Episode 435 - Stars of "Shane"

Summary

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Stars on Suspense (Old Time Radio)

Episode 435 – Stars of “Shane”
Original Air Date: January 8, 2026
Host: Mean Streets Podcasts

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Overview

This extra-length episode pays tribute to "Shane" (1953), a classic Western film, by showcasing its stars—Alan Ladd and Van Heflin—in two suspenseful Old Time Radio dramas before reuniting them in a radio adaptation of the movie itself. Host Mean Streets Podcasts dives deep into radio’s “theater of thrills,” presenting stories that highlight both the acting range and iconic screen presence of these legendary Hollywood actors.

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Main Segments

1. Introduction and Context [00:50–03:05]

Theme:

• A month-long focus on Westerns and their stars on "Suspense."
• Spotlight today: "Shane"—gunfighter-turned-homesteader tale and its actors Alan Ladd (Shane) and Van Heflin (Joe Starrett).
• The episode features:
  • Van Heflin in “The Lady in the Red Hat” (1950)
  • Alan Ladd in “A Killing in Abilene” (1950)
  • Armed Forces Radio rebroadcast of Lux Radio Theater: Shane (1955)

Notable Quote:
"Shane is one of the standouts of the genre, an iconic Hollywood western, and it has one of the great endings of film history." — Host [00:51]

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2. Suspense: “The Lady in the Red Hat” (Van Heflin) [07:09–34:08]

Plot Overview:
A psychological thriller starring Van Heflin as Mitch, a crime reporter fixated on a serial killer dubbed “The Avenger,” whose victims all wore red. Mitch receives an anonymous invitation to a midnight rendezvous at a chapel, drawing his friend Jeannie (Joan Banks) and police lieutenant Bill Dowell into a dangerous mind game where suspicion turns inward.

Key Discussion Points & Insights:

• Mitch’s insistence on dangerous “theory” journalism despite police concern over public panic
• The color red’s symbolic connection to “sin” and fear ("Five women have been murdered...all were wearing red in their clothes. I say that means something..." — Mitch [08:09])
• Anxiety, suspicion, and paranoia—who is the Avenger?
• The setup of the midnight chapel meeting creates claustrophobic tension as each character questions the others' motives and histories.

Notable Exchanges:

• "The Avenger could be anyone...Was she the one? This tall girl with long legs, smart, self-possessed career woman with fresh-faced innocence.” — Mitch (Van Heflin) [11:34]
• "Maybe one of us enjoys the publicity, the thrill of killing." — Mitch [23:14]

Memorable Moment:

• The chapel sequence (from 22:30 onward): The trio’s paranoid conversation about the possibility that the Avenger is among them. The climax reveals Mitch’s own violent psychological unraveling, triggered by personal trauma and obsessions with the color red.

Timestamps:

• 07:09 – Segment begins
• 09:07 – The “meet the Avenger” note revealed
• 11:33 – Dinner and mutual suspicion
• 19:06 – Arrival at the chapel
• 22:30 – The tense psychological “whodunit” escalates
• 31:50 – Jeannie tries to calm Mitch, who becomes unhinged
• 34:08 – Climax: The killer is unmasked

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3. Suspense: “A Killing in Abilene” (Alan Ladd) [36:50–63:19]

Plot Overview:
Alan Ladd stars as a stoic man on a quest for justice—the kind that eschews lynching for a fair trial. He’s tracked his brother’s murderer, Lee Burridge, for two years, only to find himself in a town ruled by suspicion, mob mentality, and cycles of violence. A classic Western moral dilemma ensues.

Key Discussion Points & Insights:

• The tension between justice and vengeance
• Ladd’s character as a man of principle in a lawless frontier
• Exploration of community psychology and scapegoating
• Recurring motif: Promises to family about avoiding more killing

Notable Quotes:

• "Not for you, maybe, but there'll be no more killing in my family. We'll give him a fair trial...but a fair trial.” — Alan Ladd’s character [43:14]
• “I don't go for lynching.” — Alan Ladd [44:06]
• "Why does he live?" — Alan Ladd, asking about Burridge [45:04]

Memorable Moments:

• (62:24) The truth comes out in a tense lynching scene—culprit Ben Chaffee is exposed via logic and testimony, averting yet another wrongful killing.
• Ladd’s stoicism and insistence on due process stand in contrast to the fevered mob around him.

