Episode 428 - Stars of "The Killers"

Summary

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Stars on Suspense: Episode 428 - Stars of "The Killers"

Podcast: Stars on Suspense (Old Time Radio)
Host: Mean Streets Podcasts
Release Date: November 20, 2025

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Episode Overview

This installment of Stars on Suspense spotlights the Hollywood icons behind the 1946 film noir classic The Killers, itself based on Ernest Hemingway’s short story. The episode presents a treasure trove of old-time radio performances featuring the film's cast—Ava Gardner, Burt Lancaster, Edmund O'Brien, William Conrad, and Charles McGraw—plus a dramatic radio adaptation of "The Killers." Masterfully framed by the host as a tribute to both the film and the golden age of radio thrillers, this week's show treats listeners to a marathon of tightly-wound crime tales, rich with postwar tension and hard-boiled atmosphere.

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Main Segments & Key Discussion Points

1. Introduction and Context (00:00–09:51)

• Host sets the stage: Introduces The Killers (1946), highlighting its impact, Hemingway roots, cast, and lasting influence—plus a brief nod to the 1964 remake.
• Show rundown: Outlines the episode’s format—separate suspense radio dramas starring Gardner, O'Brien, Lancaster, Conrad, and McGraw, followed by the Screen Directors Playhouse radio adaptation of The Killers.
• Notable Quote:
  • "The Killers opens where most noir films end, with a man dying in a hail of bullets. But then the story flashes back..." – Host (01:00)
• Nostalgic context: Recommends fans seek out Criterion Collection editions and restates the importance of experiencing these stories in radio’s “theater of thrills.”

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2. Ava Gardner in "Lady in Distress" (09:52–34:39)

Plot Summary

• Ava Gardner, in her only Suspense appearance, shines as Evelyn Harris—a woman whose dark drive home during a storm turns nightmarish after she picks up a hitchhiker (Howard Duffer Sullivan) just released from prison. Tension builds as it becomes clear the hitchhiker has violent intentions tied to Evelyn’s own life.

Key Moments & Quotes

• First Encounter (09:52–12:04)

  • “You used the word ‘out’ twice. Did you just get out of someplace?” – Evelyn (11:03)
  • “There’s only one place a guy like me would get out of... The state penitentiary.” – Sullivan (11:20)

• Threats Revealed (13:03–15:29)

  • “It’s a gun. And it shoots. Don’t forget that.” – Sullivan (13:10)
  • “I told you I just got out of prison, didn’t I?” – Sullivan (15:09)
  • “Revenge, huh?” – Evelyn (15:23)

• Complicity and Double-Crosses (19:06–20:23)

  • “Suppose I told you... that I'd hated [my husband] as much as you do... I'd even help you.” – Evelyn (19:23)
  • “What do you think? I’d say it was a stall to save your own neck.” – Sullivan (19:33)

• Climax (27:01–33:50)

  • Evelyn, cornered by choices and her own complicity, manipulates both men, leading to a violent and tragic conclusion.

• Chilling Last Line (33:50)

  • “One way, I was lucky—neither of them came out alive. But in another way, I wasn’t so lucky. I’m going to die.” – Evelyn

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3. Edmund O’Brien in "The Argyle Album" (34:39–59:56)

Plot Summary

• O’Brien's hardboiled reporter, Harry Mitchell, investigates the cryptic and dangerous "Argyle Album," running up against murder, deception, and wartime intrigue.

Highlights & Quotes

• Pierce’s Confession (39:29)

  • “Harry, it's got to a point where I think I ought to share it with somebody. Preferably somebody like myself.” – Alan Pierce (40:01)

• Aftermath of Deaths (43:59)

  • “You could feel the shock go through the whole crowd...A long steel scalpel was sticking right up in the middle of Alan Pierce’s chest.” – Mitchell/Narrator

• Noir Atmosphere

  • Femme fatale “Marla” seduces and manipulates, crooks double-cross each other, and a world-weary tone pervades ("Just like that?", "What is the Argyle Album? $10,000 without a breath.").

• Reveal

  • “You know, there's only one conceivable reason for you to have taken all those chances...that you are the powerful and wealthy individual who got Dr. Van Selben to do Pierce's murder.”

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4. Burt Lancaster in "The Long Wait" (69:55–95:12)

Plot Summary

• Fresh out of prison, Lancaster’s Dan Varrell is hellbent on avenging his brother’s death—a classic noir spiral through betrayal, attempted murder, and bittersweet redemption.

Highlights & Quotes

• Opening Tension (69:55)

  • “All the heat of my body sucked into my head. I knew that feeling. I felt that way every time I wanted to kill a man.” – Dan Varrell

• Emotional Crossfire

  • “Go ahead, kill me.”—Lois Williams (Lancaster’s would-be target) (70:00)
  • “No job, no friend, no Tim. I got nothing to live for...” – Lois (71:53)
  • “I'll supply the coin. We'll be partners.” – Dan (72:33)

• Resolution

  • Dan’s actions save Lois not just from death but from despair, intertwining revenge with unexpected grace.

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5. William Conrad & Charles McGraw in "Two for the Road" (95:12–121:59)

Overview

• In a tongue-in-cheek twist, Conrad and McGraw—who played the chilling hitmen in The Killers—star as two actors making their way west to Hollywood. Mistaken for real criminals, mistaken identity and noir tropes become farce.

Highlights & Quotes

• Self-Referential Comedy

  • “They killed us. We’re dead.” – Charlie Bloom (Conrad), on their TV fate (103:35)
  • “We got too big for the Plain Clothesman, see?” (103:39)

• Noir Satire

  • “Look, you can check it. I’m Joe Harris. Yeah, I’m Charlie Bloom. We’ve been playing the Heavies and the TV series of Plainclothes.” (109:49)

• Resolution

  • The sheriff’s wife recognizes them as TV stars and saves the day. “Oh, my. This is an honor...Would you please give me your autographs?” (120:39)

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6. Screen Directors Playhouse: "The Killers" (Radio Adaptation) (127:55–152:33)

Summary

• Burt Lancaster (as Swede) and Shelley Winters (as Kitty) headline a feature-length radio version of the movie, introduced by director Robert Siodmak himself.
• Structure: Retells The Killers from the doomed Swede’s point of view, through flashbacks and the haunting refrain: “I did something wrong once.”

Memorable Dialogue

• “Why does a man come to such an abject end?” – Narrator/Sam Redden (129:04)

• “I'm through with running away. But why? Why do they want to kill you? I did something wrong once.” – Swede (129:21)

• “Any man's death diminishes me because I am involved in mankind...” – (end reflection, 150:41)

• Finale:

  • Unravels the reasons behind Swede’s murder—loyalty, betrayal, the femme fatale, criminal schemes.
  • Ends with an existential sigh: “What loose the Killers on Swede? Something he did, or something we didn’t do? All of us.”

Director's Curtain Talk

• Siodmak discusses the "American-ness" of gangster films, shares a wry anecdote about U.S. culture, and banters with Shelley Winters and Lancaster about his roots, “Memphis, Tennessee!”

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Notable Quotes & Timestamps

• “The Killers opens where most noir films end...”
  Host (01:00)

• “There’s only one place a guy like me would get out of... The state penitentiary.”
  Sullivan to Evelyn, "Lady in Distress" (11:20)

• “Suppose I told you that you were right... I hated him as much as you do…”
  Evelyn, "Lady in Distress" (19:23)

• “I looked at it a minute, then I put across the clincher. Lois. I'll bet even Tim Grady comes back.”
  Dan Varrell, "The Long Wait" (73:26)

• “They killed us. We’re dead.”
  Charlie Bloom, "Two for the Road" (103:39)

• "Any man's death diminishes me because I am involved in mankind..."
  Swede’s story narration, "The Killers" (150:41)

• “Do you want to make yourself the laughing stock of Jackrabbit County? And just before election, too?”
  The sheriff’s wife, "Two for the Road" (121:17)

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Highlighted Segments by Timestamp

• Ava Gardner in "Lady in Distress": (09:52–34:39)
• Edmund O’Brien in "The Argyle Album": (34:39–59:56)
• Burt Lancaster in "The Long Wait": (69:55–95:12)
• William Conrad & Charles McGraw, "Two for the Road": (95:12–121:59)
• The Killers (Radio Play): (127:55–152:33)

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Tone and Stylistic Notes

• The episode blends hardboiled cynicism (“I don't cool so easy”) with gallows humor, meta-references, and rich period atmosphere.
• The performances are performed with vintage, noir charisma; moments of suspense are sharply punctuated by sharp dialogue, existential musings, and sly irony.

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Final Remark

A love letter to radio’s golden suspense, this epic episode intertwines some of Hollywood’s all-time greats in tales of murder, regret, and the dark allure of fatal choices. If you haven’t seen—or heard—The Killers, this audio journey is the perfect initiation into classic noir.

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Next Up:
The host teases next week’s episode: Double Indemnity, promising more tales “well calculated to keep you in suspense.”

Transcript

[Narrator/Lead Male Actor]

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. Hello, and welcome to Stars on Suspense with more Hollywood legends and radio's outstanding theater of thrills. Our November series continues this week with the Killers, the 1946 film noir classic adapted from the short story by Ernest Hemingway. It was directed by Robert Siodmak, and it helped to establish the careers of two of its stars, Burt Lancaster and Ava Gardner. The Killers opens where most noir films end, with a man dying in a hail of bullets. But then the story flashes back as an insurance investigator tries to piece together what happened and find out why this man didn't escape when he had the chance. Along with Mr. Lancaster and Ms. Gardner, the movie featured three other actors who made appearances on suspense Edmund O', Brien, William Conrad and Charles McGraw. Today we'll hear all five of them, along with an old time radio recreation of the film. As of this recording, it doesn't look like the Killers is streaming anywhere for free, although you can rent or buy it digitally. You can also find it on a very good edition from the Criterion Collection, which includes not only the 1946 version of the Killers, but the 1964 version directed by Don Siegel and intended as a TV movie. But when it proved too violent for the small screen, it was released in theaters. The cast of that one includes John Cassavetes, Lee Marvin, Angie Dickinson, and future president Ronald Reagan. But now it's Back to the 1946 version of the story and its all star cast. We'll kick things off with Ava Gardner, the femme fatale of the picture. We'll hear her in her one and only suspense appearance. From May 1, 1947, it's lady in Distress. She's out for a drive when she stops to pick up a hitchhiker. And she soon discovers he's got murder on his mind. Then it's Edmund o', Brien, who plays plays the insurance investigator, a role that foreshadowed his later radio performance as yours truly, Johnny Dollar. We'll hear him as a reporter in the Argyll album from September 4, 1947. O' Brien plays a newshound who gets a tip from a dying colleague and sets out to get the hottest story in the city. Up third is Burt Lancaster, the man whose murder opens the picture and whose life story makes up its flashbacks. Well, here him in the Long Wait Originally aired on November 24, 1949. He's a man who's out to get revenge for his brother, and he's willing to take his time to accomplish his goal. And finally, it's a two hander with William Conrad and Charles McGraw, who played the titular killers of the movie. They star together in Two for the Road. Producer and director William N. Robeson calls out their performances in the film in his introduction to this episode. It originally aired on CBS on November 9, 1958. Finally, we'll hear Burt Lang. Finally, we'll hear Burt Lancaster back in his role as the screen. Director's Playhouse presents the Killers. Shelley Winters steps in for Ava Gardner. Interestingly, William Conrad is back, but in this version he's playing the crime boss who was portrayed in the film by Albert Decker. It's a rare case of an actor appearing in a radio version of their film, but not in their original part. We'll hear that radio recreation of the Killers, but first we'll hear its stars on suspense. We'll kick off with Ava Gardner right after these messages. Tomorrow at the beginning of another weekend. Two whole days to relax and have fun. You'll be planning picnics and backyard barbecues. Just be sure there's plenty of Pabst Blue Ribbon cooling in your icebox tomorrow morning. Ask your dealer for a case in cans or bottles. Pabst Blue Ribbon is the finest beer served anywhere. Your taste will tell you why. And here's a word from RCA Victor. Last week the curtain went up on the 75th anniversary of the National Baseball League and the 50th anniversary of the American League. There's no better way to celebrate than by enjoying at firsthand the thrills and the clean sportsmanship of baseball today. Baseball today. It's the American way. Of course, the next best thing to a seat in the stands is a seat in front of a 19 inch RCA Victor television. RCA Victor's new Extra powerful picture pickup gives you the best possible reception everywhere. You know RCA Victor television is most in demand. But here's really important news. RCA Victor 19 inch television is available. It's on display now at dealer stores. So insist on the best. Insist on seeing 19 inch million proof television by RCA Victor. When you do, you'll agree inch for inch, your best buy in television is RCA Victor 19 inch. 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[Lead Female Actor]

You know about the little white tablets in the little green pocket rol just.

[Narrator/Lead Male Actor]

A waiting for the moment when you need them to bring your acid indigestion under control. Tums are the little white tablets in.

[Lead Female Actor]

The little green pocket roll Tums for the tummy. T u M s bring relief quicker.

[Narrator/Lead Male Actor]

Than you'd ever guess.

[Lead Female Actor]

Best for any kind of acid distress.

[Narrator/Lead Male Actor]

Keep em handy in the pocket ro your tummy. Under TUM's control, the modern Tums formula has never been surpassed for effectiveness. Always carry Tums 10 cents. Three roll pack a quarter or get the new six roll Tums pack with free metal carrier only 49 cents. Winston tastes good like a cigarette should. Winston tastes good like a cigaret Winston gives you real flavor. Full, rich tobacco flavor. Winston's easy drawing too. The flavor comes right through to you. Winston tastes good like a cigarette should A modern filter. Sure, Winston has it. But that's only the beginning of a Winston up front, up where it really counts. Winston Pack's exclusive filter blend. Light flavorful tobaccos specially selected and specially processed for filter smoking. Filter blend. That's why it's fun to smoke. Winston America's best selling filter cigarette. Winston tastes good like a cigarette should. And now a tale well calculated to keep you in suspense. Yes, Roma Wines taste better because only Roma selects from the world's greatest wine reserves for your pleasure. And now, Roma Wines. R O M a Roma Wines present Suspense. Tonight, Roma Wines bring you Ms. Ava Gardner in Lady in Distress, a suspense play produced, edited and directed for Roma Wines by William Spear. Suspense Events Radio's outstanding theater of thrills is presented for your enjoyment by Roma Wines. That's R O M a Roma Wines, those better tasting California wines enjoyed by more Americans than any other wine. For friendly entertaining, for delightful dining. Yes, right now a glass full would be very pleasant as Roma Wines bring you Ava Gardner in a remarkable tale of suspense.

[Lead Female Actor]

The rain was coming down in torrents, washing huge streaks of gravel from the hillsides onto the road. It was getting dark and I was beginning to worry. I'd been waiting nearly an hour. And then I saw him. He was edging along the side of the road, his coat collar turned up against the rain coming toward me. I eased the car into gear and drove up toward him. He had no raincoat on and he must have been walking for quite a ways because he was soaked through, dripping with the rain. He stuck out his head when he saw me and I stopped. You're going to town by the lower road. Is that all right?

[Narrator/Lead Male Actor]

Well, that's even better. Nice lady.

[Lead Female Actor]

Out of the corner of my eye. I looked him over. He was fairly young, a little pale and nervous. There was no real fear there and there was a lot of strength. The kind. The kind I liked.

[Narrator/Lead Male Actor]

It's a miserable looking world tonight. But it's great to be out in it.

[Lead Female Actor]

Maybe you're right.

[Narrator/Lead Male Actor]

I know I'm right. Little somebody takes the privilege away from you of going where you want to go and doing what you want to do. And you know how good it is to be out.

[Lead Female Actor]

You used the word out twice. Did you just get out of someplace?

[Narrator/Lead Male Actor]

Yeah.

[Lead Female Actor]

Where?

[Narrator/Lead Male Actor]

It's my business.

[Lead Female Actor]

Oh, sorry.

[Narrator/Lead Male Actor]

Yeah, so am I. I shouldn't be so touchy with you. You were nice to me, giving me a ride. Only if I told you where I came from, it might frighten you.

[Lead Female Actor]

I don't think it would.

[Narrator/Lead Male Actor]

Look at me. There's only one place a guy like me would get out of jail. They call it the state penitentiary.

[Lead Female Actor]

Oh, yes. I passed it a half hour ago. Did you just get out?

[Narrator/Lead Male Actor]

Just got out this morning.

[Lead Female Actor]

This morning? This is Sunday.

[Narrator/Lead Male Actor]

So what?

[Lead Female Actor]

State penitentiary doesn't release men on Sunday. Only on weekdays.

[Narrator/Lead Male Actor]

Well, they released me. You think I broke out? Well, maybe you're wrong and maybe you're right. What are you jumping for? I'm just racing for a cigarette. Mind if I smoke?

[Lead Female Actor]

No, no, you can smoke.

[Narrator/Lead Male Actor]

Cigarette?

[Lead Female Actor]

No, thanks.

[Narrator/Lead Male Actor]

What are you getting nervous about?

[Lead Female Actor]

I'm not nervous.

[Narrator/Lead Male Actor]

See, I told you. If you knew where I came from, you'd be frightened. It's natural.

[Lead Female Actor]

Why did you tell me?

[Narrator/Lead Male Actor]

I just felt like talking. Haven't talked to a dame, a lady for a long time.

[Lead Female Actor]

Like it?

[Narrator/Lead Male Actor]

Yeah. Yeah, I do. I don't think I ever talked to one quite like you before.

[Lead Female Actor]

What do you mean, quite like me?

[Narrator/Lead Male Actor]

You know what I mean. You know what you got on a ball? Every bit of it.

[Lead Female Actor]

You like that?

[Narrator/Lead Male Actor]

I could try.

[Lead Female Actor]

Don't get me wrong. I don't usually pick people up.

[Narrator/Lead Male Actor]

Okay, relax. Am I gonna do anything to you? Just drive me into the city and let me off. Of course, it would be nice if you didn't say anything to anybody about picking me up.

[Lead Female Actor]

I won't say anything.

[Narrator/Lead Male Actor]

What are you turning in here for?

[Lead Female Actor]

I'm hungry. I haven't eaten anything all day.

[Narrator/Lead Male Actor]

You can wait a little while longer.

