Episode 430 - Stars of "Miracle on 34th Street"

Summary

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Podcast Summary: Stars on Suspense (Old Time Radio)

Host: Mean Streets Podcasts
Episode: 430 - Stars of "Miracle on 34th Street"
Date: December 4, 2025

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Episode Overview

This episode of Stars on Suspense celebrates the legendary cast of the beloved holiday film Miracle on 34th Street by featuring its stars—Maureen O’Hara, Edmund Gwen, and John Payne—in classic episodes of the radio mystery series Suspense, followed by a radio adaptation of Miracle on 34th Street itself. The show takes listeners through tales of chilling suspense and heartwarming holiday magic, tying together iconic Hollywood performances from the golden age of radio and film.

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Main Themes

• Showcasing Miracle on 34th Street cast in darker, suspense-filled radio dramas
• Exploring the versatility and star power of classic Hollywood actors
• Revisiting the timeless holiday spirit through a beloved radio adaptation

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Segment Breakdown and Key Insights

1. Opening and Introduction

[00:55-03:43]

• The host introduces a holiday-themed series, beginning with Miracle on 34th Street, highlighting the main cast: Edmund Gwen (Kris Kringle), Maureen O'Hara, John Payne, and Natalie Wood.
• The film’s legacy is briefly discussed, along with its award-winning status and accessibility for modern audiences.
• Outline of the episode: three Suspense episodes featuring the film’s stars, followed by a Lux Radio Theatre adaptation of the movie.

Quote:
"It’s a heartwarming comedy that still plays great, and it’s the rare classic film that has a pretty good remake…But unlike some of the other movies we’ve discussed, Miracle on 34th Street is widely available to stream. No surprise, given Christmas is only a few weeks away." — Host, [00:55]

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2. Maureen O’Hara in “The White Rose Murders” (Suspense)

[07:36-35:20]

Plot Summary

• Maureen O'Hara stars as Virginia (“Ginny”), a debutante who becomes involved in the investigation of the “White Rose Killer,” a serial murderer who leaves a white rosebud in the hands of his victims—always women fitting a specific profile.
• Ginny’s fiancé, homicide detective Terry Riley, shares details of the case with her. Driven by both love and curiosity, Ginny attempts to lure out the killer by making herself his next intended victim.
• The murderer is ultimately revealed to be her chauffeur, Edwards, who nearly murders Ginny before Terry rescues her.

Key Moments & Quotes

• [12:03]
  "And I’m a rich debutante." — Virginia / Ginny (Maureen O’Hara)

• [13:00]
  "It’s a rose. A white rosebud. Death rose. Puts it into each victim’s hand after he kills her." — Terry

• [31:42]
  "The White Rose Killer. But you see, I am, Miss Virginia. Driving you and your family around day after day, sitting there right in front of you all the time." — Edwards (killer reveal)

• Suspenseful narrative, atmospheric production, and O’Hara’s resourceful heroine stand out.

Notable: The episode mixes procedural detail (“How do you know it’s always him?”) with psychological tension and noir-style romance.

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3. Edmund Gwen in “The Fountain Plays” (Suspense - Dorothy L. Sayers)

[37:20-65:53]

Plot Summary

• Edmund Gwen portrays Mr. Spiller, a respectable Englishman whose old acquaintance turns to blackmail. During a confrontation by Spiller’s prized fountain, the acquaintance is accidentally killed.
• Spiller executes a meticulous cover-up, staging the death as an accident to protect himself from scandal and legal trouble.
• As Spiller congratulates himself on a perfect crime, his servant, Masters, reveals he overheard everything and demands double salary for his silence.

Key Moments & Quotes

• [39:01]
  "You and your blasted fountain. Wasting your money on a doodad." — Sam, the blackmailer
• [54:27]
  "He's alive. Gooch is alive. After all that trouble, after committing practically the perfect crime, he’s alive!" — Spiller, at the climactic moment when he must finish the job
• [64:16]
  "I think, sir, all things taken into consideration, you might find it worth your while to retain me permanently in your service at, shall we say, double my present wage for now." — Masters (blackmailing Spiller)

Noteworthy:

• Gwen’s ingratiating, anxious character anchors this darkly witty tale.
• The psychological tension and understated British humor distinguish the story.

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4. John Payne in “Two Sharp Knives” (Suspense - Dashiell Hammett)

[67:57-94:03]

Plot Summary

• John Payne stars as Scott Anderson, a small-town police chief who arrests a Philadelphia man, Furman, suspected of murder after a forged wanted circular appears.
• Furman seemingly commits suicide in his cell, but investigation reveals foul play—the wanted circular was a forgery, and Furman had been lured to town under false pretenses.
• Payne’s character uncovers that his own trusted assistant, Wally, committed the murder for a half-million-dollar inheritance tied to Furman’s estranged wife.

Key Moments & Quotes

• [73:02]
  "What am I wanted for?" — Furman
  "Murder." — Anderson
• [91:01]
  "Harry. Harry." — Mrs. Furman, recognizing Wally’s true identity
• [93:22]
  "What got you like this, Wally?"
  "What gets most saps into jams? A yen for easy dough." — Wally (Frank McHugh), admitting his motive

Noteworthy:

• Classic hard-boiled Hammett plot with twists, moral ambiguity, and a clever denouement.
• Payne’s straight-arrow cop and McHugh’s affable, ultimately tragic Wally make a memorable pair.

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5. Lux Radio Theatre Presents “Miracle on 34th Street”

[97:22-149:34]

Cast

• Maureen O’Hara (Doris Walker)
• John Payne (Fred Gailey)
• Edmund Gwen (Kris Kringle)
• Natalie Wood (Susan Walker)

Plot Summary

• Faithful adaptation of the iconic 1947 Christmas film:
  • Doris Walker hires Kris Kringle as a department store Santa at Macy’s.
  • Kris spreads happiness by sending customers to other stores for toys Macy’s doesn’t stock, creating a sensation and a rivalry with Gimbels.
  • Doris’ skeptical daughter Susan, influenced by her mother’s realism, gradually comes to believe in Kris thanks to his kindness and Fred Gailey’s support.
  • When Kris is unfairly committed, Fred defends him in court, ultimately proving Kris' identity as Santa with help from the US Postal Service.
  • Ends with Susan’s Christmas wish for a house coming true, underscoring the film’s message about faith, goodwill, and the power of belief.

Key Moments & Quotes

• [105:51]
  "Kris Kringle. I’m Santa Claus." — Kris Kringle (Edmund Gwen)
• [140:01]
  "Do you believe in Santa Claus?"
  "I sure do. He gave me a brand new sled last year." — Tommy Mara Jr.
• [144:34]
  "Every one of those letters and every one of those mail sacks is addressed to Santa Claus. The post office department has delivered them. Therefore, the post office department recognizes Kris Kringle to be the one and only Santa Claus." — Fred Gailey
• [146:46]
  "Faith is believing in things when common sense tells you not to." — Doris, passing on Fred’s wisdom to Susan

Noteworthy:

• The radio adaptation retains all the heart, wit, and tenderness of the original film.
• Standout performances, especially Gwen’s as Kris Kringle and Wood’s earnest Susan.
• The story’s themes resonate: kindness, magic, and faith over cynicism.

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Notable Quotes (with Timestamps)

• "It’s a rose. A white rosebud. Death rose..." — Terry (Maureen O’Hara’s co-star), [13:00]
• "Because you see, I am, Miss Virginia. Driving you and your family around day after day, sitting there right in front of you all the time." — Edwards (The White Rose Killer), [31:42]
• "You and your blasted fountain. Wasting your money on a doodad." — Sam (The Fountain Plays), [39:01]
• "He’s alive. Gooch is alive. After all that trouble, after committing practically the perfect crime, he’s alive!" — Spiller (Edmund Gwen), [54:27]
• "What am I wanted for?" — Furman,
  "Murder." — Anderson (John Payne), [73:02]
• "Kris Kringle. I’m Santa Claus." — Kris Kringle (Edmund Gwen), [105:51]
• "Faith is believing in things when common sense tells you not to." — Doris Walker (Maureen O’Hara), [146:46]

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Memorable Moments

• Transformation of genre: The episode juxtaposes the sunny hope of Miracle on 34th Street with radio’s noir-laden suspense tales, showing these stars’ range.
• Courtroom climax: In the Miracle on 34th Street adaptation, the iconic “sacks of letters” scene reaffirms the show's central message about belief and goodwill ([144:34]).
• Host’s wrap-up: The host invites listeners to continue the holiday film series and check out the companion detective podcast.

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Conclusion

This episode of Stars on Suspense beautifully blends holiday nostalgia, old-time radio thrills, and insightful performances from some of Hollywood’s most celebrated stars. With a balance of mystery, heart, wit, and a little Christmas magic, it’s an ideal listen for fans of classic film, radio drama, and the enduring power of belief.

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For listeners wanting to experience golden-age radio at its finest—with chills, clever plots, and genuine holiday warmth—this episode delivers on all counts.

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(Advertisements and sponsor messages have been omitted in this summary)

Transcript

[A]

The hushed voice, the prowling step in the dead of night, the crime that is almost committed, the stir of nerves at the ticking of the clock, the rescue that might be too late, or the murderer who might get away.

Mystery and intrigue and dangerous adventure. We invite you to enjoy stories that keep you in.

Suspense.

Hello and welcome to Stars on Suspense with the casts of legendary Hollywood films and old time radio thrillers. Today we kick off a new month long series of classic holiday films and their stars. And we're starting with one of the best, Miracle on 34th street, the story of a department store Santa who says he's the real Kris Kringle. It stars Edmund Gwen as the man who may be Claus, Maureen o' Hara as the Macy's employee who hires him for the store, John Payne as Ms. Oharas neighbor and would be boyfriend and Natalie Wood as Ms. Oharas daughter who's given up on Christmas magic at a very young age. The movie won three Oscars upon its release, two for the script and one for Edmund Gwen, whose turn as Kris Kringle won him an Oscar as best supporting actor. It's a heartwarming comedy that still plays great, and it's the rare classic film that has a pretty good remake, one from the mid-90s with Richard Attenborough filling Edmund Gwynn's Santa suit. Unlike some of the other movies we've discussed Recently, Miracle on 34th street is widely available to stream. No surprise given that Christmas is only a few weeks away. You can watch it on Amazon Prime Video, Disney and Hulu, and you can rent or buy it digitally. We'll hear a radio recreation of the film, but first we'll hear three of its stars in some much darker tales, courtesy of Suspense. First up is Maureen o' Hara in one of my favorite episodes of the show, the White Rose Murders, adapted from a story by Cornell Woolrich and originally aired on CBS on July 6, 1943. Then it's Santa himself, Edmund Gwen in Dorothy L. Sayers. The fountain plays from August 10, 1943. And finally, John Payne stars in another personal favorite, Dashiell Hammett's Two Sharp Knives from June 7, 1945. And we'll close with a Lux Radio theater adaptation of Miracle on 34th street from December 22, 1947. It's a show that features Maureen O', Hara, John Payne, Edmund Gwen and Natalie Wood all recreating their roles. So now let's head back to Macy's for a visit with Santa. We'll kick things off with Maureen o' Hara right after these messages.

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[B]

White tablets in the little green pocket roll? Just waiting for the moment when you need them to bring your acid indigestion.

[A]

Under.

[B]

Tums are the little white tablets in the little green pocket roll. Tums for the tummy. T u M s bring relief quicker than you'd ever guess. Best for any kind of acid distress.

[A]

Keep em handy in the pocket roll.

[B]

Keep your tummy under tum's control.

[A]

Tums are f effective and safe. Tums relieve the discomfort of acid indigestion quickly with no danger of acid rebound, sometimes caused by harsh alkalizers. Always carry Tums. 10 cents. Three roll pack a quarter new tum. Six roll pack with free metal carrier 49 cents. And now a tale well calculated to keep you in.

Suspense.

Suspense.

This is the man in black here again to introduce Columbia's program Suspense. Our star this evening is Ms. Maureen O', Hara, whom you've seen rise to stardom in Hollywood within the short space of a year. Her performances in the 20th Century Fox production How Green Was My Valley, then more recently in the Immortal Sergeant and now currently in the RKO production this Land is Mine have given her an enviable place in the ranks of America's new film favorites. Ms. O' Hara makes her first appearance on our suspense stage tonight as the heroine of a study in homicidal mania. The White Rose Murders by Cornell Woolrich, which is tonight's tale of suspense. If you have been with us before, you will know that suspense is compounded of mystery and suspicion and dangerous adventure. In this series are tales calculated to intrigue you, to. To stir your nerves, to offer you a precarious situation and then withhold the solution until the last possible moment. And so it is with the White Rose murders and the performance of Maureen o', Hara, we again hope to keep you in.

Suspense.

He stood there waiting. He knew that presently they would come out of the second rate dance hall out into the dimly lit street. He listened a while and smiled as the orchestra played that tune inside.

And then they came out, the two girls. And still he waited close enough to hear what they were saying.

[B]

Well, I'll see you at the office tomorrow, Sally. Oh, I don't know how I'll get up. It's after one o'. Clock. Six hours sleep. Oh, I'll be dead tomorrow. Me too. Oh, gosh, I gotta have at least eight hours or I'm no good at all. I wish I had someone to Walk me to the bus. It's four long blocks. I'll walk you down, Sally. Oh, don't bother. We go in different directions. It's no trouble. Really. I don't mind. Really. It's not me. Necessary.

[A]

In the narrow alley that divides the dance hall from an ugly office building, he stood smiling just a little. Inside the alley, he stood stiffly against the wall, his head back, eyes closed, arms straight down. And in his left hand, a white rose.

[B]

Well, all right then, Sally. Good night. Good night, Joan. See you in the morning.

Oh, I hope I don't have to wait long for the bus.

Who are you? Keep away. Keep away from me. Let me go. Let me go.

[A]

The girl is dead. Tenderly, the figure straightens her hair and gently places the limp body on the ground. Then he opens her clenched fist. And carefully, so that the thorns will not bruise her flesh, he places in her hand the white rosebud.

[B]

Pardon me, my good man. Is it true that you are the famous detective Terence Riley?

[A]

Huh? Oh, Jenny, I didn't see you come in.

[B]

Well, now that I'm here, how about offering to buy a cup of coffee for the girl you're going to marry? You can never get up enough nerve to ask her.

[A]

It's no use, Ginny. I guess we better call it quits. I'm just a dick on the homicide squad, and that's all I'll ever be.

[B]

And I'm a rich debutante.

[A]

We don't belong together.

[B]

Oh, you've been reading too many of those romantic stories, Terry. What is it this time? What's wrong?

[A]

They call him the White Rose Killer. He's got to be caught. It's a general demotion coming on if he isn't. And that's all I need to get back into uniform.

[B]

Oh, don't worry, darling. You always look good in blue.

[A]

Yeah, just to match the way I feel.

[B]

Tell me more about the White Rose Killer. What's he like?

[A]

That's the stumble. He. He could be anybody. No one's ever seen him except the dead. They don't talk about it afterwards. Just slips out of the shadows and kills and then slips back again.

[B]

How many has he murdered?

[A]

Four, and he's not through yet. It's going to be one of those chain things if he's allowed to keep on.

[B]

Are you sure it's always the same one?

[A]

Yeah, that part of it we're sure of. The same touch, the same way of operating every time.

[B]

How do you know that?

[A]

Well, it's a rose. A white rosebud. Death rose puts it into each victim's hand after he kills her. Her? Yep. It's always a woman. Young woman between 19 and 23.

[B]

What's behind it? Do you have any idea?

[A]

Well, I'm. I'm not sure. But here's what I figured out. You know what a rose stands for? Symbolically, I mean.

[B]

Why, yes. It's. It's the flower of love. The white rose. The bud has another meaning. Purity, loyalty, devotion. And especially, it stands for a young girl.

[A]

That's right. And that's about the way I see it.

[B]

So maybe it's a double cross committed against our murderer by some young girl whom he worshipped and who betrayed his faith in her.

[A]

You ought to be a detective. Not me.

[B]

Thanks, darling. I've got a very fine teacher.

[A]

Sweet. There's another thing. The murders were all committed near places where there was music. Dance halls and cabarets and the like. There's a song that brings back the original shock that, you know, gives him the final push over into the darkness. As far as we can figure out, it's the Beer Barrel Polka.

[B]

Well, how does he commit the murder? Is it always the same way?

[A]

Always. Strangulation. Between the hands with the thumb into the windpipe to keep his victims from crying out.