Timestamps:

• 36:50 – Segment begins
• 41:27 – Confrontation with the townsfolk and the sheriff
• 47:28 – Finding Lee Burridge
• 59:03 – Mob prepares for lynching
• 62:24 – The truth, and ending of the cycle of violence

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4. Lux Radio Theater: “Shane” (AFRS Rebroadcast) [66:34–119:01]

Plot Overview:
A condensed radio adaptation of the classic film. Alan Ladd, Van Heflin, and Ruth Hussey reprise their roles as drifter-gunfighter Shane, steadfast homesteader Joe Starrett, and his wife Marion. Shane’s arrival on a Wyoming homestead brings peace, then violence, and—ultimately—sacrifice, as he helps a community stand up to cattle barons and rides off in one of cinema’s most famous endings.

Key Discussion Points & Insights:

• Shane as the archetype of the reluctant hero/displaced gunman
• Joe and Marion’s marriage, tested by the violence of the frontier and Shane’s magnetic presence
• Power dynamics between the homesteaders, cattlemen, and the hired gun, Wilson
• The moral of legacy, self-sacrifice, and the cost of violence: “A gun is just a tool...as good or as bad as the man who uses it.” — Shane (Ladd) [91:40]
• The famous ending—Joey’s cries for Shane to return [118:27–119:01]

Notable Quotes:

• "Because a man...well, he has to be what he is, Joey. You can’t break the mold." — Shane (Alan Ladd) [117:30]
• “There aren’t any more guns in the valley, Joey. Please…go home and grow up straight and strong like your father.” — Shane (Alan Ladd) [117:43]
• "Mother wants you, too.... Shane, Shane, come back!" — Joey (Child) [118:24–118:40]

Memorable Moments:

• Tense barroom showdowns (Shane’s refusal to be bullied, then finally unleashing his skill when it matters)
• “Bang, bang, bang!”—Joey’s hero worship of Shane and the lure/danger of gun culture
• Wilson confrontation and the gunfight in the saloon
• Emotional departure; the child’s plaintive calls after Shane as he rides away

Timestamps:

• 66:34 – Radio play begins
• 71:54 – Shane agrees to stay/work with Starrett family
• 80:53 – Tensions escalate with Riker and his men
• 91:40 – Shane explains the morality of guns
• 103:15 – The funeral and decision to stand together
• 115:46 – Final confrontation/shootout
• 117:30 – Shane’s farewell to Joey
• 119:01 – Curtain call for Ladd, Heflin, and Hussey

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Notable Quotes (with Timestamps)

• "Five women have been murdered in three months and they are all wearing red in their clothes. I say that means something..." — Mitch (Van Heflin), “Red Hat” [08:09]
• "Not for you, maybe, but there'll be no more killing in my family. We'll give him a fair trial...but a fair trial.” — Alan Ladd, “Killing in Abilene” [43:14]
• "A gun is just not a tool, Marian. It's as good or as bad as the man who uses it." — Shane (Alan Ladd), “Shane” [91:40]
• “Because a man...well, he has to be what he is, Joey. You can’t break the mold. I tried it; it just didn’t work for me.” — Shane (Alan Ladd), final moments [117:30]
• "Mother wants you too...Shane, Shane, come back!" — Joey, “Shane” [118:24–118:40]

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Tone & Style

The episode maintains a rich, cinematic atmosphere—invoking the drama, suspense, and moral ambiguity of Westerns and thrillers. Dialogue is crisp and laden with period-appropriate lingo. Performances are intense and emotional, with undercurrents of grief, longing, and hard-won resolve.

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Conclusion

By weaving together suspenseful radio dramas and the legendary “Shane,” this episode offers both a time capsule of old Hollywood talent and an exploration of enduring American themes—justice, redemption, community, and sacrifice. With vibrant performances by Van Heflin and Alan Ladd, listeners are treated to tales "well calculated to keep you in...suspense."

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For Further Listening

If still in a "Shane" mood, check out the recent episode saluting Alan Ladd’s detective radio work, and stay tuned for next week’s focus on the stars of "My Darling Clementine."

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Transcript

[Narrator/Host]

Would you hand me that, please? Thank you.

[Alan Ladd]

Now, let's see.

[Narrator/Host]

Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense.

[Alan Ladd]

Therefore delay acquainting him with what he.

[Narrator/Host]

Is eager to know. Suspense.

