
Oh, it's June now, is it? What's your name?
- [75:42]
A
Maybe I'll tell you that later. And maybe I won't. Listen, June, if you. If you were one of those earnest kids who stand around on street corners handing out leaflets, I might believe you wanted to reform the world. But you're not. I know that. You know that electing Janssen isn't going to reform the world. Or even reform Lake City. It just doesn't make that much difference.
- [76:02]
C
Well, it does to me. But there's something else too.
- [76:07]
A
Like what?
- [76:08]
C
If Jansen wins, of course I'll get a city job out of it. A good one.
- [76:12]
A
That's more like it.
- [76:13]
C
But I want to explain why.
- [76:14]
A
You don't have to explain anything.
- [76:15]
C
But I want to. I'm a lawyer. At least I have a degree from law school. And I want to be a good lawyer. If you start out on your own, it can take years. But with the right job at City hall, you can build up a practice in no time.
- [76:30]
A
Okay. As long as it's the dough you're thinking about, we can do business.
- [76:33]
C
Oh, wait a. Just.
- [76:35]
A
I know. Now listen. I know you're a missionary. Now listen. If I. If I give you some dirt on Sal Casper, that'll send him up for 10 years or so. Jansen wins, right?
- [76:47]
C
Well, if you can prove it, you're.
- [76:49]
A
Going to prove it. Three punks from Chicago are sticking up the Castleton First national bank. At about 3 this afternoon. Sal Casper's hiding them out at his hotel, room 480. There's any shooting at the bank and anybody gets killed, it'll be that much better you'll have them for accessory to murder. You have your people there at 4 o'. Clock. I'll take care of the rest.
- [77:08]
C
Well, if we come out with this and it can't be proved, it's criminal libel. And that's all Jansen needs to really lose.
- [77:16]
A
So what do you think?
- [77:18]
C
I think you're working for Maddox and Casper.
- [77:20]
A
That could be, but at least I know my law.
- [77:24]
C
What law?
- [77:24]
A
The Castleton bank is insured by the government. That makes the stick up a federal rap. If you want want the number of the FBI, I'll give it to you. Oh, and for your information, my name is Ben Grace and I work for Sal Casper. So? Not a guy who's in a very good position to go around giving phony tips to the FBI. You can pull right up here.
- [77:47]
C
Why are you doing this?
- [77:49]
A
Because I just decided. Sal Casper is mean and he's Greedy. That enough?
- [77:57]
C
If you say so. Room 480 at 4 o', clock, Ben?
- [78:05]
A
Yeah.
- [78:06]
C
Will I see you afterwards?
- [78:10]
A
Don't worry, baby, you'll see me. So this is room 480, huh? Looks just like room 481. Hi, Lefty. Sit down, Ben. You didn't take it too hard, what Solly said, did you? I can't say I liked it. What time is it? Oh, a couple of minutes to four. You know, it's too bad about you, Ben. What's too bad? That you don't like trouble. You could go a long way in this racket, Ben, because you got brains. Now, me, I don't have the brains. Did I ever tell you how I started, Ben? No. I was a preacher. A what? Yep, a preacher. So help me. By rights, I still am. Look here, I got the license right here in my wallet. It was one of those hillbilly outfits. And the bishop, as he called himself, was so far away from me that he never ever heard about me, I guess. Anyway, he never canceled the license. The Reverend Richard Jose Gauss. That's one for the books, Lefty. I was just a kid, but I got hooked up with one of those big time evangelists. And if I'd stuck to it, I could have hit the big time myself. But you know what I did the first time we made a really big take? I tied a handkerchief over my face, got me a rod and stick up the cash box and they caught me. That's how I know I haven't got brains. I wouldn't let it worry you, Lefty. That's not what's worrying me now, Ben. Huh? What is? What's gonna be happening in here in a couple of minutes. You ever sat in on a divvy before, Ben? No. I wouldn't be now, except for the manpower shortage. These are three wild kids, Ben. Chances are they'll be coked to the ears and slobbering at the mouth with being half scared to death and half crazy with excitement, thinking how much dough they got and what big, big shot public enemies they are. And we, yeah, you and me, we gotta walk up and take 20 grand away from them. All right, here they are. So now we're gonna find out how it's done. This is it. Get him in here. Oh, Johnny, don't leave me, will you, Johnny? Get him over there on the counter. Who are you on? The man that collects the room, Right. Yeah, we'll stick him up. Frisco, Marty. Go ahead. I don't need a Rod to handle punks like you. This guy's clean, Johnny. What about the other one? He's with me and he's got a gun. And don't try to take it away from him because it's an old family heirloom and he's fond of it.
- [80:47]
B
Oh, yeah?
- [80:49]
A
Stop acting like something you've seen in the movies and put that cannon away. Might drop it and break somebody's foot. Johnny, what's the matter with your pal there? He got shot. Anybody else? No, the guards shot him when we were pulling out. Oh, Johnny. You better get him over there on that. Johnny. We're going too fast, Johnny. Yeah, going too fast. Going too fast. He's out of his head. Yeah. Did you get the dough? Did we get the dough? Look at this wise guy. 40 grand, maybe more. You know how much this room is costing you? How much? 20 grand. 20 grand? That's right. I'll be back after a while to collect it. What are you gonna do with your pal there with the hole? Johnny? I don't know.
- [81:30]
C
Johnny. Johnny. Johnny.
- [81:33]
A
You know that's bad, don't you? Why? Kid's out of his head already. Suppose he makes trouble, starts screaming or something. You got doctors, haven't you? Sure. But that kind of a doctor, that's one more guy that have to get a cut. Pretty soon you guys won't have anything left but small change. That's what you think. But of course, maybe the kid will die. Yeah? Then what do we do? That's even worse. Oh, no, no. That'll be easy. We'll be seeing you. I hope you know what you're doing, Ben. I think so. Come on. I got the room next door. You know you're just as good as sign that kid's death warrant, don't you? That's right. The other two will knock him off now before we got time to do it. Listen, I got the transom open connecting your door. What you gonna do, Johnny?
- [82:20]
C
No, no.
- [82:23]
A
They did it. Yeah. Maybe we better call Sal, huh? I hope you know what you're doing. Give you. Mr. Casper? Ben Gray speaking. Yes, sir. I hope you know what you're doing, Ben. Sal. This is Ben. You better come up to room 480, Sal. I want to see you personally. I said they want to see you personally. Well, you want your dough or don't you? I'm not gonna wrestle him for it. Okay, maybe right up. Then what? What do you mean, then what? Then. Yeah. If you got any little plans, you know I'm all for them. Don't you? Sure. And you know I hope they come off, don't you? Sure. But if they don't come off, you know where I stand on that too, don't you?
- [83:14]
C
Uh huh.
- [83:15]
A
Yeah, I know. You stand right behind me with a gun in my back. Just so you know, Ben, I can see how you would have made a preacher lefty. You got a terrible streak of honesty in you. Just so you know, Ben. Now listen. There he is. I'm Sol Casper. What's going on here? It's been a little trouble, Mr. Casper. What kind of trouble? Arch here, he just died. Died? He was shot. All right, so we'll get him out of here tonight. You got the dough? Sure, we got it. That's it here. All right. Put up your hands, all of you. What is this? Department of Justice? You're all under arrest. Well, that's all, pal. Ben, where you going? I got a date with a missionary. Ben. Hello, baby. Where's my good evening kiss?
- [84:16]
C
Oh, Ben, please. I want to talk to you.
- [84:18]
A
What about?
- [84:19]
C
Don't you know?
- [84:21]
A
Yeah, I guess maybe I do.
- [84:23]
C
Oh, we can't go on like this, Ben. It isn't right. It isn't fair to Jansen. It isn't fair to. Well, it isn't fair to me.
- [84:30]
A
What's so unfair about it?
- [84:31]
C
You know what's unfair about it. Mr. Jansen promised the people of Lake City that if he got elected, he'd clean up the town.
- [84:37]
A
All right. Why doesn't he do it? He's had six months.
- [84:39]
C
Because he doesn't even know what's going on.
- [84:41]
A
Great. Then what's the beef?
- [84:43]
C
I know what's going on. The horse racing places and the gambling places and all the other places are just as open as they ever were. And I know who's keeping them open.
- [84:52]
A
Of course you do. I am. Listen, honey, if I wasn't bossing the organization, someone else would be. People like to bet. People like to gamble.
- [85:02]
C
Ben, don't you see? I'm a city official. I have an obligation to the people of this community. To the people who elected Johnson because they believed in.
- [85:10]
A
Still a missionary, huh?
- [85:11]
C
Well, I'm. I'm not a racketeer.
- [85:14]
A
Maybe not, but you're the next thing to it.
- [85:17]
C
Well, what do you mean?
- [85:18]
A
What do you think the dough came from for that car I got you and the fur coat in this place?
- [85:24]
C
You never told me.
- [85:25]
A
Did I have to? You knew I didn't get it from a long lost uncle. Why don't you admit it, baby? You're a chiseler.
- [85:33]
C
Am I?
- [85:34]
A
Sure. Just like me. Only I'm honest about it. You are not.
- [85:39]
C
Then I will be. Starting now. Starting tonight.
- [85:42]
A
What are you gonna do, turn me in?
- [85:44]
C
Oh, Ben.
- [85:45]
A
Maybe your big mistake was falling in love with me. Baby. Now, there isn't much you can do about it, is there?
- [85:50]
C
Oh, Ben, quit it. Please. Get out of it. For my sake. Just. Just because I don't like it. Because I hate it.
- [85:58]
A
Maybe I don't like it either. It's all I know how to do.