[Lead Female Actor]

We have 90 more miles to Dr. And I'm going to get a sandwich now.

[Narrator/Lead Male Actor]

Okay. Wait a minute. Let's just understand. You know what this is, don't you?

[Lead Female Actor]

It's a gun.

[Narrator/Lead Male Actor]

And it shoots. Don't forget that.

[Lead Female Actor]

I won't.

[Narrator/Lead Male Actor]

Okay. On your way. After you. Well, nice weather for ducks, huh, folks? Yeah. You all alone in here, Max? Yep. Glad you dropped in. Suppose you're in a hurry to get home, though. Back to the kitties and the mother in law, huh? Yeah. Now, what do you have?

[Lead Female Actor]

Coffee and a hamburger, please.

[Narrator/Lead Male Actor]

I get so coming up everything on those birds. Sure. Well, what's little onion among friends, huh?

[Lead Female Actor]

Excuse me a minute.

[Narrator/Lead Male Actor]

Hey, where you going? If you're going over to use that telephone, lady, you might just well not bother. It's out of order. I'm trying to get it fixed.

[Lead Female Actor]

I wasn't going to use the phone. I was going to get some cigarettes.

[Narrator/Lead Male Actor]

You don't say.

[Lead Female Actor]

I knew he didn't believe me. He didn't say anything. But the way he looked at me, I could tell. We finished our hamburgers and I paid for them. And then we went back to the car.

[Narrator/Lead Male Actor]

What'd you want to make a telephone call for?

[Lead Female Actor]

I wasn't going to.

[Narrator/Lead Male Actor]

Wasn't because of me, was it?

[Lead Female Actor]

I told you I wasn't going to make a call. I just wanted some cigarettes.

[Narrator/Lead Male Actor]

You turned down my cigarette a little while ago.

[Lead Female Actor]

They were the wrong brand.

[Narrator/Lead Male Actor]

You bought the same brand I offered you. Who are you trying to kid, Beautiful?

[Lead Female Actor]

Oh, let's not talk about it. It's not important. What are you going to do now that you're out?

[Narrator/Lead Male Actor]

Got a job to do. I gotta take care of somebody.

[Lead Female Actor]

You mean your family?

[Narrator/Lead Male Actor]

No, somebody I gotta buy a coffin for. As a matter of fact, I'm not even gonna buy the coffin. I'm just gonna make it easier for somebody to get one.

[Lead Female Actor]

Sounds an awful lot like you mean you're going to kill somebody.

[Narrator/Lead Male Actor]

It's as easy as that. I am. Why? I told you I just got out of prison, didn't I?

[Lead Female Actor]

Well, you don't want to get back in.

[Narrator/Lead Male Actor]

It doesn't happen to make much difference. You see, there isn't much useful left in my life. I'm through.

[Lead Female Actor]

Revenge, huh?

[Narrator/Lead Male Actor]

Yeah. With all these debts settled, a guy could die happy.

[Lead Female Actor]

That's a strange philosophy.

[Narrator/Lead Male Actor]

Is it? What are you driving so fast for?

[Lead Female Actor]

I'm in a hurry. I have to get home.

[Narrator/Lead Male Actor]

It's okay with me. Sooner I get this thing over, the better.

[Lead Female Actor]

Get what over?

[Narrator/Lead Male Actor]

Hey, that's a cop. That's what you get for driving so fast.

[Lead Female Actor]

I. I didn't realize it.

[Narrator/Lead Male Actor]

Pull over. If they ask any questions, tell them I'm your brother. See your brother.

[Lead Female Actor]

I will.

[Narrator/Lead Male Actor]

Don't say anything to be sorry for, beautiful. You were going pretty fast. For these wet roads.

[Lead Female Actor]

Lady, I'm sorry. I really didn't realize it.

[Narrator/Lead Male Actor]

You'd skid it into a telephone pole. You would have. Let me see your license.

[Lead Female Actor]

Must be here somewhere.

[Narrator/Lead Male Actor]

That's your husband.

[Lead Female Actor]

No, now, that's my brother.

[Narrator/Lead Male Actor]

Oh.

[Lead Female Actor]

He has a license.

[Narrator/Lead Male Actor]

Thanks. Why have I seen this name before?

[Lead Female Actor]

I don't know.

[Narrator/Lead Male Actor]

Oh, sure. Your husband's in the department, isn't he?

[Lead Female Actor]

Well, yes, he is.

[Narrator/Lead Male Actor]

Nervous about something?

[Lead Female Actor]

No, no, I'm just tired.

[Narrator/Lead Male Actor]

Okay, but just take it easy from now on. Here's your license.

[Lead Female Actor]

I will. Thanks a lot.

[Narrator/Lead Male Actor]

So your husband's in the police department?

[Lead Female Actor]

Yes.

[Narrator/Lead Male Actor]

Maybe you'll get a promotion for catching you. Don't be foolish. Nobody's gonna catch me unless I want him to. Not even you, beautiful.

[Lead Female Actor]

What did you mean about my husband? About his getting a promotion?

[Narrator/Lead Male Actor]

Well, just between you and me. You know what I mean. Somebody I gotta take care of is also in the department.

[Lead Female Actor]

What department?

[Narrator/Lead Male Actor]

Don't act dumb. The police department.

[Lead Female Actor]

Oh.

[Narrator/Lead Male Actor]

Keep your eyes on the road.

[Lead Female Actor]

I am.

[Narrator/Lead Male Actor]

You weren't. You were looking at me.

[Lead Female Actor]

What do you expect me to do? You don't exactly make me comfortable sitting there.

[Narrator/Lead Male Actor]

You recognized me, didn't you? Didn't you?

[Lead Female Actor]

I'm not sure.

[Narrator/Lead Male Actor]

Yes, you are, and that could be a mistake.

[Lead Female Actor]

Believe me. I don't know who you are or anything about you.

[Narrator/Lead Male Actor]

That's a lie. Stop looking at me.

[Lead Female Actor]

All right.

[Narrator/Lead Male Actor]

I'm going to kill Ralph Harris.

[Lead Female Actor]

I don't want to know anything about it.

[Narrator/Lead Male Actor]

Yes, you do. You know Ralph pretty well.

[Lead Female Actor]

No. No, I don't. I never heard of him.

[Narrator/Lead Male Actor]

Stop dummying up. I saw the license when you had handed over the cotton. I'm gonna kill your husband, Mrs. Harris. You know it. Back a few miles on the road, I could see it. The way you looked at me. You know, somehow I get the idea you're not gonna mind that. Like you should. Why don't you say something?

[Lead Female Actor]

I can't think of anything.

[Narrator/Lead Male Actor]

Now that you know, I think you and me are gonna have to have a little understanding standing.

[Lead Female Actor]

What are you doing here?

[Narrator/Lead Male Actor]

Nothing. Just racing for your pocketbook.

[Lead Female Actor]

I only have $10 in it.

[Narrator/Lead Male Actor]

I don't need money that bad.

[Lead Female Actor]

Then what?

[Narrator/Lead Male Actor]

I'm gonna get you a dress. Women carry more things. Here it is. 627 Mill Street. Huh? Here. You can have your pocketbook back. I'm gonna take the license. I want to make sure I don't forget.

[Lead Female Actor]

What are you gonna do with me?

[Narrator/Lead Male Actor]

I haven't quite decided yet, beautiful. I haven't quite decided.

[Lead Female Actor]

I Glanced over at him again. I knew he meant it. Exactly. He hadn't quite decided. Things had gone far enough from here on out. I had to make it convincing. Or else. Lord Sullivan.

[Narrator/Lead Male Actor]

Oh, so you do know my name.

[Lead Female Actor]

Yes, I know your name. I remember you. I was at trial. They framed you.

[Narrator/Lead Male Actor]

Did he tell you that?

[Lead Female Actor]

They didn't have to. The whole department knew it. They needed a conviction, and you were it.

[Narrator/Lead Male Actor]

That's what I thought. You know a lot, don't you?

[Lead Female Actor]

Listen. Suppose I told you that you were right in what you said a minute ago. That I hated my husband. I hated him as much as you do. That I'd hated him for years.

[Narrator/Lead Male Actor]

What do you think? Well, I'd say it was a stall to save your own neck.

[Lead Female Actor]

That's what I thought. That's why I wanted to get acquainted with him first.

[Narrator/Lead Male Actor]

First? Before what?

[Lead Female Actor]

Well, doesn't it seem a little funny to you, my just happening to run into you this way? The wife of the man you've sworn to kill on the very day you break out of prison?

[Narrator/Lead Male Actor]

Who says I broke out?

[Lead Female Actor]

I know someone who knows Red Folly.

[Narrator/Lead Male Actor]

Red Folly? Mm.

[Lead Female Actor]

He was your contact on the outside that helped you plan it, wasn't he?

[Narrator/Lead Male Actor]

Listen, beautiful. I don't know how you got this.

[Lead Female Actor]

What do you think Red Folly got the money?

[Narrator/Lead Male Actor]

You tell me.

[Lead Female Actor]

I'll tell you. I want you to kill my husband. I'll even help you.

[Narrator/Lead Male Actor]

For suspense, Roma Wines are bringing you Ava Gardner in Lady in Distress. Roma Wines presentation tonight in radio's outstanding theater of thrills. Suspense. Between the acts of suspense. This is Truman Bradley for Roma Wines. There's a reason more Americans enjoy aroma than any other wine. It's because Roma gives you more enjoyment for your money. Yes, in all Roma wines, you enjoy an important difference. An extra dividend in fuller bouquet, richer body and better taste. To bring you better tasting wine, Roma selects from California's choicest grapes. Then, with ancient skill and winemaking resources unmatched in America, Roma master vintners guide this grape treasure unhurriedly to tempting taste perfection. These choice wines are placed with mellow Roma wines of years before. And from these reserves, the world's greatest reserves of fine wines Roma later selects for your pleasure. So to enjoy more pleasure for your money, insist on Roma. That's R O M A Roma, California wine. And whether your favorite is sherry, port or Muscatell, you'll find Roma your best buy in good taste. And now, Roma wines bring back to our Hollywood soundstage, Ava Gardner as Evelyn Harris with Howard Duffer Sullivan in Lady in Distress. A tale well calculated to keep you in suspense.

[Lead Female Actor]

He was beginning to believe me now. When I told him that I knew who'd helped him make the prison break. When I told him that I'd put up the money for it. When I told him that the man he wanted to kill was the man I wanted to kill. When I told him that man was my own husband. We drove along for quite a while without saying anything. Then I pulled him to a gas station.

[Narrator/Lead Male Actor]

What's the idea of coming in here? You need gas?

[Lead Female Actor]

You still don't trust me, do you?

[Narrator/Lead Male Actor]

I don't know.

[Lead Female Actor]

Look, Sullivan, I have to make a phone call to my husband.

[Narrator/Lead Male Actor]

Oh, no. I'm not that dumb, beautiful, but I.

[Lead Female Actor]

Have to call him. I told him I would. I know he'll think something's wrong. You can listen.

[Narrator/Lead Male Actor]

All right, I'll listen.

[Lead Female Actor]

Where's your phone?

[Narrator/Lead Male Actor]

Oh, it's just inside the door.

[Lead Female Actor]

Thanks.

[Narrator/Lead Male Actor]

It's right in here, lady. Right on the wall. Right on the wall there, lady. Got your nickel?

[Lead Female Actor]

Look, I know how to use the phone. You don't have to act like you're awesome Wells. Hello, B? Yes, this is Evelyn. I'm 25 miles from the city. The rain slowed me up.

[Narrator/Lead Male Actor]

You should have started earlier.

[Lead Female Actor]

I know, but I didn't.

[Narrator/Lead Male Actor]

Everything all right?

[Lead Female Actor]

Yes, everything's all right.

[Narrator/Lead Male Actor]

Well, I'm glad to see you're getting some sense in your head. Hurry up and get here.

[Lead Female Actor]

Well, it won't take long.

[Narrator/Lead Male Actor]

You're not going to give me any more trouble, are you?

[Lead Female Actor]

No, Ralph. From now on, I don't think you have a thing to worry about. We drove on into town. Then I didn't say anything more and nodded at Sullivan, but I know I had it. He was still playing cautious, but I knew I had it. Well, here's where I let you off. Oh, the rain's almost up.

[Narrator/Lead Male Actor]

Okay, but listen, beautiful, don't try to double cross me.

[Lead Female Actor]

I won't double cross you.

[Narrator/Lead Male Actor]

You'd make a mistake if you did.

[Lead Female Actor]

Sullivan.

[Narrator/Lead Male Actor]

Yeah?

[Lead Female Actor]

My husband always keeps his car in the garage. Every night, just as it gets dark, he walks into the garage to get the car alone.

[Narrator/Lead Male Actor]

You know, you're quite a dish, beautiful.

[Lead Female Actor]

And there's no light in the garage.

[Narrator/Lead Male Actor]

Come here. Good night, beautiful.

[Lead Female Actor]

There's only a few more blocks to the house. Ralph was waiting up for me and he seemed genuinely happy to see me. A month ago, Ralph and I had one of our usual fights and I went north to stay with my mother. But I realized that I couldn't stay with her for forever. And the only thing left for me to do was to come back. And I hated it. Crawling back to a man who had no heart, who ran his home like the lockup pen down at police headquarters. But I had no choice. Ralph was smug about my coming back, as I knew he would be. I kept wondering if Sullivan was actually going through with it. Two days later, I knew.

[Narrator/Lead Male Actor]

Good morning, Mrs. Harris.

[Lead Female Actor]

Get inside. Someone might see you. How did you know I was alone?

[Narrator/Lead Male Actor]

I got friends. Your husband's working right now. He won't be home for five hours.

[Lead Female Actor]

What do you want, Sullivan?

[Narrator/Lead Male Actor]

Let's not act like children. I said I was gonna kill your husband, and I meant it.

[Lead Female Actor]

What are you coming here for at this time of day?

[Narrator/Lead Male Actor]

See this?

[Lead Female Actor]

A little box.

[Narrator/Lead Male Actor]

Yeah. When you do the wrong thing with it, it blows up.

[Lead Female Actor]

Oh.

[Narrator/Lead Male Actor]

All I do is put this under the hood of somebody's car, hook it up to the starter, and when somebody gets in his car to drive off somewhere, all he does is step on the starter, and he doesn't have to worry about driving a car ever again. Let's go out to the garage. Beautiful.

[Lead Female Actor]

We went out to the garage. Sullivan hooked the explosive up under the hood of Ralph's car. Then after a while, he went away. All the rest of the day, I was nervous and worried. The last minute, I even wanted to go out and disconnect it, but I didn't. It was foolish to be nervous. It had all gone along fine so far. The time Ralph came home, I was composed and tried not to show that anything's any different than it always was. After dinner, Ralph was doing some paperwork in a house breaking case.

[Narrator/Lead Male Actor]

Oh, these reports are a nuisance.

[Lead Female Actor]

Anything I can do to help you?

[Narrator/Lead Male Actor]

No. You know less about these reports than I do.

[Lead Female Actor]

Well, I just thought maybe there might be something.

[Narrator/Lead Male Actor]

Well, there isn't, so stop bothering.

[Lead Female Actor]

All right.

[Narrator/Lead Male Actor]

Ralph, wait a minute. There is something you can do.

[Lead Female Actor]

What?

[Narrator/Lead Male Actor]

Go out and get the car and bring it around to the front.

[Lead Female Actor]

No.

[Narrator/Lead Male Actor]

What? What are you looking so surprised about? As soon as I finish the report, I want to run down to the station. Did it save time if you got the car out?

[Lead Female Actor]

I. I'd rather not.

[Narrator/Lead Male Actor]

What's the matter with you?

[Lead Female Actor]

I have trouble getting out of the driveway. It's too narrow.

[Narrator/Lead Male Actor]

Ah, you've taken the car out a hundred times. What are you talking about?

[Lead Female Actor]

Well, Ralph, I. I've got a cold coming out. I'd rather stay inside, put a coat on.

[Narrator/Lead Male Actor]

It isn't cold out.

[Lead Female Actor]

Anyway, I don't Want to drive your car?

[Narrator/Lead Male Actor]

Look, the least you could do is help me out once in a while when I asked you to. Heaven knows you never do anything for me anyway.

[Lead Female Actor]

We won't save that much time.

[Narrator/Lead Male Actor]

Get the car out before I get mad.

[Lead Female Actor]

All right, Ralph. If you want me to, I'll get the car. What could I do? I went out and opened the garage doors and putted around for a few minutes and slammed the door a couple of times. And I went back in the house.

[Narrator/Lead Male Actor]

Well, what, Ralph, is the car out.

[Lead Female Actor]

In front wouldn't start?

[Narrator/Lead Male Actor]

What do you mean, it wouldn't start?

[Lead Female Actor]

I don't know. It just wouldn't start. The motor wouldn't turn over.

[Narrator/Lead Male Actor]

Oh, you give me nothing but trouble.

[Lead Female Actor]

It's my fault.

[Narrator/Lead Male Actor]

It's your car. All right, all right. Forget it.

[Lead Female Actor]

Why don't you go out and try it yourself?

[Narrator/Lead Male Actor]

Because I won't, that's all. I've been having trouble with my battery. It's probably run down again. If it wouldn't start for you, it won't start for me. I'll look at it tomorrow sometime.

[Lead Female Actor]

I'll do what you want.

[Narrator/Lead Male Actor]

Wait a minute.

[Lead Female Actor]

Excuse me. I have some reading to.

[Narrator/Lead Male Actor]

Well, wait a minute.

[Lead Female Actor]

What do you want?

[Narrator/Lead Male Actor]

Call up headquarters and have them send a cruiser around for me.

[Lead Female Actor]

I could hardly sleep that night. Why, of all times, did Ralph have to ask me to get his car? It's almost as if he suspected. I knew he'd have to get the car sometime. But I was afraid he might check over the car and find out what was wrong with it and discover the mechanism. Or he might send the mechanic out from a garage to look at it and an innocent person would be killed. And I was afraid. Afraid of Sullivan by this time, terribly afraid. I was exhausted from nervousness and lack of sleep. When I got out of bed the next day, Ralph had breakfast and went off to work in the police cruiser. I didn't dare go near the garage. I didn't dare do anything except just wait.

[Narrator/Lead Male Actor]

Misses Harris?

[Lead Female Actor]

Yes.