[Podcast Host]

Hello, and welcome to Stars on Suspense with more Hollywood legends and radios. Outstanding theater of thrills. This month, we're spending the winter out west. Over the next four Thursdays in January, I'll spotlight a classic western and its stars making appearances on suspense. And we're kicking off today with shane George Stephens 1953 drama about a gunfighter who starts a new life with a family of homesteaders, only to pick up his guns once again when that family is threatened. Shane is one of the standouts of the genre, an iconic Hollywood western, and it has one of the great endings of film history. There are terrific 4K and Blu Ray releases of the movie, and you can rent and buy Shane digitally on your preferred providers. The two stars of the picture were Alan Ladd, who played the steely Shane, and Van Heflin as the homesteader who opens his home to the gunman. Both actors made multiple visits to the suspense microphone, and today we'll hear some of those appearances. First up is Van Heflin in the lady in the red hat from November 30, 1950, where he plays a reporter who receives an invitation to a midnight meeting with the serial killer preying on his city. Next up is Alan Ladd, who stars in, appropriately enough for Today, a western. We'll hear him as a man hunting for his brother's murderer in A Killing in Abilene from December 14, 1950. Then the two men reunite as the Lux Radio Theater presents Shane. This is an Armed Forces Radio Service rebroadcast of the episode that originally aired on NBC on February 22, 1955. Shane will come back, but first, we've got two episodes of suspense, and we'll kick those off right after these messages.

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[Commercial Voice]

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So when you have a cold and need a laxative, take XLax, the laxative.

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[Narrator/Host]

Suspense.

[Announcer]

Autolite and its 96,000 dealers present suspense. Tonight, Autolyte brings you the lady in the Red Hat, a suspense play starring Mr. Van Heflin.

[Narrator/Host]

Well, the way the woman was killed.

[Commercial Voice]

Last night proves he's right.

[Announcer/Commercial Voice]

What's the point of suppressing the articles? Is there any doubt in your mind.

[Narrator/Host]

That this new murder was committed by the Avenger?

[Jake Garvey (Sheriff)]

Not mine either.

[Commercial Voice]

So why.

[Jake Garvey (Sheriff)]

All right.

[Commercial Voice]

Okay, Chief.

[Narrator/Host]

Oh, hello, Mitch.

[Jake Garvey (Sheriff)]

Who's that?

[Mitch (Detective/Reporter)]

Chief Naylor.

[Jake Garvey (Sheriff)]

Yeah?

[Narrator/Host]

They want us to stop those articles you're writing.

[Mitch (Detective/Reporter)]

Oh, what's the matter?

[Narrator/Host]

Well, it's not so much the Avenger.

[Commercial Voice]

As the way you keep hopping on.

[Narrator/Host]

Those theories you've got about him.

[Mitch (Detective/Reporter)]

I think I'm right.

[Narrator/Host]

But you've got every woman in the city scared to death.

[Commercial Voice]

That's why I want you to lay off.

[Narrator/Host]

Five women have been murdered in three.

[Mitch (Detective/Reporter)]

Months and they are all wearing red in their clothes. I say that means something and they.

[Narrator/Host]

Want me to lay off.

[Announcer/Commercial Voice]

Look, this isn't me.

[Commercial Voice]

We hired you to do a feature column in the Sunday supplement because you've.

[Narrator/Host]

Got a big following.

[Commercial Voice]

Psychology of Murder. It's a great idea, but.

[Announcer/Commercial Voice]

Excuse me.

[Mitch (Detective/Reporter)]

Yeah?

[Jeannie (Reporter)]

Eh, Mr. Banning. Is Mr. Mitchell in there?

[Narrator/Host]

Yep.

[Jeannie (Reporter)]

Will you tell him his housekeeping on the phone?

[Narrator/Host]

All right.

[Commercial Voice]

Switch the call in here.

[Narrator/Host]

Yes, Use this phone, Mitch.

[Jake Garvey (Sheriff)]

Thanks.

[Announcer/Commercial Voice]

Hello?

[Mitch (Detective/Reporter)]

Yes, Mrs. White.

[Jake Garvey (Sheriff)]

Oh.

[Mitch (Detective/Reporter)]

Thank you. No, don't.

[Alan Ladd]

Don't worry. That's all right.

[Mitch (Detective/Reporter)]

Yes, I won't be home until after midnight then.

[Alan Ladd]

Bye.

[Narrator/Host]

Bye. Anything wrong?

[Mitch (Detective/Reporter)]

I don't know. I find out though an anonymous note slipped under my door. Somebody wants me to meet the Avenger at midnight.

[Commercial Voice]

In just a moment, Mr. Van Heflen. In the first act of the lady in the Red Hat.

[Mitch (Detective/Reporter)]

Say, Harlow, you ever play football?