- [86:02]
C
What was. Hiya, Benny.
- [86:05]
A
Sal. Surprised? Kind of. Did you break out? Yeah, Just to see you. Benny, put up your hands. You know I never carry a rod. Maybe you sort of wish you did now, huh? Not that you'd have a chance to use it.
- [86:17]
C
What are you going to do?
- [86:18]
A
I'm going to kill your boyfriend, sweetheart. When I've done that, I'll think of something real nice to do to you. You sit right there where you are, sweetheart. Benny, you start backing up to that door slow. That's a bathroom, isn't it? Yeah. I think I'll kill you in the bathtub, Benny. That way it'll be quiet, there won't be so much of a mess. Now, reach behind you real careful and open a door. And when I tell you to start backing in, you back in. All right, start backing. Don't believe me?
- [86:53]
C
Fountain, is he?
- [86:57]
A
Yeah. Since. Since when have you been carrying a gun?
- [87:02]
C
Just lately. Ben, are you all right?
- [87:06]
A
I just want to sit down. Oh, Ben, we gotta get out of here.
- [87:10]
C
Ben. Ben, listen to me. We'll go away. We'll get out of the country. We'll go to Canada. Sure, we can get married there. You do want to marry me, don't you, Ben?
- [87:16]
A
Oh, you know I do, baby.
- [87:18]
C
You can join the army up there. I'll do something, too. We'll do something decent with our lives. Oh, darling, I know it's been partly my fault. I know I've been weak. But it isn't too late to begin again, is it, darling?
- [87:29]
A
Maybe not. But your aim on that second shot wasn't too good, baby.
- [87:36]
C
Ben.
- [87:37]
A
So there's just one thing that's stopping us, Ben.
- [87:40]
C
What?
- [87:42]
A
The bullet hole in my belly. Well, hello, big shot. You've been in the land tonight, haven't you? Where am I? The City Hospital. Yeah. What are you doing here? Reading the funny papers. Can't you tell? Why can't you read them at home? Because there's been a little thing that we policemen call murder. Big shot, you're what we call a material witness. Where's June? June Lyons. She's in a nice cozy cell. When she comes to trial, your statement will probably send her up for five or 10 years to another nice, cozy cell. What statement? Oh, you talk. Yeah. You know what you got, big shot? Sure, I got ventilated with a lead slug. Yeah, but that's not all. You got peritonitis. Oh, I have. So what? So I've seen guys with peritonitis before. You know what happens? First they start getting a fever. Then they get kind of light headed. Then they get thirsty, terribly thirsty. And after a while, you get so you can make them talk without they hardly know that they're talking. Yeah, you talk all right. You think so? I know so. Where's Lefty Gauss? You mean your faithful servant? He's right outside. Can I talk to him alone? Sure, why not? Hey, Putty knows your boss wants to see you. Thanks. You funny, funny fella. How you been? How you feeling? Not too good. I got some plans to talk over with you, Lefty. Okay. Oh, flat foot. Yeah. What do we have now, big shot? You say the DA wants me to talk, huh? Maybe he was just pretending. Well, suppose I had some conditions. Like what? Well, like I only talk in the apartment where it happened. June Lyons apartment. June Lyons has got to be there. Lefty here, too, to back up some things. I might say that might be a range. You think the DA might forget a couple of those little things he's been holding against me if I talk? That'd be the general idea. Okay, you can close the door as you go out and tell a DA to be around in about an hour. I'll talk. All I'm saying is that I won't be responsible. Dragging a man in his condition way out here in an ambulance, lugging him up three flights of stairs on a stretcher. Doc, that's the way he wanted it, and that's the way it's going to be. All right, everybody here? Ms. Lyons? Lefty Gauss.
- [90:47]
B
Yes.
- [90:47]
A
How is he, Doctor? I've already told you. But he can talk. Stop Worrying about me, Mr. D.A. you're breaking my heart. Are you ready to start, Ben? Huh? Can I have a glass of water? Yes, of course. Thanks. All right, I'm ready. Do you, Ben, take this woman, June, to be thy lawful wedded wife, to love and to cherish, for better, for worse, to death do you part? What's going on here? Quiet. I do. Do you, June, take this man, Ben, to be thy lawful wedded husband, to love and to cherish for Better for worse. Till death do you part.
- [91:22]
C
I do.
- [91:23]
A
I protest. Oh, no, you don't. Oh, yes, I do. I'm a licensed preacher. And this is Ms. June Lyons apartment. And it's outside the city's jurisdiction. It's in the county. And this marriage license was taken out at the county courthouse one minute before they closed today. And when I sign it, brother, it's legal. I pronounce you man and wife. I suppose you've heard that a man can't testify against his wife, Mr. Da? Yes, yes, I know. By the way, you mind if I kiss the bride? Oh, go ahead.
- [91:54]
C
Oh, Ben. Ben, darling, that was the finest.
- [92:00]
A
Oh, that was nice.
- [92:02]
C
Ben, your face is so hot.
- [92:04]
B
Yeah.
- [92:07]
A
I thought maybe I was gonna make it, baby, but I. I guess I'm not.
- [92:12]
C
Oh, Ben. Ben. Doctor. Quick doctor.
- [92:16]
A
So long, missionary. Mrs. Missionary.
- [92:24]
C
Oh, no.
- [92:26]
A
Oh, Lord, we pray thee to receive the spirit of our dearly departed and to forgive him his trespasses as we forgive those who trespass against us. And so closes Roma Wines Presentation of Love's Lovely Counterfeit starring Humphrey Bogart and written by James M. Cain. Eureen Tuttle appeared as June opposite Mr. Bogart in tonight's Study in Suspense. Before Mr. Humphrey Bogart returns to our microphone, this is Truman Bradley for Roma Wines. Few hostesses have entertained as extensively as often as the world renowned hostess, Ms. Elsa Maxwell. That's why these words of hers are significant.
- [93:31]
C
Back in the horse and buggy days, the serving of wine was surrounded by all manner of complicated do's and don'ts. Today, it's fashionable to serve delicious Roma wines whenever and however you choose. For example, the delicious, versatile Roma California Toque is a light, moderately sweet, flame bright wine that goes well before or after meals during the cocktail hour. Actually delightful at any time. Everyone enjoys the velvety smooth, rich flavor of Roma Toque served cool.
- [94:05]
A
While Roma Toque is different in flavor from other Roma wines, it is like them in these respects, always delicious, never varying in fine quality. And since Roma wines cost only pennies a glass, you can serve them often. Remember, more Americans enjoy Roma than any other wine. And the next time you use vermouth, sweet or dry, choose Roma Vermouth. Zestful, full flavored Roma Vermouth is blended, mellowed and developed with all the traditional winemaking skill of the Roma wineries, yet surprisingly low priced. Try Roma Vermouth soon, won't you? This is Humphrey Bogard. It's been a great pleasure and privilege to appear for the suspense audience. And I hope they'll have Me back soon. I'm certainly going to make it a point to hear next Thursday's suspense show which sounds like one of the most unusual of the year. Two of the most distinguished ladies of the acting profession will be your stars. There's 75 years difference between their ages. They are Ms. Margaret O' Brien and Dame May Whitty. Suspense is produced, edited and directed by William Speer. Next Thursday, same time, Roma Wines will present Dame May Whitty and Margaret o' Brien as co stars of suspense presented by Roma Wines. R O M A made in California for enjoyment throughout the world. Sam sscbs the Columbia Broadcasting System Suspense this is the man in Black. Here again to introduce Columbia's program Suspend. Our star tonight is Mr. Sidney Greenstreet, one of Hollywood's most sensational newcomers in a number of years. The famed fat man who lent his suspenseful talents to the Maltese Falcon and across the Pacific. Mr. Greenstreet is with us to create on the air John Dixon Carr's celebrated detective, Dr. Gideon Fell. The story called that Hangman Won't Wait is tonight's tale of suspense. If you have been with us on these Tuesday nights, you will know that suspense is compounded of mystery and suspicion and dangerous adventure. In this series are tales calculated to intrigue you, stir your nerves to offer you a precarious situation and then withhold the solution until the last possible moment. And so it is with the Hangman won't wait and Mr. Greenstreet's performance. We again hope to keep you in suspense. He comes striding towards us now, beaming like old King Cole. You can probably hear him chuckle if he wheezes a little.
- [98:34]
C
That's due to weighing more than 300 pounds.
- [98:38]
A
Slan is a gross slan. You notice the three chins in the bandit's moustache and the eyeglasses on the black ribbon. He removes his hat with old school courtesy. Don't try to bow, Doctor. He is Gideon Fell, doctor of philosophy.
- [98:52]
C
And expert in crime.
- [98:53]
A
If he tells us something about the Barton case. Sir, I have only one remark to make about the Barton case. Everybody was wrong. I'm afraid we don't quite follow that. The judge was wrong. The jury were wrong. The prosecution was wrong. The defense was wrong. But Dr. Fell, you can't have a murder case in which everybody is wrong. My cases, sir, you can have practically anything. Oh, yes, that's true enough. But I want you to imagine yourself in the position of that girl, Helen Barton. Well, imagine yourself waking up suddenly in the middle of the night. You're terrified. You don't know why. Room is cold and nearly dark. All of a sudden you realize it's a room you've never seen before. There's a queer smell, like old stone and disinfectant. No sound. Except.