[Narrator/Lead Male Actor]

Sullivan speaking.

[Lead Female Actor]

Hello.

[Narrator/Lead Male Actor]

I've been reading all the papers and I haven't seen anything about your husband yet.

[Lead Female Actor]

Yes, I know.

[Narrator/Lead Male Actor]

What happened?

[Lead Female Actor]

Well, last night he didn't take the car out.

[Narrator/Lead Male Actor]

Why not?

[Lead Female Actor]

I don't know why not. He just didn't, that's all.

[Narrator/Lead Male Actor]

Mrs. Harris, you wouldn't try to stall me, would you?

[Lead Female Actor]

No, I swear that's what happened. He left the car. He left the house in a police cruiser. He didn't take his car.

[Narrator/Lead Male Actor]

You know what I think now?

[Lead Female Actor]

What?

[Narrator/Lead Male Actor]

I think I'm gonna take a run out there and check up myself. Your husband isn't home, is he?

[Lead Female Actor]

No, he won't be home for three hours.

[Narrator/Lead Male Actor]

Okay, beautiful. You can expect me.

[Lead Female Actor]

Well, you could at least. Oh, Ralph.

[Narrator/Lead Male Actor]

Well, who did you expect, Winston Churchill?

[Lead Female Actor]

Well, it isn't time for you to be home.

[Narrator/Lead Male Actor]

Who said there was a certain time for me to be home?

[Lead Female Actor]

You don't usually get home this early.

[Narrator/Lead Male Actor]

Well, there wasn't much doing today. I have a few hours coming to me, but. What's the matter with you?

[Lead Female Actor]

Nothing. Why?

[Narrator/Lead Male Actor]

Well, you're nervous about something. Don't tell me you have a boyfriend hiding in the closet.

[Lead Female Actor]

You may look if you want to.

[Narrator/Lead Male Actor]

I wouldn't bother. All right, come on. Come on. Out with it. What's on your mind? What do you keep looking out the window for?

[Lead Female Actor]

Oh, stop examining me like a criminal. I just didn't sleep well last night. I'm tired.

[Narrator/Lead Male Actor]

You don't do anything to get tired. Where you going when you came in?

[Lead Female Actor]

I was just on my way to the market. Do you mind? I have to get my coat. Do you want me to explain anymore?

[Narrator/Lead Male Actor]

Say, Evelyn.

[Lead Female Actor]

What's wrong, Ralph?

[Narrator/Lead Male Actor]

I just thought I saw somebody go into our garage. Come here. Look. Garage door is half open.

[Lead Female Actor]

Oh, yes. I forgot to tell you. I called the garage and had them send a man to look at the battery. He'll take care of everything.

[Narrator/Lead Male Actor]

Yeah, well, I'm going out and take a look myself.

[Lead Female Actor]

You don't have to. He knows his job.

[Narrator/Lead Male Actor]

Sometimes I don't think you have any brains at all. I'll be right back.

[Lead Female Actor]

I stood there at the window, watching. I knew who was in the garage. And it wasn't the mechanic. It was Sullivan. Ralph walked off the back porch and across the yard and then into the garage. I didn't know what was going to happen. I kept thinking, only one man will come out of there alive. And then I thought, maybe I'll be lucky. Maybe neither of them will come out alive. I pull the curtain back so I could see more clearly. Then I waited what seemed hours staring through the window. I couldn't hear a thing. And nobody could came out. Nobody. I moved closer. My face pressed against the glass. And then, just before it happened, somehow I could hear it coming. Operator, Get. Get me to police headquarters. Just a moment.

[Narrator/Lead Male Actor]

Police headquarters, Sergeant Thompson speaking.

[Lead Female Actor]

This is Mrs. Ralph Harris. There's been an accident. An explosion.

[Narrator/Lead Male Actor]

We'll be right out. Mrs. Harris. You all right?

[Lead Female Actor]

The. The window broke. A big piece of glass. My throat. One way. I was lucky neither of them did come out alive. But in another way, I wasn't so lucky. I'm going to die.

[Narrator/Lead Male Actor]

Suspense presented by Roma Wines. R O M A Roma, America's favorite wines. Before we hear again from Ava Gardner, star of tonight's suspense play, this is Truman Bradley reminding you that in all Roma wines you enjoy an extra premium goodness in fuller bouquet, richer body and better taste. Yes, Roma wines taste better because Roma, and only Roma, selects better tasting wines from the world's greatest wine reserves. That's why more Americans enjoy Roma than any other wine. So ask for Roma wine. R O M a Roma, a premium wine in everything but price. Enjoy Roma California sherry before dinner tomorrow.

[Lead Female Actor]

This is Ava Gardner. It's been a great pleasure to appear on Suspense, which is such a favorite to all of us here in Hollywood. Next Thursday's suspense show will be one that I certainly won't miss. The most coveted honor which a radio program can achieve is the annual award given for excellence in drama by the George Foster Peabody Foundation. This year the citation was given to Suspense. And one of the three suspense plays which is particularly mentioned in connection with the award was that which will be rebroadcast next Thursday. It's called Dead Earnest. Good night.

[Narrator/Lead Male Actor]

Ava Gardner appeared through the courtesy of Metro Goldwyn Mayer, producers of the technicolor picture the Yearling, starring Gregory Peck, Jane Wyman and Claude Jarman Jr tonight's suspense story was written by John Michael Hayes. Next Thursday, same time, you will hear an all star cast of Hollywood's finest radio players, headed by Wally Mayer in Suspense, produced and directed by William Spear for the Roma Wine Company of Fresno, California. In the coming weeks, Suspense will present such stars as Robert Mitchum, Virginia Bruce, Angela Lansbury and others. Make it a point to listen each Thursday to Suspense Radio's outstanding Theater of Thrills. Suspense in America's most discriminating homes and clubs where dining and entertaining is the last word in luxury, the first word in wines is C R E S T A B L A N C A Cresta Blanca. Cresta Blanca. Yes. Cresta Blanca, California wines bring gracious luxury to your table from the finest of the vines. When you pour superb Cresta Blanca Burgundy, Sauterne or any Cresta Blanca table wine you enjoy the wine offered in America's most discriminating homes. For the best, serve Cresta Blanca. Shenley's Cresta Blanca Wine Company, Livermore, California. And now Shenley brings you radio's outstanding Theater of Thrill. Suspense presented by Roma Wines. That's R O M a Roma Wines for your everyday enjoyment and now, Roma wines of Fresno, California, bring you Mr. Edmund O' Brien in the Argyle Album. A a suspense play Produced, edited and directed for Shenley by William Spears. Back when I got my first job on the Herald, Alan Pierce was its star reporter. A little later, he went to Washington. Became top dog of all syndicated political columnists. Pierce could tell you what the president said when he didn't like his breakfast. And who was getting paid off for what, by whom and how much. He was a national big shot. So naturally, as coming back to the hometown last January, he got local front page. Especially since the first thing happens, he checks into the Belden General Hospital from a heart attack he had on the train right as it pulled into the station. Quite an entrance in time. Well, maybe you remember just when 22 million anxious readers were waiting for his promised expose of the contents of the Argyll album. The thing he'd been building up in his columns for about two weeks before Teapot Dome was gonna be a church club misunderstanding compared to this. Naturally, all the boys hung around the anteroom of his hospital suite during visiting hours. But nobody from the press tracked the door to the sick room for the first three days. Then on the fourth morning, Van Selben, the doctor, came smiling out into the anteroom. Good morning, gentlemen. Gentlemen. Mr. Pierce would have willingly seen you all the first day. Of course, as his medical advisor, I couldn't permit anything of the sort. However, today I'll allow you to see him one at a time. I suggest that you gentlemen draw straws or something for turns. Oh, that is, except the man from the Herald. Mr. Pierce asked expressly to see him first. Hey, the Herald man, that's me. Is the Herald representative here? Over here, Doctor. Do you want to come in now? Right with you, Doctor. Hey, Pinky, come here. Yeah. Dr. Van Selbum, this is. This is Mr. Melvin Pinkest, the hero's best and believe me, quietest photographer. He's very good for patients. I wonder. I'm afraid not, Mr. Mitchell. Okay, Doc. Okay. Stand by, Pinky. Sir? Let this gentleman in. I'll be on the fifth floor.

[Lead Female Actor]

Very well.

[Narrator/Lead Male Actor]

Hello there. How are you, sir? You're Harry Mitchell, aren't you? That's right, Mr. Pierce. Come on now. Make it Al. All right, Al. So you're young Mitchell. How time flies. I spoke to the old man on the phone. I. I said send your next Alan Pierce over, and he sent you. Do you consider that a compliment? Compliment? Brother, I'm gonna hit him for a nice fat raise. Well, Harry, have you got your Questions all written down like good reporter should. Oh, no, I, I, I don't work that way, sir. I. Neither do I. I suppose you want to know what the Argyle album is. Dave, you're not really going to tell me. Look, crank me up a little bit, will you? Yeah, sure, sure. Harry. Harry, it's got to a point where I think I ought to share it with somebody. Preferably somebody like myself who thinks like me. And I'm going to ask you not to use this unless I'm not in a position to. Okay? Okay. It's a deal. Well, you know what an album is. This one is quite a fancy looking one. Tooled white leather bound and a flaming crimson double headed eagle crest etched on the COVID It's an impressive item. Maybe. Say, maybe you better take it easy, Mr. Pierce. You were going to call me Al. Okay. Okay, Al. But honest. Maybe a better. I'm all right. I'm all right. I'm, I'm a little dizzy. Want the doctor? No, no. Now, just a drink. A drink of water, please. He lay back on his pillow, breathing terribly. There was a thermos on the bedstand that turned out out empty. I grabbed a glass and ran into the bathroom. Filled it from the tap. I'll be right there. Al. Mr. Pierce. Al. I stood there for a while, feeling awfully bad, thinking awfully hard. Finally figured an idea. Hey, Harry. Pinky. Come on. What's going on here? I am, John. Is he gonna pose? Yeah. Yeah, he's gonna pose. Come on in here. What's going on, Pinky? Huh? Pinky, look at him. He's, he's dead. Huh? Passed out while we were talking. This is Heartbeat. It's big. It's a scoop. I don't want those other tin horns out there cutting in. What are you gonna do? I'm going out on phone. You stay here and don't let anybody in through that door. You're not letting me along with him? An old hound like you? Are you kidding? I don't know. I went out to the pay station in the hall and phoned in the story. Then I found Dr. Van Selben on the fifth floor and broke the news. Between the fifth and seventh floor where Pierce's suite was, we picked up the chief surgeon, superintendent, four nurses and litter bearers and attendants. We went through the anteroom where the reporters were. The newspaper boys smelled something was up. Nobody'd left them in Pierce's room, but the official hospital gang and me barged in and headed to straight for the bed where the Corpse was. I got a funny feeling. Pinky wasn't in the room. Dr. Van Silben and the chief surgeon went over to the bed and pulled back the covers. And you could feel the shock go through the whole crowd. A long steel scalpel was sticking right up in the middle of Alan Pierce's chest. An hour later, Lt. Horslip Sampson, who was top man in Homicide, strutted in and took over. He got the story from us and just sat there for a while, thinking. Very professional, exuding brilliance. Then His Majesty rose and spoke. Dr. Van Selpen. Yes, sir. In your opinion, did your patient die from a heart attack, as our reporter friend here claims, or from the knife wound? I really can't tell you yet. Indications are that it might be either. You see, in either case, the heart will stop. Yeah. Yeah, the heart usually stops in cases of death, doesn't it, Doctor? The only thing is, I took his pulse before I left the room. There was no pulse. That scalpel could just as well have been stuck in a loaf of bread for all the damage. It was Mitchell. Why'd you leave a dead man unreported? Why'd you leave the photographer here without telling the noise? That was a reporter with a scoop. Who'd you expect me to leave here? Somebody from the expression. Noyce. Were you outside the door the whole time?

[Lead Female Actor]

Yes, sir, with the reporters. And nobody came out except Mr. Mitchell. The photographer went in but never came out.

[Narrator/Lead Male Actor]

Take a can in the bathroom, Haggerty. Yes, sir. And there's nobody help you, Maguson. Those windows locked? Yes. Door slip. Should bring out your Scotland yacht. Too tough a spot to be fresh. If I could only get an angle. Must be an angle. He got up sore and started looking around himself. He walked over to the white bed screen in the corner. It's funny it stood there all the time. Such a natural piece of hospital equipment. You never noticed it. But even now, before he touched it, I. I knew what he'd find there. I edged for the door. He started to pull aside the screen like somebody to look hopelessly in any unlikely spot for a lost collar button. Then he let the screen fall. Holy smoke. And there was Pinky. Pinky all huddled up among his photographic equipment with a surgeon scalpel sticking out of his head. Mitchell. Mitchell. I yelled to the reporters in the ant room that they could go in now. The crowd coming out after me met the crowd going in. And I was in the corridor while they argued it out. I was around the corner and in the elevator before the cops could get Through. I walked right through the Waldorf lobby and up to the second floor and nobody said a thing. Time was still with me. I knew Pierce's secretary was keeping suite 213 for him until he was supposed to get out of the hospital. One moment.

[Lead Female Actor]

Yes?

[Narrator/Lead Male Actor]

May I come in? Well, I. I'm a friend of Mr. Pierce. As Mitchell of the Herald.

[Lead Female Actor]

Oh.

[Narrator/Lead Male Actor]

What is it, Mr. Mitchell?

[Lead Female Actor]

Something I can.

[Narrator/Lead Male Actor]

Would you let me rifle your boss's desk? Huh? Files, papers and possessions. I'll put them back real neat. There's. There's something I have to find. Are you crazy? I was afraid that'd be your answer.

[Lead Female Actor]

What are you gonna do?

[Narrator/Lead Male Actor]

I'm sorry. Don't really. I really was. Didn't like to hit a woman, especially that cute. I searched the sweet top and bottom. But if Pierce had ever had the Argyle album, he took no chances keeping it around. I found his personal address book, though, and figured it was no more use to him than it might be to me. Now. I needed a place where I could sit down and think. Then I remembered I was carrying a key from my pal Joe Walter's apartment while he was selling himself in Florida. Yeah, at least nobody could figure my going there. At Walter's place, I spent about 20 minutes with Pierce's address book. He had Washington phone numbers in it that hadn't been in public directories for the last 30 years. There was one in this town that had a red crayon circle. Around was a query jor broad J O R B R O D on Worcester Street. Not the kind of neighborhood Alan Pierce usually socialize in. I was just about deciding I'd go and see Joe Abrar when somebody decided to pay me a visit. I checked through the keyhole. I didn't see much, but what there was to see was female. So I took my chances and opened the door. She stood there, about 5 foot 7 of the most interesting stuff I ever remember seeing. Not young, mind you. Not angelic. But gorgeous and smart like. And sweet voiced.

[Lead Female Actor]

Hello there.

[Narrator/Lead Male Actor]

Who are you?

[Lead Female Actor]

May I come in?

[Narrator/Lead Male Actor]

Sure. At your risk. Who are you?

[Lead Female Actor]

You may call me Marla, Mr. Mitchell. And I want the Argyll album.

[Narrator/Lead Male Actor]

Just like that?

[Lead Female Actor]

No, not just like that. I could be nasty, you know. After all, the police want to.

[Narrator/Lead Male Actor]

Somehow. Marla, that doesn't worry me at all. I just don't think you make it a policy to have traffic with the police.

[Lead Female Actor]

An astute youngster. I like you.

[Narrator/Lead Male Actor]

I like you, too, but I haven't time.

[Lead Female Actor]

I'll give you $500 for it.

[Narrator/Lead Male Actor]

I Don't even know what it is. What is the Argyle album? 10,000 without a breath. Huh? There's some junk.

[Lead Female Actor]

10,000.

[Narrator/Lead Male Actor]

I'm really sorry, Mama, but I wanted to know.

[Lead Female Actor]

It's not for sale. Very well.

[Narrator/Lead Male Actor]

She moved so casually and directly to the door and opened it so quickly I hadn't even gotten out of my chair before her two boyfriends stepped in. The first one looked like a fat businessman. Hair slightly gray. Nice smile the one who followed him had. And the square, low cut, irresistible appearance of a medium sized tank.

[Lead Female Actor]

Mr. Winter, Mr. Holbray, Mr. Mitchell.

[Narrator/Lead Male Actor]

How do you do?

[Lead Female Actor]

He's not terribly cooperative.

[Narrator/Lead Male Actor]

Oh, no, he doesn't perform.

[Lead Female Actor]

Not for love, nor for money. Very stubborn.

[Narrator/Lead Male Actor]

She really didn't try. Love, Mr. Winter. From what I know of Marla. That's hard to believe. Hey, Marla. So you're stubborn, Mr. Mitchell. A stubborn murderer. I'll repeat my question. What is the Argyle album? My, my, you are a gifted actor. Never mind. Forget it, Mr. Winters. Well, isn't $10,000 enough? That's the best we can offer and still make a profit. Let's not waste time. Oh, I am sorry, my boy. I'm very sorry. Very well, Gil. Yeah. The big guy stepped toward me. I ducked and took the table between us. Gil put to the side like it was mesh. His left hand lashed out. He had the lady. I was lifted until my shoe tips touched the floor. Helpless as a baby. I started slapping my face, front hand and back. It kept up and up like a hot lick of my drums. And the agony was unbearable. He stopped. I waited like you wait between pauses of the dentist drill. Then I. I guess I tried to move because I saw the small eyes flicker and the huge fist come swinging at my face. I wanted to duck. What couldn't? My hands were torn from in front of my face. And it came. Shocks of intolerable pain like searing flames. And then the flames flickered and went out. For suspense. Roma Wines are bringing you Mr. Edmund O' Brien in the Argyll album, Roma Wine's presentation tonight in radio's outstanding Theater of Thrills. Suspense. Suspense. Radio's Outstanding Theater of Thrills is presented by Roma Wines. That's R O M a Roma Wines, selected from the world's greatest reserves of fine wines. Now that the vacation season is over, friends and neighbors are dropping in evenings to talk over summertime experiences. Make these pleasant reunions rich in cheerful companionship by serving delicious Roma California wines. Yes, guests are sure to feel right at home when you offer glasses of rich Roma sherry, Roma port Roma Muscatel or Roma toque, these traditional Romo wines of welcome long favorites with millions of Americans add warmth to conversation. Make every friendly occasion more enjoyable. There's a better tasting Roma wine for every occasion, for every taste. Keep an assortment on hand for everyday dining and gracious entertaining. Remember, always insist on Roma wine. That's R o M a Roma wine. America's favorite wines. And now, Roma wines. Bring back to Our Hollywood soundstage, Mr. Edmund O' Brien as reporter Harry Mitchell in the Argyle album. A play well calculated to keep you in suspense.