[B]

But isn't there anything else you know about him?

[A]

No. That's why it's so hopeless. He's insane, of course, but there's only this one phase to his insanity. Probably perfectly normal in appearance and behavior. You could pass him on the street and even know it. Well, it's only when he sees someone vaguely like the girl he loved and hears that song. The one defective wire in him is jangled and short circuit.

[B]

But Terry, the flowers. Don't the flowers tell you? He must get them somewhere you could trace.

[A]

We don't know where he gets them. Maybe he steals them or.

[B]

Terry, what if you were the one to get him?

[A]

Well, would mean a citation and a promotion.

[B]

And then all the things that stand between us would disappear. We could get married.

[A]

Well, the chances would be a lot better anyway. But what chance have I? Everyone in the department has been working their heads off for weeks and they've all failed.

[B]

Uh huh. Terry, what were the girls like, the ones he killed?

[A]

Well, as I told you, they were all between 19 and 23. Their heights were pretty much the same too. They were all tall girls, around 5ft 6 or 7. Little taller than you. And all dark haired.

[B]

How did they wear their hair?

[A]

Why, they say. What is this?

[B]

Oh, nothing, darling, Just. Just interested. How did they wear their hair?

[A]

Well, from what I remember, they wore it sort of loose and curly down the back.

[B]

I suppose each one had a resemblance to that long dead love of his.

[A]

That's probably it. Well, anyway, that's how the record stands. And we're all waiting for it to happen again.

[B]

I see.

Terry, I'd like to go home now.

[A]

I shouldn't have told you all that stuff. I've given you the creeps.

[B]

Oh, come on, Terry. Take me home.

[A]

Later. Jenny stands by the window in her room, looking out, thinking. She doesn't move for a long time. Then suddenly, quickly, she goes to her closet.

And begins to rummage through her many pairs of shoes. Carefully she picks one pair with three.

[B]

Inch heels, five foot six or seven.

[A]

Then she walks quickly to the dresser, opens a drawer, takes out a comb and starts redoing her hair, worn loose.

[B]

And curly down the back. Well, here we go.

Edward Edwards.

[A]

Yes, Miss?

[B]

Is the car ready?

[A]

Yes, Ms. McGinniel. I've been waiting for you.

[B]

Let's go before Mother sees me.

[A]

Your mother's been looking for you, Miss.

[B]

I hope you didn't tell her.

[A]

No, Miss Virginia, I didn't.

[B]

Good. Come on, Edward.

[A]

Where do you wish to go, Miss Virginia?

[B]

The Starlight Dance hall on Grove and Second Street.

[A]

The Starlight, Miss?

[B]

Yes, Edwards, that's the place.

[A]

I wouldn't go there unescoted if I were you, Miss. It's one of the worst places in the city. Has a very bad reputation.

[B]

The Starlight Dance Hall, Edwards.

[A]

Very good, Miss. Very good.

Jenny walks slowly around the low lighted dance hall, trying to make herself conspicuous. A tall figure leaning against a pillar watches her intently as he idly smokes a cigarette. He doesn't seem to belong there. His clothes don't have the nattiness of a dance lover. Jenny pauses not far from him. Deliberately, he throws his cigarette on the floor, steps on it and slowly walks over to her.

Hello.

[B]

Oh. Oh, hello.

[A]

You're not with anyone, are you?

[B]

Oh, no, I. I'm alone.

[A]

I thought so. I've been watching you all the time.

[B]

Have you?

[A]

I haven't seen you dance yet.

[B]

I don't know anyone here.

[A]

How about dancing with me then?

[B]

All right.

[A]

Come on, let's go out on the floor.

[B]

Do you come here often?

[A]

No, I never go to the same place twice.

[B]

You don't? Why?

[A]

I'm always looking for new faces. I'm restless.

[B]

Do you find the faces you're looking for?

[A]

Listen. Listen to that song. I like that. I like it very much.

[B]

Yes, it is a nice song.

[A]

You know, you remind Me of someone I used to know. I'm trying to think who.

[B]

I do.

[A]

Yeah. Do you mind if we stop dancing and go over and get a drink?

[B]

No, let's go.

[A]

Oh, look. They sell flowers here.

[B]

Yes, I see.

[A]

I'll get you some. What kind would you like?

[B]

Oh, any kind. You pick it out.

[A]

All right. Let's see. There's something kind of innocent and young about you. Different from most of the girls that come here.

[B]

Can't we stay here a little longer?

[A]

It's intermission now. They won't play again for 10 minutes. Come on.

[B]

But I like it here. Let's stay a little while longer, Al.

[A]

Then let's get down for some air. We can come back in a few minutes. Come on. But we'll be back before the music starts.

[B]

Oh, you're hurting my arm.

[A]

Am I? I'm sorry.

Fresh air smells good, doesn't it?

[B]

It's so dark here. Let's go back.

[A]

You're not scared, are you?

[B]

Oh, no, it's. It's.

[A]

Let's walk down this alley and back.

[B]

Please. Please.

[A]

No, you let me go. Thanks. That's a lovely necklace. Beautiful.

[B]

Why, you're just a cheap.

[A]

Shut up.

[B]

All you wanted was my necklace.

[A]

So long. Beautiful.

[B]

Look out.

[A]

What's the matter?

[B]

Behind you. Look.

[A]

Holy. She's dead. A girl murdered.

[B]

With a white rosebud in her hand.

[A]

Well, Jenny happened again last night. Just like the other times. A girl strangled in an alley and a white rose in her hand.

[B]

Any news of the killer?

[A]

No. He might just as well float through the air for all the trace he leaves.

[B]

He must have bought the flower upstairs in the dance hall. He must have been there earlier. Bought it and saved it.

[A]

There was only one rose sold up there all night. And to a man who had a different girl with him. We had the flower girl.

How did you know that they sold flowers there? I didn't tell you.

[B]

Well, I. I must have read it somewhere.

[A]

You couldn't have. It wasn't in any of the papers. No details were given. Just the statement that an unidentified body was found.

[B]

Well, I. Well, I just imagined that they'd sell flowers in a place like that.

[A]

Well, glad you don't go near those dance halls. Why would this nut running around lose.

[B]

Don't bother about that. We'd better catch this killer, and fast.

[A]

Where do you get this wee stuff? To hear you talk, you'd think that you were on the case too.

[B]

Wouldn't you think so? To hear me talk.

[A]

Again, Jenny tours the low dives hunting for the white Rose Killer.

Her search carries her to the waterfront.

And as she walks past each dingy bar, she listens to the jukebox music.

A little after midnight, she passes a dirty windowed saloon. The thin music catches her ear.

She pauses and listens, her eyes alive for some sign, some indication of the person she's looking for. Then suddenly, her body becomes rigid as her eyes fall upon a figure huddled in the shadows.

[B]

Someone's watching me.

[A]

Slowly, she starts to walk up the street.

Behind her, the heavy tread of a man's footsteps keep pace with hers.

It's a quiet tread, unhurried, but deliberate. For several blocks, it keeps the exact distance.

Jenny starts to walk faster.

[B]

I've got to know if he's really following me.

[A]

The man quickens his pace.

Jenny starts across the street. The man follows. She's sure now, sure that the man is following her. She fumbles for something in her purse. Her hand closes around a gun.

[B]

If he tries anything, I'll shoot.

[A]

You in any trouble, lady?

[B]

Oh, no, Officer. It's all right. You scared him away.

[A]

Scared who away?

[B]

Oh, just a man who wanted to bring me flowers, that's all.

[A]

Well, he brought you one anyhow, lady.

[B]

What do you mean?

[A]

Right there on the ground, right by your feet, a white rose.

Coffee, Mabel?

[B]

Sure. Coming right up.

Here you are, Terry. Terry.

[A]

Hello, Ginny. Sit down.

[B]

Thank you.

[A]

Say, what's the matter with you?

[B]

Look, darling, read the gossip column in this paper?

[A]

What? Daughter of a socially prominent family that way about a detective and waits for him outside the station house in her limousine every night, Private chauffeur and all. But Mama says no, that's not so funny.

[B]

Oh, they held a big family war council over me just now. Indian pow wow. Feathered headdress and everything.

[A]

They did, huh? Well, what'd they decide?

[B]

I was asked to give my word that I wouldn't see you anymore. I refused, of course, so I had to be exiled.

[A]

Where to?

[B]

Our summer home. It's just a few hours out of town, but I'll be there all by myself. Just with Mrs. Crosby, the housekeeper.

[A]

Oh, maybe they're right. Why don't you listen to them?

[B]

Are you on their side, too?

[A]

No.

When you leaving?

[B]

Right away. Edwards is driving me out. I just slipped out to let you know. Here's the address and phone number of the place in case you want to reach me. Don't lose it.

[A]

I won't.

[B]

Well, what's new and exciting about the White Rose Killer?

[A]

Our famous lover of flowers. We're still trying to track him down, I suppose I'll go looking for him at the flower show that's just opened.

[B]

Oh, a flower show just opened?

[A]

Yeah.

[B]

Well, goodbye now. I'll be seeing you.

What floor is the flower show, please?

[A]

Third floor, miss.

[B]

Three, please.

[A]

Third floor.

[B]

Where's the rose display, please?

[A]

To your left, over there. See where the man in the gray coat is?

[B]

In the gray coat? Oh, yes. Thank you.

They are lovely, aren't they?

[A]

Oh, you. You startled me.

[B]

I'm sorry. I was just admiring the roses.

[A]

Oh, yes, the nicest flowers here. I. I just can't keep my eyes off them.

[B]

Yes, you. You can feel that way about some flowers.

[A]

That's the way I feel about white roses.

[B]

Have you been here long?

[A]

I really don't know. I suppose so. You. You see, I've come here every day since the show opened. I like to be near the roses. White roses.

[B]

Those big ones are nice.

[A]

No, I. I like the little ones best. The little tightly curled rosebud. They're so little and innocent.

Oh, well, I. I really better be going. Are you going down?

[B]

Yes.

[A]

Down, please.

Here, miss, I. I took a rose for you.

[B]

Thank you.

[A]

It's.

[B]

It's lovely.

[A]

Would you. Would you care to have a drink with me?

[B]

Why, yes, thank you.

[A]

I know of a little place a block or two down there. They have nice music. We'll go there.

[B]

All right. Whatever you say.

[A]

This is it.

[B]

Where's the music?

[A]

A nickel in the jukebox. Does it any special song you'd like?

[B]

No. Go ahead and pick one.

[A]

Okay.

There we are.

That's my favorite song. Reminds me of a. A girl I used to know.

[B]

Oh, excuse me, I. I want to powder my nose. I'll be right back. Do you mind?

[A]

No, of course.

11Th Police Precinct, Sergeant Thomas speaking.

[B]

Hello, is Terry Riley there?

[A]

Just a moment, I'll see.

[B]

Please hurry, it's important.

[A]

Oh, sorry, Miss. Terry Riley's not here just now.

[B]

Oh, will you. Will you tell him. Tell him that I can't keep that date with him. Goodbye.

[A]

Do you always go to the phone booth when you want to powder your nose?

[B]

Why? I.

Had to make a call.

[A]

Uh huh. I'm afraid I'll have to leave you.

[B]

Oh, wait. Let me come with you.

[A]

I'm sorry, miss, but I've got other things to do.

[B]

Oh.

[A]

What's the matter?

[B]

That car. Someone that knows me. Let's get away from here.

[A]

That's just what I'm going to do. So long, lady.

[B]

Wait. Wait. Please don't go.

[A]

Miss Virginia. Miss Virginia. I'm sorry, Miss Virginia, but I must speak to you for a minute.

[B]

Oh, Edwards. What do you want?

[A]

I'm sorry, miss. You'd better come with me at once. I've been looking for you everywhere. Your mother's been taken seriously ill.

[B]

Mother? Where is she?

[A]

She's out at the country police, miss. I drove her there shortly before dinner. She wanted to pay you a surprise visit.

[B]

Oh.

[A]

I believe the shock of not finding you there upset her, miss.

[B]

Is she very bad?

[A]

She had the doctor with her when I left. Mrs. Crosby has gone away for the day. Your mother needs you, miss.

[B]

Well, let's go. Hurry, Edwards, please.

[A]

Right, miss.

[B]

Where is Mother, Edwards?

[A]

In her room, miss. You'd better hurry.

[B]

Mother. Mother, it's Ginny. Is the doctor in there with you, Mother?

Why, there's no one here. The room's empty. The bed hasn't been touched.

Edwards, what are you doing?

[A]

Merely playing a song. It's a favorite of mine.

[B]

A favorite?

[A]

Yes, Miss Virginia.

[B]

Where's Mother?

[A]

She's in the city, miss.

[B]

You lied to me.

[A]

I'm afraid I did, Miss Virginia.

[B]

Why are you locking the door?

[A]

You know why, Miss Virginia.

[B]

Can't be. You are not the.

[A]

The White Rose Killer. But you see, I am, Miss Virginia. Driving you and your family around day after day, sitting there right in front of you all the time. It was amusing to watch you hunting for me. Hunting for someone you saw several times a day.

[B]

But it can't be. You're not insane?

[A]

Of course not. Who said I was?

[B]

Edwards, you know I'm not the girl who betrayed you.

[A]

Yes, I know that.

[B]

Well, then unlock the door and let me out. Please, Edwards.

[A]

I've killed five times. I've never regretted it. I'm going to kill you, Miss Virginia.

[B]

Why, Edwards? Why?

[A]

Because you've been so clever. Too clever. You made yourself look like her. The girl who deceived me. I could have killed you the day you first went out looking for me, but I had to be careful. I almost caught you that night at the waterfront. The night I dropped the White Rose. When that police car came.

[B]

Edward, I.

I've never done you any harm.

[A]

Your sweetheart, Terry. He loves you, doesn't he?

[B]

Yes.

[A]

That's good. Because now you won't be able to deceive him like my girl deceived me.

[B]

Keep away, Edward. Keep away or I'll.

[A]

You thought you'd use your gun, eh? Well, don't think I was fool enough to overlook that. I took your gun out of your purse.

[B]

It won't do you any good to kill me, Edward. I didn't have anything to do with no.

[A]

And you're not going to have a chance to break another man's heart like she broke mine.

[B]

Terry. Terry.

[A]

It won't do you any good to call to him. He can't get in here without breaking down the door.

[B]

Keep away from me.

[A]

Carrie. It'll be too late then, because I'm going to kill you now. Jenny, where are you? Carrie, Just let me get my hands on that pretty white throat.

[B]

Keep away. Keep away from me. Terry, stop.

[A]

Jimmy. Are you all right?

[B]

Yes, Terry, I. I'm all right.

[A]

Oh. Take it easy. Here, sit down.

[B]

Oh, Terry, I was so scared. There was nobody here but Edwards and I. How. How did you know where I was?

[A]

Simple. You were supposed to meet me at the coffee shop. You never broke an appointment. And when you didn't show up, I called the number you gave me. You told me the housekeeper was here all the time. And when there was no answer, I got suspicious and came down. Besides, when I got a message down at headquarters that you had to break a date with me, I knew something was wrong.

Are you sure you're all right?

[B]

Yes, I. I'm.

Terry. Look. On the floor beside Edwards.

[A]

A white rose must have fallen out of his pocket.

[B]

That was meant for me. Oh, Terry, it's. It's all crushed.

[A]

Yeah, crushed and dead.

[B]

Just like the White Rose Killer.

[A]

And so closes the White Rose Murders, starring Maureen o'. Hara. Tonight's tale of.

Suspends.

This is your narrator, the man in black, who, speaking for Columbia, hopes you have enjoyed Ms. O' Hara's performance and our play.

Next week, because of a special broadcast and the All Star Baseball game, suspense will not be heard. But again the following week, we will be back with another play on this series and more of your Hollywood favorites. The producer of these broadcasts is William Spear, who, with Ted Bliss, the director, Bernard Herman, and Lucy and Marowick, conductor and composer, and Cornell Woolrich, the author, collaborated on tonight's suspense.

This is cbs, the Columbia Broadcasting System.

Sam.

Suspense.