- [99:56]
C
I. I. What is it? What was that? Now lean back in your bed, dearie. It's all right. Yes, take it easy, miss. I. I was dreaming. You were having a nightmare, dearie. But it's all right now. Nothing's going to hurt you. Not yet. Be quiet, Anna. All right, all right. Would you like us to turn on all the lights? Please, Would you do that? You see, I don't understand this. Where am I and how did I get here? And who are you? Don't start that all over again, please. Start what all over again? Saying you've lost your memory and don't even know what your name is. Are you insane? Of course I know what my name is. I'm Helen Barton. Ah, but it's all I do know. Where am I? Why on earth is it so cold? Well, that's not unusual, you know, for England in the middle of December. Did you say December? That's right, dearie. 18th of December. You're fooling me. You're playing a trick on me. My head feels queer and I want to start crying, but I won't. It's not December. It's the end of August. I was going up to see Philip. That's it. I was going up to see Philip.
- [101:17]
A
Philip?
- [101:17]
C
Philip Gill, the man I'm going to marry. Be quiet, Anna. And don't turn on these lights yet. She's having us on. She's. Anna, this child's shaking all over and so help me, she don't know where she is. Listen, dearie, I'm going to sit down on the bed beside you. Now take my hands. Hold em tight. What's wrong? Why are you looking at me like that? This is Maeders prison, Miss. Steady, dearie. I'm still dreaming. I must be. You can't mean I'm in prison. Now look, dearie, I'm afraid it's worse than that. Worse than that? Look over there. You see? Where? There's a little bit of fire in the grate. Well, and paper on the wall and pictures and a carpet on the floor. Ah, why don't you come out straight and tell her? They're going to hang you in the morning, Miss. This is the condemned cell.
- [102:35]
A
With sudden shock the prison clock smote on the shivering air. But I won't quote that any further. I have Too vivid a memory of sitting up that night with the Colonel Andrews, the governor of the prison. Over here, you'd call him the warden. There's a little office with a lamp shade tilted so that I could see his face. And he said, I hate executions. Loathe them. Can't even sleep the night before. If you hadn't offered to come here and save my life. This is a strange place to talk of saving lives. No, it's no good being sentimental about the thing. That's the law. I didn't make it. But I gather you're not exactly happy about this case. I'm not. That's a fact. Mind you, there's no doubt whatever about the girl's guilt. I'm gratified to hear it. But if only she'd confess. Most of them, do you know, they confess to you? To me or to the hangman? Not often. To the chaplain because they think he'll threaten them with the hereafter. But when Kirkwood goes in with the step to bind their arm, he says to them, I don't like to think I'm doing something that would be on my conscience. So if you'd care to tell me. Quite a sensitive fellow you are, hag. And look here, I'm serious. So am I. Sometimes I wish I had any job in the world but mine. If only the girl would confess. If she'd just stop this nonsense about not remembering. Not remembering what? Not remembering how? Well, not remembering how she shot Philip Gale. Not remembering anything, even her own name. Total amnesia. Covering a crime, sir, you frighten me. You mean to say that a woman suffering from loss of memory can be tried and sentenced to death? No, not if she really has lost her memory. Well, then. But this defence was a fake. Quite sure of that. Naturally, the judge would never have allowed it to come to trial if he hadn't been convinced that she was shammy. Even then, she might have got off with a life sentence or even with manslaughter if it hadn't been for the nature of the crime. She didn't cut anybody up, I hope. No, but it was almost as bad. She shot a man who had raised his hands and begged for mercy. That completely damned her in the eyes of the jury. And yet you have doubts. I tell you, I haven't any doubts. And in any case, it's none of my business. How has she acted since she's been here? Oh, a model prisoner. But I wish she'd stop this business of seeming to be in a daze. It's getting on my Nerves? Rather think the prison itself would get on my nerves. I looked into your execution shed once and I don't want to look again. You get used to it after a while. Helen Barton won't tell me about her. Nice girl, too. I knew her grandfather lived near here. Yes, born and bred in Maidhurst. She got mixed up with a thorough going swine named Philip Gale. Crazy about him. Wouldn't hear a word against him. Then he threw her over for a woman with money. I see. He had a bungalow on Whiterose Hill. She went up there one Sunday afternoon. Alone? Yes. Herbert Gale, Philip's brother. Heard them screaming at each other. He ran in to see what was wrong. Philip was trying to chase the girl out. She grabbed a.32 revolver out of the table drawer and told Philip to put up his hands. That scared him. And he did put up his hands. Then she shot him dead. Afterwards. Afterwards? She couldn't remember. Couldn't remember anything? No. Pretended she didn't even recognize her own family. She said, who is Philip Gale? Mm. And you hang her tomorrow morning? Yes. Without ever hearing her side of the case? Confound it, man. There's no doubt about the evidence. Are you sure she killed Philip Gale? Gail's brother. Herbert saw her do it. This hypocrisy about not remembering. Emotional shock could do just that. You know. She wasn't so emotionally shocked that it disturbed her aim. She drilled him clean through the heart at 15ft. The bullet entered in the dead straight line through coat, waistcoat, shirt and heart. You could run a pencil through the holes. Now don't sit there puffing out your cheeks and waving a cigar at me. I'm only. Tell me, Colonel Andrews, aren't you talking to convince yourself? No. Suppose that girl is telling the truth. Suppose she has lost her memory. All right, you don't believe that. Suppose it. And supposing some black eye just before the hangman comes, that a memory returns. Don't talk rubbish. But I've lived long enough to know that mental suffering is the cruelest form of suffering on this earth. Imagine yourself in that position. Come out of a daze into what you thought was a safe and pleasant world. No matter where you are, you don't know what's happened. You only know that when the clock strikes eight, they're going to take you out and did you hear that? Yes. Are you thinking what I'm thinking? Yes. It isn't possible very much fear it is. Sometimes, you know we have to use drugs. Yes. We take them to the execution shed. It's only a Short distance. And we try to get it over in a matter of seconds. But sometimes they can't walk. Yes, what is it? Beg pardon, sir, but I thought I'd better get you or the doctor or the chaplain, or both. What's the matter with you men? Not as white as a ghost. Can't help that, sir. I've been a warder at this place for a matter of 15 years, but I never knew anything like this. It's the upstairs room, I suppose. Miss Barton? Yes, sir. Miss Terricor? Yes, sir. She says. Well, she says she remembers now. I see. She's carrying on something awful, sir. But that ain't all. She claims she never done it. What's that? She claims she never killed Mr. Gale at all. That's all, Harris. You may go. Yes, sir. Any other disturbances in the billing? Well, sir, they're a bit restless and a wing. That's usual. Yes, sir. And there's a bloke outside the prison, I mean, who keeps hanging about in front of the main gate. You can see him by the street lamp. First he'll take a few little quick steps back and forth. Then he'll run and stick his face against the bars of the gate. Then he'll go back to pacing again. Fair gave me the creeps.
- [109:28]
C
It did.
- [109:28]
A
Even before this other thing. You don't happen to know who he is? It's the other Mr. Gale, sir. Herbert Gale. I haven't the heart to chase him away. All right, Harris, go ahead. I'll be along in a minute. Yes, sir. The girl claims to be innocent. You heard that, eh? Yes, I heard it. What do you mean to do? I'll see the girl, of course, but it won't affect the issue. Not even if she does happen to be innocent? Fell. In the name of heaven, try to understand my position. Believe me, I do understand it. The jury convicted this girl of murder. Her appeal was dismissed. The Home Secretary has refused to intervene on behalf of the King. You couldn't do anything even if you wanted to. You couldn't even appeal to the Home Secretary without new evidence. Exactly. And it's too late for new evidence because you can't just accept the word of Helen Barton. All the same, I'm dreading this interview. It's against regulations, but I wish you'd come along with me. Is there only something. There isn't. Where's the whiskey? I think a little stimulant. She will need the stimulant. Well, it's a cold night. Decoding it where she's going.
- [111:10]
C
I didn't do it. I tell you, I didn't do it.
- [111:13]
A
Teddy Mears.
- [111:14]
C
It's all right, dearie. The governor and the big stout gentleman believe you didn't do it. Oh, no, they don't. You needn't try to fool me. Look at them over there in the corner whispering. I heard that. Who said fell? She's lying. But I'm not lying. I'm not. You've got to pull yourself together and have a nice breakfast. What would you like for breakfast?
- [111:37]
A
Stay tuned for Nero Wolf Saturday night Chimes on NBC mean a full hour of fun with Dennis Day and Judy Canova. Dennis always appears perplexed and bewildered, but one thing that doesn't perplex him is how to make a popular ballad come to life in his thrilling tenor voice. And there's music also on the Judy Canova show. Plus comedy in the mischievous Canova manner. That's Judy Canova and Dennis Day tomorrow night over most NBC stations. My boss is the smartest and the stubbornest, the fattest and the laziest, the cleverest and the craziest, the most extravagant detective in the world, Nero Wolf. It's the transcribed adventure of the case of the Careworn Cuff with that brilliant eccentric private detective, orchid fancier and gargantuan gourmet, Nero Wolf. Starring Sydney Greenstreet. The place is near a wolf's office. At the moment, the world's greatest motionless detective is sitting in the chair which was built especially to support his £300. His eyes are closed and he's making sounds through his nose. Archie. Archie. Archie. Ask Mr. Wolf. What is it? The phone, if you please, Mr. Goodwin. But it's on your desk. Only eight and three quarter inches from your left elbow. All you have to do is lean forward. Found it. Archie. What do you think I am, an athlete?
- [113:43]
C
Hello?