[Commercial Voice]

Oh, what a question to ask quarterback Wilcox, sparkplug of the squad.

[Mitch (Detective/Reporter)]

The what?

[Commercial Voice]

Spark plug wise quarterback. I gave my voice tremendous enthusiasm just as new. Ignition engineered auto light spark plugs give a motor with worn out spark plugs, quick starts, smooth performance and gas savings.

[Mitch (Detective/Reporter)]

Were you world famous?

[Commercial Voice]

Well, no, half. But ignition engineered auto light spark plugs are world famous for quality and dependability.

[Narrator/Host]

You call the signals too, Harlo?

[Jake Garvey (Sheriff)]

Of course.

[Commercial Voice]

And our team clicked perfectly. Just like Auto Light spark plugs. The spark plugs that are ignition engineered to work as a perfect team with your car's ignition system. Autolite spark plugs, you know, have passed rugged laboratory and field tests to win selection as original factory equipment on millions of cars and trucks. So, friends, see your neighborhood Auto Light spark plug dealer soon and have worn out spark plugs replaced with new ignition engineered Auto Light spark plugs for smooth performance, quick starts, gas savings. And whether you choose the standard type or the resistor type, you can't buy better spark plugs for your car because you're always right with Autolight.

[Announcer]

And now with the lady in the red hat and the performance of Mr. Van Heflen, autolight hopes once again to keep you in suspense.

[Narrator/Host]

Good evening.

[Joey (Child)]

Oh, hi, Mitch.

[Jeannie (Reporter)]

Well, I thought you were going to wait downstairs.

[Mitch (Detective/Reporter)]

Yeah, I was, but Banning wanted to see me.

[Narrator/Host]

Naylor calling the police department.

[Mitch (Detective/Reporter)]

Want me to stop my articles.

[Jeannie (Reporter)]

Oh, why?

[Mitch (Detective/Reporter)]

Well, I'll tell you while we're eating.

[Jeannie (Reporter)]

Did they say anything about my stuff?

[Mitch (Detective/Reporter)]

No, no. Yours is straight reporting. It's this theorizing the objective. Maybe I'm getting too close.

[Jeannie (Reporter)]

Have you written anything on last night's murder? I'd like to read it.

[Mitch (Detective/Reporter)]

I won't be writing it now, but if I did, I know what I'd say.

[Jeannie (Reporter)]

Have you got something new, Mitch?

[Mitch (Detective/Reporter)]

Something new? Maybe. I don't know yet. Meet The Avenger at 12. 12 o'.

[Narrator/Host]

Clock.

[Mitch (Detective/Reporter)]

And the Avenger could be anyone. Was she the one? This tall girl with long legs, Smart, self possessed career woman with fresh faced innocence. We waited for the elevator. I watched. And she was there with me. A smile on her lips. We went to a place for dinner.

[Jeannie (Reporter)]

You know, Mitch, I love this place. My favorite hangout after work.

[Mitch (Detective/Reporter)]

That's why I brought you here. I was beginning to wonder why you've been so quiet. Subdued lights and warmth. Is that it?

[Jeannie (Reporter)]

In a way.

[Mitch (Detective/Reporter)]

Oh, something else too.

[Jeannie (Reporter)]

Mitch, what do you think about the Avenger?

[Mitch (Detective/Reporter)]

Oh, I think he's fantastic. Well, look, consider the name he. Well, for she has given himself the Avenger. He probably wants to purge the world because of its sins.

[Jeannie (Reporter)]

What about that nonsense about the color red?

[Mitch (Detective/Reporter)]

That means something, perhaps a sinful color. The obsession of red as a symbol, as a tie up.

[Jeannie (Reporter)]

That makes me a marked woman, doesn't it?

[Announcer]

You mean your.

[Mitch (Detective/Reporter)]

Your scarf?

[Jeannie (Reporter)]

You gave it to me, remember?

[Mitch (Detective/Reporter)]

That's right. I might be the man.

[Jeannie (Reporter)]

Yes, but why couldn't The Avenger be.

[Mitch (Detective/Reporter)]

A woman she could.

[Jeannie (Reporter)]

About Kate last night, the old woman. Why kill her? She wasn't pretty. She was just old.

[Mitch (Detective/Reporter)]

Rather obvious. She worked at the Follies, but she.

[Jeannie (Reporter)]

Was only a scrub woman.

[Mitch (Detective/Reporter)]

But she worked there. Sinful.

[Commercial Voice]

There you are.

[Mitch (Detective/Reporter)]

She carried a red purse too.