[Lead Female Actor]

Oh, poor boy.

[Narrator/Lead Male Actor]

I was in the bedroom of the apartment and Marlowe was bathing my forehead with a damp handkerchief. I lay quiet until things cleared up a bit.

[Lead Female Actor]

Rest a little. That's the boy.

[Narrator/Lead Male Actor]

Marlowe.

[Lead Female Actor]

Where's the album, darling? Where's the album?

[Narrator/Lead Male Actor]

I swear I don't know. I don't know. I don't know.

[Lead Female Actor]

You don't want me to call him again, do you?

[Narrator/Lead Male Actor]

No, no, no, please, no.

[Lead Female Actor]

I'm supposed to help you wake up.

[Narrator/Lead Male Actor]

No, no, don't.

[Lead Female Actor]

But you haven't got it. Do you know where it is?

[Narrator/Lead Male Actor]

I swear, Mahler. I swear. I. I don't even know what it is. All I. All I know is it's tool white leather or something, you know?

[Lead Female Actor]

Well, all right, here's what I know. Winter found it. Originally, he was in occupied Europe then. He doesn't admit it, but I think he was the leader of a looting party after an American raid. It was a sheaf of documents recording the transfer of large sums of money by certain individuals, both German and American. Big men who wanted to make sure that they'd come out right, no matter whose armies won. Went and knew that he'd found a fortune that day. Fortune in blackmail.

[Narrator/Lead Male Actor]

Well, what. What happened?

[Lead Female Actor]

He kept it in a public locker in a bus station. Normally the safest place in the world. It was in a town down here in Virginia. O on a million to one twist, he lost it. Gang of young hoodlums blew up in that section with a dynamite stick and has been missing ever since. Until Alan Pierce started hinting about it in his column and the international scandal it involved. So when Pierce died, you see, Winter had a right to suspect that Pierce's murderer might have the album. Naturally, the big man wanted too. Lots of people want it badly. Including me.

[Narrator/Lead Male Actor]

Hmm. You?

[Lead Female Actor]

What for resale value.

[Narrator/Lead Male Actor]

I see. It's a decent motive.

[Lead Female Actor]

I'm a decent person.

[Narrator/Lead Male Actor]

Yeah. Yeah, you are. Come here. Oh, you're nice.

[Lead Female Actor]

You're a nice boy.

[Narrator/Lead Male Actor]

You know, I can just press my Thumbs here at your windpipe. And you couldn't even yell.

[Lead Female Actor]

I thought of that.

[Narrator/Lead Male Actor]

You're not kidding me.

[Lead Female Actor]

That's the excuse I'll give to Winter. The Q choked me and I couldn't jail you. Get on the fire escape and I'll give you plenty of time before I call them.

[Narrator/Lead Male Actor]

I don't figure what's in it for you.

[Lead Female Actor]

We'll see each other again.

[Narrator/Lead Male Actor]

You'll find it.

[Lead Female Actor]

Hurry.

[Narrator/Lead Male Actor]

Okay, honey, you asked for it. Not too hard. It was a funny experience, choking a woman deliberately. I squeezed pretty hard. Scuffing bruises at her throat to make it look good. I got so mixed up, I didn't know what I was doing. I took her once and kissed her very hard. I rumpled her clothes a little and mussed her hair. And when she looked pretty battered, I kissed her again. And I crawled out in the fire. Escaping down, I gave the cabbie the Worcester street address from Pierce's book. It was a junkyard. Joe Bride's junkyard. What do you want? You Mr. Brad? Joe Bride? Yes. My name. What do you want? The Argyll album. How did you. I know you. You're that Mitchell guy the police want for the murder of Alan Pearce. If you move, I' Hey. Say, I got you figured, Brian. Yeah, you're the fence for all the juvenile crooks around here. Oh, some junkyard. Well, I'm on lots better turn for the cops than you are, Mitchell. And I'm fooling them right now. Sure, sure. One of your kids brought you a nice white leather book with a two headed eagle on it. Maybe you stretched and gave him two bits for it. Then you found out you had something too big for a little guy. You knew it was worth dough, but your stomach wasn't tough enough for big time black man. So you figured a way to be right. You still make dough? Sell it to Alan Pierce. What of it? Sellin's no crime. Hey, I'm really guessing. But good, huh? You invested the price of a couple of photostats and a train ticket to Washington. You got to Pierce and sold him the photostats. And then you told him he'd have to come here for the rest, huh? Nothing to keep me from killing you right now. No. No, I guess there isn't. Sure not. You're a fugitive, aren't you? Escape killer. You won't touch me. Wait, wait. Don't.

[Lead Female Actor]

Don't you even say thanks when your life is saved.

[Narrator/Lead Male Actor]

Thanks and nice shot.

[Lead Female Actor]

Don't mention it. You wonder how I knew you were here?

[Narrator/Lead Male Actor]

You watched me Take the cab from the window and got the number. I know that one now.

[Lead Female Actor]

Oh, you're bright as well as nice. Maybe we can play this game together now that we have the album, huh?

[Narrator/Lead Male Actor]

Have we?

[Lead Female Actor]

Well, it can't be far from the desk drawer. The filing.

[Narrator/Lead Male Actor]

I think we both saw Broad move at the same time. A gun at the edge of his fingers was somehow in his hands again. It wavered weakly between Mala and me. It was like watching a slow motion movie. Mala didn't waste time. I saw the Swede's little body jump at the impact. But his gun kept waving and it went off. Mala sighed and fell down at my feet. She smiled at me once. That's. I walked through three cops in the hall of the police station, getting no more reaction than a nod of greeting and into Horse Lip Sampson's office. Thanks for the phone call, Mitchell, but you gave us a bum steer. What's your angle? Bum steer? I saw the shooting. We found a woman. Very dead indeed. But there was no man. Joe, Brah. He didn't look alive when I saw him last. Really wasn't there. I'm only telling you. What do you expect us to do with you? Well, you booked me on suspicion of murder. The murderer? Who, may I ask? Alan Pierce, naturally. You want to confess? It's not bargain day today, Lieutenant. Oh, it was just an angle. Look, did the autopsy on Pierce come through? I was wondering why you gave yourself up. Yeah, he died of heart failure like he claimed. But only because he was so loaded with dope, even a normal heart would give out dope. You mean poison? Same thing. Too much medicine. And Dr. Van Selben, the one who dosed him, has disappeared. Took a powder. You're not even runner up a suspect now, Mitchell. Heartfed. Heartfed. But then why the scalpel? Why? Whoever stuck that scalpel into Pierce wanted to create suspicious circumstances around the death so they'd be sure there'd be an out. Topsy. Hey, that's an angle. Yeah, yeah, but how about Pinky? And how did the murderer get in and out of the room? Mitchell, you want to be held? No. Then stop asking questions I can't answer. Go on. Beat it. I still wanted to break it. I found myself nursing a deep belief that there must be equal justice for the murders of a man I loved, another I respected, and a woman I. I admired. Well, there was only one place I could figure out where to start. I picked my way through Joe Broad's junkyard. Shapes of skeleton cars stood out, dark in the moonlight. The far end of the yard was a lighted shack. I went up to it, almost to the door. Somebody pushed me from behind. My own body knocked the door open. Rod was propped into a chair facing me, his eyes wide. Winter stood beside him, and Gil walked up from the behind me alongside. Oh, come in, Mitchell. Thanks. Well, Mr. Mitchell, this is a proper ending. Another demonstration of the ascendancy of will. Is he alive? Who od here? No, not now. He was very weak and had no resistance. But we learned what we needed. He had the album quite cleverly hidden. But we have it now. Oh, yeah? You want to see it? Thanks. Say, who hired Dr. Van Selden to kill Pierce? A very powerful and very wealthy individual most concerned with retrieving the album, Mr. Mitchell. But you didn't want it to be heart failure. You wanted to force an autopsy. That's why you stuck the scalpel into the corpse. That's rather clever of you, Mr. Mitchell. And in the hospital, you. You were dressed as an attendant, right? Huh? You got behind that bed screen sometime earlier in the day, probably early in the morning before Pierce woke up, right? You were willing to wait a long time for what you wanted. It was very time, you hope, to find out from Pierce where he had hidden the album. You found out instead that Pierce didn't have it. But you knew that Pierce was going to die anyhow from the overdose. Oh, you decided to frame the doctor with the scalpel, forcing the autopsy. You know, there's only one conceivable reason for you to have taken all those chances. And what, may I ask, can that conceivable reason be? That you are the powerful and wealthy individual who got Dr. Van Selben to do Pierce's murder. Really? That you are no more Mr. Winter than I am. Yeah. The original Mr. Winter who smuggled the album out of Europe you eliminated when he first tried to blackmail you and your fellow thieves. By that line of reasoning, I was able to do a little research in the files of my reporter's memory. And in spite of the fact that you have no mustache, and there are several other slightly physical changes that could be easily adjusted. You have an amazing resemblance to the very powerful, very wealthy Mr. Gerald K. Avery. Merely theory. But isn't this indulgence in violence a strange occupation for a man like Gerald Avery? Not at all, Mr. Avery. Man doesn't become an international power by. By going to Sunday school every week. You decided nobody could do your dirty work better than yourself. I suppose you felt you needed help, so you got a professional adventurous like Marla to work with you on the grounds that you yourself were an adventurer blackmailer. The same goes for Gil here. Your time's run over, Mitchell. And Pinky. Yeah, Pinky. Of course, it doesn't bother you that you killed a nice guy with a nice family. To you, he was only in the way. You stuck the scalpel into Pierce's corpse to save yourself some more trouble. The trouble of paying off Dr. Van Soven. You'll probably show up floating. You dragged Pinky behind the screen, and you got behind with him and hid. Then, when all the doctors in attendance broke into the room and rushed around Pierce's bed, you stepped out casually from behind the screen and mingled with the crowd. Ah, you. You were dressed for the part. As a reporter, Mr. Mitchell, would you describe that exploit as daring or brilliant? No, no, Mr. Avery. I'd use the words selfish, traitorous, foul. Oh, your morality sickens me. There's one more thing you didn't count on, Gil. Gil here. Gil has nothing to do with. Oh, yes, he has. You keep your mouth. I'll do nothing of the saw it up blooded. Talk. Let go of my arm. Let him talk. Thanks. Thanks, Gil. And just keep hold of that arm. Talk. Okay. As I was saying, Mr. Avery, you forgot that Marla and Gil have been playing along with you because they figured you were their kind. There is a certain honor among little crooks. But not among you big timers, Mr. Avery. Now, you have the album. The album that couldn't hurt anybody but yourself. Who's the blackmail? Where's the payoff? Gil's wondering what's going to protect his interests. He knows now what happened to Dr. Van Selben. He knows. You see, he figured you for an honest crook, not a big timer. He's only playing for time. He's not only trying to save his own miserable skin. I'll pay you off, Gil. I'll pay you more than you've ever dreamed. Oh, really are Geraldy. You're an idiot, Gil. Now, you cooperate with me. And. That was a bad mistake of Mr. Gerald K. Avery. You see, he figured his gun was bigger than Gil. He moved fast, but not quite fast enough. The lead hit Gill in the shoulder, but that didn't even faze him. I understand he broke Avery's arm. That's when Avery screamed. The next blow broke Avery's neck. Well, there was an awful lot of excitement because Horslip's shadows caught up with the proceedings just about this time. And the details aren't too clear. All I know is that it had been a big day I was awfully tired. I went home, climbed in bed and slept a long, long time with my head on a nice pillow made of tooled white. Le. Suspense presented by Roma that's R O M a better tasting Roma wines, America's largest selling wines. Whichever Roma California wine you choose, whether it's Nutlac, Roma Sherry, fruity Roma port or any Roma wine, you can be sure of better tasting wine every time. That's because Roma selects and presses the choicest California grapes. Then Roma master ventners with ancient skills in America's largest winemaking resources unhurriedly guide this luscious grape goodness to tempting perfection. Then this wine treasure of better taste is placed with mellow Roma wines of years before to await later selection from the world's greatest reserves of fine wines for your pleasure. So for everyday enjoyment or friendly hospitality, serve delicious Roma wine. You'll find all Roma wines delightful, inexpensive and always better tasting. That's why more Americans enjoy Roma wines that's R O m a Roma wines than any other wines in the world. Edmund o' Brien appeared through the. Courtesy of Universal International Pictures now releasing Something in the Wind, starring Deanna Durbin. Tonight's suspense play was by Cyril Enfield. Next Thursday, same time, you will hear Michael o' Shea as star of suspense, produced and directed by William Speer for the Roma Wine Company of Fresno, California. This is cbs, the Columbia Broadcasting System. Autolite and its 96,000 dealers present Mr. Burt Lancaster in the Long Wait, a suspense play produced and edited by William Spears. Over the river and through the woods To Grandmother's house we go the horse knows the way to carry the sleigh hey, that's not the way. Hurrah for Thanksgiving Day goes. What do you mean? Why, I wrote it. No matter. The 1950 version is different. Listen. Over the river and through the woods the snow is soft and white Grandpa is happy with his jalapey his spark plugs are Autolite. Over the river and through the woods Blow high, Ye winds blow low. The car is as snappy as Grandma and Pappy because auto light resistor spark plugs get it going faster in cold temperatures. Give smooth, even spring spark all along the line of fire. Let your engine idle smoother. Run better on leaner gas mixtures. Save gas. Wait a minute. These last lines don't rhyme. Why, sure they do. Your car and auto light resistor spark plugs are always in rhyme. In fact, you're always right with Autolite. And now with the long Wait and with the performance of Bert Lancaster. Autolite hopes once Again to keep you in suspend. When I stepped off the train at Grand Central, I spotted Len Bush waiting for me. All the heat of my body sucked into my head. I knew that feeling. I felt that way every time I wanted to kill a man. He waved, I turned my back and I started up the ramp to the upper level. In the street he caught up to me and he kept pace with his long shuffling loaf. Don't get me wrong, Dan. I don't want to hound you. And why begin, Lieutenant? Something you said to the warden before you left, you want to repeat on it. I told him I'd be back to the limit. In this town we don't even like guys to steal apples off push cards. So when it comes to you can't touch me. I served my full time. I'm clean. We just got to sit back and wait for it to happen. Your brother died two years ago. Everybody's cooled off. Why don't you let it lay? I don't cool so easy. If Richie could come back, he'd say, forget it. Don't tell me what my brother would say. All right, all right, I won't. I don't know why I butt into other people's affairs anyway. It's not my job to worry about things before they happen. You'll be the first to know, Lieutenant. You're a jerk if you put your neck in a noot to rub out a dame like Lois Williams. So long. I waited until he was swallowed in the crowd. Then I went across and down park until I made the Coronet Hotel on 40th Street. Dan Ver. Oh, yes. Mr. Thompson reserved a room for you. 4:23. The elevator was an old cage that pulled itself upwards like an old man with Azim at a climbing stairs. I caught the reflection of my face in the panel mirror of the cage. Three years housekeeping with the state had left a mark. It'll be serene was the word for me. That's the way the reporter put it. The serene countenance of an alabaster saint showing no trace of the killer rampant under the shell. Only I hadn't killed anyone yet. I got out of the elevator and I found 423 inside. I made for the bathroom. I felt under the wash tank. The gun was there. Shorty Thompson had it taped neatly in place, just like he'd promised. I pried it loose. I heard someone at the door. I yanked it open. Lois Williams came in. Not exactly came in. She sort of slithered it along the wall. Hung there like a busted balloon. The little rat was as beautiful as ever. The scared look in her eyes made them brighter, greener. She was wearing one of those curved gowns that she used to design for herself and was pointing it up, neat and tidy. She stared at the gun in my hand in a kind of a. Kind of a glad, hungry way.

[Lead Female Actor]

Or I'd save you the trouble of coming for me.

[Narrator/Lead Male Actor]

I'd have found you. But thanks anyway.

[Lead Female Actor]

What are you waiting for?

[Narrator/Lead Male Actor]

I don't know.

[Lead Female Actor]

Go ahead, kill me.

[Narrator/Lead Male Actor]

Don't hurry me. Go ahead. You want me dead and I don't want to live. You want to die. That's why you came to. There's one thing, Dan.

[Lead Female Actor]

About Richie.

[Narrator/Lead Male Actor]

I didn't think he'd kill him. You figured he'd enjoy looking at his wife and kid through bars for the next 10 years, huh? I've lost every friend I had because of that. Nobody will speak to me, anything to do with me. I can't get a job either.

[Lead Female Actor]

No club will hire me.

[Narrator/Lead Male Actor]

They're all afraid of me. What do you expect? They all knew how I felt about my brother. By the way, how is Tim Grady? I'm going to look him up too. That's a kick. I ratted on Richie to save Tim. And then he shook me to lose. He didn't want anything to do with a squealer, he said. And you still love that dirty. It took him to make you miserable enough to want to die.

[Lead Female Actor]

All right then, now you know.

[Narrator/Lead Male Actor]

No job, no friend, no Tim. I got nothing to live for. My brother had everything to live for. And you. He killed himself. I'd save the post mortem till after you do the job. This was the dame who caused my brother's death. But she wasn't scared. She was begging for it. Something was wrong. She came closer to me. She looked up at me with that. That haunted thing all over. Desire for an end of life. I thought of her suddenly dead, still looking at that. I couldn't do it. It wasn't right. I put my gun back in my pocket. She saw me do it.

[Lead Female Actor]

Even when I try to get myself killed, I fumble. I'll take care of it myself.

[Narrator/Lead Male Actor]

Hey, watch it. You crazy? Come here. I'm allergic to people jumping out of windows. Especially out of a room registered in my name.

[Lead Female Actor]

Why didn't you stop me?

[Narrator/Lead Male Actor]

You always were a high strung game. Go on, go home and sleep it off like it was a jag. I don't have a home. You really don't.

[Lead Female Actor]

I got nothing.