- [113:44]
A
No, wrong number, mister. I'm sorry, Mr. Wolf, if that old phone awakened you. Wrong number. And I was not asleep. I was merely concentrating. On what? We're out of work. There's nothing to concentrate on. Many of us keep your errant attention, Archie, but there are other subjects for thought besides murder. Sure. Blondes and blondes. You're right at that. Brunettes. That's not a nice thing to say about any girl. Even if she does happen to be a brunette. Auntie. Yes, sir. Go away. You annoy me. Suppose I did. Who'd get your beer for you? Fritz. Tonight happens to be Fritz's night off. However, you can always get your beer for yourself. Don't be an idiot. There are exactly 23 steps between here and the kitchen. As you very well know, I abominate strenuous physical activity. 23 steps times 2 is 46. You could walk very slow. Nonsense. Now that you mention it, I happen to be mildly thirsty. Archie, would you. Now that I mention it, you'd better let the beer go for tonight. Why? Our stock is running low. You mean cares. I've been careful. Because something else is also running low. What? Money. Federal sticks. There's plenty in the bank, sure, but very little of it is yours. Mr. Wolf, do you remember that batch of orchids you bought last week? Cause I do. Magnificent and very rare specimens. I got a magnificent bill for him this morning too. It was large. It was large. Confounded. Archie, I shall have to do some work. You turned down half a dozen cases in the last few weeks. One of them may still require me. Most of them hired other detectives. However, there is a Mr. Wenceslas who might still be in need. His problem is what? As I remember, he's being followed by midgets. He wanted you to do something about it. Not that he minded the midgets so much. It was the elephants they were riding. The man needs a psychiatrist, not a detective. Anyone else? I can check my files, but I don't think. Aha, saved by the bell. Another cliche like that and I shall answer the phone yourself. Assassinate. You see what it is. Okay. Hello? As Mr. Wolf is in. Yes, he'll be in. He always is. What? But. Hmm. That was a Mr. Charles Porter. He was in a hurry. He's on his way over right now. Should be here in 10 minutes. Prospective client, I trust. A thousand dollars worth of prospective client. Blended. Archie, my beer. Okay, but look, I'm not sure you're gonna accept his offer. Indeed. What does he want me to do for his paltry fee? That's the point. If I heard him right, he wants you to do nothing. Yes, sir, I hear it. Mr. Porter. Naturally, I'm Charles Porter. Who else would I be? It's a large field. Never mind, come on in. I'm Archie Goodwin. Where is Wolf? Mr. Wolf is in here. Mr. Wolfe, this is Mr. Porter. Good evening. Fat, aren't you? It's moderately noticeable. Out to your chair for Mr. Porter. Don't bother, I'm too impatient to sit. When I have business to take care of, I take care of it quickly. Very well. Send him out of the room, Mr. Goodwin. Nonsense, he's my assistant. He remains. I don't like it. Archie, show Mr. Porter out. Now wait. There's no need to get temperamental. Perhaps I'm a little abrupt. Rude. I'm a worried man. And impatient. You're wasting time, Mr. Porter. I suppose I am. The reason I came to you. Young man. What are you doing with that notebook? Getting ready to make marks in it. But no, never mind. Mr. Wolf, you have a client named Dorothy Spencer. Have I? There's no need to be coy about it. I happen to know. Then you know I want you to drop her. Drop her? Refuse to handle her case. Close the books on her. You know what I mean. Why should I? The girl has no money. I have it doesn't answer my question. Perhaps this will appear to be a small package of dollar bills. It happens to be $1,000. Archie, will you. I will. It is $1,000. Thank you. Mr. Porter. Yes? You're paying me a thousand dollars in order that I refuse to act for Ms. Spencer, nothing more? That's right. What does she suspect you of? I said nothing about. That is. You must know that as well as I do. Possibly. Nevertheless, what does she suspect you of? Being a blackmailer. Whereas your occupation really is. I'm a musician. Pianist. I'm appearing nightly at the Windsor Hotel. Archie, have you made out a receipt for Mr. Porter? Yep. Give it to him and show him to the door. Okay. Mr. Porter. Mr. Wolf, I want your assurance that the entire affair is definitely finished. My association with Ms. Spencer. You mean. You have my assurance that it is. You will forgive a classical illusion. Cava. Thank you. Good night. Mr. Wolf. I have a secret about Mr. Porter. He smells some perfume or other. More important, his right coat cuff is more worn than his left cuff. And a carpet happens to be a musical term. Meaning? Start again from the beginning. Oh, Porter thought it meant finished. Therefore, Mr. Porter is a liar. His ignorance of common musical term indicates that he's not a musician. The worn right coat cuff that he is an office worker. That's kind of leaping to a deduction. But even if porter's a liar. Mr. Wolfe, there is something else. He. He paid you $1,000 to drop a client named Dorothy Spencer. Mr. Wolf, you never had a client with that name. Well, that's that. Dorothy Spencer is not in any way. She's not answering a phone. Mr. Wolf, I said. I know what you said. That a comment. I'm worried Mr. Porter may have assumed erroneously that Dorothy Spencer had employed or was intending to employ me. That does not explain why he lied about his occupation. Maybe he didn't lie after all. Your deductions could be wrong. Okay, take care of that. Right now phoning her. Hello, Windsor Hotel. Get me the manager's office. Thanks. Could you tell me if a Charles Porter plays the piano? Uh huh. She sounds blonde. I see. Thanks a lot. What do you do after work? Oh, so long. She goes home and beats her husband about Porter. Archie, bad news. He does play the piano at the Windsor in the move room. So where does that leave your deductions? Untouched, of course. Let me think. Hmm, yes, naturally. Naturally what? I came to the conclusion that Mr. Porter was an office worker. We have just discovered that Mr. Porter is not an office worker. Therefore you were wrong. I am never wrong. Therefore the man who was here is not Charles Porter. Mr. Wolf, do you think a man of your weight should climb out on a limb like that? Fiddlesticks. Look up Porter in the phone book and call him. Okay. It'll take a second. Archie, the phone company's best friend. Yup, here he is. What do I ask him? There'll be no need to ask Mr. Porter anything. Just phone. You're the boss. Have to say something to the guy. Hello? I'd like to speak to Charles Porter. So would you. Who is? Oh, Stebbins, huh? Yeah, that's right. Archie. Oh no, no, don't, don't, don't bother. Why? I call it a coincidence.
- [122:20]
C
Goodbye.
- [122:21]
A
You know who that was? No. That was Sergeant Stebbins. Sergeant Pearly Stebbins, I might add. As though you didn't know that Stebbins happens to be a sergeant in H. Indeed. You expected this? I still don't know what your conversation was about. It was about Charles Porter, who maybe was a liar, but who isn't going to tell any more lies on account of he was just shot to death. Well, well, well, if it ain't Archie Goodwin. Come in, Goodwin. Thank you, Sergeant Stevens. I've been expecting you. Oh, that's sweetie. Did you say that? Pearly, why did you phone Porter? His right coat cuff was more worn out than his left. So for that you had to kill him? No, actually I killed him because he didn't know his da capo. Hey. Yeah, hey. He don't look good anymore. Guys who stop bullets with their face never look good. Burley, you've been robbed. I did. That corpse is not Porter. Now relax. Good one, relax. His fingerprints were on file and they check. His girlfriend says he's Porter. If he could get up and talk, he'd tell you he was Porter. And what makes you think he isn't? Well, because when he visited us earlier tonight, he looked different. Not much. But you said girlfriend Yes, I said girlfriend. She's in the next room mopping up. She kind of broke down when we brought her here. You brought her here? Now don't tell me what her name is. Why shouldn't I? It's Spencer. Dorothy Spencer. That's what I was afraid of, Sergeant, I. Oh, ignore him. He comes with the woodwork. His name is Goodwin, Miss. Spencer. Archie Goodwin. Find what you were looking for?
- [123:59]
C
What I was looking for?
- [124:00]
A
Somebody's gone through this place like a minor league hurricane. You?
- [124:03]
C
What business is it of mine?
- [124:05]
A
None. Maybe. On the other hand, Nero Wolf might have other ideas. Matter of fact, I'm sure he'd have. Ms. Spencer. Why don't you go see him? The address is 601 W. 35th Street.
- [124:13]
C
I don't see why you want your.
- [124:15]
A
Boyfriend'S murderer found, don't you? Now listen, Goodwin, the police are working on this. Sure. They'll see to it nobody harms a corpse. Goodbye, Ms. Spencer. Don't forget that address. 601 West 35th Street. Believe it or not, you used to be a client of ours. Oh, Mr. Wolf, you're getting to be so brilliant. It's boring. That is all right tonight you deserve it. I'll get you another can of beer, but this is the last one unless you promise to do some exercise. Like. Like maybe standing up and sitting down five minutes a day. Thank you. And why should I indulge in such idiotic behavior? Well, after a while you might be able to see your shoes. I've already seen them. Oh, that was 20 years ago. Things had changed. No more buttons. Hey, that must be Dorothy's Spencer. She's undoubtedly young and beautiful. You deduced that from the way she pressed the buzzer? I deduced that from the gleam in your eye. Bah, bah all you want. I'm gonna keep that gleam shining. Hello, Ms. Spencer. Come in. Thank you.
- [125:28]
C
Mr. Wolf.
- [125:28]
A
Is the large sitting down gentleman behind the desk? This is Dorothy Spencer, Mr. Wolf. You will forgive me not rising. It is due to a necessary conservation of energy rather than rudeness. Archie, chair. Sure. Here you are, Ms. Spencer.
- [125:45]
C
Thanks.
- [125:46]
A
Now then, Ms. Spencer, have the police found anything but Dustin Departer's closet?
- [125:50]
C
Why, no.
- [125:52]
A
You were engaged to Mr. Porter? I was. That ring you're wearing, he gave it you?