[Jeannie (Reporter)]

Listen, I want to tell you something. Something big. Even the editor doesn't know it.

[Alan Ladd]

The story.

[Jeannie (Reporter)]

The story. Oh, can I have another drink?

[Mitch (Detective/Reporter)]

Oh, I'm sorry, Mario.

[Jeannie (Reporter)]

I. I got an anonymous note this morning.

[Mitch (Detective/Reporter)]

Note? That's.

[Narrator/Host]

Yes, Mr. Mitchell.

[Mitch (Detective/Reporter)]

Oh, you want the same?

[Jeannie (Reporter)]

Yes, please.

[Narrator/Host]

And you, Mr. Mitchell?

[Mitch (Detective/Reporter)]

No, nothing, thanks.

[Narrator/Host]

Yes, sir. By the way, when Lieutenant Dow comes.

[Mitch (Detective/Reporter)]

In, will you show him over here to this table, please?

[Narrator/Host]

Yes, sir.

[Jeannie (Reporter)]

Phil Dowell. He's on the Avenger case. Mitch, are you holding out on me?

[Mitch (Detective/Reporter)]

You were speaking of a note, anonymous. Did it. Did it say anything about the Avenger?

[Jeannie (Reporter)]

Yes. Yes, it did. If I wanted important information about the Avenger, I was to go at midnight to the community chapel on 7th. It's such a lonely old building.

[Mitch (Detective/Reporter)]

And you got that note with you?

[Jeannie (Reporter)]

No, I left it at home.

[Mitch (Detective/Reporter)]

Oh, did it tell you to sit in the first pew and wait?

[Jeannie (Reporter)]

You got one too?

[Mitch (Detective/Reporter)]

This afternoon, under my door at home, the housekeeper called the same thing. Queer, isn't it?

[Jeannie (Reporter)]

I wonder what. Oh, this isn't an ordinary pip. Mitch. Don't you see? I've been working on the story for the Standard. You've been doing your series in the magazine section. Psychology of Murder. Now, supposing the Avengers sent those notes.

[Mitch (Detective/Reporter)]

Well, Bill Dowell called me earlier. He wanted to see me. Oh, I said that I was taking you out for dinner. I told him to meet us here.

[Narrator/Host]

Why?

[Mitch (Detective/Reporter)]

The lieutenant claims that he received a note like ours too. Was she the one, or was Dowel. Millions of people in a city and the person next to you a killer. You couldn't believe it was someone you knew, never anyone you knew. But maybe it was. Was that then the ultimate stimulation? Had it come to that, to kill a stranger was not enough? Now seek out the danger, the extreme risk. Because here was emotion. Emotion of friendship. This was different. And who would it be? The girl on the newspaper or the policeman?

[Jeannie (Reporter)]

Are you being stubborn because you're a policeman or because you're just pigheaded?

[Narrator/Host]

Lieutenant?

[Announcer]

Jeannie, you're a reporter. Too much imagination. I still think it's a crackpot gag.

[Jeannie (Reporter)]

Then why did you come?

[Announcer]

Because Mitch and I have been working on this together. Because we're all friends. I'm not taking any chances. There have Been five murders already.

[Mitch (Detective/Reporter)]

She makes sense, though, Bill. Three of us all vitally interested in the case. It'd be very flat flattering to him if we turned up at that chapel at midnight.

[Jeannie (Reporter)]

Well, I'll be there. I can tell you that.

[Jake Garvey (Sheriff)]

I don't like it.

[Announcer]

He might be after one of us. Maybe Eugenie. Maybe he doesn't like some of the stuff you've been writing. Maybe me.

[Mitch (Detective/Reporter)]

Maybe.

[Announcer]

Or me. I'm the cop who's chasing him.

[Jeannie (Reporter)]

Yeah. I don't imagine he's particularly fond of you, Bill.

[Mitch (Detective/Reporter)]

Why not surround the chapel?

[Narrator/Host]

No.

[Announcer]

Mind you, I still think it's a crank note. But if it isn't, this baby's too smart. If he sees anything wrong, he'll get away.

[Jeannie (Reporter)]

I think Billy wants all the credit for a dramatic capture.

[Announcer]

I'd have to share it with Mitch, anyway.

[Joey (Child)]

And me.

[Announcer]

You're going home.

[Jeannie (Reporter)]

That's what you think. I'm on that list. I want to be there when something happens.