This is the man in black. Here again to introduce Columbia's program Suspense From Hollywood. Tonight we bring you the noted British actor, Mr. Edmund Gwynn, the star of an unusual murder study by his distinguished compatriot, Ms. Dorothy Sayers. The story called the Fountain Plays is tonight's tale, Love Suspense, currently appearing in the metro Goldwyn Mayer Technicolor production, Lassie Come Home. Following such successes as Foreign Correspondent from the stage plays the Wookiee and the three sisters, it is Mr. Gwen's particular pleasure to embody on the stage in the Screen. The eternal middle class Englishman, the common man of Britain, and proud of it, the character Mr. Gwen portrays in our play tonight, Mr. Archibald Smith Spiller, conservative John Bull that he may be, has lately had a bit of luck. Mr. Spiller lives on a little country estate with a cook and a manservant. And in the garden, yes, a fountain. Of all these little luxuries, it is the fountain which pleases him the most. An interesting sort of hobby for such a man. A fountain. Perhaps more interesting than even Mr. Spiller himself realized at the beginning of the that memorable evening. These events were really quite unusual. And with their publication and with the performance of Mr. Edmund Gwen as Archie Spiller, we again hope to keep you in suspense.

THE FOUNTAIN plays.

Now then, Mr. Spiller, what about it? Ah, have a care of the fountain, Sam. Get wet if you stand too close. Fountain? You and your blasted fountain. Wasting your money on a doodad. It's unexpensive, Sam. It's very ingenious, really. Uses the same water over and over again, you see. Don't try and put me off. What about it? Well, I told you I'd talk to you about it later this evening. Later and later. Well, I want to talk about it now. I want a straight answer to my question. I've given you an answer. You've given me nothing but bluff and bluster. Do I get it or don't I? That's what I want to know. And if I don't. Please, please, my guests are arriving. I'll talk to you tonight. You'd better talk straight, too. It'll be your last chance, my lad. Hello. Hello there, everybody. Just in time for a cocktail. Come in, come in.

[B]

Say, we'll find you here, Daddy. I hope we're not interrupting.

[A]

Certainly not. Certainly not. You know Mr. Gooch, don't you, my dear?

[B]

Of course.

[A]

And this. This is my neighbor, Mrs. Digby. Mr. Gooch.

[B]

How do you do, Mr. Gooch?

[A]

I'm Ronald Proudfoot, my daughter's fiance. How do you do, sir? How did you do? Help yourselves, everybody. You'll find all the fixings right there on the Stone City.

Betty, you play hostess, will you, dear? All right, I'll take mine. Neat. I was just showing Mr. Gooch the wonders of my little fountain.

[B]

Oh, daddy, you do make such a fuss over that fountain.

[A]

Oh, well, even so. I always say that there's nothing quite like a bit of ornamental water to set a place off. Sort of like the Versailles gardens. What?

[B]

Oh, it's really lovely, Mrs. Pillar. And so secluded with the rhododendrons and the lilac hedge all around.

[A]

Ah, you like that, eh? You know, I was thinking of cutting out some of these lilacs. Oh, I wouldn't. Well, to make a vista, so to speak. You can't even see it from the house with these bushes on all four sides.

[B]

Well, now, perhaps that might add something.

[A]

But if you like the lilacs, Mrs. Digby, the lilacs shall stay.

[B]

Oh, Mr. Scylla, I'm no authority, I'm sure.

[A]

Well, if you want an authority, I'd say it's a mess, plaster backstop and all. A mess, see, miss? Yes, a mess.

[B]

Oh, maybe Mr. Gooch means the way the backstop arches up above the stray. It rather overshadows it.

[A]

You have to have that, you know, my dear. Prevailing winds from the south belows, the jet of wind water right out onto the grass. If it weren't for that backstop, I'd have a regular swamp over there. Wasteful, too.

[B]

Well, I'm glad I know that.

[A]

You always were a fool, aren't you? Squandering money on a fountain. Oh, no, no, no, indeed. It uses the same water over and over again. Like the ones in Trafalgar Square, you know. Most ingenious. Really.

[B]

Why, isn't that a wonderful idea?

[A]

I have to be careful, of course. Even so, I turn it off every night to save leakage and waste and so on. Same old Spiller. A proper miser if ever there was one. Well, I say now. Mr. Spiller, sir. Yeah? The dinner is served. Oh, thank you, master. Thank you. Well, what do you say? Everybody ready for a bit of dinner? Hey? Going then, chubby? Come on, let's go in. I got it. I got it. You get some.

[B]

Why, Mrs. Villa, your modest little fountain. When you're past the bushes by all at once, you can scarcely hear it at all.

[A]

Yes, quite impossible to hear it from the house. Can't hear it at all.

What is it, Masters? Will that be all then, sir? Yes, thank you, Masters. Yes, excellent dinner. My compliments to the cook, please. Yes, sir. And coffee in the drawing room. Very good, sir. Well, shall we adjourn? Shall we what? Adjourn. Go into the drawing room. What quite a tough you've become, eh, Archie? Big change from the old days. Adjourn to the drawing room.

Yes. Yeah, well, we'll all have a spot of coffee now, eh? Coffee. Is that the best you've got to offer? Oh, no, by no means. Have anything you like, old man. That's better.

[B]

What would you think, Mr. Spiller, about a rubber or two of bridge.

[A]

Oh, excellent suggestion. Splendid. Good thing I don't play, Archie. I see I'm counted out before we start.

[B]

Oh, Mr. Gooch, I'm so sorry. Do take my place. I'm really very tired.

[A]

No, thanks. We didn't play bridge where I come from and neither did Archie. Although I see he picked it up quick enough once he got. Well. It's never too late to learn, you know. I got better ways than that to spend my time when I visit an old pal. Where's that fellow? Masters? Was there something you wished, sir? Take the whisky and soda down by that fountain. Whiskey and moonlight and jolly old fountain. That's the proper way to spend an evening, eh, Miller? Quite, sir. Mind you bring the full decanter. One drink's only a starter for a chap like yours truly. Very good, sir. While I'm at it, better take a few of these ear coronas. Only the best for your old pals, eh, Archie? Yes, yes. See you folks later. See you later on.

Mr. Digby. Shall it be you and me against the youngsters?

[B]

Daddy.

[A]

Yes, sir?

[B]

Will you tell me why you put up with that man Gooch?

[A]

Oh, come. He's not a bad sort, really. Had a drop too much this evening perhaps.

[B]

He always has a drop too much. And he is a bad sort. He's a rude, unpleasant, terrible man.

[A]

Well, old friend, you know, not much a chap can do.

[B]

Oh, daddy, you're so soft hearted. But if you can't do anything, I can.

[A]

Now please, dear, please. He'll be gone in a day or two.

[B]

High time. What does he mean talking to you that way in your own home?

[A]

Shall we cut for deals? Yes, shall I?

[B]

Well, I don't care. We shan't. Put me off. This is the last time that man is going to come into this house.

[A]

There you are. Game and rubber.

[B]

I guess the old folks aren't so slow after all, eh, Potter? Now don't get Daddy all puffed up. You did have all the cards.

[A]

Oh, not a bit of it. Jolly well played, sir. Play one more.

[B]

Oh, I'm afraid not. I don't want to put a damper on the party. But it's 10:30.

[A]

My word, so it is. Last hour or so passed in no time.

[B]

Well, that's probably being Mr. Gooch.

[A]

Wonder where he is?

[B]

I could guess.

[A]

He said he was going out by the fountain.

[B]

Dead to the world, that's what he is.

[A]

Why, Betty.

[B]

Oh, from drink, silly.

[A]

Oh, of course. Well, I'm not superstitious, you know. But Gooch will take care of himself, I dare say. Well, Mrs. Digby, if you really must.

[B]

I'm afraid I really must.

[A]

Well, then, perhaps I can see you home.

[B]

Well, if it wouldn't be inconvenient.

[A]

Not a bit of it. It's a pleasure. I've been looking forward to all the even.

[B]

Well, here we are.

[A]

Yes.

[B]

It's been such a lovely evening, Mr. Spiller.

[A]

Yeah. You know, I've been thinking. I'm awfully lucky to have found a neighbour like you at my time of life.

[B]

I mean, maybe it's not luck at all.

[A]

It's fate. You mean, eh, Mrs. Digby?

[B]

Hmm.

[A]

Or may I. May I call you Rosalind?

[B]

Oh, of course.

[A]

And you call me Archibald, eh? Silly name. But it's the only one I've got there.

[B]

All right.

[A]

You know, it was true what I said tonight that the place will be needing a new hostess soon.

[B]

With Betty getting married, you mean. You must be very happy for her.

[A]

I am. I am. But what I mean is. I mean that, well, we're both alone in the world now and.

[B]

Yes.

[A]

Rosalind, there's something I want to talk to you about soon. I can't just now. There are arrangements I have to make. But I do want to talk to you very seriously.

[B]

I'll always be here, you know. But it's late now.

[A]

Yes. Yes, it is. Well, good night, Rosalind. It has been a lovely evening.

[B]

Good night, Archibald.

[A]

Hello, Masters. Tell me, where's everybody? Mr. Ronald left five or ten minutes since, sir. And Miss Elizabeth has retired. Oh. Well, has Mr. Gooch come in yet? I couldn't say, sir. Shall I go to sea? No, no, no, never mind. You can cut along to bed now. I'll lock up. Very good, sir. Over the way, masters. Is the fountain turned off? Yes, sir. I turned it off myself at half past ten, seeing you were engaged. Oh, fine, fine. Well, good night, masters. Good night, sir.

Oh, hello there. Just coming out to look for you. Gu. Hello. You have a nice evening? A nice evening? Not as nice an evening as you had with the obliging little widow. That's enough of that now, Sam. Oh, it is, is it? That's enough, is it? That's a good one. What do you think I am, talking to me like that, One of your ruddy servants. Well, I'm not. I'm the boss. Here, get that into your head. I'm the boss and you know it. All right, all right. But buzz off to bed now, like a good fellow. It's getting late and I'm tired. No, no, you don't think I'm drunk, don't you? Well, I'm not drunk enough so I don't remember the little business I've got with you. Well, can't we talk about it in the morning?

[B]

No.

[A]

Talk about it right now. I'm short of cash. It's high time you kicked in with some more. Now look here, Sam. I pay you your allowance as we agreed, and you stay here whenever you like. But that's all. Oh, it is, is it? Yes. Getting pretty high and mighty, aren't you? Number 4132. Sam. Quiet, for heaven's sake. You're in a fine spot to tell me what you're going to do, aren't you? Quiet. The servants, my chief. Quiet. Betty. My dear old Ronald. Fat dude or whatever his name is. Sam, you're drunk. Sure I'm drunk. I'm not an escape J. Bird, am I? I'm not liable to be all back to work out 10 years old labor for forgery, am I? Sam, listen, I'll give you a little extra just this once. When I think a man like me that was only in for a short stretch anyway, worked it out all good and proper, the property dependent on the charity, mind you, of a pell, what's rolling in wealth. I'm not rolling in wealth and you know it. But if you'll promise me faithfully that this is the last time. Sure, I'll promise. For an old pearl, I'll promise anything. You just give me 5,000 down. 5,000? That's right. I've got a great opportunity. All I need is a little ready cash. Now don't be an idiot, Sam. What do you think I'm going to lay hands on that just like that? I'll give you a check for 500. I'll try and to rend it on your old pal, eh? Wasted. 5,000. And 5,000 it is, or you'll find yourself back on the rock pile, see? I tell you, I haven't got it. Haven't got it? You got enough to go buying fancy fountains, playing around with the widow next. Now you will Mrs. Digby out of this. I'll leave around a bit. All right. I'll leave the old pastry to you.

I told you that was enough of that and I meant it. Now pull yourself together and go to bed. Gone. I'll talk to you in the morning. You hear me?

Yeah. Come on. Come on. I didn't hit you that hard, you know. Go on, get up on your feet now, Sam. Go on.

Hit his head on the corner of the table.

No blood? No. There it is. Just over the temple. Soft, spongy. Mr. Gooch's fall had made quite a racket, too. Some. Somebody must have heard it. They'd be calling out in a moment. Footsteps coming down to find out what's the matter. Have to think fast.

What was that?

Just the old clock. Nobody on this side of the house. Anyway, nobody could have heard. Steady now and face the facts. He's dead. Murdered. Oh, it didn't feel like murder. But the police won't care about that. First off, they'll take fingerprints. And then, if I could make him suspect somebody else, confuse them. An alibi. Yes, that's what's needed, an alibi. Make it seem he was alive when he was already dead. Yes, if ever they died. It in the stories.

You dress up like a dead man and impersonate him. No, no, no, you imitate him speaking over the phone. Or. No, you make a gramophone record of his voice. Or you forge a letter. Oh, no, no, no. Forgery. No. I don't want to get mixed up in that old game again. No, no, no, no, no. Oh, sh. Wait a minute, though. The time. The time earlier, not later. Say 10:30, while everyone was playing bridge. If he could have died sometime before that. But how to prove it? What happened at 10:30? 10:30. Think. Think. The fountain. The fountain? Yes, the fountain. Mr. Spiller went out to the French windows, to the garden, then turned on the fountain. Then down the garden path.

Stopped and called a name. A name? Sam.

Gooch.

Gooch doing. Careful with the flashlight. They can't hear the fountain from the house, but they can see that. Ah, there's the whiskey. Still half full. Pour most of it out so that it will look as though we had even more to drink.

Now back to the house.

That'll do.

Now back into the house.

Looked for him and didn't find him. It was dark. The moon had gone down. But from now on, quiet. Quiet as he is lying over there. The wheelchair in the hall closet. The wheelchair used to be Mrs. Spillers. Remember how she. No, no, not time to think of that now. Just left him into it. Who'd have ever thought old Sam was so astonished? Heavy.

Now. Now out the other door, but quietly this time.

Down the back path.

Carefully.

Feel like running. Feel as though every window in the house were thronged with white staring faces. Watching. Watching the manufacture of an alibi.

Here we are. How to lift him up again. There, laying down on the edge of it. One hand in the water. The bruise on his head right up against the stone corner of the basin there.

What's that? He's alive. Gooch is alive. After all that trouble, after committing practically the perfect crime, he's alive.

Simon. Simon. What? Bring him to life again. More blackmail for the rest of your life? What about Mrs. Digby? Rosalind? What about Betty? She at least deserves something better. Murder. All right, Murder. He's dead already as far as the rest of the world is concerned. Now.

I'll see.

Now or never. His face is right with the water's edge. Push him under now.

[B]

No.

[A]

No.

And so it's done. Remorse. Why remorse? Does the mouse feel remorse that the cat is killed? Does the prisoner feel remorse? Remorse when he leaves his prison? No, no. It's done. And well done. Nothing left but the finishing touches. Now, take back the wheelchair, let the fountain run another hour and then to bed. And when the police come in the morning, the perfect crime. Remorse. Nonsense. Congratulations would be more like it. Yes, congratulations. Mr. Spiller.

Inspector Frampton, sir. Eh? Oh, yes. Come in, Inspector, Come in. I hate to trouble you, Mr. Spiller. Regulations, you know. Of course. Course. Everyone here who was present the night of the. That is, last night. Yes, inspector. Yes. As Mrs. Digby, my neighbour, my daughter Elizabeth. Elizabeth. Her fiance, Mr. Ronald Proudfoot. And the servants, of course. Excellent. Well, now, if you'll all bear with me, I have to ask you all a few questions, you know. But, Inspector, it wasn't. That's what we have to find out, you know. There was a blow on the head. Oh. Now, as I understand it, the deceased was last seen alive at about 8:30, just after dinner. Let me see. You were the last to see him, Amy Man? Yes, sir. I believe so, sir. You took the whiskey and soda down to the fountain in the garden and left it there with Mr. Gooch. And that was the last time he was seen alive by any of you? Yes. Yes. The four of you then played cards, I believe? Yes. Until what time? Oh, about 10:30. Had no one left the room during those two hours? No. No. And Mr. Spiller, you accompanied Mrs. Digby to her home? Yes. Is that correct, Mrs. Digby?

[B]

Yes, Inspector.