[Narrator/Lead Male Actor]

I told you.

[Lead Female Actor]

Got nothing.

[Narrator/Lead Male Actor]

No, no. It's no fun. Come this way. Oh, well, wait a minute. I'll take you to a room in the hotel. Here. Here, have a drink. You'll feel better.

[Lead Female Actor]

Thanks.

[Narrator/Lead Male Actor]

Lois. Lois, I'd like to help you.

[Lead Female Actor]

You?

[Narrator/Lead Male Actor]

Help me?

[Lead Female Actor]

Why?

[Narrator/Lead Male Actor]

To tell you the truth, I don't know. But I know what Richie meant to me. I was with him when he died. I heard the way he called your name.

[Lead Female Actor]

Then listen to me.

[Narrator/Lead Male Actor]

Before you became a singer, you were. You were a dress designer. Oh, what does that prove? Well, it proves your troubles are over if you want them to be.

[Lead Female Actor]

The only way my troubles will be.

[Narrator/Lead Male Actor]

Over is for you to use that gun. There's a way that doesn't hurt so much. The nerve. Doc says there's nothing like starting your own business or cracking a safe to get your mind off troubles.

[Lead Female Actor]

What do you know about psychiatry?

[Narrator/Lead Male Actor]

Nothing. But I know plenty about cracking safe. And I understand business is almost the same thing. Go into business. I haven't got a dime. I'll supply the coin. We'll be partners. Yeah, and what? The dress business. Dress business? The boys would laugh you out of town. Nobody laughs at Danvarrow. Well, come on. What do you say? Partners?

[Lead Female Actor]

I haven't designed a chair.

[Narrator/Lead Male Actor]

Oh, it'll come back to you. Once you're in business, you're sure to make a lot of new friends. Get a new slant on life. I'll tell you what I'll do. I'll talk to the old gang into giving you a break again. If things go on smooth, you'll be happy again.

[Lead Female Actor]

You think so?

[Narrator/Lead Male Actor]

I looked at it a minute. Then I put across the clincher. Lois. I'll bet even Tim Grady comes back. I was always baffled by the effect a guy could have on a Dave. I want watched Hope push some of the unhappiness off her face. Mention the guy in the dame's heart changes places with her brain. She hesitated a second.

[Lead Female Actor]

I'll give it a try.

[Narrator/Lead Male Actor]

Good. Now, do you think you can make it past bridges and open manholes or do you need protection?

[Lead Female Actor]

I'm all right now.

[Narrator/Lead Male Actor]

After all, we're partners. I raised 20 grand and Lois went all out spending. She threw herself into the job with all she had. She had plenty. She was going to open on Madison Avenue. I spent a lot of time with Lois talking dress shop. She took me to spots to. Well, you know, to check styles, dog show, the art galleries, the opera. She was beginning to show signs of wanting to live again. A month after we became partners, she told me.

[Lead Female Actor]

We can open tomorrow, Dan. Except That?

[Narrator/Lead Male Actor]

Well, I. Let's have it, Lois.

[Lead Female Actor]

The money's all run out. And, Dan, we have to advertise. Get a sale for it.

[Narrator/Lead Male Actor]

What'll it take?

[Lead Female Actor]

5,000. Oh, 3,000.

[Narrator/Lead Male Actor]

I'll get it. Oh, damn. She kissed me and I fought down the chill it sent along my spine I said, I want you to be happy, Lois. I went over to the Emerald Club on 60th to raise the money. I stayed away from the old spas till now. Lou Henry, you own the place. Glad handed me when I walked in. Hey, Dan Farrow. Where you been, boy? All around and about. Yeah? You're awful early, Dan. Tables don't open until 10. I need five grand, Lou. Five grand without even a hello to soften me up? I need it, Lou. I figured you'd let me have it for past favors. Oh, sure, Dan. Don't mean no more to me than my right arm. Thanks. Hey, Dan. Buddy of your brothers is out there at the bar. Shorty Thompson. Oh, thanks again. I'd like to see Shorty. Another one, bartender. Hello, Shorty. Ah, you, huh? Hey, you're in business, Dan. Something real imaginative, huh? Yeah. Legitimate, too. Ladies gowns. Ain't that a riot? Shorty was drunk. I don't like to talk to drunks. I was going to leave when I saw who the guy was on the other side of Shorty. It was Lieutenant Len Bush. Shorty turned his back on me and spoke to him. This guy is Richie Varrell's brother. As though you didn't know. A few years ago, the joke was on you, Lieutenant. You put Dan away for sticking up a jewelry store. You didn't really believe Dan Verrell had pulled anything as crude as that. It was Richie who'd done it, but big brother here took the rap. Shut up. Shorty used to be sort of a gag with the boys that if Richie got shot, Danny Boy would do the bleeding for him. Everybody knew that Richie was one in a million. And everybody knew that Danny Boy would die for the kid. Yeah. I'm gonna let you in on the secret, Bush. Danny Boy's partner is the dame who killed Richie Varro. You're drunk, Shorty. Get away from me, you rat. I turned back to the bar and I kept my temper in my pocket. If Shorty kept talking like that, it wouldn't be healthy for him. And I didn't want anything to do anything to him. He was Richie's best friend. Two more of Richie's friends walked in while I was downing my drink. Gus Manning and Tommy Algo. I put My glass down. I started to leave. Just a minute, then. What's on your mind? The way I get the news you and Lois are teamed up. Yeah, that's all I want to know. You hold it, Gus. Hold it. Maybe Dan's got it scrambled. Lieutenant, Lois Williams is a dame who pinned the ramp on Richie, ain't she? Any newspaper morgue will give you the answer. Look, I know she testified against him. And you know she lied about your brother to save Tim Grady. I know. Well, all right, Lieutenant. The boys and I want to have a little talk. Okay, Dan, it's your funeral. We all watch Len put on his hat and walk out. I put my back up against the bar so none of them could get behind me. Well, what are we waiting for? Hey, cut it out, you guys. Cut it out. Dan, you okay? Yeah. What happened? Boys don't like me just now. They want to keep me from making a girl happy. Yeah. Yeah, the girl responsible for your brother's death. Yeah, that's right. Auto Light is bringing you Mr. Burt Lancaster in the Long Wait. Tonight's production in radio's Outstanding Theater of Thrills, Suspense. And now it's time for my Thanksgiving fairy tale. Last night, my car called me out to the garage. I don't feel good. I think you ought to do something about it. Well, open your hood and say ah. Ah. Oh. Your spark plugs need replacing. I'll buy you a new set of Auto Light Resistor spark plugs with the exclusive autolite 10,000 ohm built in resistor. Gosh, Harlow, would you. That's better than turkey on things. Just think how I'll run. Yes, you'll start faster in cold temperatures with Auto Light Resistor spark plugs give smoother idling and better performance on leaner gas mixtures. Which means you'll even save me gas. And the neighbors will be thankful because they know Auto Light Resistor spark plugs reduce spark plug interference with radio and television reception. I know all that, so why wait? Well, I hustled up a set of Auto Light Resistor spark plugs. And those eyes. I mean, those Auto Light bullseye headlights lit up with joy. You're a good boss, Harlow. Now, the moral is, if you want your car to thank you for helping it run, better see your Auto Light spark plug dealer and have him replace old, worn out, Narrow Gap spark plugs with a set of the sensational new Wide Gap Auto Light resistor spark plugs. Remember, you're always right with Auto Light. And now, Auto Light brings back to our Hollywood sound stage. Our Star Bert Lancaster with Betty Lou Gerson in the Long Wait. A tale well calculated to keep you in suspense. I said the five ran for low so that she could open the doors while I went after business. And I knew where to get it. Nobody spends dough on a dame like a hood when he's loaded. On Thursday, the Third national bank was held up. Friday morning I. I knocked on the door and he felt you. Who is it? Me. Dan Barrell. Busy? Not Dan. Some other dinner. Hello, Tony. Oh, hello, Glenda. Hello. What do you want? Then you knocked over the Third National. What is this, a hijack? No. Your dame looks like she needs a lot of clothes.

[Lead Female Actor]

After last night, I figure on getting plenty of touch.

[Narrator/Lead Male Actor]

What are you two talking about? I'm in the dress business. Tony, tell the other boys to too. I want all the dames buying their clothes from Lois Williams. Sure. What do I care where they buy them? The next day I ran into Numbers Johnson. He ran the policy record on the east side. I don't have a dame dam, you know that. Yeah, I know. It's about time you gave your wife a break. If I buy her clothes now, she'll expect me to every time I hit. That's the idea. Do you see it my way or do I? I'll figure it. You in the dress business? Well, if I keep happy in the dress business, I'll stay out of the numbers business. Which way do you want to play? The doll will get some. No duds. Once the ball started rolling, it became a mountain. Lois knew all the angles. On female cribs her Clientele was strictly 10th Avenue. But she turned them out on a long island and they loved it. One dame tells another and in no time at all the shop is jammed with customers. It was a crime in the way the dame spent the dough with a hood's go to to make so much trouble to collect. Lois glowed like a firefly. She was a complete businesswoman. She loved being surrounded with dolls who bounced in and out with business of the shop business that must have madame's attention. I asked her during a lull. You happy, Lois?

[Lead Female Actor]

Yes, almost completely.

[Narrator/Lead Male Actor]

I do miss the old gang, though. Come in.

[Lead Female Actor]

Pardon me, Miss Williams. There's a Mrs. Verrell outside. She wants to see Mr. Verrall. Mrs. Verrel?

[Narrator/Lead Male Actor]

Oh, Richie's wife, June. She was supposed to be in the mountains with a kid. That's why I sent her money. I didn't want her to know about this. She was waiting for me on the street. She had a roll of bills in her hand and she threw it at my feet. The roll bounced against the storefront. I saw the rubber band snap off it and the bills unwrapped like a. Like a sigh of relief.

[Lead Female Actor]

You think I take your money now?

[Narrator/Lead Male Actor]

Now? What do you mean?

[Lead Female Actor]

You and Lois.

[Narrator/Lead Male Actor]

Okay, so it's tainted money. But you got a kid, you need it.

[Lead Female Actor]

You thought a lot of Richie, didn't you?

[Narrator/Lead Male Actor]

As much as you did?

[Lead Female Actor]

Oh, no. Much more. When Richie had pneumonia, I remember how hard you took it during the crisis. You wouldn't eat or drink or talk. I remember thinking, if Richie dies, Dan will die, too.

[Narrator/Lead Male Actor]

Take the money for the kid.

[Lead Female Actor]

You loved Richie. And now you're sponsoring that woman with his blood.

[Narrator/Lead Male Actor]

June, wait. I'll kill your fault. Nobody was going to keep me from doing what I wanted. Not to Lynn Bush following me around, or Shorty Thompson hating my guts or Richie's wife itching to kill me. I'd given Lois back an urge to live. I swore I was going to make her happy. And I was on first base. She had a going business. Lois's old gang hung out in the Village, the Bolo Room. Richie, Lois and Tim Grady used to pal around with the musicians who played the spot. They used to wait until closing time, then huddle with the jive artists until morning. When Lois and Tim double crossed Richie's evening, the other kids cut Lois out of their hair and Tim Grady left town. That night. I went down to the Bowler Room to get. Get Lois's friends back for her. I walked in just as the last paying customers left. The kids were getting set for a jam session. When they spotted me. The place became full of hush. They glared at me, hating me for not daring to open their mouths. I picked a menu up off a table and laid it on a bar. I pulled a pencil out of my pocket. I said, I'm giving a party for Lois Williams. You're all invited. Saturday night. Gold Room, Coronet Hotel. Whitey Jones. Yeah? I'm putting you down, plus your dame and three guests. Suppose I can't make it? Throw away your piano. You'll never play it with broken hands. Phil Blass, you, your dame and three friends. And your horn. Well, okay. Yeah, sure, Daddy, sure. Jerry Barton, Mel Foley. What? Joe Ward, Les Seltzer, your dames and three friends. Okay. And make sure that Lois knows that you're all tickled to death to see her. I'll be checking you off as you come in. I'll be seeing you Saturday night. It was Friday, the day before the party. Hello? Hello, Dan G. Is this Lou Henry down at the Emerald Club? Yeah. Look, I don't want you to think I'm butting any of your affairs, Dan, but, well, knowing how you feel about laws. Yeah. Well, June, your brother's wife's been down here talking to Shorty Thompson. So what? She talked Shorty into rubbing out laws. What? He's on his way now. Remember who told you? Dan, I died with my body caught on fire. If Shorty touch loss now, being a buddy of Richie's wouldn't help him, the same went for June.

[Lead Female Actor]

Hello?

[Narrator/Lead Male Actor]

Hello?

[Lead Female Actor]

Lois Williams dresses.

[Narrator/Lead Male Actor]

Give me Ms. Williams.

[Lead Female Actor]

I'll connect you with her office.

[Narrator/Lead Male Actor]

Come on, snap it up. Snap it up.

[Lead Female Actor]

I'm ringing, sir.

[Narrator/Lead Male Actor]

Come on, Lois, answer. Come on.

[Lead Female Actor]

Ms. Williams office.

[Narrator/Lead Male Actor]

Put Lois on.

[Lead Female Actor]

She's not in. Who's calling?

[Narrator/Lead Male Actor]

It's me, Dan Varo. Where'd she go?

[Lead Female Actor]

Mr. Varrell. You just called, Mr. Varrell.

[Narrator/Lead Male Actor]

What do you mean I just called? Someone called, said it was you and.

[Lead Female Actor]

Spoke to Ms. Williams. I wonder why they do that.

[Narrator/Lead Male Actor]

Well, never mind that. What is he. What did he say?

[Lead Female Actor]

Ms. Williams always goes to the Museum of Art at this time of day to copy designs. She made an appointment to meet you. I. I mean the man who called at the museum.

[Narrator/Lead Male Actor]

She just left, heading away for the elevator. I took the stairs three at a time. Going down. I came out on the street. Cab was idling on the other side of the app. I cut through the traffic to get to. I hopped into the cabin for five bucks. The Hacky crashed. Lights all the way. I was at the museum and nothing flat. The lanes of the building was quiet as a mall. I cursed myself and I. What room Lois would be in? Here, here. You can't run here. Did you see a girl with drawing papers and crayons? Tall, beautiful, well stacked. I see hundreds of them. Well, where would she go to draw design? The Armor room, Maybe the Egyptian room or the famous paintings. Second floor. I had visions of a dead in some corner. I thought of her all twisted in the heap. I hit the Egyptian Room in a run and I stopped short. Lois was standing at the other end. She was behind a mummy case. And on the other side of it was Shorty. He had a knife in his hand. They didn't see me. I sneaked up on them and I watched Lois fighting to move her lips. You ain't fit to live.

[Lead Female Actor]

Please, Shorty.

[Narrator/Lead Male Actor]

Lois, run. Run to me. Here it is. I hate to do this. Shorty came this way. Lieutenant. Daddy tried to kill me. Tough to keep up with you Damn. Still with me, eh, Lieutenant? I always keep an eye on my friends. Who's this lady in here? Shorty Thompson. You better take him in. He tried to kill Ms. Williams. Yeah, guess it better. Come on, Lois. By the way, Bush, you better pick up June Barrel too. She was in on it. In case you don't know who she is, she's my sister in law. With June and Shorty out of the way for a while, nothing was going to to upset things. Now the party Saturday night in the Gold Room was a big success. Every time somebody tried to make a break for home, I. I beat into the exit and insisted they stay. The place was full of smiles and how to dos and only Lois didn't know they were phony. She was a dream. In a green backless evening gown held up by a deep breath and an anxious look. She bubbled around greeting people.

[Lead Female Actor]

Thank you.

[Narrator/Lead Male Actor]

I enjoyed it. Lois. Dan.

[Lead Female Actor]

Where have you been hiding?

[Narrator/Lead Male Actor]

No place. Tell me, Lois. You happy, Dan? Just be happy, that's all I ask. Just be happy.

[Lead Female Actor]

I'm doing my best.

[Narrator/Lead Male Actor]

Dan. Is there any guy here you like? Anybody? There's just one guy for me, Dan. He's not here. But he is. He's back in town. He's at the Sphinx Hotel. Tim? Yeah, Lois. I think I'll drop over and see him now. Dan, you're not going to do anything? Don't worry, Lois. I want to fix everything. She had her job, her friends. Just one thing more. Just Tim Grady. To make the picture complete, the Sphinx Hotel was over in 6th Avenue. I walked. I wanted time to cool off. I wanted to do things right.

[Lead Female Actor]

Yes?

[Narrator/Lead Male Actor]

Mr. Grady's room. One moment, please. This is Dan Barrell. Dan. Yeah. Remember that's 3am Dan. I won't take much of your time. Won't tomorrow do? I'm coming up now. Come in. I pushed open the door and I went in. We were standing by the. He's wearing a monogram black robe over some flashy yellow pajamas. He glad handed me. Come in, Dan. Come on in. Have a cigarette. I took one and I watched him going through hard times trying to light it for me. I let him sweat for a while and then pulled out my light, lit my cigarette and shoved the lighter under his face so I could light his. Couldn't stand still. He moved around the room like a. Like a cat on hot coals. He's a big good luck. Broad shoulders with all the trimmings. Curly hair, dimple on his chin. I just got back out on the coast. That's the Place to be, Dan. You never saw anything like it. Boy, the things that go on in LA someday light someplace. Anything you say, Dan. Lois is a great dame. She sure is, Dan. She sure is. Anybody said it different should get slugged. Yeah. Listen, Dan, there never was anything between me and Lois. Anybody says different than all good liar. We were just good friends. We hardly ever even went out. Relax. Here. You and Lois are partners. Yeah. She must be pretty near the happiest girl in town. Pretty near. You know, when I first saw Lois a few months ago, she was all set to kill us. Oh, wait a minute, Dan. I tell you, I. Sit down, Tim. You make me nervous. Nobody's blaming you for the way she felt. Now, tomorrow. Tomorrow I pull out of the partnership and Lois will be alone again. I don't want her to be alone. It's not good for her. Anything I can do? You know she's in love with you. I'd like to see her get married. A woman with. With $75,000 business. Well, she needs someone to look after her interests. The mention of the 75 grand, his eyes lit up like Broadway after dark. Reading his mind was like looking through a dirty window into a filthy room. It hurt to think a foul ball like Tim Grady could make a girl do anything for him. Well, damn it. It's about time she got a proposal for marriage. Yeah. Why don't you call her up, Tim? Yeah, a good idea, Dan. I mean right now. Stuyvesant 1541. Now. Well, sure, sure. If you think I won't know what to say. It's been so long. Say you want to marry her. Yeah. Yeah, sure. Lois. Hello, baby. Well, see, you knew the old voice. I closed the door. I didn't know if I'd be able to control myself if I'd listened to anymore. I got to the dress shop at ten o' clock the next morning. Lois was floating around like a. Like a waft of loveliness. She touched the ink stand on her desk, moved a chair, straightened a picture, wasn't conscious of what she was doing. She talked fast and happy about things that didn't mean a thing. She flung open a window and hugged the inrush of air. She spoke with her back to me. Oh, Dan, it's wonderful.