[Mitch (Detective/Reporter)]

We had dinner in that little bar. Somehow none of us wanted to leave. Outside was the night, cold through the window and on the pavement we could see a cover of snow. Snow silent and clean. I thought of a knife flashing. And then the snow. Soft, absorbent, no longer white, turning red until it spread over the entire city. The neon sign outside flashed red, red, Red. Not our table. It was warm and candlelit. Then we were outside and the snow was falling.

[Narrator/Host]

You know where the chapel is, Bill? Yeah.

[Announcer]

It's the one on Seventh. Around the corner from the library.

[Mitch (Detective/Reporter)]

It's funny, I must have passed that a hundred times. I never noticed it.

[Jeannie (Reporter)]

Most people think it's vacant. It's not. In fact, it's open all night.

[Announcer]

How do you know, Jeannie?

[Jeannie (Reporter)]

Well, I don't know. I guess I heard about it.

[Announcer]

Okay, we'll walk.

[Jeannie (Reporter)]

Hiya. I always used to like the snow. I looked forward to it. I don't like it tonight.

[Announcer]

I've never liked it. There's something smothering about this stuff. I was in a blizzard once.

[Mitch (Detective/Reporter)]

What happened?

[Announcer]

I was lost in the woods up north. Nearly froze to death. Snow kept coming down. Got my mouth, my nose, my eyes. And after a while, things didn't look white anymore.

[Jake Garvey (Sheriff)]

They were blurred and red.

[Mitch (Detective/Reporter)]

Which frightens you more? Fear of being lost or fear of dying?

[Announcer]

I don't know why.

[Mitch (Detective/Reporter)]

Just wondered.

[Jeannie (Reporter)]

Has anybody got the time?

[Mitch (Detective/Reporter)]

Yeah, it's 11 o'.

[Narrator/Host]

Clock.

[Mitch (Detective/Reporter)]

We stood outside the community chapel. It was on a side street. I remember the lamppost with its light. So much brighter than usual. Everything was white, but not beautiful. There was a murderer here in all of this great city. The murderer stood looking up at a church spire, and who knew it? We went up the broad steps slowly.

[Jeannie (Reporter)]

Funny. What is if one of us were killed here.

[Announcer]

I'm gonna have a look around. Check any side doors.

[Narrator/Host]

All right.

[Announcer]

You stay here, huh?

[Mitch (Detective/Reporter)]

Yeah.

[Jeannie (Reporter)]

The music's nice. There's the organist up there. See him? Why are you looking at me like that?

[Mitch (Detective/Reporter)]

Was I?

[Joey (Child)]

Yes.

[Jeannie (Reporter)]

Why?

[Mitch (Detective/Reporter)]

Perhaps I was thinking how strange it would be if one of us were the Avenger.

[Announcer]

Autolite is bringing you Mr. Van Heflin with Joan Banks and Joseph Kearns in the lady in the Red Hat. Tonight's production in radio's outstanding theater of thrills. Suspend.

[Narrator/Host]

See, Harlow. Did you have a good football coach?

[Commercial Voice]

The most marvelous mentor going hap. He used to say, men be alive. Full of pep, just like ignition engineered Auto Light spark plugs.

[Narrator/Host]

What a man.

[Jake Garvey (Sheriff)]

Yeah.

[Commercial Voice]

He used to say, give me teamwork. Just like the teamwork of ignition engineered Auto light spark plugs with the coil, distributor and all the other important parts of your car's ignition system. He was right too, because Auto Light spark plugs are the spark plugs designed by Autolight engineers who design complete ignition systems used as original factory equipment on many leading makes of America's finest cars. That's why you can't buy better spark plugs for your car than Autolite.

[Mitch (Detective/Reporter)]

Swell, Wilcox, swell. But let's get back to the coach.

[Narrator/Host]

The coach?

[Commercial Voice]

Oh, yes, yes, yes. Well, whether you have a Coach, sedan or coupe, let your friendly Auto Light spark plug dealer replace worn out spark plugs with ignition engineered Auto Light spark plugs. And whether you choose the standard type or resistor type, you can be sure you're always right with Autolight.

[Announcer]

And now Auto Light brings back to our Hollywood soundstage. Mr. Van Heflin in Elliot Lewis production of the lady in the Red Hat. A tale well calculated. To keep you in suspense.

[Mitch (Detective/Reporter)]

We stood there in the chapel looking at each other. Now it had started. It had been said aloud. What if one of us were a killer? Not the ever present shabby man seen by witnesses loitering on a lonely street, but one of us. If not Jean Grey, would she think it?