[A]

Now, when you returned, you were met in the hall by Masters? Yes. What time was that, masters? About 10.45, sir. And Mr. Spillerer at that time inquired after Mr. Gooch? Yes, sir. He asked if I had seen him, and as I had not, he suggested I might retire, that he himself would lock the house. And the others are all left? Yes, sir. That is to say, Mr. Ronald had left. I heard him drive off in his car. And Miss Elizabeth had retired. Then you were alone in the downstairs part of the houses. That so, Mr. Spiller? Yes. You tell me, please, what you did then. Well, I was worried about Gooch. He'd been drinking quite a lot and so I went to look for him. Went down to the end of the garden by the fountain. He didn't go through the lilac hedge to the fountain? No, no, it was dark by then. I couldn't see. I called Goot several times. Did anyone here. Here, Mr. Spiller, call? Oh, I did, sir. I was half asleep, as you might say. But I did hear Mr. Spiller call out. And then what did you do, Mr. Spiller? I came back into the house. Sat up in the library, read for a while. About one o' clock I went to bed. Now, now, this is very important. Who turned off the fountain? I did, sir. At what time? At 10:30, sir. You're quite sure of that? Yes, sir. It was the usual time. I see. And no one would have turned it on again, of course. I can't think why, sir. Well, I think that makes everything very clear, Mr. Spiller. Yes, yes. When the body was found, it was still wet from the spray of the fountain. Therefore, death must have occurred sometime before the fountain was turned off, at 10:30. And as all of you here were occupied till then, from. From the time the deceased was last seen alive. Accident, of course. I said so from the beginning. Well, might have been either, you know. There had been a blow and there was water in the lungs. However, the man apparently fell due to his intoxicated condition, struck his head falling into the water, from which he was unable to rescue himself. Well, seems the obvious conclusion, doesn't it? Poor fellow. Well, thanks everyone. I don't think we shall have to trouble you again, Mr. Spiller. Well, I hope not. And thank you, Inspector.

It is the verdict of the coroner, township of Alton, county of Hampshire, that in the case of the deceased, Samuel Gooch, death was due solely to accidental crime causes.

[B]

Oh, Daddy, I'm so glad. I was afraid for a while.

[A]

Oh, there was nothing to be afraid of, dear. Poor old Gooch just lost his footing and fell, that's all.

[B]

I know I was afraid of him.

[A]

Of him?

[B]

I know it was silly, but he was so. So strange. I thought he had some sort of horror hold over you.

[A]

Oh, nonsense, darling. Just an old friend. And I'm a sentimental old fool.

[B]

You're an old dear. But I've got to run now.

[A]

What off at, Ronald?

[B]

Uhhuh. Daddy, are you going to be Awfully lonely when I've gone.

[A]

Oh, you know I'll miss you.

[B]

Maybe. Mrs. Digby.

[A]

No, no, my girl. Oh. Oh, she's such a. Oh, she is rather nice, isn't she? In fact, I am. I thought I might pop over to se this afternoon. As long as you're going to be out.

[B]

Daddy. I knew it. I won't keep you another second. Ask her over to dinner.

[A]

Well, perhaps I shall. You be on time, though. I will. Bye. Bye.

Beg pardon, sir. What? Oh, master. Yes? If it's convenient to you, sir, I should like to have my bedroom changed. I should like to sleep indoors in the main house. Oh, why is that, masters? I'm a very light sleeper, sir, and noises keep me awake. Noises? The weather vane, sir, above the garage. When the wind changes, it creeps. Well, a little oil perhaps, would soon. I hardly think that would do, sir. Because when the wind changes, there are other noises. They can be most disturbing, sir. What other noises? The fountain, sir.

Fountain? Yes, sir. Ordinarily, I'm quite unable to hear it any more than you can in the main house, sir. But when the wind is from the west, the plaster backstop acts quite like a sounding board in the direction of my room, sir. In fact, I can hear not only the fountain itself, but I can hear even the faintest noises in the grove around it quite clearly.

I see. Quite, sir. For instance, on the night Mr. Gooch sustained his unfortunate accident, the wind changed a little after 11, the weather vane awakened me, and then I heard the fountain. I seem to hear other noises, too, if I may say so, sir.

You heard? Yes, sir. I might add that after hearing the police inspector's observations, I took the precaution of pressing your dinner jacket. The sleeves seemed quite wet, sir.

Yes, yes, yes. I think, sir, all things taken into consideration, you might find it worth your while to retain me permanently in your service at, shall we say, double my presence wage for now.

Oh, yes, yes, of course. I'm very much obliged to you, sir.

Is there anything else, sir?

No, no, nothing else. I'm.

Going to sit here.

By the fountain.

Very genius.

The fountain.

Yes.

Most ingenious. My fountain.

Costs so little to run because it uses the same water.

Over and over again.

Over and over again.

Over and over again.

And so Closes the fountain plays starring Edmund, Gwen and the Dorothy Sayers story, which was tonight's tale of suspense.

The producer of these broadcasts is William Spear, who, with Ted Bliss, director Bernard Herman and Lucy and Marowick conducted, and composer and Robert L. Richards, the radio author, collaborated on tonight's Suspends.

Now, CBS is pleased to announce that starting next week at the same time Mr. Robert Young will begin a brand new series entitled Passport for Adams. Passport for Adams will bring you each week the adventures of an American newspaper reporter among the people of the United Nations. Next week's broadcast will be written and directed by Norman Corwin with music by Bernard Herman. And the stars, we've said, will be Robert Young.

This is your narrator, the man in black, who invites you to be with us for suspense. One week from Saturday at 7:30 to 8 Eastern war time. And from 8 to 8:30 Pacific war time when with Miss Agnes Mohead and with a repeat performance by popular request of the play called Sorry, Wrong Number, we again hope to keep you in. Win suspends.

This is cbs, the Columbia Broadcasting System.

Now the roma wine company of fresno, california, presents.

Suspense.

Tonight's Roma Wines bring you a suspenseful play by dashiell Hammett called Two Sharp Knives and starring John Payne and Frank McHugh.

Suspense is presented for your enjoyment by Roma Wines. That's R O M a Roma Wines, those excellent California wines that can add so much pleasantness to the way you live, to your happiness and entertaining guests to your enjoyment of everyday meals. Yes, right now a glassful would be very pleasant as Roma Wines bring you a remarkable tale of suspense. And with the drama called Two Sharp Knives and with the performances of Mr. John Payne as Scott Anderson and Mr. Frank McHugh as Wally Shane, Roma Wines hope indeed. To keep you in suspense.

Shortly after 2:00am A poker game was breaking up at Ben Kamsley's. The doctor coroner of Deerwood City, Scott Anderson, Deerwood's efficient chief of police and Wally Shane, his easygoing assistant, were just about to leave. Talk about thieves. Our own chief of police committed nothing less than larceny the way he won that last part. Yeah, and having won it, I noticed he's losing no time in making off with the swag. Why don't you boys just break down? Admit you don't know how to play like old Professor Scott here. You couldn't win a poker hand if it was on a punch board. It's a good thing he's chief of police. Ah, come on, Wally. Let's get out of here before these amateurs break my heart. Okay, Scott, Anything you say.

Where are we heading for, chief? Just across the street, Wally. Railroad station. Oh, shucks. Aren't you afraid of the excitement? Don't you think that watching the 211 come in does have to be too much for your blood pressure? Well, if it is, Wally, you can always carry on. You've been a fair imitation of an assistant to me for some time now. Yeah, yeah. If anything happens to me, you'd be chief. Don't worry. It won't be any harder for you to fool the public as chief. Hi, Elmer.

[B]

Hi.

[A]

Oh, howdy, Scotty. Well, hi, old Wally. Hi, Elmer. Hey, it's kind of late for you big to be around in it. I don't know. We sort of figured we'd put the town to bed tonight. How's it? 2:11 on time.

[B]

Right on the nose, Wally.

[A]

Right on the nose. She ought to be blowing for the bend in just about three seconds now.

By gallons of food. Mrs. Early. That's her now. Why, are you expecting anyone on us, Scotty? No, Elmer, I'm not expecting anyone. Wally and I just thought we'd mosey over and watch it come in, that's all. You know, Elmer, you can never tell who might get off, though. Jesse James or Jack the Ripper or even your Aunt Gussie. Yeah, I guess you're right, Wally. Well, here should be. Pardon me just. But I got to be rolling the wang and out to the Baby Star.

Hey, Elmer, how's it going?

[B]

Oh, I can't complain.

[A]

I can't complain, Cap. Well. Well, maybe you can, Elmer, but I sure can. You hold us up with that freight there. How much more?

[B]

No, no.

[A]

This is the last piece now.

Oh, well, there you are, Cap. It's all done. Okay.

[B]

See you tomorrow, Elmer.

[A]

Hey, Scott, do you see what I see? You mean, do I see the man who just got off that train? The answer's yes. Well, he's a ringer for the guy we got that circle about. Uh, that is the guy. Well, then, what do we do now? We take him, Wally. Let's go. Whatever you say, Scott. Here he comes over toward the taxi stand. Driver, I. I want to go to the Deerwood Hotel. I. Oh, never mind. I see the hotel sign just a few blocks down the street. Sorry, I'll walk.

Hello, Furman. Oh, I. I don't believe I. You're Lester Furman, aren't you? Yes, I am. Philadelphia. Yes. I'm Scott Anderson, chief of police here in Deerwood. I am. What. What's happened to her? Happened to who? Oh, no, you don't. You think you can pull that sort of stuff with me? You're very much mistaken. Ah, look. Okay, Scott, you silly. Let me get a quack at that mug. Wait a minute. Wait a minute, gentlemen. Hold it, Wally. Hold it up. Well, Furman, I'm sorry. For a moment there I thought that you weren't really a policeman. Thanks. Guess I look almost human in civvies until. Until I saw the other gentleman's uniform. I thought you were a hold up man, Mr. Scott. Never mind the thanks. It was silly of me. I'm sorry. Well, let's get going before anything else happens. Are. Are you taking me to police headquarters? Mm. What for? Philadelphia. I. I don't think I understand You. You understand you're wanted in Philadelphia, don't you? I'm wanted in Philadelphia? Yeah. Got a cigarette? Huh? Oh, yes, of course you are.

What am I wanted for? Murder.

Here we are. Here's the circular on Lester Fuhrman. It was sent out by the Trans American Detective Agency in Philadelphia. Fifteen hundred dollars reward for the arrest and conviction of Lester Furman, alias Lloyd Fields, alias J.D. carpenter, for the murder of Paul Frank Dunlap in Philadelphia on December 8, 1940. Oh, no. Take a look at it.

Well, it's a lie. You're Furman, aren't you? Yes. The photograph reproduced in the circular is a picture of you, isn't it? Yes. Yes, it is. But I can't understand.

What we got here. We got Lester Furman. Oh, that fella. You lucky stiffs. Now you and Wally spit. A grand and a half reward though. Gee, I've never seen nothing like it. If it ain't vacations in New York at the city's expense, it's Reward Mueller. George, someday if you don't remember you're the jailer around here and not the D.A. you're gonna be wearing your teeth on the outside of your lip. And I'll be the guy who arranged it that way. You understand? Oh, just cause you caught a guy who's hot in Philadelphia. That's a lie. I never killed anybody. I won't be framed. I won't be framed. Oh, shucks. Take it easy, Furman. Save it for the Philadelphia police. Just holding you for them. If anything wrong, it's there, not here. But. But it's not the police. It's the Trans American. Detect, Mr. Anderson. I.

Suppose you're sure there's nothing I can do. There's nothing anyone can do till morning. All right, George, you take Furman now and lock him up. Come along, darling. We ain't had nobody in our little hoot car for three days running. You'll have it all to yourself, just like a Swede at the Ritz. Well, good night and thank you. Make him as comfortable as you can, George. If he wants anything set in okay. He's valuable, huh? Now, if some bum didn't mean a nickel to you, maybe I ought to take a pillar off my own bed for him. And nuts. He's just like the rest of them to me. Shut up. Perhaps you forgot my remark about your teeth a while back. George, any day now I'm gonna forget your uncle's county chairman and throw you back in the gutter just to see how high you'll bounce. Remember that. Do all the talking you want, but do what I tell you. Aw, shuck, Scott. George don't mean nothing. He's just money mad. Okay, okay. I'm going home now. If it's anything urgent, I can be reached there. But I don't want to be disturbed unless it's urgent.

Hello? Hello, Scott? This is Wally. Yeah, Wally. Oh, what time is it? It's five after six in the morning and you'd better come right down. Scott, that fellow Furman's hung himself. What? Hung himself? Gap by his belt from a window bar deader and a mackerel. I'll be right in. Wally. Phone Ben Kamsley. Tell him I'll pick him up on the way down. Oh, shucks. No doctor's gonna do Furman any good now. Well, it won't have him hurt to have him looked at. You better phone the county court at Douglasville too and file a routine report. I already did that. And what's more, hold on to your seat. The DA's on the way over in person. The DA? I'll be there before you hang up.

For suspense, Roma Wines are bringing you with stars Mr. John Payne and Mr. Frank McHugh whom you've heard in the first act of Two Sharp Knives by Dashiell Hammett which is Roma Wines presentation tonight of suspense.

Between the acts of suspense, this is Truman Bradley for Roma Wines. Elsa Maxwell, famed hostess, makes this suggestion for added mealtime enjoyment.

[B]

It's smart, yet simple to dress up ordinary meals for a festive note. Spread your table with a brightly colored cloth, a centerpiece heaped with fresh fruits and nuts, a basket of crispy brown hot rolls and at each plate, a glistening glassful of golden Roma Sauternes, well chilled.

[A]

A most welcome suggestion from Ms. Maxwell. And as you enjoy Roma California Sauterne you'll be delighted with the flavorful delicacy of this truly distinguished table wine. Like all Roma wines, Roma Saturn is always unvaryingly good. The goodness of selected grapes picked at the peak of perfection in sunny California's choicest vineyards. Carefully pressed, the rich natural juices guided to perfection unhurriedly by the ancient wine skill of Roma's famed wineries. Good Roma wines never vary, are always enjoyable, yet cost only pennies a glass. Remember, because of uniformly fine quality at reasonable cost, more Americans enjoy Roma than any other wine. R O M A Roma wine. And now, Roma wines. Bring back to our soundstage. John Payne is SC Scott Anderson, Deerwood City Chief of Police and Frank McHugh as Assistant Chief. Wally Shane in Two Sharp Knives, a play well calculated to keep you in suspense.

Come on in, chief. Good old Ted Carroll, the DA Is here and he's plenty hot under the collar. Yeah? What's he burning about? Oh, he's just mad. He's run up quite a phone bill for us too. Been calling Philadelphia every couple of minutes since he got here. What kept you so long? I couldn't get my car started. Well, let's go in.

Hello, Ted. Listen, Scott, what is all this? All what? This. This fiddley dee, this hanky panky. I suppose you mean Furman. Wasn't it suicide? Sure it was suicide. I just. Telephone. Transamerican dug a guy out of bed there. They phoned me just a few minutes ago and said they'd never send out any circulars on Furman. They didn't want him for murder or anything else. All they knew about him was he used to be a client of theirs. I don't know what to say, Ted. I don't either. What on earth kept you so long, Scott? Car stall. Came as quick as I could. Well, what makes you so edgy, Ted? Oh, nothing, I guess. It's just the district attorney in me. Oh, shucks, Jants. If you're not careful, you're liable to give the impression that you two don't like each other. Okay, okay, Wally. I'll quit if he will tell me what's wrong, Ted. Well, there's plenty wrong, Scott. Everything's wrong. First, that trans American thing. They never sent out any circulars about Furman. And I'll get this. I talked to the Philly police just before you came in. There wasn't any Paul Frank Dunlap murder down there that they know about. They've got no unexplained murder for December 8, 1942. What did you get out of Furman before you let him hang himself? Only, well, that he was innocent. Well, didn't you grill him? Didn't you find out what he was doing in town, Wally? Didn't you? Oh, shucks, what for? He admitted his name was Furman. The circular description fitted him the Photograph was him. Trans American Detective Agency. Supposed to be on the level. Philadelphia wanted Furman. We didn't. But Scott. Oh, sure. Ted Shore. If I'd known he was going to hang himself. But then if your aunt wore pants, she'd be your uncle. You said Furman had been a client of Transamerican. Then tell me what kind of a job they were doing for him. His wife left him a couple of years ago and he had them hunting for for five or six months, but they never found her. They're sending a man up here tonight to look things over. Yeah? Yes, and I might as well tell you, Scott, they're going to raise plenty of trouble over this. Yeah, yeah, I know that, Ted. There usually is trouble when somebody dies in a jail cell.

Chief Anderson? Yeah, yeah, come in. They told me I'd find you here. I'm Carl Rising, assistant manager of Transamerica Detective Agency in Philadelphia. This is Mr. Wheelock, who was Lester Fuhrman's personal attorney. How do you do? Glad to know you, Mr. Rising. Mr. Wheelock. This is Wally Shane, my assistant. Hi. How do you do? I know you gentlemen are already in possession of most of the details concerning Mr. Fern from the time he arrived in Deerwood until the time of his death. But perhaps you don't know that the police of most towns in our corner of the state have also received copies of this reward circular. Get it for him, will you, Wally?