[Lead Female Actor]

It's wonderful, isn't life You.

[Narrator/Lead Male Actor]

You're happy. Hello.

[Lead Female Actor]

Tim was waiting when I got here this morning. He proposed.

[Narrator/Lead Male Actor]

He said you wanted it that way too.

[Lead Female Actor]

I guess I'm the happiest woman in the world.

[Narrator/Lead Male Actor]

Can I use your phone?

[Lead Female Actor]

Sure, sure.

[Narrator/Lead Male Actor]

Call Paris. Bombay, Shanghai.

[Lead Female Actor]

Imagine it.

[Narrator/Lead Male Actor]

Him, Homicide, Lieutenant Bush, Dan Barrel talking. I'm at Lois's Shell. If you get here in five minutes, it'll be about right. I am the happiest woman in the world and I owe it all to you. She turned from the window and saw the gun in my hand. Now you're worth killing. Suspense presented by Autolyte. Tonight star Bert Lancaster with Betty Lou Gerson. Oh, boy, am I happy. Thanks again, Harlow. That's my car talking. Folks, I ran great today, didn't I, with those new Auto Light Resistor spark plugs? Like a charm. Friends, if you want your car to run better switch to Wide Gap Auto Light Resistor Spark Plugs. The spark plugs that get you off to fast starts in cold temperatures. Made by Auto Light, they're one of more than 400 products for cars, trucks, planes and boats produced in 28 auto light plants. Co sh to coast. These include complete electrical systems used as original equipment on many makes of America's finest cars. Spark plugs, batteries, generators, coils, distributors, starting motors, Bullseye sealed beam headlight units, all engineered to fit together perfectly. Work together perfectly because they're a perfect team. Don't accept electrical parts supposed to be as good. Ask for and get Autolite original factory parts at your neighborhood supply, service station, car dealer, garage or repair shop. Remember, you're always right with Auto Life. Next Thursday for suspense. James Stewart will be our star. The play is called Mission Completed. And it is, as we say, a tale well calculated to keep you in suspense. Tonight's suspense play was produced and edited by William Speer and directed by Norman MacDonald. Music for suspense is composed by Lucian Morowek and conducted by Lud Gluskin. The Long Wait is an original play by Fred Freeberger. Bert Lancaster is the star of the Hawk and the Arrow, a Norma franchise production soon to be released by Warner Brothers. In the coming weeks, you will hear such stars as Mickey Rooney, Lana Turner and Eddie Cantor. Don't forget, next Thursday, same time, Auto Light will present Suspense starring James Stewart. Meanwhile, see the very informative story about suspense in the current issue of Quick magazine.

[Lead Female Actor]

You can buy Auto Light resistor spark.

[Narrator/Lead Male Actor]

Plugs, Auto Light staple batteries, Auto Light.

[Lead Female Actor]

Electrical parts at your neighborhood Auto Light dealers. Switch to Auto Light. Good night.

[Narrator/Lead Male Actor]

Freedom is everybody's job. Take an active part in national, state and community affairs to protect your liberty. This is cbs, the Columbia Broadcasting System. Suspense and the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson. Some years ago, Ernest Hemingway's great Short story the Killers was made into a movie. Anyone who saw it will never forget the menace and brutality of the two gunmen in the opening sequence. Two nastier heavies have rarely been seen together on the screen. Feeling that their type of tough guy should not be allowed to languish in limbo, we have brought them together again in a rather different kind of story. Yet still a story of heavies. Listen, listen then, as William Conrad and Charles McGraw star in two for the road. Where are we now? Joe? You been asleep? Yeah. Where are we now? I don't know for sure. Someplace in Arkansas, I think. Sure is a big country, ain't it? Yeah. Hey, you want me to drive? No, I'm all right. You got some more sleep? I got enough. Sure you're all right? We'll be a little groggy. We'll stop in the next place for coffee and you can take it from there. Okay. Hey, what time is it? Must be past midnight. You know, I keep wondering. Yeah? Wondering what? Ah, for doing the right thing, cutting out like this. What else could we do? New York is dead. Chicago. And you think the coast will be any better? It's gotta be. There's plenty of action on a coast. I hope you're right. But all we got lined up is that job for Rocky. What about after? You do the job good for Rocky. You take care of us when we get there. You think, well, we come nearly halfway in 24 hours. If we go right through, we ought to make it by tomorrow afternoon. It don't seem possible. It's such a big country. If Rocky wasn't in such a hurry with that job, we could see some of it. Nothing between New York and a coast, but scenery. All is Vegas. Yeah, but that's practically the coast. Yeah, you seen one superhighway, you've seen them all. Yeah, cities too. I was in Boston once for a tryout. Nothing. Truck Haven, huh? Join up ahead there. Let's stop for. Okay. You know what they say. If the truck drivers stop at a joint, the food's gotta be good. And I don't see any trucks. And all I want is coffee. I can't go wrong on coffee. This place might as well close up for the night. No cars parked outside and no customers inside. Yeah, there's one. Look at that doll at the counter. Not bad. I don't know what she's doing out here all alone in the middle of the night. Waiting for a bus, maybe. Evening. Two coffees. Make mine black. Yeah, same here. Two coffees and Mac. What's the matter with your tv? It's about the lousiest picture I ever saw. Best we can do. We ain't close enough to Little Rock. We're too far from Memphis. Must drive you nuts, all fuzzy like that. You get used to it. 45111. And one of our friendly operators will take your order if you're outside. Hello.

[Lead Female Actor]

Say, ain't I seen you fellas before?

[Narrator/Lead Male Actor]

I don't know how. We never been here before.

[Lead Female Actor]

Neither have I. I'm from Memphis.

[Narrator/Lead Male Actor]

We went through Memphis this evening.

[Lead Female Actor]

Funny. I'm sure I seen you someplace.

[Narrator/Lead Male Actor]

No, In New York, maybe.

[Lead Female Actor]

I never been east of Chattanooga.

[Narrator/Lead Male Actor]

We never been west of Weehawken.

[Lead Female Actor]

Well, excuse me for Button there.

[Narrator/Lead Male Actor]

Not at all. I got it at all. Give you any trouble? Hey, Joe, it's not bad. Not bad? Yeah. Not all the time. What do you mean? I had to use a direct method. Tough. We was running a nice, clean operation. Yeah.

[Lead Female Actor]

I knew I'd seen you before.

[Narrator/Lead Male Actor]

I remember how to make the same out of shoes.

[Lead Female Actor]

Right there on the tv.

[Narrator/Lead Male Actor]

I can't tell through all that snow. Charlie, look. How about that? It's an old Kenny of the plain clothes.

[Lead Female Actor]

That is you, ain't it? Sure looks like you.

[Narrator/Lead Male Actor]

That's us. But do you mind reaching up and turning it off? It stinks even when you can see the picture.

[Lead Female Actor]

Gee, you're actors. Yeah, I always watch a program.

[Narrator/Lead Male Actor]

Ah. Glad to know we got an audience in Arkansas.

[Lead Female Actor]

What you fellas doing way out here?

[Narrator/Lead Male Actor]

Driving to the coast.

[Lead Female Actor]

Hollywood?

[Narrator/Lead Male Actor]

Yeah, that's right. Hey, you want to lift?

[Lead Female Actor]

Sure.

[Narrator/Lead Male Actor]

Why?

[Lead Female Actor]

Why not?

[Narrator/Lead Male Actor]

Well, we're driving right through. It wouldn't be very comfortable.

[Lead Female Actor]

Oh, I don't mind. I won't take up hardly any room at all. And I don't have any luggage. Just this purse.

[Narrator/Lead Male Actor]

Well, I don't know.

[Lead Female Actor]

I. I got a little money. I'll pay for my share of the gas.

[Narrator/Lead Male Actor]

Well, it ain't that. Ah, come on, Joe. Let's give the kid a lift, huh? Charlie, haven't you heard about picking up strangers on the highway?

[Lead Female Actor]

You don't mean you're afraid of me?

[Narrator/Lead Male Actor]

Well, no, but you gotta admit it's a little kook finding a girl out in the middle of nowhere without any baggage, wanting to go to the coast.

[Lead Female Actor]

All right, it's like this. I'm running away from home.

[Narrator/Lead Male Actor]

Why don't you run back? We don't want your husband gunning for us.

[Lead Female Actor]

Oh, no. I'm running away from my old man and my old lady. Tonight we had a big beef and I walked out. Got a ride out of Memphis as far as here.

[Narrator/Lead Male Actor]

What's so funny?

[Lead Female Actor]

You worry about giving me a ride. I'm the one that's got the worries. This fellow that gave me a lift out of Memphis wanted me to pay for the ride. The price was too high. That's why I'm out here in the middle of nowhere.

[Narrator/Lead Male Actor]

Oh, what a dirty, no good.

[Lead Female Actor]

But you guys don't look like that type.

[Narrator/Lead Male Actor]

Oh, we're not.

[Lead Female Actor]

So I trust you and I'll accept your invitation.

[Narrator/Lead Male Actor]

Well, okay. You finished your coffee, Lothario? Oh, yeah, sure. All right, let's hit the road. Then. In a moment, we continue with the second act of suspense. Come on. And go, go, go in a Plymouth, a go kart through and through you really go, go, go for a Plymouth and Plymouth will really go for you. 15 minutes behind the wheel, that's all it takes to convince you that the 59 Plymouth's really got it. Got the newest of new design, new sport car handling ease, new fury performance, new get up and go. Just tell your Plymouth dealer you want to sample the go. Then you turn the key and Plymouth's new golden commando V8 leaps into life. Now you just push a button and go on your way to the Most fun filled 15 minutes of your driving life. See your Plymouth dealer take your fun drive in the 59 Plymouth. Real soon. You really go, go, go for a Plymouth and Plymouth will really go for you. And now, starring Charles McGraw in William Conrad, Act 2 of Two for the Road.

[Lead Female Actor]

I can't get over it.

[Narrator/Lead Male Actor]

What?

[Lead Female Actor]

Me on my way to Hollywood with two famous actors?

[Narrator/Lead Male Actor]

We're not so famous.

[Lead Female Actor]

Not famous? Why, I bet the Plain Clothesman is the most famous popular TV show in Memphis. Everybody knows Joe Harris and Charlie Bloom. You're Charlie, aren't you?

[Narrator/Lead Male Actor]

That's right.

[Lead Female Actor]

And you're Joe.

[Narrator/Lead Male Actor]

Yeah.

[Lead Female Actor]

How come you're going to Hollywood?

[Narrator/Lead Male Actor]

They killed us. We're dead.

[Lead Female Actor]

Dead?

[Narrator/Lead Male Actor]

Yeah. What Joe means is we got too big for the Plain Clothesman, see? And the star of the show, Hubert Bromley.

[Lead Female Actor]

Oh, I can't stand he.

[Narrator/Lead Male Actor]

Yeah, well, anyway, he's a star and he didn't like how big Joe and I was getting, so he had the writers get us killed in last week's episode. Well, that was mean of him, that sure biz. And being as how we was typecast as hoods, we couldn't get any good parts in New York. Actually, Joe and I are pretty serious actors.

[Lead Female Actor]

Oh, I know you are.

[Narrator/Lead Male Actor]

Yeah, we just look like hoods.

[Lead Female Actor]

That's what I Liked about you and the plain clothesman.

[Narrator/Lead Male Actor]

Yeah. Well, we got this pal in Hollywood, Rocky. Rocky Lamont. He used to hang around Walgreens, but he's a director now, and he's got a couple of swell parts for us. And a pilot. He's shooting the Three Musketeers.

[Lead Female Actor]

Well, I thought that was a kid show.

[Narrator/Lead Male Actor]

Musketeers, not mousekateers. Oh, that's why we're in such a hurry. Rocky starts shooting day after tomorrow. Say, honey.

[Lead Female Actor]

Yeah, Joe?

[Narrator/Lead Male Actor]

You got any idea where we are?

[Lead Female Actor]

Oughtn't to be too far from Little Rock.

[Narrator/Lead Male Actor]

Hey, Joe. Joe, look. Must be a wreck up ahead. All those flashing red lights.

[Lead Female Actor]

Police cars.

[Narrator/Lead Male Actor]

That's a roadblock. They're signaling us to stop it. All right. What do you suppose they want? Who knows?

[Lead Female Actor]

Don't stop, Joe.

[Narrator/Lead Male Actor]

What do you want me to do? Barrel right there through? Yeah. You crazy or something? It shoot us full of hoes, we'll shoot back. With what?

[Lead Female Actor]

With this.

[Narrator/Lead Male Actor]

Hey, to. Look. She's got a ride. What? You nuts? You put that out of sight. Help. What's the matter with her? Well, don't ask me. She was your idea. Trouble.

[Lead Female Actor]

Thank heaven you stopped us. Officer, these two men are kidnapping me.

[Narrator/Lead Male Actor]

Okay, you two. Now, listen, officer, this broad Flesh. Yeah, we just met her up the road. Hold your hands up. Look, sergeant, I'm sure we can explain everything. You better. Now, you, young lady. Hey, Sam. Yeah? The gal ain't here. The door on the other side's open. She must have got out that way. There she is. She's on J sick. Stop. Stop. I'll shoot. Look out. She's got a gun. Take off after my hot chivalry has fallen on Arkansas. Sh. It'll be children next. All right, mister, it's my duty to tell you that anything you say may be used against you. Frisk em, Sam. Right. Where you from? New York. Where you going? Hollywood? Yeah, Sergeant, we're just driving through. They're both clean. Check them against those descriptions. You in Memphis tonight? Yeah. Doing what? Just driving through. He'll see your driver's license. Okay. There you. It's gone. My wallet's gone. So's mine. Joe, that broad, she's a pickpocket. Yeah. She stole my watch. You gotta arrest her. Oh, don't you worry. We'll arrest her soon as we can catch her. Descriptions fit. Riggs shows a car. Blue and white convertible. New York license plates. Check their registration. What's your name? Joe Harris. What's yours? Charlie Bloom. Whose car is that? Mine. The car's registered to Yusuf Horowitz. Now, come again. What's your name? Joe Harris. And that's your car? That's right. And how come it's registered to Yosef Horowitz? You see, Joe Harris is short for Joseph Horowitz. Why'd you steal the car? Look, I didn't steal the car. It's mine. All of it. It's paid up. That's my name. Joseph Horowitz. Joe Harris is my stage name. That's right, officer. Hey, listen, you don't believe that crazy broad, do you? You don't think we kidnapped her? No, not for a minute. I think she was in this here thing with you from the beginning. I think she drove the getaway car. Get away from what? The hold up of the Cotton State national bank in Memphis this afternoon. What? Snap the cuffs on Sam. Now look here, you're making a terrible mistake. You haven't got any charges. Oh, yes we have. Armed robbery and murder. That bank teller you shot died hour ago. In a moment, we continue with the third act of suspense. It has the fresh, clean scent of pine. It's new.

[Lead Female Actor]

It's at your store.

[Narrator/Lead Male Actor]

What is it? It's the best disinfectant anywhere. Kills disease germs on contact. It's Lysol in a new pine scent. Right now there's a new pine scented Lysol. Now, your home can be pine sweet and Lysol clean with genuine Lysol brand disinfectant. New pine scented Lysol disinfects, deodorizes deep cleans, kitchen, bathroom, nursery, sick room. Keeps things fresh and sweet with no extra work. Pine scented Lysol helps guard your home in laboratory tests. Lysol's anti germ action kept working for seven full days. So try this new pine scented Lysol. Make your home pine sweet and Lysol clean. You can still get regular Lysol too. And now, starring William Conrad and Charles McGraw, actor three of two for the Road. Hey, donkey. Hey, knock it off down there. I gotta talk to you. I said knock it off. You got no right to wrap him across a knuckle. I got any ride I want to take. Now listen. Where's the sheriff? I told you I want to talk to the sheriff. I know you did. What did you tell him? Maybe I did, maybe I didn't. Now you can't keep us in jail like this. You're in, ain't you? Where's the sheriff? I wouldn't know. Now look, listen, we gotta get out of here. We got in the putin In Hollywood. You better cancel it. All right, Sam, you can bring in the prisoners. Yes, sir. This way.

[Lead Female Actor]

Sit down, boys.

[Narrator/Lead Male Actor]

I hear you want to talk to me. You're darn right we do, Sheriff. Well, good, because I want to talk to you. What about?

[Lead Female Actor]

Can't you guess?