[Narrator/Host]

Me?

[Mitch (Detective/Reporter)]

Or Bill Dowell, a policeman? It was an odd game. A game of fear. Who'll kill Cock Robin, the Avenger? And who'll be Cock Robin?

[Jeannie (Reporter)]

One of us, the Avenger.

[Mitch (Detective/Reporter)]

Oh, Miss, it has to be someone.

[Jeannie (Reporter)]

Why, I believe you're serious.

[Jake Garvey (Sheriff)]

I am.

[Mitch (Detective/Reporter)]

We've all been on this since the first death. Perhaps one of us enjoys the publicity, the thrill of killing.

[Jeannie (Reporter)]

I don't like this place.

[Announcer]

Better go home, Getters.

[Narrator/Host]

Genie.

[Mitch (Detective/Reporter)]

What did you find, Bill?

[Announcer]

One side exit, that's all. We can see it from the front pew.

[Jeannie (Reporter)]

What's the time?

[Announcer]

About quarter past 11.

[Jeannie (Reporter)]

I'm cold. I wonder if we could get some coffee.

[Announcer]

I'll get it.

[Narrator/Host]

You two stay here.

[Announcer]

How do you like yours?

[Jeannie (Reporter)]

Oh, black.

[Mitch (Detective/Reporter)]

The same, Bill.

[Announcer]

Right. Take it easy, Jeannie. It's not 12 yet.

[Mitch (Detective/Reporter)]

You want to sit down up in the front?

[Jeannie (Reporter)]

No, not yet.

[Alan Ladd]

All right.

[Narrator/Host]

Here.

[Jeannie (Reporter)]

Mitch, you weren't serious, were you?

[Mitch (Detective/Reporter)]

Yes. You read my articles. I've theorized about the Avenger. The analysis could fit any one of us.

[Jeannie (Reporter)]

Me?

[Mitch (Detective/Reporter)]

Why not? You're fairly strong. You could have done it.

[Jeannie (Reporter)]

But the victims have all been women. Why should I kill a woman?

[Mitch (Detective/Reporter)]

You like excitement, danger. Your favorite color is red. Your scarf, for instance. Don't you? You afraid to be touched?

[Jeannie (Reporter)]

No.

[Mitch (Detective/Reporter)]

You like men, but you don't like.

[Narrator/Host]

Them to touch you.

[Mitch (Detective/Reporter)]

You like me.

[Jeannie (Reporter)]

That doesn't mean.

[Narrator/Host]

Ah.

[Mitch (Detective/Reporter)]

I'm right, aren't I? Now, now, think of the five dead women. All of them in some way concerned with what the Avenger considers sinful. It could be you or you or Bill Dow. I've thought about him. He had a. He has a lot of reason to kill. Did you know that he had a wife once who ran away with another man?

[Jeannie (Reporter)]

No.

[Mitch (Detective/Reporter)]

Perhaps he doesn't like women very much now. And it wouldn't be difficult for him.

[Narrator/Host]

To kill and get away with it.

[Mitch (Detective/Reporter)]

Easier than for most people. Because he's a policeman.

[Jeannie (Reporter)]

And you?

[Mitch (Detective/Reporter)]

Perhaps I'm in love. In love with a girl that I can never have. Because of that, I hate all women.

[Jeannie (Reporter)]

Funny, I never thought of you as in love.

[Narrator/Host]

Why not?

[Jeannie (Reporter)]

Because you're so. So. I don't know.

[Mitch (Detective/Reporter)]

No, you don't know. We sat alone with the music. It was everywhere in the chapel. Solemn, accusing. The thoughts had been spoken. Fear was creating suspicion. And the girl with the red scarf tied about her head, Sitting with folded hands beside me, Looked in front of her, and her eyes were on the front pew.

[Announcer]

Sorry I was so long. Anything happen?

[Narrator/Host]

No. Oh, Jeannie.

[Jeannie (Reporter)]

Oh, thanks. Seems wrong, drinking coffee in a chapel.

[Mitch (Detective/Reporter)]

Sinful.

[Narrator/Host]

Jeannie.

[Jeannie (Reporter)]

Oh, stop it. That's not what I meant, Mitch.

[Mitch (Detective/Reporter)]

Thanks.

[Jeannie (Reporter)]

What's the time, Bill?

[Mitch (Detective/Reporter)]

11:30.

[Jeannie (Reporter)]

Is that all?

[Announcer]

I see our friend at the organ's still there.

[Mitch (Detective/Reporter)]

Yeah. Funny hour to practice.