- [125:58]
C
Yes.
- [125:58]
A
May I see it?
- [125:59]
C
Well, all right.
- [126:02]
A
Here. Thank you. Expensive, very expensive. You may have it back. Ms. Spencer, why are you marrying Charles Porter?
- [126:13]
C
I loved him.
- [126:16]
A
Mr. Porter, according to Archie's description, was twice your age with considerably less than half your attractiveness. Love may perhaps Be blind, but it is not astigmatic.
- [126:26]
C
I. I don't know what you mean.
- [126:28]
A
What were you searching for under the nose of the police?
- [126:32]
C
Nothing. Nothing at all.
- [126:34]
A
How did your fiance earn his money?
- [126:36]
C
He played the piano.
- [126:39]
A
What he earned there in a year wouldn't begin to pay for the ring he gave you. Would you like to try again?
- [126:46]
C
I don't know how he made his money.
- [126:48]
A
I suggest that you do. I suggest that he earn money by the same method that he induced you to consider marrying him.
- [126:56]
C
Blackmail.
- [126:57]
A
Why was he blackmailing you?
- [126:59]
C
Old letters I'd written when I was too young to know any better.
- [127:03]
A
Your motives for murdering Porter would be twofold then. Recovery, blackmail material and the avoidance of marriage to a man you dislike.
- [127:10]
C
I didn't kill Charles.
- [127:11]
A
The doorbell. Archie, get Ms. Spencer into the kitchen once. Must be the police. Yeah. Let's go, Ms. Spencer, right through that door and stay there until I call you, friend. Orachi. Mr. Wolf. Do I know Dorothy Spencer's here? You know nothing. A simple role for you to play. I haven't got time to resent that insult right now. But wait until the next time you drop a collar button. Well, bless my soul, if it isn't dear old Inspector Kramer. How is the Homicide Department? Where's Wolf? Big surprise. He's sitting. Mr. Wolf. Good evening, Speakman. Where's Dorothy Spencer? This is not the Bureau of Missing Persons. The District Attorney would like to talk to her. I shall tell her so the next time we meet. That could be right now she's in this house. I don't see her. Mind if I look around for myself? You have a search warrant, of course. It so happens no. But, Archie, the inspector's leaving. Okay, I'm leaving. I suppose by the time I get back with a warrant, she'll be in Hoboken. Hoboken? Where's that? Look, Wolf, you can go too far. One of these days you won't be able to talk yourself out of a. I trail me to the door, Goodwin, to show what a good detective you are. Oh, Inspector Kramer doesn't love us anymore. Unfortunate. Archie, take Ms. Spencer to a respectable hotel. Register her under an assumed name. She is to stay there until notified otherwise. Luckily, the good inspector neglected to inform us that she was the leading suspect in a murder case. Hence, we are not accessories after the fact. And I don't want her arrested for murder as yet. Her beauty has won you over. You will then return here immediately. Okay. What are you going to be doing in the meanwhile? I. She shall be thinking, Archie. No no, not Archie. Ah, our impatient and non musical friend came in through the window. How are you, Mr. Not Porter, of course. Where's the girl? Question is beginning to bore me. I don't know. I think she's here. So did the police. I might add that they were slightly closer to the truth. Incidentally, what makes you think she was Porter's accomplice? She must have been. Nonsense, she wasn't. Porter was blackmailing her, just as he was blackmailing you in her case. It was letters in yours. A previous criminal record perhaps that your employers might be interested in. I want to know where she is. Maybe this would help you remember. Good heavens, don't point a pistol at me, it annoys me. Police, as you think. Open the door for them like a good fellow. Oh, no, I'm leaving. But if I don't find that girl, I'll be back. Knock the plastic thing down if it isn't open. All right. Well, I've got the search warrant also. No doubt a fine tooth comb, by the way. Inspector. All right, boys, cover the house. All right. Inspector. Yeah? What did you want? As your men go through the house, will you have one of them shut the back window? I've just had a burglar and I suspect he left it open. Unless the matter is attended to, the house might be filled with fresh air. Well, what's the matter with that fresh air? Deadly poison. It clogs the lungs. And may I point out that the warrant your clutching in your hot little hand is not a lease on the house. Finish your search quickly, if you please. And then why not try Hoboken? So I just missed the inspector, huh? You did that I can stand. I'm sorry about the burglar, though. Perhaps we can arrange to have you meet him in the morning. He left his calling card with name and address on it. He dropped his handkerchief here on my desk. Oh, it's a handkerchief. It smells. So it does. But all of our unknown friends clothes carry the odor. Therefore. Yeah. You will go out immediately to the nearest drugstore, buy a specimen of every cake of soap manufactured in this country. Mr. Wolf. Mr. No. I never realized just how many different brands of soap were made in this country. You should listen to the radio more often. So far we've sniffed at 37 cakes. None of them smell like porter. See? 38. Hey, let me have it. Aji. Yes? These soap. Ah, labeled orchid ovals. I should say. Basically mislabeled. Orchids have no odor. Our task for the evening is finished. Why? All we know is the guy Washes with a basely mislabeled soap. No, the odor would not have been so persistent. In that case, Unquestionably, our visitor works for a soap company that makes orchid ovals. Every employee of a plant in which perfume in large quantities is used inevitably carries the odor on his clothes. Oh, and you already deduced he works in an office? Uh huh. Ah, I. I go see him in the morning. You do? You know, Mr. Wolf, with hiring rooms for girls and paying visits to a perfume factory, I'm beginning to feel like a maiden aunt. No one would ever mistake you for a maiden aunt, Archie. Thanks. Is that another deduction? Maiden aunts really need a sh.
- [133:17]
C
Market elbows.
- [133:17]
A
Good morning.
- [133:18]
C
One mom, please. Oh, can I do anything for you, sir?
- [133:22]
A
Yeah. That is, let's postpone that question and slip in another one. I'm looking for one of your office people. As in his 40s, 5 foot 10, brown hair and eyes. Speaks in a sharp, quick voice.
- [133:32]
C
He owes you money too?
- [133:34]
A
Who owes me money?
- [133:35]
C
Mr. Wheeler, the man you were describing. He owes everybody money. In spite of the fact that he's office manager and makes lots and lots of m. How much does he owe you?
- [133:42]
A
Oh, not. Not an awful lot. It won't break me if I don't get it. Is he in yet?
- [133:46]
C
Well, he was, but he went home. He was sort of sick.
- [133:49]
A
Sort of?
- [133:49]
C
He got a phone call from somebody and rushed out.
- [133:52]
A
Too bad. Well, I better scram.
- [133:53]
C
Well, you didn't answer my question yet. I'm off at 5. My name's Gwen.
- [133:56]
A
Goodbye. Wolf speaking. Archie here. Our unknown's name is Wheeler. He left the office this morning sick after he got a mysterious phone call. Bad, probably. Get to Dorothy Spencer at once and bring her here. Right. I'm at Wheeler's house now. Thought I better check. His wife's here too. Blonde? Uh huh. How could you tell? Fetch. You smirk in your voice. Get out of there fast and don't stop to console Mrs. Wheeler. 908. Ah, room 909. Ms. Dorothy Spencer? Nobody home. Shut that door behind you, Goodwin. Never mind pulling triggers. I'll shut it.
- [135:08]
C
Oh, Archie.
- [135:09]
A
I would prefer silence. Keep your hands high, Goodwin. It's unhealthy. All the blood had run into my head.
- [135:13]
C
Archie, he murdered Charles.
- [135:15]
A
He did t. Mr. Wheelie, you really shouldn't have. It's against the law. Get into the bathroom, both of you. I already shaved.
- [135:20]
C
I phoned him. I thought maybe he had my letters.
- [135:22]
A
Porter couldn't keep his mouth shut about his other victims. He was going to force Darling, to marry him. Did you find his material? Wheeler? Yes, in an office. He read it as a front. It's all burned. And why all the melodrama? You know about me, so does she. I can't trust anyone. Get into the bathroom, I said. Look, let's not lose our heads about this. Get moving, Goodwin. I like it here. All right then, here is where you'll get it. Hey, wait, wait, wait a minute. Something's wrong. I got shot and Wheeler fell down. I shot him. Good one, Stebbins. Dear Sergeant Stebbins. Oh, you little flat footed angel. It's lucky for you my flat feet got staked out here in time. Just for that, I'll buy you a pair of arch supports for your next birthday. But I'm beginning not to believe this. You had it all figured out? Well, not exactly. Well, that is. Ah. Wolf sent you here? Well, he kind of phoned in and suggested one of us shoot down here and do some rescue work. That old devil. Hey, you're not curious? Kidding. What are you laughing about? Wolf wasn't sure whether you'd need rescuing from Wheeler or. Stop killing yourself with your own jokes. Or whether Ms. Spencer would need rescuing from you. You being a very foolish young woman, Ms. Spencer, aces suggest that in the future you exercise more care in your correspondence.
- [136:46]
C
Oh, I shall, Mr. Wolf, but how can I ever thank you?
- [136:49]
A
Well one. One way would be to listen wide eyed while he explains how he solved the case. I have no intention. Oh, come on, Mr. Wolf, stop stalling.
- [136:58]
C
Please, Mr. Wolf.