Here you are. Why, this. This circular is a forgery. Wow. You're sure It's a forgery, Mr. Rising? Oh, yes, yes, there's no doubt about it. And it's an excellent forgery. The paper, style and type are almost exactly like those we use at Transamerica. Almost, but not quite. Well, what do you know? A forgery. Tell me, Mr. Wheelock, was Mr. Furman a native Philadelphian? Oh my, yes. He was well known, respectable, prosperous citizen of Philadelphia. Married, wasn't he? In 1934, he married a 22 year old girl named Ethel Bryan, daughter of a Philadelphia family. And the Furman's had a child, isn't that right, Mr. Wheeler? Yes. Born in 1936, but the child lived only a few months. Mrs. Furman's wife disappeared after the child's death. What year was it she disappeared? Mr. Rising should remember that his agency worked on that matter. Yes, I remember it very well. Mrs. Furman disappeared in 1937. We never heard anything of her again. Although Furman spent quite a lot of money trying to locate her. Furman never divorced her, huh? No, sir. Should say not he was very much in love with her. And he seemed to think that the kids dying made her a little screwy so that she didn't know what she was doing. That's right, isn't it, Mr. Wheelock? Well, that is my belief, Mr. Rising. You said Furman had money, Mr. Wheelock. How much did he have? And who gets it? I should say his estate will amount to perhaps a half a million dollars left in its entirety to his wife. His wife, huh?

That's quite a handy sum for anyone to have, huh, Wally? Yeah. Tell me, do either of you know why Furman came to Deerwood? No, I. No. Oh, shucks. You were his attorney, Mr. Wheelock. Don't you know if he told his servants or his office, employers or someone why he came here? I know of no one of whom he told. And I can't see that these questions of yours are getting us anywhere. Why do you persist in asking them? Because, Mr. Wheelock, everything shows that somebody framed for to the Deerwood jail and that frame up drove him to suicide. Nothing shows anything else. And there has to be something else. A lot else. Well, Chief, what do we do now? I'm going across the street to Fritz undertaking parlor. Maybe I'll find something else there.

You find anything at the undertaking parlor, Scott? No, not much. Well, I was over there myself just after you left and I did. You did what? Well, I saw it. Save it, Wally. I'm in. Hello. Am I bugging into anything here? Oh, shucks, no. You know the coroner's report is always welcome at a time like this. Doc. What's on your mind, Doc? Well, is it all right to talk here? I mean, can anyone hear us? No, no, go ahead, Tar. Listen, Scott, two of those bruises showed. What bruises? Furman? Up under the hair. There were two bruises. But why didn't you tell me? I am telling you, Scott. You weren't here when I made my examination. You were off chasing some stick up hoodlums. This is the first time I've seen you since then. But why didn't you spill the stuff about Furman's bruises when you were testifying at the inquest? Ben, I'm a friend of yours. Do I want to put you in a spot where people say you drove this fellow to suicide by third degreeing him too rough. Oh, shucks, Doc, you're nuts. How bad was Furman's head? Well, that didn't kill him, if that's what you mean. There's nothing the matter with this skull. Just a couple of bruises that nobody would Notice unless they parted the hair, it killed him just the same. You and your friendship. That. Hello? Yeah, Fritz. Couple of ladies. Who are they? Oh, okay, I'll wait. I've got to run along now, Scott. Okay. I'll see you later. Right. It's Fritz at the undertaking parlor. A couple of ladies want to see Furman's body. He's going to ask why. That's what I was going to tell you, Scott. When I was over there, I saw. Hello? Hello. Oh, are you one of the ladies who wants to see your Furman's wife? Mrs. Furman? Hm? Oh, then by all means, Ms. Furman. Only when you're through over there, I want you to come over to my office. I've got some things I want to ask you. Right.

What do you know about that Furman's wife? That's what I've been trying to tell you. I saw him. And one of them's Hotshot Randall, a babe with a record as long as your arm. She's one of that mob you had me working on in New York last summer. She know you? Sure, but not by my right name. She thinks I'm a Detroit rum runner. No, no. I mean, does she recognize you just now? I don't think she saw me. Anyway, she didn't give me a tumble. Okay, Wally, stick around a while. But stay out of sight. Maybe I'll be bringing these dolls back with me. Whatever you say, Chief.

Come in.

[B]

Chief Anderson?

[A]

That's right. Mrs. Furman?

[B]

Yes. This is my friend, Mrs. Crowder.

[A]

Mrs. Crowder. Mrs. Thought your name was Randall.

[B]

What do you care, Chief? I'm not hurting your town any.

[A]

Okay. Now, before anybody says anything, I want to tell you something. Furman didn't commit suicide. He was murdered.

[B]

Murdered? My husband murdered. We got alibis. We were in New York. We can prove it.

[A]

You're likely to get a chance. How'd your people happen to come down here murdered?

[B]

Who's got a better right to come down here? She was still his wife, wasn't she? She's got a right to look out for her own interests, hasn't she?

[A]

Yeah, that. That reminds me of something. Excuse me just a second. I gotta make a phone call in the next room.

[B]

Take it easy now.

[A]

Hey, Hamill. Yeah, Chief? I want you to have someone get hold of that lawyer, Wheelock, before he leaves town, and tell him I want to see him. And is Wally around? No, he's not here. He said you told him to keep out of sight. I'll find him for you, though. Right. Tell Wally, I want him to go to New York tonight. Send Mason home to get some sleep. He'll have to take over Wally's night trick. Okay.

Feeling better, honey?

[B]

Now, Mr. Anderson, do you think I had. That I had anything to do with Lester's. With his death?

[A]

I don't know, Mrs. Furman. I know he was killed. I also know he left something like half a million dollars dollars.

[B]

All right, Chief. Now, now, don't be a clown. The kid here didn't have a thing to do with whatever you think happened. No, no, no. We read about Lester Freeman committing suicide and yesterday morning's priority, and about there being something funny about it. And I persuaded her she ought to come down to Deerwood, and that's Mr. Anderson. I wouldn't have done anything to hurt Lester. I left him because I wanted to leave him. But I wouldn't have done anything to him for money or anything else. If I'd wanted money from him, all I'd had to do would been to just ask him for it.

[A]

That's so.

[B]

Well, he used to put ads in the paper telling me if I wanted anything to let him know, but I never did. You can ask his lawyer, Mr. Wheelock. Anybody who knew anything about it can tell you that. Yeah, that's the truth, chief. For years I've been telling Ethel she was a chump not to tap him, but she never would. I had a hard enough time getting her to come for her share. Now that he's dead and got nobody else to leave her to, I wouldn't have heard him.

[A]

Why did you leave him then?

[B]

Well, after the baby died, I just.

[A]

Excuse me. Oh, yeah. Hamill. Hmm? You gave Wally the message. Yeah. I want him to go to New York tonight. Okay. Where is he? Huh? He is home. Okay, thanks.

This circular is what got your husband on the jug, Mr. Furman. Did you ever see that picture before? No.

[B]

Why? That. It can't be. It's a snapshot. I had. Have. It's an enlargement of it.

[A]

Who else has one?

[B]

No, nobody that I know of. I don't think anybody else could have one.

[A]

Have you still got yours?

[B]

Yes. I. I don't remember whether I've seen it recently. It's with some old papers and things, but I must have it.

[A]

Well, Mrs. Furman, it's stuff like this that's gotta be checked up. Neither one of us can dodge it. Now, there's two ways we can play Yes. I can hold you here on suspicion till I've had time to check things up or I can Send one of my men back to New York with you for the checkup. I'm willing to do that if you'll speed things up by helping him while you can. And if you. If you'll promise me you won't try any tricks.

[B]

I promise. I'm as anxious as you are to track this down.

[A]

All right. All right. How'd you come down?

[B]

We drove. That's my car. The big green one across the street.

[A]

Fine. Then my man can ride back with you. But no funny business.

[B]

Funny Shumany. What do you expect her.

Huh?

[A]

Oh, send him in.

Hello, Mr. Wheelock. Is this really Mrs. Fuhrmann? Yes, that's really her. All right, fine. How do you do? You wait here, Wheelock. I'll be back in a little while. Come on, girls.

[B]

Where are we going?

[A]

We're going to solemn murder, sister.

[B]

Who lives here?

[A]

Wally Shane, my assistant. He's the man who's gonna drive you to New York tonight. All right. Here we are.

Wally. Who is it? Scott. Wally. Oh. Come in. Ladies first.

[B]

Harry. Harry.

[A]

Hello, Ethel. You two know each other, huh? Well, shucks. We just sort of Go. Reach for that gun, Wally. I've got you covered. I guess you win, Scott. I guess I do. Why didn't you get out of town, Wally?

[B]

No, it's Harry.

[A]

You must have known when you saw these two women. I did. But when Hamill phoned and said you were going to send me to New York, I figured I was getting a break. You fooled me plenty on that one, Scott. Yeah. You gonna come along nice and quiet, Wally? Oh, shucks. Why not? Okay. And I'm afraid I've got to say it. Walasheen, I arrest you for the murder of Lester Fur.

You comfortable in here, Wally? Can't complain for a cell.

Say, Scott. Hmm? You didn't just stumble on all this, did you? Nope. Furman had to be murdered by a copper. Only a copper with no reward circle is well enough to make a good job of forging one. Only a copper, one of my coppers would be able to walk into Furman's cell, bang him across the head and string him up. When you told me you knew the Randall woman, well, there it was. What got you like this, Wally? Oh, shucks. What gets most saps into jams? A yen for easy dough. I'm in New York, see, Scott, working on that Dutton job for you. Then I run into this Ethel Fuhrman, and she goes for me like a house afire. Like her, too. So that's dandy. But one night she tells me about how much dough her husband's got and how it would all come to her if. Well, I got to thinking. Thinking what? I think she's nuts enough about me to marry me. I still think she'd marry me if she didn't know I killed him. So anyway, I did it. I swiped that snapshot. I sent those Circlers out to a lot of places, you know, not wanting to point too much to this one. And when I was ready, I phoned Furman and I told him to come to the Deerwood Hotel that night. And sometime before the next night, he'd hear from his wife, Ethel. I knew he'd fall for any trap that was baited with her.

Oh, shucks. I guess I'm not as sharp as I thought I was. Maybe you are, Wally, but that doesn't always help. Old man Camsley is Ben's father used to have a saying, to a sharp knife comes a tough stake. I'm. I'm sorry. You did it, Wally. I always liked you. I know you did. I was counting on that too, Scott, but. Oh, shucks.

And so closes two sharp knives. In which Roma Wines have brought you, John Payne and Frank McHugh as stars of tonight's study in suspense.

Suspense is produced, edited and directed by William Speer. Before our stars return to the microphone, let me say a word for Roma Wines, the sponsor of suspense. Elsa Maxwell, noted authority on smart entertaining, has this suggestion.

[B]

When the thermometer rises, it's time for cooling, refreshing drinks. Enjoy the taste thrill of frosty, cold, thirst quenching Roma refreshers. A Roma Sherry Cobbler is a gay and colorful drink simple to prepare with distinguished roma California Sherry.

[A]

Ms. Maxwell has an excellent idea there. And America's smartest drink, the Roma Sherry Cobbler, takes but a jiffy to prepare. Here is how, in a tall glass, dissolve 1/2 teaspoonful sugar and 2 tablespoons lemon juice. Half fill the glass with delicious Roma Sherry. Add ice to fill, stir well and you have the most delightful summer refresher you've ever tasted. You know, June is the month of weddings and anniversaries. And a most distinguished way to honor this year's and yesteryear's June bride is by serving delicious Roma California Champagne. Its delightful pale gold color, distinctive dryness tell you that here is a truly fine champagne. Roma Champagne. No better way to say happy days ahead than with Roma Champagne. This is John Payne. I'm sure I speak for Mr. Mehugh, too in saying how delighted we have been to be invited to appear on suspense. Before Mr. Mehugh brings you a message from our government I would like to pass along to you the billboard for next Thursday's half hour of Suspense. It will star that polished and sinister actor, Clifton Webb in a radio play based on John Dixon Carr's novel, the Burning Court. Okay, Frank, take over.

The Battle of the Pacific has moved into high gear. Our fighting men are doing more than their share in this big second half of our fight for victory. The current Seventh War lone drive is an opportunity for you to do your share. The money you invest in war bonds now will increase in value. We'll be your ready cash for tomorrow. Buy those extra war bonds today. John Payne will soon be seen in the 20th Century Fox Technicolor production, the Dolly Sisters. Frank McHugh can soon be seen in State Fair from the same studio next Thursday, same time. Mr. Clifton Webb will be your star of suspense.

Presented by Roma Wines. R O M A Made in California for enjoyment throughout the world.

This is cbs, the Columbia Broadcasting System.

Foreign.

Ladies and gentlemen, once again, I wish I could be with you in person. But we've been busy all this past week filming scenes here at the FBI headquarters. Meanwhile, I know you're in capable hands with a cast of tonight's great Screenplay, Miracle on 34th Street. From my home studio, 20th Century Fox, we are particularly gratified to have the original stars of the picture. Maureen o', Hara, John Payne, Edmund Gwynne and Natalie wood. Miracle on 34th street takes up a question as old as the spirit of Christmas itself. Is there a Santa Claus? And answers that question very happily. This Christmas week, when most of us think of Lux Flakes as a friendly gift. I'm in the position of thanking Lux Flakes for a friendly gift. The opportunity to be with you at this Christmas presentation through the magic medium of radio. But I imagine many of you housewives feel grateful also, if for different reasons. Luxe Flakes, I'm sure, hold out to you the gift of greater leisure. Longer life for your precious fabrics. Added sparkle to your silverware and dishes. And here's another present to you from Lux. As our curtain rises on Act 1 of Miracle on 34th street, starring Maureen O' Hara as Doris Walker, John Payne as Fred Gailey, Edmund Gwen as Chris Kingle and Natalie Wood as Susan Walker.

Its Thanksgiving Day in New York City. On Fifth Avenue, adjoining Central park, an annual event is being joyfully awaited. The spectacular parade presented by Macy's department store to herald in the Christmas season. A little away from the crowd are two of Macy's public relations experts. He's simply wonderful, Mrs. Walker. Just look at him on that float. The most realistic Santa Claus we've ever had. Why, he didn't even need any padding, did he?

[B]

Padding?

[A]

Well, didn't you notice his tummy? So round, so firm, so fully packed. Well, now that everything's under control, where on earth did you find him?

[B]

I don't know. I just turned around and there he was.

[A]

And to think that the man whose place he took was. Was intoxicated with a breath that would.

[B]

Knock over a reindeer.

[A]

Oh, what if Mr. Macy had seen him?

[B]

What if Mr. Gimble had seen him? Had? Competition between our stores is tough enough as it is.

[A]

Well, the parade's starting. Let's stand at the curb.

[B]

Not I, Mr. Shellhammer. I'm going home and relax. Anyway, I can see it from there. I live just around the corner.

[A]

Oh, so you do. Well, see you tomorrow, Mrs. Walker. And congratulations on finding the best Santa Claus in Macy's.

It certainly is a wonderful parade. Susan. Just look at that clown. Gosh, what a giant.

[B]

Giant? Mr. Gailey, there are no such things as giants.

[A]

Well, not now, maybe, but in olden days.

[B]

Really, Mr. Gailey. And you a lawyer.

[A]

Well, what about the giant that Jack killed? You know, Jack and the Beanstalk.

[B]

Everybody knows that's a cool fairy tale. And I agree with my mother. Fairy tales are silly.

[A]

Come in.

[B]

Good afternoon. I'm Susan's mother. My maid says hello. Mother, I'm watching the parade. Mr. Gailey invited me. Hello, darling.

[A]

Susie's told me quite a lot about you, Mrs. Walker.

[B]

She's told me quite a lot about you too. The man in the front apartment.

[A]

This is all part of a plot. Mrs. Walker, I'm very fond of Susan, but I also wanted to meet you.

[B]

At least you're Frank.

Don't even mention the name. Why not, Mother? That Santa Claus you see is a last minute substitute. But why? Well, remember the way the janitor was last New Year's? Oh, my. Tight as an owl.

[A]

I see Susie doesn't believe in Santa Claus either.

[B]

That's right. She never has. Well, that's the end of the pro. Mother, I've been thinking. It's Thanksgiving and there are only two of us. Couldn't we invite Mr. Gailey?

[A]

Well, I. Oh, please don't bother. I'll just have a sandwich or something.

[B]

But we have such a big turkey. Please, Mother? Please. Well, I. Did I ask? All right, Mr. Gailey.