[Narrator/Lead Male Actor]

That cop last night said something about a bank robbery in Memphis, but we don't know nothing about it. Yeah, we're just a couple of actors. Well, it looks like you're a couple of bad actors. Look, you can check it. I'm Joe Harris. Yeah, I'm Charlie Blue. We've been playing the Heavies and the TV series of Plainclothes. Yeah, we were on last night on Channel 2. I don't look at TV very much, but I look at descriptions of wanted men. And you fit the description of the men who robbed that bank in Memphis yesterday. Well, that was just a coincidence. Is it a coincidence that the girl who was with you last night when you were arrested fits a description of the girl who drove the getaway car at the bank? Hold up. Yeah, that's a coincidence, too. I want to talk to an attorney. You can. Now. We gotta write the console. You can't hold a car. I can, and I am incommunicada for 72 hours, and that's a long. Aw, listen, Sheriff, be reasonable. We got an important date on the coast. We're late as it is, and you're gonna be much later. You can't prove that we robbed that bank, can you? Prove you didn't? Sure. Ask anybody who saw the plainclothesman last night. Yeah, ask that girl. She saw us on TV last night. I'd like to ask her a lot of things. Like what? About the kidnapping. Sheriff, there wasn't no kidnapping. She asked us for a lift and we gave it to her. Well, until I question her, we'll. We'll just forget the kidnapping charge, huh? Thanks a lot. But you can make it easier on yourself if you cooperate with us about that bank robbery. You must be kidding. I don't. Kidding. Now, let's have the story. Look, I told you, we're actors. Yes. Oh, yes. Well, then act. What? I've got plenty of time. You say you're actors, will go on, act. Will you believe us if we prove that we're actors? Well, I'm not making any promises. The burden of proof lies with you. Hey, Joe. Joe, let me. I'll prove it to him. Remember that closing speech in the playing clothesman that got me the Emmy? All right, you listen to me, copper. You put the roust on me for the last time, I hate cops. I was born hating cops, and cops ain't done nothing all my life to make me like them. I've always promised myself that someday I'd kill me a cop. And today's the day. Will you shut up? Let him go on. I believe him. Well, I believe every word he said. Oh, go on, boy. What are you gonna do after you kill your cop? That's all. That's the end of the speech. So you hate cops, huh? Well, that makes us even, because I hate punks. Now, wait a minute. Wait a minute. He didn't mean that he was acting. He convinced me. That he's an actor? No, that he's a bank robber. All right, listen. Now, if you don't understand Charlie's acting, you listen to this. It's a different kind of acting. Oh, what a rogue and peasant slave am I. Is it not monstrous that this player here, but in fiction and a dream of passion, could force his soul so to his own conceit? And all for nothing. For Hecuba. What's Hecuba to him? Or him to Hecuba, that he should weep for her? Well, now, who's this Hecuba? Oh. Oh, of course. Hecuba's that broad that swiped that motorcycle. That was from Hamlet, Act 2, Scene 2. That was. Oh, that was acting, all right. Now, are you ready to talk about that bank job? Look, once more, real slow. We don't know nothing about no bank job. Well, like I said, we got plenty of time. While we're waiting for you to make a confession on that bank, Robbie, maybe we can find some other charges against you. Oh, but this is crazy. What charges? Well, I don't know yet. I know better. After the lineup. Lineup? Yeah, a couple of acting fellas like you claim to be. Oh, my. You ought to enjoy the lineup. I'll put you up there on the stage with the footlights on you, and I'll give you an order. Look, you don't have to do that. That girl, she knows who we are. Ask her. I can't not know we pick her up. But it'd be nice to have her in the lineup too. Now, wouldn't the boys. Yeah. That add a little sex appeal to your show? Sam? Yeah, chief? Got anything on that girl yet? Yeah, Chief. Just came in a couple minutes ago. Oh, they got her. We might say they have. Found her an hour ago in a gully north of Greenville. Oh, she didn't get far then? Far enough. She's dead. Dead? Yeah. Guess she didn't know too much about driving a sickle skidded the thing right through the guardrail last night. Well, thank you, Sam. You hear that, boys? Yeah. You gotta believe us. I don't gotta do anything. You gotta get a new alibi. In a moment, we continue with the fourth act of suspense. What bothers you most about a cold? For me, it's the choked up, congested feeling. In fact, science now says to clear away most cold miseries. Clear away congestion. Sinus congestion that causes headaches. Nasal congestion that shuts off breathing. Throat phlegm with its choking discomfort. Bronchial irritation that starts coughing. Yes, to clear away those cold miseries, clear away that congestion. And now there's a specialized new medicine to do that fast. Four way liquid cough and cold medication. Taken as directed with the first dose. Feel sinus pressure and headache. Clear. Feel runny nose. Dry and open up. Breathe freely. Sore throat is soothed. Cough eased. Yes. Four way liquid clears away cold congestion and clears away worst cold miseries. Working through the bloodstream, it reaches all those congested areas because it's liquid relief comes fast. So to clear away cold suffering, clear away congestion with new four way liquid cough and cold medication. Get it today, only 98 cents. And now, starring Charles McGraw and William Conrad. Act four of two for the Road. All right, get up there on the platform. Stretch out there arm's length apart. Hit the lights. Wow. Wow, they're bright. Yeah, I could use some scrimps. Okay, Sheriff, we're ready here. How are we gonna get out of this, Joe? I don't know, Charlie. I don't write the scripts, I just act in them. All right, folks, will you please come in? Now, that's it, folks.

[Lead Female Actor]

Just take a chair there anyways.

[Narrator/Lead Male Actor]

Right there. That's all right. Just sit down right there now. That's it. Now, we're holding these men to suspect. Any of them look familiar to you?

[Lead Female Actor]

I don't know about that.

[Narrator/Lead Male Actor]

Do you? Well, it's. It's hard to say, Sheriff. The holdup happened so fast. Well, maybe if you heard them speak. What was it that the gunman said to you? This is a stick up. Don't move and nobody will get hurt. Something like that. All right, you men. Now you men up there. Let me hear each one of you say that. That this is a sticker. Don't no one move and you won't get hurt. Me? This is a stick up. Don't no one move and you won't get hurt. Next. This is a stick up. Don't no One move and you won't get hurt. Yes. Next man. This is a stick up. Don't know and move and you won't get hurt. Last man. This is a stick up. Don't know and move and you won't get hurt. That's him.

[Lead Female Actor]

That's him. I'll never forget that voice as long as I live. I couldn't see him, of course. It was pitch dark.

[Narrator/Lead Male Actor]

In the bank?

[Lead Female Actor]

No, in my bedroom. He crept in through the window and he stood over my bed and I could hear him breathing. And then he spoke. He didn't say those words, of course. And then I screamed.

[Narrator/Lead Male Actor]

Yes. Well, you can testify to that in court.

[Lead Female Actor]

Oh, yes.

[Narrator/Lead Male Actor]

Well, thank you, Mrs.

[Lead Female Actor]

It's Miss. Ms. Freilinghouse.

[Narrator/Lead Male Actor]

Oh, I see. Well. Well, thanks, ma'. Am. Yes. Now, Mr. Johnson, about the bank robbery. Well, I. I'd like to hear that second man again. Okay, you, number two, speak your piece again. Just stick up. Don't know. One move and you won't get hurt. Well, Mr. Johnson? Yes, I'm fairly sure that's the voice. He was the only one who spoke. That other one there stood by the door and covered him. He was the one who shot the teller. Yes. Yes, I'm positive. Now, there's no doubt about it. They're the ones. Good. I want to thank you folks for doing your duty as citizens, taxpayers and voters. Take them back to jail. Book them. Well, boys, I guess we can stop the play acting. You ready to confess? We haven't got nothing to confess, Sheriff. Where? You heard the people. Mr. Johnson will testify in court that you stuck up the bank and we got you on a breaking, entering and attempting. I wouldn't go near an old bag like that if I was alone with her in a desert. Of course, they seen us before and they heard us before every week on a TV set. I'm satisfied with the identification and the court will be too. But I'd like to save the county a lot of time and money. And you can make it a lot easier on yourself by just giving me a full confession. You can save yourself a false arrest suit by letting us go on your own. Say so. No. You got our fingerprints. Why don't you send them to Washington? We don't need to help the FBI in this county. We solve our own crime. Excuse me, Sheriff. Yes, Sam. They just brought in body. That girl. Here's her purse. Guess there's no doubt she was the one who drove a getaway car. She was carrying $2,500 of the bank's money. In this purse, see? That's one third of the store of money. What'd you do with your cut, boy? Oh, knock it off. Hey, wait. Wait a minute. Look, Joe. What? Our wallets. Look, she had our wallets in her purse. Your hands off that stuff. Well, well, look at them, Sheriff. You'll find our driver's licenses and all sorts of ID Cards. This is Joe Harris. That won't prove a thing. You've been identified by the victims. Oh, but, Sheriff. Yes? Your wife's outside. Chair. Well, tell her I. Jack. Oh, no, that wouldn't be any good. I'm afraid not, sir. She's on her way in.

[Lead Female Actor]

Elmo, why didn't you tell me you were entertaining celebrities? Clara Belle Frohling hasn't called me. Oh, poor thing. She's all confused. When she was down here, she was sure she'd seen him somewhere before. And after she got home, she realized where on tv. Well, aren't you going to introduce me?

[Narrator/Lead Male Actor]

Now, look here, Ellie, I'm very busy.

[Lead Female Actor]

Oh, don't bother. I'd recognize him anyway. You're Joe Harris.

[Narrator/Lead Male Actor]

That's right, ma'. Am.

[Lead Female Actor]

And you're Charlie Bloom.

[Narrator/Lead Male Actor]

Yes, ma'. Am.

[Lead Female Actor]

Oh, my. This is an honor. Here, Elmo. Elmo, give me a piece of paper and a pencil.

[Narrator/Lead Male Actor]

Yes, you, Honor.

[Lead Female Actor]

There. Now, would you please give me your autographs?

[Narrator/Lead Male Actor]

I'd be delighted. You don't know how delighted, ma'. Am.

[Lead Female Actor]

Well, what brings you to our fair city?

[Narrator/Lead Male Actor]

Your husband.

[Lead Female Actor]

Why didn't you tell me, Elmo? We could have had a parade and a civic celebration. Hope it's not too late for an impromptu reception at least.

[Narrator/Lead Male Actor]

I'm afraid we couldn't make it, ma'. Am. You see, we're under arrest.

[Lead Female Actor]

Arrest? What for?

[Narrator/Lead Male Actor]

Your husband thinks we're bank robbers, ma'. Am. He wants to send us to prison for the rest of our lives.

[Lead Female Actor]

Elmo, have you lost your mind? Don't you know that these two gentlemen are famous actors?

[Narrator/Lead Male Actor]

Not until now. We tried to tell him.

[Lead Female Actor]

Do you want to make yourself the laugh in stock of Jackrabbit County? And just before election, too.

[Narrator/Lead Male Actor]

No.

[Lead Female Actor]

Well, you let them go this instant.

[Narrator/Lead Male Actor]

But, Ellie, how can I be sure?

[Lead Female Actor]

Just take my word for it. Oh, honest, I don't know what'd become of you if it weren't for me.

[Narrator/Lead Male Actor]

Yes, Ellie. Well, boys, here's your wallets. I guess you can go.

[Lead Female Actor]

Oh, my goodness. I don't know how I can make this up to you, but I'd be tickled pink if you'd come out to the house. For supper?

[Narrator/Lead Male Actor]

Why, thank you, ma', am, but we're in sort of a hurry. Yeah. You see, we got to make a picture in Hollywood and we're a little late.

[Lead Female Actor]

Well, don't forget us.

[Narrator/Lead Male Actor]

I don't think that's possible, ma'. Am.

[Lead Female Actor]

And when you come back again this way, do drop in to see us.

[Narrator/Lead Male Actor]

Yes, ma'. Am. We'll think about that, ma'. Am. We'll think a long time about that. Suspense in which William Conrad and Charles McGraw starred in Two for the Road, written, produced and directed by William N. Robeson. In just a moment, the names of the supporting players and a word about next week's story of suspense. Of all baby filters figure out filters best Kent filters best it makes good sense when you smoke Kent Kent filters best of all of the brands of cigarettes Kent tastes the best Kent tastes the best A richer taste than all the rest Kent filters best. It makes good sense when you smoke Kent of all eating filter cigarettes Kent filters best. Supporting Mr. Conrad and Mr. McGraw in two for the road were Paula Winslow, June Foray, Howard McNear, Evan Thompson, Barney Phillips, Sam Pierce and Jack Cruchen. Listen. Listen again next week when we return with another tale well calculated to keep you in suspense. Every Sunday night, Mitch Miller stars on the CBS Radio Network. Sam. From hollywood, the NBC theater presents. Screen Directors Playhouse production the Killers. Director Robert Siodmak stars Burt Lancaster, Shelley Winters. The Hollywood screen Directors present a postscript to Murder the Killers, starring Bert Lancaster and Shelly Winters. And introducing the director of the film, Robert Siodmak. It's not always necessary to have lived a fabulous life in order to create fabulous motion pictures. But in the case of our guest screen director tonight, it most certainly has helped. At 19, he was a seasoned Shakespearean actor. At 20, director of the Dresden, Germany stock exchange. At 21, rich. At 23, broke again. At 24, he launched the brilliant motion picture career that was to bring him to Hollywood, the director of such thrilling films as Dark Mirror, Spiral Staircase and tonight's story, the Killers. Ladies and gentlemen, Mr. Robert Siodmac. Thank you. Thank you. Hollywood has given the world two kinds of motion pictures which are typically American. They are the western and the gangster films such as the Killers. This is not to say that America is a country of gangsters, us anymore to the country of cowboys. It means only that America has created a new and fascinating kind of entertainment. Such is our story. That instant is drama. Now here it is, the Killers, starring Burt Lancaster in his original role of Swede. And Shelley Winter as Kitty. Sweet. Hey, Sweet. Sweet. It's me, Nick. It's Nick. What are you doing? Laying down Sweet. You sick? No. Listen, Sweet. I was down in George's Diner when two hard guys came in looking for you. They said they were looking for you. To kill you. I know. Then what are you laying here for? There's nothing I can do. Don't you want me to go and see the police? That wouldn't do any good. Couldn't you get out of town? I'm through with running away. But why? Why do they want to kill you? I did something wrong once. Thanks for coming. I just thought. Well, okay. But they're coming looking for you, Sweet. They're coming looking for. Sa. He did something wrong once. What? A gas station attendant murdered in an out of the way town called Brentwood. Allowing himself to be murdered helplessly and without complaint. Submitting to extermination. Why? Why does a man come to such an abject end? Headquarters put me on the case because I had some college criminology. And because I'd known Swede the victim back in the old days. This isn't the story of how we got Swede's killers. That's routine police work, and you've heard that story a thousand times. What brings a man to such an end as Swede's? That's the important personal story. And this is it. One by one, we rounded up people who'd known the Swede. Some of them on the level. One who wasn't on the level was a gunsel named Blinky Franklin, who knew the Swede when give Blinky. Well, let me see. Ten years ago, Swede had just knocked Soldier Burns for gool. See, that put Swede right up there as a contender for the light heavyweight championship. Well, after the fight, I took Swede over to Jim Colfax's apartment where a big party was going. Kitty Collins, Jim's girl, was singing over the piano right away. I see that the Swede's interested. So I waited for Kitty to finish his song. And then I brought the Swede over to meet him.

[Lead Female Actor]

I loved him so but there I go tonight Tonight I must forget no more memories Swing out tonight I must forget Music, maestro, please.

[Narrator/Lead Male Actor]

Hey, Kitty. Kitty.

[Lead Female Actor]

Oh, hello, Blinky. I don't see you beating your palms.

[Narrator/Lead Male Actor]

Look, look, Kitty. I want you to meet Sweet Anderson. Sweet's a coming light, heavy champ.

[Lead Female Actor]

Oh, how do you do?

[Narrator/Lead Male Actor]

Hello, Kitty. You two make yourself acquainted. I want to talk to some of the boys.

[Lead Female Actor]

So you're the next champion, Mr. Anderson.

[Narrator/Lead Male Actor]

Do you like the fights?

[Lead Female Actor]

I'm afraid I never saw one.

[Narrator/Lead Male Actor]

No kidding.

[Lead Female Actor]

I can't bear brutality. The idea of two men beating each other to a pulp makes me ill.

[Narrator/Lead Male Actor]

Well, I don't get hurt.

[Lead Female Actor]

You're unusual.

[Narrator/Lead Male Actor]

Then I'll go into some other racket before I let them knock me punchy.

[Lead Female Actor]

Really? Look, it's too bad Jim is out of town. He'd like to speak to you.

[Narrator/Lead Male Actor]

Who's Jim?

[Lead Female Actor]

Jim Colfax. He owns this apartment.

[Narrator/Lead Male Actor]

Oh. Why would he want to see me?

[Lead Female Actor]

Oh, he has lots of irons in the fire. I'll arrange it for you.

[Narrator/Lead Male Actor]

Well, thanks. That's.

[Lead Female Actor]

Well, Miss Kitty, remember.

[Narrator/Lead Male Actor]

I remember.

[Lead Female Actor]

Well, don't forget. I'll see you at the fight sometime.

[Narrator/Lead Male Actor]

2, 3, 4. Sweet. Get up, Sweet.

[Lead Female Actor]

Get off that camera.

[Narrator/Lead Male Actor]

The Swede was finished. He'd broken his hand badly in that fight. He'd never fight again. For a while, I didn't see the Swede. Then one night I was in Lou Tingle's Arena Cafe. I'd been given a tip on some hot jewelry. And sure enough, there was some of it walking in on Kitty Collins dress. Swede was with her. Looking very pretty. Prosperous indeed. I let him sit down. Then I walked over, trying to make it look like a social visit. For a while, anyway. Redden. How are you, boy? Hello, sweet. Kitty, you know Sam Redden.

[Lead Female Actor]

Yeah, I know Sam.

[Narrator/Lead Male Actor]

You're looking pretty sharp, Sweet. That numbers racket really pays off. Boy, you know everything. Say, that broken hand was the best thing ever happened to me. Well, how are you, anyway? What's on your mind, Sam? That diamond brooch Kitty's wearing.

[Lead Female Actor]

What are you talking about?

[Narrator/Lead Male Actor]

Grand larceny and hot jewelry. Do you mean to tell me that brooch was stolen? Let's take a ride downtown, Kitty. Now, wait a minute, Sam. Swede, is this a pinch?

[Lead Female Actor]

Don't let them take me.

[Narrator/Lead Male Actor]

You can't do this, Sam. You're not going to stop me, are you, Sweet? Look, Let you and me go someplace and talk, huh? Look, Swede, if your girl happens to be a shoplifter, I'm sorry about it.

[Lead Female Actor]

It's not true, Swede. I didn't take it. Who had no idea it was stolen? Make him listen, Sweet. I'll give it back. I'll leave town. But don't let him take me, Sweet. Please. They'll throw the book at me.

[Narrator/Lead Male Actor]

Look, Sam, you don't want. Kitty, I swipe that stuff. I'm the one you're after. Get me? Okay, I get you, if that's the way you want it. Yes, Sam, that's The way I want it. I pleaded with him to tell the truth, but he stuck to his story, and it got him three years when he got out. Blinky Franklin met him and took him up to a room in a midtown hotel. Where Big Jim Colfax and some of the boys were working on the biggest payroll job of Jim's career. Kitty Collins, the girl for whom Sweet had served three years, sat on a trunk knitting. I. I guess you know everybody here, don't you, Sweet? Welcome back, Sweet. Hello, Jim. There's Dum Dum over there grousing around. Oh, yeah, of course, you know Kitty.