- [136:59]
A
Well, I'd be very happy to. As a matter of fact, I'd like to see anyone try to stop me. A man came to me. He offered me $1,000 to drop a client I didn't have. Why? Because obviously he wished to direct my attention to that client. Me. You, Ms. Spencer. Now then he identified himself as Charles Porter, a musician. But I tested him and discovered that he knew nothing of music. The da capo routine. Precisely. Therefore he was an imposter. His purpose to indicate by no means subtly that enmity existed between Porter and Dorothy Spencer. Huh. Thus when Porter was found murdered, I would presumably be convinced that Dorothy Spencer balked in her effort to enlist my aid against Porter, had resorted to most foul and bloody murder. Most foul and bloody murder is very fancy. Dorothy shows he likes you. I thereupon ask myself, why should an unknown seek to convince me that Dorothy Spencer was Porter's murderer? And you answered yourself one reason only. Because he himself intended to murder Porter as he did, for which peccadillo he has, thanks to Sergeant Stebbins accuracy with a revolver already paid with his own life. Quaddep demonstrandum. Latin for that's what you wanted to know.
- [138:24]
C
I think you're wonderful, Mr. Wolf. And I'm going to.
- [138:27]
A
Ah, be careful. Keep kiss you, Archie. Ms. Spencer is a very dangerous young woman today. I feel brave.
- [138:35]
C
Do you, Archie?
- [138:36]
A
Very brave. What are you doing tonight?
- [138:39]
C
Nothing.
- [138:40]
A
Let's do it together. Bah. Oh, is that Mr. Wolf? I said bah. Would you very much mind conducting your romance elsewhere? I would not and do so at once. I have a very important matter to attend to.
- [138:51]
C
Goodbye, Mr. Wolf.
- [138:52]
A
Goodbye. Night, sir. Very important. Very important. You have been listening to the new adventures of Nero Wolf starring Sydney Green Street. Tonight's transcribed story was based on the characters created by Rex Stout, produced and directed by J. Donald Wilson. In the cast were Lamont Johnson as Archie Goodwin and Jane Webb, Peter Leeds, Bill Johnstone and Wilms Herbert. Next week at this same time, Nero Wolf and Archie will bring you the case of the dear dead lady. Don Stanley SPE Three chimes mean good times on NBC. The NBC chimes are excited about the big show. An hour and a half every Sunday night with Tallulah Bankhead as Femc. Comedy with stars like Jimmy Durante, Fred Allen, Jack Carson, Groucho Marx and a host of others. Music with Meredith Wilson, Mindy Carson and many more. It presents drama with Mr. Jose Ferrer and many more leading stars of Broadway and Hollywood. It's the big show starts Sunday, November 5th on NBC. This is Chester William Bendix Riley. The Man Called X follows on NBC. Lady Esther presents the Screen Guild Players. The Screen Guild play tonight, the Maltese Falcon. The Starling Players. This is Humphrey Bogart, this is Mary Astor, this is Sydney Greenstreet and this is Peter Laurie. Tonight, Lady Esther presents the Screen Guild Players in Warner Brothers sensational mystery story, the Maltese Falcon. It stars Humphrey Bogart as private detective Sam Spade, Mary Aster as Ms. Wonderley, Sydney Greenstreet as Casper Gutman and Peter Laurie as Joel Cairo. This is the story of the Maltese Falcon and of the people whose lives it touched and seared. It began in San Francisco when a beautiful young woman who identified herself as Ms. Wonderly walked into the offices of Spade and archer, private detectives. Ms. Wonderly had just told Sam Spade why she wished to engage detectives when Spade's partner, Miles Archer, entered the office. Oh, excuse me, Sam. It's all right, miles. Come in. Ms. Wandley, this is Miles Archer, my partner.
- [143:14]
C
How do you do?
- [143:15]
A
Well, I'm pleased to Meet you? Miss Wonderley's sister ran away from New York with a fellow named Florida. They're here in San Francisco. Miss Wandley has seen Thursby and has a date with him tonight. Maybe he'll bring the sister with him. The chances are he won't. Miss Wandley wants us to find the sister, get her away from Thursby and back home.
- [143:32]
C
But I want you to know that he's a dangerous man. I don't think he'd stop at anything. I don't believe he'd hesitate to kill Corinne, my sister, if he thought it would save him.
- [143:40]
A
Uh huh. What time is he coming to see you, Miss Wandley?
- [143:43]
C
After 8 o'.
- [143:43]
A
Clock. All right, Miss Wandley. We'll have a man there. Well, I'll look after it myself.
- [143:47]
C
Thank you, Mr. Archer. Will $200 be enough for a retainer?
- [143:52]
A
Plenty. It'll help if you meet Thursby in your hotel lobby, Miss Wandley.
- [143:57]
C
I will. Thank you again.
- [143:59]
A
Goodbye. Well, Archer, what do you think of her? Sweet. I'm going to enjoy shadowing her. Okay, sucker, you call me if you run into any trouble. Hello? Yes, this is Spade. This is Lieutenant Dundee. Spade. What's on your mind, copper? I thought you might be interested in knowing that your partner Archer was found in an Alley near the St. Mark. Shot through the heart from close range. Blast burned his coat. Coming down for a look at him before he's moved? No, you've seen everything I could. His gun was tucked away on his hip. It hadn't been fired. His overcoat was buttoned. Was he working, Sam? Well, he was supposed to be tailing a fellow named Floyd Thursby. What for? Now, don't crowd me. I'll see you after I break the news to Archer's wife. I'll be there in a couple of hours. Oh, hello, copper. Come on in. Make the news to Archer's wife, Sam. Huh? What kind of a gun do you carry? None. I don't like him much. You don't just happen to have one on you? Search me. Turn the dump upside down if you want to. I won't squawk. If you got a search warrant. Why were you tailing Floyd Thursby, Sam? I wasn't. Archer was, for the swell reason that we who was paying good money to have him tailed. Who's the client? Sorry, I can't tell you that. You didn't go to Archer's house to tell his wife. I called up and the girl from your office was there and she said you told her to go what are you leading up to? Just this. Spade, Floyd Thursby was shot down in front of his hotel about a half an hour after I talked to you. Oh? I came into my apartment just a few minutes ahead of you. I was walking around, thinking things over. I knew you weren't here. I tried to get you on the phone. Where'd you walk to? Just around. Thursby die? Yeah. How'd I kill him? I forget. He was shot four times in the back hotel. People know anything about him? Nothing, except he'd been there a week. Alone?
- [146:15]
C
Alone.
- [146:16]
A
You find out who he was, what his game was? No. I thought you could tell me that. I've never seen Thursby, dead or alive. Ah. Look, Spade, you know me. If you did get thirsty, you'll get a square deal for me and most of the breaks. I don't know that I'd blame you a lot, man, that kills your partner, but that wouldn't keep me from nailing you. That's fair enough. Now, would you mind scramming? I got some thinking to do and I'd like to get a little sleep before daylight. Hello? Yeah, this Sam Spade. Oh, I was just going to call you. Where are you? The coronet on California street, apartment 101. What's that? The name's Ms. LeBlanc. Okay, I'll. I'll be right out. Good morning.
- [147:24]
C
Come in. Mr. Spade. Mr. Spade, I have a terrible, terrible confession to make. That. That story I told you yesterday was all just a story.
- [147:37]
A
All that? Well, we didn't exactly believe your story, miss. Is your name wonderly or LeBlanc?
- [147:45]
C
It's really O'. Shaughnessy. Bridget O'. Shaughnessy.
- [147:48]
A
Oh. Well, Ms. O', Shaughnessy, as I said, we. We didn't exactly believe your story. We believed your $200. Oh, yes. You see, you paid us too much to be telling the truth.
- [147:58]
C
You knew that when you accepted the money?
- [148:00]
A
I suspected it. I was positive when Joel Cairo called on me.
- [148:04]
C
Joel Cairo?
- [148:06]
A
Yeah. Yeah, he seems interested in Floyd Thursby, too.
- [148:09]
C
What did he say?
- [148:10]
A
About what?
- [148:11]
C
About me.
- [148:12]
A
Nothing.
- [148:13]
C
Well, what did he talk about?
- [148:14]
A
Well, he offered me $5,000 for a black statuette of a bird. He was pretty sure I had it or knew where it was.
- [148:22]
C
Do you?
- [148:23]
A
Oh, I think I know someone who does. And $5,000 is a lot of money. Right now, the police are trying to find out who hired us to tail Floyd Thursby.
- [148:33]
C
Mr. Spade, do they know about me?
- [148:35]
A
No, I don't think they do. I've been Able to stall them so far.
- [148:38]
C
Must they know about me at all, Mr. Spade? Couldn't you manage somehow to shield me from them?
- [148:42]
A
Maybe. But I'll have to know what it's all about.
- [148:46]
C
I can't tell you now. Later. I will when I can. You must trust me, Mr. Spade. I'm so alone and afraid. I've got nobody to help me if you won't help me. Be generous, Mr. Spade. You're strong. You're brave. You can spare me some of that strength and courage. Surely.
- [149:07]
A
Sister, you don't need much of anybody's help. You're good. Chiefly your eyes, I think, and that throb you get in your voice when you say things like, Be generous, Mr. Spay.
- [149:19]
C
All right, I deserve that. But the lie was in the way I said it and not at all in what I said.
- [149:27]
A
Ah, now you are dangerous. Still. Cairo offered me $5,000.
- [149:33]
C
It's far more than I could ever offer you. If I must bid for your life.
- [149:37]
A
And that's good coming from you, have you given me any of your confidence? Any of the truth? I can't go ahead without more confidence in you than I have now.
- [149:45]
C
Can't you trust me just a little while?
- [149:46]
A
How much is a little? And what are you waiting for?
- [149:49]
C
I must talk to Joe Cairo.
- [149:52]
A
Oh. Oh, well, you can see him tonight. I know where to reach him.