[A]

Susie. Shh.

[B]

You asked fine, Susan. Dinner's at 3. Mr. Gailey.

[A]

Hello, Mrs. Walker.

[B]

Yes, Mr. Shellhammer.

[A]

Your maid said you were at Thanksgiving dinner, but I just had to tell you your Santa Claus was stupendous.

[B]

Well, thank you.

[A]

Mr. Macy himself wants him to be our toy department. Santa Claus?

[B]

Fine. Can you hire him?

[A]

Well, I already have. Oh, he's a born salesman. I just feel it.

[B]

Good. We'll talk about it in the morning. Thanks for calling, Mr. Shellhammer.

[A]

Here he is, Mr. Shell Hammer. Here's Santa Claus. Thank you, Alfred.

[B]

Thank you.

[A]

Good morning, Santa Claus. Good morning. Now, before you go to the toy department, here's a list of toys that we have to push. You know, things we're overstocked on. Now, you'll find that a great many children will be undecided as to what they want for Christmas. Now, when that happens, you immediately suggest one of these items. You understand? I certainly do. Fine. Now, take the list, and Alfred here will show you to your throne in the toy department. And don't forget, you're working for Macy.

[B]

Are you really Santa Claus?

[A]

Why, of course I am. And what do you want for Christmas, little boy?

[B]

I want a fire engine with a real hose. That's what's real wet water. And I won't do it in the house. I'll only do it in the backyard. I pray. Promise.

[A]

And I promise you'll get your fire engine.

[B]

You see, Mama? I told you he'd get me one. That's fine. That's just dandy. You'll wait here, Mortimer. Mama wants to thank Santa Claus too.

[A]

Yes, madam. Then what's the matter with you? Now, now, now, what's the trouble?

[B]

I told you before, didn't I? The kid wants a fire engine, but there isn't one to be had anywhere in town. Macy's ain't got any gimbals.

[A]

Ain't got any. Nobody's got any.

[B]

My fingers. And you say, okay, he gets the fire engine.

[A]

But you can get those fire engines at Schoenfeld's on Lexington Avenue. Only 450. Wonderful bargain.

[B]

Schoenfeld. Hey, I don't get it.

[A]

Oh, I follow the toy market very closely.

[B]

Macy's sending people to other stores. Are you kidding?

[A]

Well, the one important thing is to make the children happy, isn't it? Whether Macy's or somebody else sells the toy doesn't matter. Don't you feel that way?

[B]

Who, me? Oh, yeah, sure. Only I didn't know Macy's did. I don't get it. I just don't get it.

[A]

Who's next, please? Right this way to see Santa Claus. All right, little girl. You're next. Well, of course, little girl, you want some roller skates? Well, you shall have them too.

[B]

Oh, Mama. Mama, he's gonna bring me some roller skates. Yes, he had some fine skates here at Macy's. Haven't you, Santa Claus?

[A]

Oh, they're good skates, all right, but not quite. Now, I left some really wonderful roller skates at Gimbals. I'm sure Gimbals have just what this good little girl wants.

[B]

Mr. Shellhammer? Are you Mr. Shellhammer?

[A]

Gimbels. Gimbels. That's just what he did.

[B]

Say, Gimbles, the sales lady said I should speak to you. Gimbels. I just wanted to congratulate you and Macy's on this wonderful new stunt you're pulling. Imagine, a big outfit like nice Macy's. Putting the spirit of Christmas ahead of the commercial. Well, from now on, I'm gonna be a regular Macy customer. All right, Mortimer, we're going.

[A]

Gimbles.

[B]

There's the toy department over there. Mr. Gailey, you certainly know all about.

[A]

Macy's store, don't you, Susie?

[B]

Well, that's because my mother works here. But I still think it's silly bringing me here to see Santa Claus.

[A]

Well, I just felt that if you talked to him maybe.

[B]

Okay, Mr. Gailey. I'm certainly willing to try.

[A]

Well, well, what a fine young lady. And what's your name, little girl?

[B]

Susan Walker. What's yours?

[A]

Mine? Kris Kringle. I'm Santa Claus.

[B]

Hmm.

[A]

You don't believe that, eh?

[B]

No. You see, my mother is Mrs. Walker. Oh, but I must say, you're the best looking Santa Claus I've ever seen.

[A]

Really?

[B]

Your beard, for instance. It doesn't have one of those things that goes over your ears?

[A]

Well, that's because it's real. Just like I'm really Santa Claus. Go ahead. Pull it.

[B]

Well, my. My goodness, it is real.

[A]

Yes. Now, what would you like me to bring you for Christmas?

[B]

Nothing, thank you. Whatever I want, my mother will get for me. If it's sensible and doesn't cost too much, of course. That's quite right. Susan. Oh, Hello, Mother. Hello, Mr. Gailey.

[A]

The explanation for this is all very simple. Your maid's mother sprained her ankle. She had to go home. She asked me to bring Susie down to you. And as long as we were here, I figured we might as well say hello to Santa Claus.

[B]

He has real whiskers, Mother. Susan. Whiskey. Would you mind standing over there a minute? If you want me to.

[A]

I shouldn't have brought Susan to see Santa, is that it?

[B]

Now, you're making me feel completely heartless.

[A]

I'm sorry.

[B]

Don't you see? I tell Susan that Santa Claus is a myth. And you sure are a very convincing old man with real whiskers. Whom is she to believe?

[A]

Yeah. Yeah, that's right, isn't it?

[B]

When Susan was a baby, her father and I were divorced. Ever since then, I've protected my child by teaching her realities. If you don't believe in fairy tales and fantasy, you can never be hurt or disillusioned.

[A]

We were Talking about Susie, Mrs. Walker.

[B]

And I must ask you to let me raise her as I see fit. All right, dear. We'll run along to my office. Now.

[A]

Alfred said you wanted to see me, Mrs. Walker.

[B]

Oh, yes. Yes. I. I'd be grateful if you'd please tell Susan that you're not really Santa Claus. That there actually is no such person.

[A]

But, Mrs. Walker, not only is there such a person, but here I am to prove it.

[B]

No, no, no. You must understand. I want you to tell her the truth. Now, what's your real name?

[A]

Kris Kringle. And I always tell the truth. Susan. I'll bet you're in the first grade.

[B]

Second grade. I mean, your real name.

[A]

That is my real name. My goodness, the second grade.

[B]

Very well. I have your employment card right here. I look it up on that.

[A]

That's a very cute dress, Susan.

[B]

It's from Macy's. We get 10% off. Oh, so you always tell the truth, do you? Look at your employment card.

[A]

Name? Kris Kringle. Address? Brooks Memorial Home, Great Neck, Long Island. You may call the home, if you care to confirm that, Mrs. Walker. It's a home for elderly gentlemen.

[B]

Would you also like me to confirm this?

[A]

What's that?

[B]

Date of birth. As old as my tongue and a little bit older than my teeth. Place of birth? North Pole. Now, really?

[A]

Why? I believe you doubt me, Mrs. Walter.

[B]

And this tops everything. Next of kin?

[A]

Oh, there.

[B]

Dasher, Dancer, Prancer and Vixen. I'm sorry to have to do this, Mr. Kringle, but the. The Santa Claus that we had two years ago is back in town, and I feel that we owe it to him. To what?

[A]

Have I done something wrong?

[B]

No, no. It's just that we feel. Oh, excuse me. Hello?

[A]

This is Mr. Shellhammer. Mrs. Walker. Drop whatever you're doing. Mr. Macy wants to see us immediately.

[B]

Oh, I'll be right up. I'm afraid I'll have to be very abrupt with you. I have to see Mr. Macy. You'll be paid for the full week, Mr. Kringle. And I'll send your check to that address.

[A]

Okay. Come right in, Mrs. Walker. Mr. Shellhammer.

[B]

Thank you, Mr. Macy.

[A]

How about this new policy you two initiated? Oh, Macy's Santa Claus. Sending customers to gimbals. I. I can explain everything, miss. You don't have to explain the thing. Just look at my desk. 42 telegrams and over 500 phone calls. Grateful parents expressing undying gratitude to Macy's Department Store. Well, you. You don't say. From now on, not only will our Santa Claus continue in this manner, but every salesperson in the entire store.

[B]

You. You mean, if we haven't got what the customer asks for, we're too.

[A]

We're to send him where he can get it? No high pressuring, no forcing a customer to take something he doesn't really want.

[B]

I. I think that's wonderful, Mr. Macy.

[A]

We'll be known as the helpful store, the friendly store. The store that places public service ahead of profits. And consequently, we'll make more profits than ever. As for you, Mrs. Walker, Mr. Shellhammer, you'll find a more practical expression of my gratitude in your Christmas envelopes.

[B]

Thank you.

[A]

And tell that wonderful Santa Claus I won't forget him either. Matter of fact, I'll tell him myself in the morning. Yes, indeed, Mr. Macy. Good night. Good night.

[B]

Good night, Mr. Macy.

[A]

And thank you again, sir. Imagine a bonus.

[B]

Yes, well. What's the matter with you, Mr. Shellhammer, I. I just fired him.

[A]

Who?

[B]

Santa Claus.

[A]

Oh, no, no, you couldn't have.

[B]

But I. I did. He's crazy, Mr. Shell Hammer. He really thinks he is Santa Claus.

[A]

I don't care if he thinks he's the Easter Bunny. Find him. Oh, in a moment, we'll continue with Miracle on 34th Street. Say, Libby, I understand you were at that wonderful party RKO gave last month for the company of Tycoon after they finished the picture.

[B]

Yes, indeed. And I met so many interesting people. Lorraine Day introduced me to John Wayne, who co starred with her in the picture. He was telling me what marvelous Technicolor shots they got on location in the Sierras.

[A]

Anybody else I know there?

[B]

Well, Rosalind Russell made quite a stir when she dropped in with RKO's two British stars, Michael Redgrave and Leo Ginn.

[A]

Rosalind looking as usual, like one of the ten best dressed women in America.

[B]

Well, like the best dressed Belle of 1865. This time because the three of them came right from the set of Morning Becomes Electra. Rosalind was still wearing her hoop skirts and poke bonnet.

[A]

She has a very exacting Role in.

[B]

That picture in more ways than one. Her stockings took more punishment than any other part of her costume because the sound stage for the mansion set has real sod on it that was watered several times a day. Rosalind changed her shoes and stockings constantly because of the dampness. So her maid had five or six pairs to Lux every night.

[A]

You did say Lux.

[B]

Well, naturally. Stars as well as the Hollywood studios know how important lux flakes are in making stockings last longer.

[A]

We do know that's true from those famous strain tests made by an impartial laboratory. When they washed stockings with a strong soap or rub them with cake soap, pop went runs in a surprisingly short time. But the very same kinds of stockings washed with luxe flakes lasted twice as long. That was true of nylon, silk, rayon and cotton alike.

[B]

That's a good tip for girls who get some of the new smoky toned nylons for Christmas. They can make them last much longer, keep the colors lovely longer if they luxe them regularly.

[A]

Luxe helps. Stockings last twice as long. So with gentle luxe care, you can get the wear of an extra pair from every pair of stockings.

We continue with Act 2 of Miracle on 34th Street. Starring Maureen O' Hara as Doris Walker, John Payne as Fred Gailey, Edmund Gwyn as Kris Kringle and Natalie Wood as Susan.

It was a frantic few hours that Doris spent last night rushing out to the Brooks Memorial Home in Long island and assuring Kris Kringle that Macy's wanted him back as Santa Claus. So Chris is again presiding over the crowded toy department while in her office, Doris and Mr. Shellhammer.

[B]

Don't you understand? Mr. Shellhammer, that old man with the nice white whiskers insists that he is Santa Claus. He's out of his mind. What if he should have a. A fit or something? Oh, no. I've got to tell Mr. Macy.

[A]

But maybe he's only a little crazy. Anyway, you can't be sure till he's examined. We'll send him to Mr. Sawyer. Sawyer in Personnel. He's paid to examine employees, isn't he now? By the way, what do you think of this?

[B]

What is it?

[A]

A full page ad Macy's is running in tomorrow's newspapers.

[B]

Macy's is running it? But it's all about the other stores. Gimbals and sats.

[A]

I know, I know. Mr. Macy's idea to help our customers find what they want. Revolting, isn't it?

[B]

That Santa Claus certainly has started something. Oh, well, I'll get hold of him in his lunch hour and I'll Send him up to Mr. Sawyer.

[A]

So I changed my clothes, Mr. Sawyer, and came right up. Oh, then that's your own beard, huh? Oh, yes. Interesting complex in back of that. Why do you carry a cane? Always carry a cane, Mr. Sawyer. Well, that is, when I wear street clothes. I carved this cane out of a runner from one of my old sleighs. What's that? What's that with a fine, solid silver top? Who was the first president of the United States? Oh, give me a difficult one. Like. Like who was vice president under John Quincy Adams? I'm conducting this examination. The answer is Daniel D. Tompkins.

You're a rather nervous man, aren't you? I am. Do you get enough sleep? My personal habits are no concern of yours. Now, what hand am I holding up? Right hand. How many fingers do you see? 3. Oh, dear, dear, dear. And you bite your nails. Oh. Stand up. Now, feet together. Arms extended. Muscular coordination test. I've taken dozens of these tests, Mr. Sawyer. Are you happy at home? That will be all, Mr. Kringle. The examination's over. Thank you. And it may interest you to know that I've been happily married very happily, for 22 years. Very happily married. Delighted to hear it. Bye, Mr. Sawyer. Bye. Ms. Prawn.

[B]

Yes, sir?

[A]

Get Mrs. Walker on the phone.

[B]

Yes, sir. But your wife, Mr. Sawyer. She's called four times already.

[A]

Tell my big, fat wife to shut up my own business.

[B]

Here's Mrs. Walker, sir.

[A]

Hello.

[B]

I was just going to call you, Mr. Sawyer. There's a Dr. Pierce stopping by this afternoon at three.

[A]

Who's Dr. Pierce?

[B]

He's the physician at the Brooks home. I thought we might discuss Mr. Kringle's case with him.

[A]

Well, there's hardly any point in discussing it, Mrs. Walker. Obviously, the old man should be discharged.

And so Dr. Pierce Kringle should be dismissed immediately and sent to a mental institution. Oh, now, just a moment. But he's deluded. Saying that he's Santa Claus. Well, it's a delusion for good. I found. He only wants to be friendly and helpful. His whole manner suggests aggressiveness. Why, look at the way he carries that cane. Well, Mrs. Walker, naturally I can't discharge that loony. So when he exhibits his maniacal tendencies, please realize the responsibility is completely yours.

[B]

Well, I'm right back where I started.

[A]

Mrs. Walker, I assure you Kris Kringle has no maniacal tendencies.

[B]

But if there's the slightest possibility of his causing any trouble.

[A]

What trouble?

[B]

All that need happen is that a policeman. Ask him his name. Chris Kringle. Clang. Clang and Macy's Santa Claus lands up in the psychopathic ward.

[A]

Well, you can prevent that very simply. There must be someone here at the store who could rent him a room. Then they could both come to work together. I'd just as soon he avoided that long train ride to Long island anyway.

[B]

You mean, sort of take custody of him?

[A]

Yeah.

[B]

Do you think Mr. Kringle would agree to that?

[A]

I'm sure he'll agree.

[B]

Well, in that case. Now, let's see. Who do I know who could rent him a room?

I'm glad you're going to have dinner with us, Mr. Kringle.

[A]

Thank you, Susan.

[B]

I'm also very glad you're going to live next door with Mr. Gailey.

[A]

Oh, why?

[B]

Because you're nice to talk to.

[A]

What a fine young man that Mr. Gailey is, eh? Just think. Allowing me to share his apartment, a mere stranger.

[B]

Confidentially, he did it because Mother hinted to him.

[A]

Oh, well, anyway, I'm very grateful.

[B]

Shall I tell you what I did in school today?

[A]

Yeah, by all means. Any games?

[B]

Yes, and a very silly game too. They played zoo. And each child was supposed to be an animal.

[A]

But, Susie, they were just pretending.

[B]

Well, that's what makes a game so silly.

[A]

Well, of course, in order to play games, you need imagination.

[B]

Oh, that's when you see things, but they're not really there.

[A]

Oh, yeah, yeah. But, you know, to me, imagination is a place all by itself. Now, you've heard of the French nation, the British nation. Well, this is the imagination. A very interesting place too. Now, how would you like to be able to make snowballs in the summertime, eh? Or be the Statue of Liberty in the morning. And in the afternoon. Fly south with a flock of geese?