[Lead Female Actor]

Hello, Sweet.

[Narrator/Lead Male Actor]

Didn't hear from you much in prison, Kitty.

[Lead Female Actor]

I'm not much for writing. You know that.

[Narrator/Lead Male Actor]

I know it. Now, let's get started, huh, boss? What's a new pitch? Pull up a chair, Sweet. Now, this is big. It's the Prentice Hat Factory payroll over in Hackensack. We walk in as workers tomorrow morning and lift the roll. I'll give you the details in a minute. After the stick up, we split up and meet again on the Halfway House tomorrow night on Route 1. Halfway House, Route 1. How much is in it for us? It ought to be good for $250,000. Not bad. Split how? I'll take the first hundred grand. You can divide the rest three ways. Who declared you in for the big slice? I declared myself. What about Kitty? Kitty's with me. What do you mean, Kitty's with you?

[Lead Female Actor]

Don't start anything now, Swede.

[Narrator/Lead Male Actor]

What do you mean, she's with you? I spent three years in stir for a robbery she done. What are you trying to give me? She's with you. You want a blueprint, Sweet? All right, I'll give you a blueprint.

[Lead Female Actor]

Shut up, Jim.

[Narrator/Lead Male Actor]

You'll keep your mouth shut if you don't want it slap shut. You put a hand on Kitty, Jim, you just try. Well, keep out of it, Sweet. Kitty's Jim's girl now. Get out of my way, Blinky.

[Lead Female Actor]

Mind your own business.

[Narrator/Lead Male Actor]

This is my business, you crazy, Swede. What did you hit him for? I'll kill you for that, Swede. Reach for your gun and I'll kick your brains.

[Lead Female Actor]

Cut it out, both of you. Cut it out.

[Narrator/Lead Male Actor]

Why, you dumb palooka. Give me a hand, Blakey. Yeah, yeah. I ought to give you the work, Sweet. Anytime you say, Colfax. I got a job to do tomorrow. Tomorrow morning at 8 is the full pitch. Now, Calling all cars. All cars, watch roads leading from Prenish Hat Factory in Hackensack. Armed hold up by at least Three men leaving. Hold up. Seen in three separate cars. All cars proceed to Prentice Hat Factory at once. All cars. Calling all cars. Calling all cars. You are listening to the Hollywood screen Director's presentation of the Killers, starring Bert Lancaster and Shelly Winters. And introducing the director of the film, Robert Siodnak. This is the concluding program in the present series. Beginning July 1st, the Screen Director's Playhouse will be heard on Fridays at 9pm Eastern Daylight Saving time. Under the sponsorship of Pabst Blue Ribbon Beer. The opening program in the new series will star Cary Grant in Mr. Blanding's Builds His Dream House. Remember the time July 1st and each Friday thereafter at 9pm Eastern Daylight Saving time. We invite you to be with us then. And now back to the second act of tonight's production of the Killers. Who is it?

[Lead Female Actor]

Kitty. Quick, let me in. Sweet.

[Narrator/Lead Male Actor]

What'S the matter?

[Lead Female Actor]

Close the door. Sweet, I'm gambling my life coming to you like this.

[Narrator/Lead Male Actor]

What's the matter? What's wrong?

[Lead Female Actor]

Colfax is going to double cross you.

[Narrator/Lead Male Actor]

Go on. A double cross?

[Lead Female Actor]

They aren't going to Halfway House. After the robbery. You'll go there, but they'll be someplace else and so will the money.

[Narrator/Lead Male Actor]

Why are you telling me this? You're Jim's girl, Sweet.

[Lead Female Actor]

I can't let them double cross you after you took that Three Year Wrap for me.

[Narrator/Lead Male Actor]

Is that the truth?

[Lead Female Actor]

So help me, sweet, it's the truth. They're gonna meet at that old farmhouse on the North Turnpike.

[Narrator/Lead Male Actor]

They are, huh? They are. Thanks for putting me wise. Kitty.

[Lead Female Actor]

What are you gonna do?

[Narrator/Lead Male Actor]

I'm gonna do them like they mean to do me.

[Lead Female Actor]

Don't give me away, darling.

[Narrator/Lead Male Actor]

Don't you worry, baby.

[Lead Female Actor]

You know why Jim hates you like he does. Because of me, Sweet. He. He knows how it really is between you and me.

[Narrator/Lead Male Actor]

Oh, Kitty. Kitty. Why did you ever go back to him?

[Lead Female Actor]

I don't know. Maybe because I hate him. I'm poison, Sweet. Poison anyone I really love. I don't care if I hurt Colfax.

[Narrator/Lead Male Actor]

Kitty. Kitty. You're not going back to him again. You're leaving with me tonight after I handle Colfax at the farmhouse.

[Lead Female Actor]

I love you, Sweet. Hold me.

[Narrator/Lead Male Actor]

I'll come back tonight. We'll go to Atlantic City.

[Lead Female Actor]

Hold me, darling.

[Narrator/Lead Male Actor]

Just the two of us. You and me.

[Lead Female Actor]

Yes, darling, yes. Hold me tight. Tighter, darling. Tighter.

[Narrator/Lead Male Actor]

Boys, I'm tired of waiting for Swede to show up. I'll just take my money now. Shove me the suitcase. Dum Dum. Let's start counting. Okay by me, boys. Start counting. Jim, so I can start counting. Okay, boys. Hold it. Sweet. What's the idea? Get your hands up. All three. You're reaching for trouble, Swede. Swell idea you guys had, huh? Leave me to cool my heels at the Halfway House while you split the dough. Here. You were told of the change. That's why you're here. Shut up. I'll take that suitcase. Thanks, boys. Don't move. Next time play it straight. Come on, Anthony. All right. Stop it. The more you're done as soon as you come out of the door. Dirty, double crossing rat. He'll get paid off. Dum dum but good. Swede and Kitty escaped to Atlantic city with the $250,000. They stayed there for several days. Then. Well, a woman named Queenie, a chambermaid at the hotel where they stayed, supplied us with the rest of that episode. Queenie?

[Lead Female Actor]

I. I was on night duty turning down the beds.

[Narrator/Lead Male Actor]

When I got to his room, 1212. I heard something smash inside. I went in and. That poor young man was a sight to behold.

[Lead Female Actor]

I'll never forget it. There he stood, a wild look in his eyes, half crazy, holding a splinter chair in his hand. Just as I came in, he threw.

[Narrator/Lead Male Actor]

It at the dresser mirror.

[Lead Female Actor]

Then he just stood there like a big hurt kid.

[Narrator/Lead Male Actor]

This was awful. She's gone. Oh, sir.

[Lead Female Actor]

You mustn't carry on like that, sir.

[Narrator/Lead Male Actor]

She's gone. Where did she go?

[Lead Female Actor]

You mean the lady came here with you?

[Narrator/Lead Male Actor]

She's gone. She went out this morning with a suitcase case. Suitcase? The laundry, she said. She's gone. I'm going to. I'm going to. Please, sir. Oh, not the wind. Not the window. Please. Take your hands off. Please. Please don't let go. Please. Don't jump. Let go with me. Let me go.

[Lead Female Actor]

Please.

[Narrator/Lead Male Actor]

Don't do it, mister.

[Lead Female Actor]

If you do that, you'll never see.

[Narrator/Lead Male Actor]

The face of God. I wouldn't die.

[Lead Female Actor]

You was burned in hell till the end of time.

[Narrator/Lead Male Actor]

I would have die.

[Lead Female Actor]

I wouldn't die.

[Narrator/Lead Male Actor]

Oh, no. Not that way.

[Lead Female Actor]

Come over here.

[Narrator/Lead Male Actor]

That's better. There.

[Lead Female Actor]

Now, lie down.

[Narrator/Lead Male Actor]

Kitty. There. Kitty. Give me Dr. Wy's room. Right away, please. Swede never saw Kitty again. For six years, Swede Anderson dropped out of sight. Then one day, a heavy, sleek convertible rolled up on the gravel of a gasoline station in Brentwood, New Jersey. Good evening, sir. Filler up? Yeah, I guess so. Bud, do you usually take ethics, Ethel? Yeah. Yes, Swede. Ethel. I must look Swedish. Everyone calls me Swede. This town got a name? Yes, sir. Yes, sir. What is it? Brentwood. Brentwood. Yes, sir. Yes, sir. Brentwood, huh? Yes, sir. Swede. The next night, the killers came to Brentwood, and Swede lay on his bed, numbly awaiting his fate. I did something wrong once. In someone's opinion. A blast of gunfire corrected that wrong. Swede had double crossed Colfax, taken a quarter of a million dollars from him, and then Kitty had taken it from Swede. It took some doing for us to get the details, but we got him. But not the final details. We needed Kitty for that. We got Kitty. I found her singing in a Plushie nightclub, and I made a date to meet her there. After the last floor show, at a corner table, I told Kitty some of what we already knew about Sweden. Apprentice hat. Hold up. Then I popped the $250,000 question.

[Lead Female Actor]

What makes you think I've got that money?

[Narrator/Lead Male Actor]

Sam, we got Blinky Franklin. Blinky? Frank, there's a chambermaid in Atlantic City who remembers your face from pictures we showed her. And I've just had a talk with Jim Colfax.

[Lead Female Actor]

You've seen Jim?

[Narrator/Lead Male Actor]

He's mighty provoked about your skipping out with all that money.

[Lead Female Actor]

You told him I took it.

[Narrator/Lead Male Actor]

He's mighty provoked.

[Lead Female Actor]

Look, Sam. Suppose. Suppose I raise 70,000 of the missing money. Uh, Sam, I've turned over a new leaf. I've got a home now and a husband. I'm leading a life that's worth fighting for. Sam, what can I do to save something out of that life? Tell me.

[Narrator/Lead Male Actor]

Turn state's evidence?

[Lead Female Actor]

What do you want to know?

[Narrator/Lead Male Actor]

Who planned the robbery.

[Lead Female Actor]

Jim Colfax.

[Narrator/Lead Male Actor]

Say that in court?

[Lead Female Actor]

Yes.

[Narrator/Lead Male Actor]

After you took the money and left Swede flat in Atlantic City. How did you get rid of Jim Colfax?

[Lead Female Actor]

I. I staged a fight with him two days later and walked out on him, too.

[Narrator/Lead Male Actor]

And you were in the clear because nobody knew you'd been with us. Sweden. Taking his money away from him. Lovely girl.

[Lead Female Actor]

Sam, can't we go somewhere else and finish this talk?

[Narrator/Lead Male Actor]

Where?

[Lead Female Actor]

Well, how about your apartment?

[Narrator/Lead Male Actor]

Sold.

[Lead Female Actor]

I'll go powder my nose and get out of this costume. Don't go away, will you?

[Narrator/Lead Male Actor]

I glanced over toward the entrance, and there they were. Death and his twin brother. And they were coming my way. I'd never seen them before, but I knew who they were, the killers. Their faces were empty of everything except that blank cruelty of the professional murderer. When I saw the long, vicious revolvers come up at me out of their coats, I didn't hesitate. I slid under the table fast and started shooting. Death and his twin brother were down, and I jumped up and made A beeline for Kitty's dressing room. It was empty. The door to the outside alley was open, and Kitty, of course, was gone. But I bet I knew where. The house was. An elaborate one on the edge of town. The front door pushed open easily. Someone had gone in too fast and left it unlatched. I went in and closed the door. Whoever had come in had also alerted him. Jim Colfax was waiting for me at the top of the stairs, present. And my boys didn't get you? On the contrary, Jim. Allow me. Colfax. Better get me a doctor. Sam.

[Lead Female Actor]

Jim, what is it? Oh, Jim.

[Narrator/Lead Male Actor]

Better still, a priest.

[Lead Female Actor]

Oh, Jim. Jim, darling. I'm sorry. I love you, Jim.

[Narrator/Lead Male Actor]

I know, Kitty. It wasn't your fault. Sam. Yeah, Jim, Tell me, how'd you figure it? Look, anyone can go to the hall of Records and find out you and Kitty were married.

[Lead Female Actor]

You knew I was lying when I said I'd throw Jim over.

[Narrator/Lead Male Actor]

We know a lot of things, Kitty. I don't know why Jim sent those killers to blast the Swede. I. I had to. Swede was the only. The only one who knew that Kitty had ever had the money. Poor Swede. He never knew that Kitty brought the money straight back to you. You two framed the whole thing so you wouldn't have to split the take with anyone. You just used the Swede to pull your chestnuts out of the fire.

[Lead Female Actor]

But I didn't have anything to do with Swede's killing. No, Jim, tell him. Tell him I didn't know about those gunmen. Jim, you're dying. So why not say it? Say Kitty is innocent.

[Narrator/Lead Male Actor]

It's no use, Kitty.

[Lead Female Actor]

Say it. Say it, Jim. Say, Kitty is innocent. Say it.

[Narrator/Lead Male Actor]

It's no use, Kitty.

[Lead Female Actor]

Say it.

[Narrator/Lead Male Actor]

Say it.

[Lead Female Actor]

Say it.

[Narrator/Lead Male Actor]

He's dead. That's it. I didn't tell you a detective story full of clues and pursuit. I wanted to tell you a Swede story. There are a lot of people in the world like Swede. More sinned against perhaps than sinning. Sure, Swede was to blame for a lot of things. But who is to blame for Swede? He's gone now, despair dying on his lips. There's nothing I can do about it. I'm through with running away. I did something wrong once. Thanks for coming. What about Swede? I read something the other day. I can't forget it. It went. Any man's death diminishes me because I am involved in mankind. And therefore send not to know for whom the bell tolls. It tolls for thee. I did something wrong once. What loose the Killers on Swede? Something he did or something we didn't do? All of us. I did something wrong once. I wonder. What did we do wrong? Our stars will return in just a moment. But first, a message of interest to all our listeners. This is the concluding program in our present series. Beginning July 1st, the Screen Directors Playhouse will be presented for your enjoyment on Fridays at 9pm Eastern Daylight Saving time under the sponsorship of Pabst Blue Ribbon Beer. The first production will star Cary Grant in Mr. Blanding's builds his Dream House. So for great motion picture entertainment brought to the microphone, remember the date. July 1st. Remember the day. Friday. Remember the time. 9:00pm Eastern Daylight Saving time. Now, here again are our stars, Burt Lancaster and Shelly Winters and screen director Robert Seattle. Robert. Robert. Robert, at the beginning of the program, you said that the Killers is a typical American film. Oh, yes, it is. Then tell me something. Why. Why were you, with your European background, chosen to direct the picture? Well, it's very simple. Because I hadn't spent spent my life in America. Everything was new to me. I saw things that you don't see. Well, like what? Well, let me give you an example. When I first traveled across the United States, I came to a small town with a big sign. The sign said Coca Cola. So I said to myself, aha, I'm now in Coca Cola, New Mexico. Then I came through Burma Shave, Arizona. You know what I mean?

[Lead Female Actor]

And that's the way you became a director?

[Narrator/Lead Male Actor]

Certainly. My dear Shelley, it's merely a matter of applied ignorance.

[Lead Female Actor]

Oh, no, it isn't, Robert. It's a matter of talent and skill and cultural experience. And I guess being born in Europe is kind of an asset.

[Narrator/Lead Male Actor]

Oh, please. I wasn't born in Europe. My first years, I spent the United States. No kidding. Well, what's your hometown? Why, can't you tell by my accent? Well, Robert, forgive me, but no. Somehow I just can't place it. Well, I tell you. Memphis, Tennessee.

[Lead Female Actor]

You were born in Memphis?

[Narrator/Lead Male Actor]

Well, certainly. Listen, I'll prove it to you. Good night, you all. Good night, Colonel.

[Lead Female Actor]

Good night.

[Narrator/Lead Male Actor]

And good night to you. Bert Lancaster, Shelly Winters and Robert C. Odman. Mark Hellinger's the Killers was presented to the curtain courtesy of Universal International Studios, who will soon release Calamity Jane and Sam Bass, a Technicolor production, starring Yvonne DiCarlo and Howard Duff. Burt Lancaster will soon be seen starring in his own Norma production of the Hawk and the Arrow, soon to be released by Warner Brothers. Robert Siodmak's forthcoming release is the Hal Wallace production for Paramount. Thelma Jordan. Shelley Winters will soon be seen in Take One False Step, a Universal International picture co starring William Powell. Robert Siodnak appeared through the courtesy of Universal International Studios, who will soon world premiere the picture Illegal Entry, starring Howard Duff, Martha Torren and George Brent. Included in tonight's cast were Sam Edwards, Tony Barrett, Frank Gerstel, Bill Conrad, Gwen Delano, Clark Gordon and Dan Riss. The Killers was adapted for radio by Milton Geiger and original music was composed and conducted by Henry Russell. Production was under the supervision of Howard Wiley. Associate producer Bill Karn. Your announcer has been Frank Barton. Listen again when Screen Director's Playhouse returns to the air on Friday, July 1st at 9pm Eastern Daylight Saving Time. Remember, screen director's playhouse production Mr. Blanding's builds his dream house. Director HC Potter. Star Cary Grant. Date Friday, July 1st. The NBC Theater came to you from Hollywood. 30 minutes of melodies follow now on American Album of Familiar Music. Then listen for Take it or Leave it with Gary Moore and Horace Heights Original Youth Opportunity Program. All three follow immediately on most of these NBC stations. This is NBC, the National Broadcasting Company. We just heard ava Gardner, Edmund O', Brien, Burt Lancaster, William Conrad and Charles McGraw, plus an old Time radio recreation of the killers that will do it for this week's show. Thanks so much for joining me. I hope you'll be back next week. I'll be coming to you a day early since Thanksgiving in the US is right around the corner. We'll close out our November month with one of the greats, Double Indemnity. In the meantime, you can check out down these Mean Streets, my Old Time Radio Detective Podcast. New episodes of that show are out on 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 meanstsotr now goodnight until next week when we'll hear Double Indemnity and three of its stars, each of them appearing in a tale well calculated. To keep you in 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. Neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.