- [149:55]
C
Oh, he can't come here. I can't let him know where I am.
- [149:57]
A
I'm.
- [149:57]
C
I'm afraid.
- [149:57]
A
We'll all meet at my place then.
- [149:59]
C
All right.
- [150:12]
A
I'm delighted to see you again, Miss O'. Shaughnessy.
- [150:14]
C
I was sure you would be, Joe. Mr. Spade told me about your offer for the multi.
- [150:18]
A
Falcon.
- [150:19]
C
How soon can you have the money ready?
- [150:21]
A
Oh, it is ready.
- [150:23]
C
You are ready to give us $5,000 if we turn the Falcon over to you.
- [150:26]
A
I shall be able to give you the money as soon as the bank opens in the morning.
- [150:31]
C
But I haven't got the Falcon.
- [150:33]
A
Then why did you send for me?
- [150:35]
C
Because I'll have it in another week.
- [150:37]
A
Yes, where is it?
- [150:39]
C
Where Floyd hid it.
- [150:40]
A
If you know where he hid it, why, why must we wait a week? And why are you willing to sell it to me?
- [150:46]
C
I'm afraid. After what happened to Floyd, I'm afraid to touch it, except to turn it over to somebody else right away.
- [150:52]
A
Exactly what did happen to Floyd?
- [150:54]
C
The fat man, Gutman, is he here?
- [150:58]
A
I don't know.
- [150:59]
C
I suppose so.
- [151:00]
A
If you two let me interrupt for a second, I can answer that. Gutman is here.
- [151:05]
C
How do you know?
- [151:05]
A
Because he called me and asked me to see him.
- [151:07]
C
Have you?
- [151:08]
A
Not yet. I thought that after our friend Cairo here left, I'd find out just how you and I stand before I took on any more clients.
- [151:34]
C
Now do you know how you and I stand, Sam?
- [151:37]
A
Yeah, if I can believe anything about you. But you're such a liar.
- [151:43]
C
I am a liar. I've always been a liar, but I.
- [151:47]
A
I wouldn't brag about it. Was there any truth at all in that yarn you were telling me about Thursby and the falcon? Some.
- [151:54]
C
Not very much.
- [151:55]
A
Well, we got all night before us.
- [152:00]
B
I'm.
- [152:00]
C
I'm so tired. So tired of lying and thinking up lies and not knowing what is a lie and what is the truth. I wish.
- [152:10]
A
Look, honey, I think I'd better have a talk with Gutman in the morning. Now, Mr. Gutman, shall we talk about the falcon? Oh, by all means, Mr. Spade. But first, sir, answer me a question. Are you here as Miss Oshaughnessy's representative? Well, there's nothing certain about it either way yet. It depends. Maybe it depends on Joel Caro. Maybe. The question then, Mr. Spade, is which you'll represent. It'll be Ms. O' Shaughnessy or Mr. Caro. I didn't say so. Who else is there? There's me. Oh, well, that's wonderful, sir, wonderful. I do like a man who tells you right out he's looking out for himself. Don't we all? Uh huh. Now, let's talk about the blackbird. Let's. Mr. Spade, have you any conception of how much money can be got out of that Blackbird? No, but you just tell me what it is and I'll figure out the profits. You mean you don't know what that bird is? I know it's black enamel about a foot high. And I know the value in human life you people put on it. Mr. O' Shaughnessy didn't tell you what it is he offered me? Spiro didn't either. He offered me 10,000 for it. Do either of them know what that bird is, sir? What is your impression? Well, there's not much to go by, but I don't think so. If they don't know, I'm the only one in the whole wide sweet world who doesn't. Good. Then when you tell me, there'll be two of us. Mathematically correct, sir, but I don't know for certain that I'm going to tell you. You think again, and think fast. You'll do your talking today through. What are you wasting My time. For I can get along without you. That remains to be seen, Mr. Spade. They're away. And there's another thing. Keep that gunman of yours away from me while you're making up your mind or I'll kill him. Well, sir, I must say you have a very violent temper. Take it over. You get till 5.30, then you're either in or out for keeps. Wilmer, I'm going to kill that guy. I could have done it easy when he was standing there with his back to me. Of course you could, my boy, but business before pleasure. And we'll be seeing Mr. Spade again before 5:30. So ends Act 1 of the Maltese Falcon, starring Peter Laurie, Sydney Greenstreet, Mary Esther and Humphrey Bogart. Act two in just a moment. But first, here's a word from our hostess, Lady Esther.
- [154:47]
C
Some weeks ago, I was being shown through a shipyard, one of the largest in the country, and stopped to chat with a young woman wearing a safety mask. It gave her a stern, rather severe look. But when she removed the mask to chat with me, she was young and blonde and very lovely. Her skin looked so dainty and fresh that I just couldn't resist saying, my, you look as though you just stepped out of a bandbox. She laughed and said, I've been on the job since early this morning and I haven't even had time to repowder my face. But after all, I do use your powder, you know. Of course, she's only one of millions of busy, important women who use Lady Esther face powder. Partly because of its remarkable clinging quality, they explain that when they use Lady Esther face powder, they have the comfortable feeling that their skin always looks smooth and fresh, never streaked, caked or shiny. But that's only one of the reasons why more lovely women now use Lady Esther face powder than any other kind. There are two other important reasons. First, the texture of my powder is so flattering that it hides little lines and blemishes. Makes your skin look younger. And second, the shades of Lady Esther face powder are so rich, vivid and alive, they give new interest, a look of new beauty to your skin. And both the unusual texture and the flattering shades are the result of my patented twin hurricane method of making face powder. So if you'd like to have your skin look softer, smoother, younger and look that way for hours at a time, just try Lady Esther face powder.
- [156:35]
A
And now the curtain rises on the second act of the Maltese Falcon, starring Humphrey Bogart as Sam Spade, Mary Esther as Bridget o', Shaughnessy, Sydney Green street as Casper Gutman, the Fat man, and Peter Laurie as Joel Cairo. Late in the afternoon following Sam Spade's visit to Gutman's apartment, a dying man staggered into Spade's office and collapsed on the floor. He died before he could speak to Spade, but his papers identified him as Captain Jacobi of the steamship La Paloma. And clutched to his bullet torn chest was the Maltese Falcon. After depositing the Falcon in a railroad station check room and mailing the identification check to his private post office box, Sam met Bridget o' Shaughnessy and took her to his apartment.
- [157:34]
C
You know, Sam, I never would have placed myself in this position if I hadn't trusted you completely.
- [157:38]
A
Oh, that again.
- [157:39]
C
But you know that.
- [157:39]
A
So you don't have to trust me as long as you can persuade me to trust you.
- [157:43]
C
But, Sam, darling.
- [157:44]
A
Well, I think we better let it go at that until we see what happens after Gutman gets here.
- [157:48]
C
The Fat man here?
- [157:50]
A
Certainly. Why not? Anyway, that should be him. So it's too late to change our plans. I'll be right back. Oh, hello, Gutman. Good evening, sir. I see you brought company. I can understand the gunman, but I didn't know Cairo was a friend of yours. We're old acquaintances. Now that we're all here, let's go in and sit down and be comfortable and talk. Sure. Come on in. Look, Angel, Gutman brought a couple of friends along. Good evening, Mr. Shaughnessy.
- [158:23]
C
Hello, Joe.
- [158:23]
A
You look unusually charming this evening, my dear.
- [158:26]
C
Thanks.
- [158:27]
A
The gunshot doesn't talk, Angel. Get away from me, punk. Stand still and shut up. Listen, you're not gonna frisk me. Touch me and I'm gonna make you use that gun. Ask your boss if he wants me shot up before we talk. Never mind, Wilma. Oh, you're certainly a most headstrong and unpredictable individual, Mr. Spade. Now, why did you send for me? You ready to make the first payment and take the falcon off my hands?
- [158:49]
C
The falcon?
- [158:49]
A
That's right, Angel. I've got it. Well, sir, I have in this envelope $10,000. 10,000? Oh, we were talking about more money than that. Yes, sir, we were. But there are more of us to be taken care of now. That may be, but I've got the falcon, I shouldn't think. I think it would be necessary to remind you, Mr. Spade, that though you may have the falcon yet, we certainly have you. Yes, I'm trying not to let that worry me. But let the money wait. There's another thing to be taken care of first. We've got to have a fall Guy. I beg your pardon? Police have got to have a victim, somebody they can stick for those three murders. Two. Two. Only two murders, Mr. Spade. Thursby undoubtedly killed your problem. All right, all right, two. Then the point. I have got to give the police a victim when the time comes. If I don't, I'll be it. Let's give him. Let's give him Wilmer here. Why, you dirty. He actually did shoot Thursby and Jacoby, didn't he? Anyway, he's made to order for the part. Let's turn him over to them. By God, so you are a character. That you are. There's ever never any telling what you'll say or do next. Except that it's bound to be something. Astonishment. That is our best bet. With him in their hands, the police will forget the rest of us. Your plan is not at all practical, sir. Let's not say anything more about it. All right. I have another suggestion. Let's give him Cairo. Well, by Godza, suppose we're giving you Mr. Spade or Mr. Shaughnessy. How about that, huh?
- [160:12]
C
Sam, you wouldn't.
- [160:13]
A
You people want the fork, and I've got it. A4 guy is part of the price I'm insisting on. You seem to forget you're not in a position to insist on anything. No. If you kill me, how are you going to get the Falcon? By Godzilla? You are a character. Well, what else can I do? I'm sorry, Wilma, Terribly sorry. I want you to know that I couldn't be any fonder of you if you were my own son. But, well, if you lose a son, it's possible to get another. And there's only one Maltese Falcon. You rat. I'll kill you for this. Thank you, Mr. Spade. When you're young as Wilmer, one simply doesn't understand these things. And how about some coffee? Bridget, put the pot on, will you? I don't like to leave my guests.