[B]

Oh, I'm quite sure I'd like it, but.

[A]

Oh, it's very simple. Now, look here. Anyway, the next time they play zoo, you can be a monkey.

[B]

But I don't know how to be a monkey.

[A]

Don't you? Here, I'll show you. Now, first you bend over a little like. Like this, see? Now, let your arms hang loose like this. Yeah, yeah, that's fine. Fine. Now, put your hand over here and start scratching. See?

That's excellent, Susan. Excellent. That's as fine a bit of scratching as I've ever seen. Well, now. Now start chattering.

[B]

Chattering?

[A]

Yes, chattering. Listen now.

See? And keep on scratching. Now, then, we'll do it together, see? Chatter and scratch and scratch and chatter.

That's fine, Susan. Fine. You're doing beautifully.

Susan. Susan, you still awake? Yes, I've just come in to say good night. Susan, about Christmas. There must be something you'd like for Christmas.

[B]

Well, I've certainly thought about something, Mr. Kringle.

[A]

What is it, eh? Tell me.

[B]

It's right here on the night table. See, I tore this page out of a magazine. It's a picture of a house.

[A]

Oh, that's what you want, eh? A doll's house, Colonial architecture.

[B]

Oh, no, not a doll's house. A real house.

[A]

A real house?

[B]

Yes. And if you're really Santa Claus, you can get it for me.

[A]

Oh, now, now, now, now, wait a minute, Susie. What could you possibly do with a big house?

[B]

Live in it with my mother. And I want a great big backyard with a great big tree to put a swing on and a garden and a. Oh, well, why even discuss it?

[A]

Susie? Could I. Could I keep this picture just. Just in case.

[B]

I guess so.

[A]

Thank you. Thank you. Well, Mr. Gail is waiting for me. Good night, monkey.

[B]

Good night, Mr. Kringle.

[A]

Take whichever bed you want, Mr. Kringle. No, you're very kind, really. Tell me, Mr. Gayley, just what do you do for a living? Oh, I'm a lawyer. Haslip. Haslip Sherman Mackenzie. Oh. And you, you like living here in the city? Well, it's convenient. But someday I'd like to get a place out on Long Island. Not a big house, just one of those junior partner deals around Manhasset. One of those little colonial houses, eh? Yeah, yeah. Little colonial house would be swell. You're. You're quite fond of Mrs. Walker, aren't you? Yeah. A lot of good it does me. She lives in a cast iron shell that's a little difficult to penetrate. Oh, you must try harder, Mr. Gayly. Mrs. Walker and that child are a couple of lost souls, and it's up to us to help them. Oh, well, shall I turn out the light? Oh, no, no, no. I'm not going to be cheated out of this. You know, all my life I've wondered about it, and now I'm going to find out. Does Santa Claus sleep with his whiskers inside or outside the covers? Oh, outside, of course. Outside. By all means. The cold makes them grow. Oh, thank you.

Oh, come in, Mrs. Walker. Come in.

[B]

Thank you. Mr. Macy. I've just heard something very exciting.

[A]

You have? Well, let me tell you something very exciting. Our policy of being kind to customers has tripled our sales. Now, what do you think of that?

[B]

That's wonderful, Mr. Macy. And Gimbels thinks it's wonderful too.

[A]

Gimbels?

[B]

Gimbels are adopting the same Policy.

[A]

Well, is that so?

[B]

And it gives me an idea. As long as Gimbels are doing the same thing, why not some pictures for the newspapers?

[A]

Pictures?

[B]

Yes. You and Mr. Gimble shaking hands.

[A]

Shaking hands? R.H. macy and. And Gimbel.

[B]

Well. Well, yes, yes.

[A]

Why not With Santa Claus? It's a great idea, Mrs. Walker. Macy and Gimble shaking hands.

That's enough pictures, gentlemen. Thank you very much. Well, Mr. Gimble. Come on, R.H. now we'll go over to my store and get some really good pictures. Just a minute. I have something here for Santa Claus. Here you are, Mr. Kringle. A check in appreciation of all you've done. Macy. Why, that's most kind of you. I didn't think you were that generous, R.H. well, that's quite a check. What are you going to do with it, Mr. Kringle? Well, I have a friend, a Dr. Pierce. He needs a new X ray machine. Buy the machine through the store. 10% discount. Nonsense. Come over to Gimbel's and we'll furnish it at cost. Keep it up, gentlemen. Keep it up. At this rate, my friend will have a whole new hospital.

How did the pictures turn out, Mr. Kringle? Oh, fine, Alfred. Fine. How about a game of checkers during lunch? No, not today, Chris. I. I don't feel so good. What's the matter, Alfred? Oh, nothing much. You remember I was telling you how I like to play Santa Claus over at the Y and give out packages to the kids? Yeah. Well, I was telling Mr. Sawyer about it, and he says that's very bad. That psychologically, it's all wrong. Wrong to be nice to children. Well, he says guys who play Santa Claus do it because when they was young, they must have done something bad. Now they do something they think is good to make up for it. See, it's what he calls a guilt complex. Alfred. What else has he found wrong with you? Oh, nothing much. Just that I hate my father. I didn't know it, but he says I do. Excuse me.

[B]

Hey, ain't you going to lunch?

[A]

Later. Right now I have an appointment with Mr. Sawyer.

What do you mean, breaking into my office like this? Are you a licensed psychiatrist? What business is it of yours? I have great respect for psychiatry. And great contempt for meddling amateurs who go around practicing it. Shut up. You ought to be horsewit. Taking a boy like Alfred and filling him up with complices and phobias. I think I'm better equipped to judge that than you. Just because Alfred wants to be kind to children. You tell Him? He has a guilt complex. Having the same delusion you couldn't possibly understand. And don't you wave that cane at me. Either you stop analyzing, Alfred, or I'll go straight to Mr. Macy and tell him what a contemptible fraud you are. Get out of here. Get out of here before I have you thrown out. There's only one way to handle a man like you. Well, maybe this'll knock some sense into. Oh. Oh. Oh, My head. My head. Oh.

[B]

Oh.

[A]

Good day, Mr. Sawyer. Ms. Prawn. Miss Prawn. Get me the Police. Get me Mrs. Walker. Get me the psychopathic ward at Bellevue Hospital.

[B]

You can see Mr. Kringle now, Mr. Gailey.

[A]

Thank you, Nurse. Hello, Chris. Hello, Fred. Chris, I've been speaking to the doctors. They said they've given you some tests. Yeah, Same old tests. Except this time you failed to pass them, Chris. You deliberately failed them. Why? Because I had great hopes, Fred. I had a feeling Mrs. Walker was beginning to believe in me. Now I discover she was only humoring me all the time. But this wasn't Doris idea at all. Mr. Sawyer had you sent here before she even knew about it. Why didn't she come to me and explain things? Because she didn't want to hurt you. Oh, it's not just Mrs. Walker, Fred. Now, take Mr. Sawyer. He's contemptible, dishonest, deceitful. Yet he's out there, and I'm in here. Well, if that's normal, I don't want it. But you can't just think of yourself, Chris. What happens to you matters to a lot of other people. People like me, who believe in what you stand for. And people like. Well, like Susie, who are just beginning to. Chris, you're letting us down. Oh, maybe you're right, Fred. You. You. Of course you're right. I ought to be ashamed of myself. Let's get out of here. Now, wait a minute. You flunked your mental examination, but good. Oh, yes, yes, so I did. So I. You're a lawyer. You fix it. Hey, now, look, I. I won't let you down, and you won't let me down. Chris, take it easy, will you? Look, there'll have to be a hearing. If you're gonna be committed, it's got to go before a judge. Well. Well, if I can do anything at all, it'll have to be in that courtroom. Now, sit tight, Chris. I'll get an idea. I'll have to get an idea.

You sent for me, Mr. Macy? I certainly did, Mr. Sawyer. I brought my family to the toy department to See, our Santa Claus and our Santa Claus isn't there. He's in Bellevue. Yes, Mr. Macy. Because he's a lunatic. Yes, sir. Lunatic? Lunatic, my foot. You listen to me, Sawyer. You get that case dropped right away. You'll have another lump to match the one he gave you. But it's out of my hands. Mr. Kringle goes to court in the morning. Well, just see that he's back in the toy department by afternoon. Now get out of here.

Oh, Mr. Gailey. Mr. Gailey. Yes. I've been looking all over for you. I'm Mr. Sawyer. Oh, so you're Sawyer. Yes. I was just speaking to the court clerk and he said you represent Mr. Kringle. Well, I represent Mr. Macy, and I'll see you in court.

[B]

Well, that's what I wanted to speak to you about.

[A]

Now, Mr. Macy would like to drop the whole case right now. You see, we're most anxious to avoid any publicity. No publicity, huh? That's very interesting. Ah, then you'll. You'll cooperate? You know something, Sawyer? You've just given me the idea I've been searching for. Oh, good.

[B]

Good.

[A]

If I'm gonna win this case, I'm gonna have to have public opinion, and plenty of it. And publicity's just the way to do it. Thanks, and so long, Sawyer. Mr. Gailey. Mr. Gailey.

Look at these newspapers. Chris here. Evening Dispatch. Doctors doubt sanity of Santa who launch goodwill campaign.

[B]

Hi.

[A]

Daily Bulletin. Macy. Santa Claus to have Lunacy hearing. What's this one? New York Star is Kris Kringle. Crazy court case coming. Kiddies cry calamity. You've driven the United nations clear. Back to page 5. Get a good night's sleep, Chris. We go before Judge Harper at 10 tomorrow morning.

We pause now for station identification. This is cbs, the Columbia Broadcasting System.

We'll return with Miracle on 34th street in a moment. If it's possible to be born an actress. Our guest tonight was for Barbara. B.B. lyon is the daughter of two famous parents, B.B. daniels and Ben Lyon. The well known screen stars who are now on the executive end of motion pictures. You know, Barbara, you resemble your mother very much.

[B]

Thank you, Mr. Kennedy. That's a great compliment. But I know I'll have to work hard and make a place for myself. Right now I'm studying dramatics and visiting.

[A]

The studios to study techniques.

[B]

That's right. I spent a lot of time at 20th Century Fox watching them make gentlemen's agreement. Dorothy McGuire is so natural. She's marvelous.

[A]

And Gregory Peck turns in one of his finest performances in that story of present day intolerance.

[B]

Yes, and I was interested in Celeste Holme too, because she plays her first portrait dramatic role in Gentlemen's Agreement. Afterwards, she asked me to tea in her dressing room. But an uninvited guest almost spoiled the party.

[A]

Who was that?

[B]

Gregory's dog, Perry. He's such a pet. He thought he was invited too. And in his enthusiasm bumped Celeste's elbow and she spilled cream over a lovely negligee. But, and this is why I'm telling you the story, Mr. Kennedy, Celeste wasn't a bit disturbed. She just handed the robe to her mate and told her to lux it right away.

[A]

She couldn't give it safer treatment studio wardrobe departments specify luxe care for everything safe in water alone.

[B]

So do mother and I. Since she's been back from England, where mother and dad spent the war years, we've been splurging on lingerie. But it really doesn't seem extravagant because nice things last so long with lux care.

[A]

Lux care actually does keep under things lovely three times as long. So any girl who gives her under things Lux care can have three times as many without spending a bit more. Instead of just replacing under things that have grown faded and old looking from wrong washing, she can buy extra new ones soon have three times as many because they stay lovely three times as long. Thank you for coming tonight, Barbara Lyon.

Now here's Act 3 of Miracle on 34th Street. Starring Marina Hera as Doris Walker, John Payne as Fred Gailey, Edmund Gwen as Chris, and Natalie Wood as Susan.

For a few weeks, a jolly elderly gentleman named Kris Kringle has been working minor miracles as the Santa Claus of Macy's department store. But now his sanity has been seriously questioned. And in a crowded courtroom, Judge Harper listens patiently as the assistant district attorney summons Kris to the witness stand. Now, this is not a trial, Mr. Kringle. It's just a hearing. So you don't have to answer any questions. Now then, where do you live? Please. Well, it seems to me that's what this hearing will decide, won't it? Mr. Kringle, do you believe that you are Santa Claus? Of course I do. That's all, your honor. The state rest is case. Well, Mr. Gailey? Your Honor, Mr. Mara contends my client is not sane because he believes he is Santa Claus. An entirely logical conclusion. Anyone who thinks he's Santa Claus is crazy. Your honor. You believe yourself to be Judge Harper, yet no one questions your sanity because you are judge harper, do they? Mr. Kringle is the subject of this sanity Hearing, not I. Very well, you, Honor. But I intend to prove that Mr. Kringle is Santa Claus. Mr. Murrah, I thought you said this was a cut and dried sanity hearing. I thought it was. Your Honor, in view of Mr. Gailey's statement. I'll have to review the entire background of this case. Courts adjourn until tomorrow morning.

Hello, Doris. I'm sorry I'm late. But get ready. We're really going to celebrate tonight.

[B]

What are we celebrating?

[A]

Well, didn't you read the papers? Santa's mouthpiece throws bombshell on New York Supreme Court.

[B]

Fred, you're not really serious about this. You can't possibly prove that Chris is Santa Claus.

[A]

Well, you saw Mr. Macy and Mr. Gimble shake hands. That wasn't possible either.

[B]

And what does your firm have to say about it? Hayslip and Mackenzie and the rest of them.

[A]

That I've jeopardized their prestige. And either I drop this impossible case, or they'll drop me.

[B]

You see?

[A]

So I beat them to it. I quit.

[B]

Fred, you threw away your career because of a sentimental whim.

[A]

I'll open my own office.

[B]

And what kind of clients will you get?

[A]

Oh, probably a lot of people like Chris are being pushed around. You know, that's the only fun in law anyway. Doris, look, don't you have any faith at all in me?

[B]

Oh, it's not a question of faith. It's common sense.

[A]

But faith is believing in things when common sense tells you not to. It's not just Chris that's on trial. It's everything he stands for. Human kindness and love.

[B]

Fred, listen. We've seen a lot of each other the last couple of weeks. I. Well, I. I've become very fond of you. We've talked about some wonderful plans, haven't we? And then you do this. You go on an idealistic binge, throw away your security. And you expect me to be happy about it?

[A]

I expect too much. Is that it? Well, that's that, I guess. Good night, Dori.

Hello? Yes, this is Mr. Mara. Well, can't I wait till tomorrow? I'm eating D. Who's been subpoenaed? Well, how do you think I feel about it? I'll see you tomorrow.

[B]

Who's that, dear?

[A]

R.H. macy's been subpoenaed.

[B]

Oh, my.

[A]

Oh, those reporters. They make me look like a sadistic monster. Who likes nothing better than to drown pussycats and tear wings off of butterflies.

[B]

Quiet, Tommy. Still awake?

[A]

Oh. Oh, yeah.

[B]

It'd just break his heart if he knew what his daddy's doing.

[A]

I'M doing my job as assistant district attorney.

[B]

Well, I'm not so sure, but that I agree with him. Mr. Kringle looks like a very nice old man. And I don't see why you have to keep persecuting him.

[A]

I'm not persecuting him. I'm prosecuting him. I like the old man, too, but there's nothing I can do about it.

[B]

You know something, Thomas? Sometimes I wish I'd married a butcher or a plumber.

[A]

Well, if I lose this case, it's very possible you'll get your wish.

R.H. macy. I wonder what he's gonna pull tomorrow.

Proceed with the witness, Mr. Gailey. Now then, Mr. Macy, if you recognize the defendant. Please tell us who he is. Kris Kringle, of course. Do you believe him to be of sound mind? Sound mind? I wish I had a dozen like him. Mr. Macy, you're under oath. Do you believe that man is Santa Claus? Well, now, that's rather a delicate. Careful, R.H. just think of those headlines tomorrow. Macy Admits His Santa Claus Is Fraud. You keep out of this, Gimble. What did you say? Nothing. Nothing. Mr. Marra, I wish you would. Is that man Santa Claus? Yes. In my opinion, he most certainly is. Your Honor, there is no such person as Santa Claus, and everybody knows it. Can you prove there isn't any? I won't even try. I'll not waste the court's time with such childish nonsense. Your Honor, the prosecution requests an immediate ruling from this court. Is there or is there not a Santa Claus? Well, now, I. The court will take a short recess to consider the question.