- [160:59]
C
Charlie, anything? Get out of here.
- [161:02]
A
Now, sir, let's get down to business. I ought to have more than 10,000. Of course, sir. You understand this is the first payment. You still don't understand the falcon's worth. Well, a black enamel bird can't be worth millions. But it is. Otherwise, I should not have spent 17 years of my life trying to acquire it. The black enamel you refer to, sir, is merely camouflage covering a solid gold bird encrusted from head to foot with the finest jewel. Okay, so I get millions later. How's about 15,000? Now, frankly and candidly, and on my word of honor, as a gentleman, 10,000 I gave you is all the money I can raise right now. But you didn't say positively, positively. Well, if that's the best you can do, it's the best you can do. But it's understood the punk has to stand as the fall guy. That is part of our agreement, sir. Okay. I'll make a phone call. The Falcon will be here in an hour. It's a fake. This is not the Maltese. This is a lead imitation, covered with the same enamel. See where I've shaved it off with a knife? Lead. Pure lead. You bungled it, you got on. You and your stupid attempt to buy it from the Russian who owned it. He caught on to how valuable it was. No wonder we had so little trouble stealing it. You. You imbecile, you.
- [162:27]
C
You bloated idiot.
- [162:29]
A
Well, sir, what do you suggest? Shall we stand here and shed tears and call each other names, or shall we pay the Russian another call in Istanbul? Are you going? 17 years I've wanted that ad litem and I intend to get it another year. Well, sir, that'll be an additional expenditure of time on only 5 and 15. 17%. I go with you. Good. And, Wilma? Wilma. Where. Where is the boy? He must have had made his getaway while we were unwrapping the floor. A swell lot of thieves. Well, sir, I left to ask you to return my 10,000. I held up my end. It's your hard luck, not mine, if you didn't get what you wanted. I'm sorry, but I must insist. Oh, a hideout gun, huh? Okay. Thank you, sir. The shortest farewells are the best of you. And to you, Ms. O', Shaughnessy, I leave the fake Fulton Falcon as a little memento. Come. Hello, Police Department? Lieutenant Dundee there. Put him on. Tell him Sam Spade's calling. Now, look, Angel, Gutman and Cairo will talk when the cops nail them about us. We've only got minutes to get set for the police. Now, give me your whole story, fast. Where.
- [164:03]
C
Where should I begin?
- [164:04]
A
The day you first came to my office, why did you want Thursby? Shadows?
- [164:07]
C
I. I suspected him of betraying me to Gutman and I wanted to find out.
- [164:10]
A
That's a lie. Gutman tried to make a deal with him. You had Thursby hooked and you knew it. You wanted to get him out of the way before Captain Jacoby arrived with the Falcon. Isn't that so? What was your scheme?
- [164:19]
C
I thought if he saw someone following him, he might be frightened into going away.
- [164:22]
A
Look, Archer hadn't many brains but he wasn't clumsy enough to be spotted the first night. You must have told Thursby he was being followed.
- [164:29]
C
I told him, yes. But please believe me, Sam. I wouldn't have told him if I thought Floyd would kill him.
- [164:36]
A
If you thought he wouldn't kill Archie, you were right, Angel.
- [164:39]
C
Didn't he?
- [164:40]
A
Arch had been a detective too long to be caught shadowing a man up a blind alley with his gun tucked away in his hip and his overcoat button. But he'd have gone up there with you, Angel. He was just dumb enough for that. And then you could have stood as close to him as you like, there in the dark, put a hole through him with a gun you'd gotten from Thursby that evening. Don't.
- [164:57]
C
Don't talk to me like that, Sam. You know I didn't.
- [165:00]
A
Now, the police will be blowing in any minute. Now, angel, talk.
- [165:03]
C
Oh, why do you accuse me of such a terrible.
- [165:04]
A
Why did you shoot Archer? I thought Thursby would tackle him and one or the other would go down. If Thursby was killed, then you were rid of him. If it was Archer, then you could see that Thursby was caught. Was that it? Something. And when you find out that Thursby didn't mean to tackle Archer, you borrowed the gun and did it yourself, right?
- [165:19]
C
I guess so.
- [165:20]
A
I know so. You didn't know Gutman was here looking for you until you learned Thursby was shot. Then you needed another protector, so you came back to me.
- [165:28]
C
Yes.
- [165:28]
A
But no, sweetheart, it wasn't only that.
- [165:31]
C
I would have come back to you sooner or later. From the very first instant I saw.
- [165:35]
A
You, I knew this. You, Angel. Well, if you get a good break, you'll be out of San Quentin in 20 years.
- [165:44]
C
Sam, you're not.
- [165:46]
A
Yes, Angel, I'm gonna send you over. But if they hang you, I'll always remember you.
- [165:55]
C
Don't, Sam. Don't say that, even in fun.
- [165:59]
A
It's not fun. I happen to be in the detective business, and you killed my partner. Bad business to let the killer get away with it. Bad for every detective in this country. You're taking the fall.
- [166:12]
C
You've been playing with me, only pretending you cared to trap me like this. You didn't care at all. You don't love me.
- [166:20]
A
I. I think I do. But what of it? I won't play the SAP for you.
- [166:26]
C
No, it's not like that. You can't say that.
- [166:28]
A
I am saying it.
- [166:29]
C
You know down deep in your heart, you know that instead, in spite of everything I'VE done.
- [166:33]
A
I love you. I don't care who loves who. You killed Archer. You're going over for it. Come in. Oh, hello, copper. Hello, Sam. You got Gutman and Cairo. You got Cairo. Gutman's dead, kid. Wilmer had just finished shooting him when we got there. I ought to have expected that. You better put the cuffs on angel, copper. We're taking her down to the station. What charge, Sam? Murder. She shot Miles Archer. Oh, and you better bring that black bird along, too, copper. It's part of the evidence against Cairo. Hey, this is heavy. What's it made of? The stuff that dreams are made of. And so ends the story of the Maltese Falcon. Thank you, Mary Esther, Humphrey Bogart, Sidney Green street, and Peter Laurie for appearing with the Lady Esther Screen Guild Players tonight. And also for telling us the most exciting story.
- [167:42]
C
It was our pleasure, Mr. Bradley. We all had a wonderful time making the picture. And the radio version tonight brought back some wonderful mental memories. Then, too, knowing that the benefits from these programs support the motion picture Country House and Clinic give us an added incentive. And now, before we tell you about next week's program, here's a word from one of America's best known beauty authorities, lady esther. Thank you, Ms. Astor. Ladies. You know, it's surprising the number of letters new users of Lady Esther Face Powder have sent me in the last few months. So many of them say the same thing, that Lady Esther Face Powder is an entirely different kind of powder. But it does wonderful things for the appearance of the skin. Makes it look softer, smoother and often years younger. Well, Lady Esther face powder is more flattering, more becoming. Because my powder isn't just mixed, just blended, like ordinary face powder. It's made by a method, new, unique, exclusively mine. You see, Lady Esther face Powder is blown at whirling speed by my famous twin hurricanes. Yes, my patented twin hurricane process blows and whips color and powder particles together until they're evenly married, blended into a fine, smooth, sheer mist of beauty finer in texture and truer in shade than powder ever made by ordinary methods. That's why Lady Esther Face Powder smooth smooths out so much more evenly. And why the shades of my powder are so clear and alive. They make your skin younger, looking, more vivid, far lovelier. Why don't you try Lady Esther Face Powder and see how much happier you'll be with the appearance of your skin.
- [169:30]
A
Before we tell you about next week's program, Humphrey Bogart has a word to say. For now, governments, as you all know, the Third War Lone drive is on full steam the drive to back the attack our fighting forces are making against our enemies as our share toward victory. We at home must buy $15 billion worth of war bonds, which means each one of us must dig deep down deeper into our own pockets. Each of us must buy at least one extra bond this month. We have to win this war, and we will win, all right. But how soon we win is up to every one of us. So buy an extra war bond this week, sure to help speed our day to victory. Next week, the Lady Esther Screen Guild Players will present highlights from Warner Brothers great new musical picture thank youk Lucky Stars. It will star Joan Leslie, Dennis Morgan, Dinah Shore and Eddie Cantor. Be sure to listen. Humphrey Bogart can soon be seen in the Warner Brothers production thank youk Lucky Stars. Mary Astor is currently playing in the Metro Golden Mayor Technicolor production. Thousands cheer. Sydney Greenstreet and Peter Laurie appeared through the courtesy of Warner Brothers Music on tonight's program was arranged and conducted by Wilbur Hatch to help your government save 10 buy the larger size of Lady Esther face cream and at the same time you will save yourself money to invest in war bonds and stamps. Truman Bradley speaking for Lady Esther. Thank you. Good night. This is the Columbus Columbia Broadcasting System.
- [171:08]
B
We just heard Peter Laurie, Mary Aster, Humphrey Bogart, Sydney Green street and a radio recreation of the Maltese Flight Vulcan. That will do it for this week's show. Thanks so much for joining me. I hope you'll be back next week as November continues with the cast of the Killers. In the meantime, you can check out down these Mean Streets, my old Time Radio Detective podcast. New episodes of that show are out every Sunday. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meansts OTR. I'll be back next week with the stars of the Killers, each of them appearing in an old time radio thriller well calculated to keep you in.
- [172:11]
A
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.