Hello, Henry. Why, Charlie, what are you doing here? Can't an old friend visit you in your chambers? And if you ask me, you never needed a friend like you do now? This Kringle case. Well, I certainly don't see what they're making such a fuss about. Henry, that's Santa Claus you got out there on trial for lunacy. This case is dynamite. And you're coming up for re election soon. Charlie, you know what happened last night. Martha brought the grandchildren over. They. They wouldn't kiss Grandpa. They wouldn't even talk to me. You see what I mean? If you rule there is no Santa Claus. You better start looking at that chicken farm right now. I'm a responsible judge. How can I seriously rule that there is a Santa Claus? Because of what happens if you don't. The kids read about it, and they don't hang up their stockings. Now what happens to all the toys that are supposed to be in those stockings? Nobody buys Them the toy manufacturers have to lay off employees by now. You got the AF Of L and the CIO against you. They're going to say it with votes, eh? Oh, the department stores are gonna love you too. Yes, sir, Henry. And what about the Salvation Army? They got a Santa Claus in every street corner. And they take in a lot of money to help the poor. But go ahead, Henry. You go in there and rule there isn't any Santa Claus. But if you do, you can count on getting just two votes. Your own. And that district attorney's out there.

One vote, Charlie. He. He's a Republican.

Oh, well, let's get this over with.

The question of Santa Claus Seems to be largely a matter of opinion. The tradition of American justice. Demands a broad and unprejudiced view. Of such a controversial matter. But, your honor, this court therefore intends to keep its mind open. We shall ask for evidence on either side. But the burden of proof clearly rests with my opponent. Can he produce any evidence to support his views? If your honor please, I can. Will Thomas Mara please take the stand? Who, me? No. Thomas Mara Jr. I believe he and his mother are both in court today.

[B]

Hi, Papa.

[A]

Hi.

Tommy. Do you believe in Santa Claus?

[B]

I sure do. He gave me a brand new sled last year.

[A]

And what does Santa Claus look like, Tommy?

[B]

Well, there he is, sitting right over there.

[A]

Your honor, I.

Tell me, Tommy. Why are you so sure there's a Santa Claus?

[B]

Because my papa told me so. Didn't you, Papa?

[A]

Thank you, Tommy. You can go back to your mother now.

[B]

See you later, Papa.

[A]

You certainly will. Your honor.

[B]

Don't forget, Santa Claus. This year I won a football helmet.

[A]

Now, don't worry, Tommy. You'll get it. Mr. Kringle, if you don't mind. I'm sorry, sir. Your honor, the state of New York concedes the existence of a Santa Claus. But in so conceding, we demand that Mr. Gailey stop presenting personal opinion as evidence. I insist he submit authoritative proof. That Mr. Kringle here. Is the one and only Santa Claus. Well, Mr. Gailey, are you prepared to show. That Mr. Kringle is Santa Claus. On the basis of unprejudiced. Well. Well, no. Not now. I. I need a little time. Why not now? Tomorrow, your honor. Very well. Courts adjourn till tomorrow morning.

[B]

Phew.

Now come, Susan, dear. Finish your supper. But I can't, Mother. All those things they're saying in the newspapers about Mr. Kringle and Mr. Gailey. Susan, they're having this trial because he says he's Santa Claus. But he's so kind and nice and jolly. He's not like anyone else. I know. He must be Santa. You know something? I think perhaps you're right. Is Mr. Kringle sad now, Mother? I'm afraid he must be. Then I'll write him a letter. Maybe that'll make him feel better. I'll cheer him up. And I'll tell him I believe he's.

Postman. Postman.

[A]

Yeah.

[B]

Lady, would you mind taking this letter?

[A]

Oh, sure, lady. We're going straight down to the post office now. Okay, Louie, take it away.

What do you know, Louie? Another letter for Santa Claus. Hey, here's a new one. Instead of North Pole Paul, this kid's got it addressed to Kris Kringle, New York County Courthouse. Well, the kid's right. Huh? Oh, yeah, sure. They got him on trial down there. He claims he's Santa Claus, and the DA Claims he's nuts. Hey, hey, Frankie, I got an idea. Yeah? How many Santa Claus letters do you think we got down there in the dead letter office? Oh, who knows? Must be 50,000 bags and bags. All over the joint.

You mean. But frakie, why not? Wouldn't it be nice to get rid of them all? Wouldn't it? Boy, oh, boy. Look, Louie, soon as we get to the post office, we go see the supervisor. You know something? I bet we both get promoted.

And since the defense has been unable to submit one shred of proof that Kris Kringle is the one and only Santa Claus, and since tonight is Christmas Eve, I ask your honor, that this hearing be terminated without further delay. I protest. Your Honor, I do have evidence. Five minutes ago, you said you didn't. During Mr. Marrow's oration, the bailiff handed my client the evidence I refer to. What evidence? This letter, you, honor. Yes, Mr. Kringle. It's from Susan Walker. She believes in me. This letter means more to me than anything in the world. That letter, you, Honor, was delivered by the United States Post Office, an official agency of the federal government. The post office department is one of the largest business concerns in the world. Last year, it did a gross volume of over $1 billion. Your Honor, I'm sure we're all gratified that the post office is getting along so well, but what bearing has it on the sanity of that man? My point is that the post office department is a model of efficiency. Furthermore, the laws of this country make it a criminal offense to willfully misdirect mail or intentionally deliver it to the wrong party. The state of New York is second to none in its admiration of the post office department. Department. We're very happy to concede Mr. Gailey's claims. For the record, Mr. Mar. For the record. Anything to get on with this case. Thank you. Your honor. That letter just received by Mr. Kringle is positive proof. That a letter is hardly positive proof. I have further exhibits, your honor, but I hesitate to produce them. Come, come, Mr. Gailey. Put them here on my desk. But, your honor. I said put them on my desk. All right, boys, bring them in.

Put them right there. Your honor. What is this? Empty those mail sacks on Judge Harbour's desk. But we got six truckloads out there. Bring them in. I'll be fined for contempt of court. No, just a second here. We'll do it, your Honor. We'll do it. True rain, true sleep, true courtrooms. Anything we deliver. Mr. Gailey. Your honor, every one of those letters and every one of those mail sacks. Is addressed to Santa Claus. The post office department has delivered them. Therefore, the post office department recognizes Kris Kringle to be the one and only Santa Claus. Since the United States government declares this man to be Santa Claus. This court will not dispute it. Case dismissed. And for heaven's sake, get this mail out of my courtroom.

So as soon as I got out of court, I came straight to Mazes to see you, Doris.

[B]

Oh, Chris, I'm so glad you won.

[A]

Well, we are having a big Christmas party at the Brooks home tomorrow morning. I'd like so much to see you and Susie there.

[B]

We'll be there, Chris. Oh, couldn't you. Couldn't you just come home now and have dinner with us?

[A]

Now? Tonight? Me? My goodness, Doris, it's Christmas Eve. Oh.

Alfred, look. Look who came all the way out here to the home just for our Christmas party. Chris, it's. It's Mr. Macy. Mr. Gimble, too. Oh, excuse me, Alfred. Mrs. Walker and Susie have to leave now. And I don't want to go without my suit.

[B]

But, Susie, darling, you got so many presents. That's the one I wanted. That's the one Mr. Kringle was going to get for me. Well, what was it? It doesn't matter. I knew I would, but I thought he'd at least tell me why.

[A]

Susie. Susie. I'm. I'm sorry, Susie. I tried my best.

[B]

You couldn't get it because you're not Santa Claus, Susan. Just a nice old man like mother said. But I was wrong when I told you that. You must believe in Mr. Kringle and keep right on doing it. You must have faith in him. But that doesn't make sense, Mother. Faith is believing in things when common sense tells you not to.

[A]

Huh?

[B]

I mean, just because things don't turn out the way you want them to the first time, you've still got to believe in people. I found that.

[A]

Hello, Doris.

[B]

Oh, Fred. Mr. Gailey. Oh, Mr. Gailey.

[A]

Merry Christmas, Suzy.

[B]

Gosh, you just got here. And we're just ready to leave.

[A]

Oh, I've been here. And if you're ready to leave, I'll. I'll drive you home. Well, B. Before you go, here. Here's a map I've made for you. Now, you'll miss a lot of traffic. About four miles south, you'll see Ashley Avenue. That's the street you want. Ashley Avenue. Thanks, Chris. And a merry Christmas to you. Merry Christmas to you, Fred. And to you, my dear. And to you, susie.

[B]

I believe, Mr. Kringle. I do. It's silly, I suppose, but I.

I don't understand it, Fred. The map Chris gave us definitely says Ashley Avenue. We've been on Ashley Avenue. Stop the car. Oh, stop the car, please. Susie. What is it, darling? What's the matter?

[A]

There it is. The house.

[B]

The house.

[A]

Susie.

[B]

What in the world.

[A]

She's running into that house.

[B]

At least there's no one home. It's brand new. It's just been built.

[A]

For sale, it says for sale.

[B]

What on earth is that child up to?

[A]

Susie. Hey, Susie.

[B]

Here I am upstairs. Come right down. You know, you shouldn't round run around in other people's houses. That's strange.

[A]

I'll say.

[B]

No, no, I. I mean this house. I've seen this house somewhere. I know I have. Maybe in a magazine. It's the one I asked him for. Mr. Kringle. Mr. Kringle. I know it is. Oh, you were right, Mommy. You were right, Suzy. Mommy told me things didn't turn out just the way you wanted them to at first. You've still got to believe. And I kept believing. And you were right. Mommy. Mr. Kringle is Santa Claus now. Where are you going? In back to see if there's a swing. Oh, there is one. There is one.

[A]

You told her that about. About believing.

[B]

Well, you told me. Fred.

[A]

Sign outside. For sale, huh? Well, we can't let her down, can we?

[B]

I never really doubted you. It was just my silly common sense.

[A]

It even makes sense to believe in me now. I must be a pretty good lawyer. I'd take a little old man and legally prove to the world that he's Santa Claus. Now, you know that couldn't Fred what's the matter?

[B]

There, in the corner by the fireplace.

[A]

Oh, no, no, it can't be.

[B]

It couldn't.

[A]

A cane. Chris's cane. Why, there couldn't be two canes like that anywhere in the world.

[B]

Silver handle and all.

[A]

Hey, you know something? Maybe I didn't do such a wonderful thing after.

Our stars will return for their curtain calls in a moment. Let's look in for a moment on the Smiths. In a rash moment, Bill has offered to wash the dishes. Here's the Lux.

[B]

Just shake a little in the dish pan. Hey there, that's enough.

[A]

Why be stingy? I like lots of suds.

[B]

Well, so do I. But you'll get plenty with a little luxury.

[A]

Hey.

It looks just like a bubble bath.

[B]

Dishcloth is there under the sink. You know, those suds won't flatten out either. Like that stuff I used last week. You watch.

[A]

Well, at least you use that other box up fast.

[B]

I'll say. It's another reason I'm back to luxe flakes. Why, I'll bet Lux does most twice as many dishes. Cause a little goes such a long way. Don't just admire those suds all night.

[A]

Come back here and dry.

[B]

Silly, that's a waste of time.

[A]

Just rinse those dishes with hot water.

[B]

And they'll dry by themselves.

[A]

You know, I was just thinking. Can I count this as my good deed for the day? If I get dish pan hands for your sake.

[B]

Dish pan hands, nothing. You won't get red rough hands with luxe flakes in the dish pan. See what's wrong with mine?

[A]

Not so bad. Not so bad. Next time you do the dishes. Well, ladies, if your husband doesn't do the dishes, the next best thing is to do them yourself. With luxe flakes in the dish pan, you'll avoid dishpan hands. In fact, if strong soaps have been making your hands red and rough, just change the luxe flakes and see how soon your hands are soft and smooth again.

Now here's Mr. Keeley with our stars. Mr. Keeley in Washington D.C. and our stars on the stage of the Lux Radio Theater in Hollywood for a most delightful holiday performance. All our thanks to Marie no Hara, John Payne, Edmund, Gwen and Natalie Wood, who returned to the spotlight for a curtain call.

From Washington to Hollywood. And points between. You've helped to put us in the mood for Christmas.

[B]

Thanks, Bill, but we missed you at tonight's performance.

[A]

As I miss being there, believe me. But here in Washington, Edmund Gwen sounded just as convincing as Santa Claus as he must have on Your stage in Hollywood. Well, Bill, I wonder how many people knew that Teddy Gwen really was Macy Santa Claus in their holiday parade.

[B]

Is that right, Mr. Gwen?

[A]

Yes, that's right, Natalie. In fact, I've been Santa Claus so much, I'm beginning to really believe in myself.

I don't wonder, Teddy. I'm certainly going to leave the latch key in the mailbox for you Christmas Eve. No, no, just put a windsock in the chimney, Bill.

[B]

You really plan to make the rounds on Christmas Eve, eh, Teddy?

[A]

Well, you can't let millions of children down.

[B]

You know, Mr. Gwen, you sound as if you did believe in Santa Claus.

[A]

He's right, too. Didn't I just prove it? Well, why don't we leave it to the Lux Radio Theater audience? Yes, how about it, folks? Do you believe in Santa Claus?

[B]

Well, that's all to reassure the children in the audience tonight.

[A]

Tell us, Bill, how's the picture going down in Washington? Splendidly. In fact, if all's well, I'm happy to say I'll be back for our big New Year's show next Monday night.

[B]

Something special, Mr. Keeley?

[A]

Very special, Natalie. A musical hit to warm the hearts of every member of the family. Well, let's hear what gives, Bill. Sounds exciting. Exciting? It is. A play and cast that's topped our list of listeners requests. And our stars are the one and only Frank Sinatra. The lovely and talented singing star Katherine Grayson. And the ever popular Gene Kelly in Metro Golden Bear's great hit, Anchors Away.

[B]

I hope you have fun, Frank. Singing the wonderful tunes from that picture, Bill.

[A]

Yes, indeed. And Catherine and Jean, too. Sounds like a great way to finish out the old year, Bill. Congratulations. Good night. Good night. Good night. Merry Christmas to all four of you.

Once again, the world looks forward to another Christmas. It would be idle to say that peace reigns everywhere on earth. That men confront the future with untroubled hearts. But this much we can say that for one day, the world is brought together by the worship of the Prince of Peace. And if that spirit can burn so brightly for a single day, we have cause to hope that it may someday shine forever in men's hearts.

[B]

Hearts.

[A]

On behalf of Lever Brothers Company and of us of the Lux Radio Theater, may I wish all of you the happiest of holidays.

We invite you all to join us again next Monday evening when the Lux Radio Theater presents Frank Sinatra, Catherine Grayson and Gene Kelly in Anchors Away. This is William Keeley saying good night and merry Christmas.

Maureen O' Hara and Natalie Wood appeared through the courtesy of 20th Century Fox producers of Captain from Castile and Daisy Kenyon. Edmund Gwynn appeared by arrangement with Metro Gold, producers of Cast Timberlane, starring Spencer Tracy and Lana Turner. Heard in our cast tonight were Joseph Kearns as Sawyer, Alan Reed as Macy, Bill Johnstone as Mara, and Herbert Butterfield as Judge Harper. Our music was directed by Lewis Silvers. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Anchors Away with Frank Sinatra, Katherine Grayson and Gene Kelly.

Pepsodent won by three to one. Yes, In a recent survey, families throughout America compared new Pepsodent toothpaste with the brands they'd been using at home by an overwhelming average of 3 to 1. They preferred new Pepsodent with Irum over any other brand they tried. They said new Pepsodent toothpaste tastes better, makes breath cleaner, makes teeth brighter. Yes, with families who made comparison tests, Pepsodent won by 3 to 1.

Be sure to listen next Monday night to the Lux Radio Theatre presentation of Anchors Away with Frank Sinatra, Katherine Grayson and Gene Kelly. Stay tuned for My Friend Irma, which follows immediately over most of these stations. This is cbs, the Columbia Broadcasting System.

Foreign.

We just heard Maureen o', Hara, Edmund Gwen and John Payne, as well as a radio recreation of Miracle on 34th street that will do it for this week's episode. Thanks so much for joining me. I hope you'll be back next week as we continue continue our holiday film series with the stars of It Happened on Fifth Avenue. In the meantime, you can check out down these Mean Streets, my old Time Radio Detective podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can rate and review the show in Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com mean sts otr now, good night until next week when I'll be back with the stars of It Happened on Fifth Avenue, appearing in tales well calculated to keep you in.

Suspense.

Sam.

Ladies and gentlemen, the chief hope of our enemies is to divide the United States along racial and religious lines and thereby conquer us. Let's not spread prejudice. A divided America is a weak America. Through our behavior, we encourage the respect of our children and make them better neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.