[Announcer]

Mitch, I heard what you said to Genie before. I mean, about one of us being the Avenger. Were you Kidding?

[Mitch (Detective/Reporter)]

No, it's crazy.

[Jake Garvey (Sheriff)]

Why?

[Mitch (Detective/Reporter)]

It's got to be somebody. Why not one of us?

[Jeannie (Reporter)]

Oh, he's got brilliant reasons. Ask him. We all fit.

[Announcer]

Not a joke anymore, Mitch.

[Narrator/Host]

I know. The trouble with you, Bill, is that.

[Mitch (Detective/Reporter)]

You think you have to look for some poor devil frothing at the mouth with his hands covered with blood. Must a murder always look like a comic book conception of a murder?

[Announcer]

Cut it out. You're not funny.

[Narrator/Host]

I'm not trying to be.

[Mitch (Detective/Reporter)]

I think it more than probable that one of us could be the Avenger. We're normal, moderately attractive people. But one of us thinks differently. Which one?

[Announcer]

You're a nut.

[Narrator/Host]

Maybe.

[Mitch (Detective/Reporter)]

We drank our coffee. There was an animal awareness now. Each of us watching the other, cautious, wondering. We spoke of Christmas sailing, next year's Dodgers. We spoke of everything but the avengers and of 12 o'. Clock.

[Jake Garvey (Sheriff)]

Hey. What?

[Announcer]

When did the organist leave?

[Jeannie (Reporter)]

But I don't know.

[Narrator/Host]

The lights.

[Announcer]

There's only one up there. You must have turned the others out. Be hard to see anybody coming in from the front pew. Well, I'm going to take a look, see if he's still around.

[Jeannie (Reporter)]

No.

[Mitch (Detective/Reporter)]

You're not afraid to be alone with me, are you?

[Jeannie (Reporter)]

Don't be an idiot.

[Announcer]

If anyone comes in, stay in the shadows.

[Mitch (Detective/Reporter)]

It's nearly 12.

[Announcer]

Might as well get in your places.

[Mitch (Detective/Reporter)]

I'll be right back. I guess we're better.

[Jeannie (Reporter)]

The front view.

[Mitch (Detective/Reporter)]

Yes, those were the instructions.

[Jeannie (Reporter)]

Quiet, without the music.

[Mitch (Detective/Reporter)]

Too quiet. It was nice.

[Jeannie (Reporter)]

There were so many shadows.

[Mitch (Detective/Reporter)]

Shadows in a chapel. Well, that shouldn't be frightening.

[Jeannie (Reporter)]

Will Bill be able to see us when he comes back?

[Mitch (Detective/Reporter)]

I think so.

[Jeannie (Reporter)]

Do you think it's him?

[Narrator/Host]

Do you?

[Jeannie (Reporter)]

What's the time?

[Mitch (Detective/Reporter)]

It's about three minutes, too.

[Jeannie (Reporter)]

I hope he finds the lights.

[Mitch (Detective/Reporter)]

I don't mind it. Strange, but when I was very young, I was in a place like this. Very much like this. Oh, I was taken every week. And every week there was a woman who sat across the aisle. She was beautiful. I was in love with her. Nobody ever talked to her. My mother hated her, but not my father. Do you know what I found out?

[Jeannie (Reporter)]

No.

[Mitch (Detective/Reporter)]

It was after my father left us. He had been in love with that woman all that time. They ran away together.

[Jeannie (Reporter)]

How terrible.

[Mitch (Detective/Reporter)]

Yeah, yeah, I thought so at the time. What tiny things. One remembers she always wore a red hat. She was beautiful. But she must have been very wicked. Of Redhead, where I live, they used to say that it was the shock of his leaving that killed my mother. Poor Genie. Give me your hand, Genie.

[Joey (Child)]

No, no.

[Narrator/Host]

He is Cold.

[Joey (Child)]

Don't.

[Jeannie (Reporter)]

Please don't.

[Mitch (Detective/Reporter)]

You're like her. You look like her. You even wear red because that's your favorite color.

[Narrator/Host]

Mitch. Mitch.

[Mitch (Detective/Reporter)]

I'm in love with you, and it's so wrong. I've been in love with you ever since I met you. But it's wrong. You're bad. You're like her. Don't scream.

[Jake Garvey (Sheriff)]

Don't.

[Joey (Child)]

Mitch.

[Jeannie (Reporter)]

Mitch.

[Narrator/Host]

It's all right.

[Jeannie (Reporter)]

I understand.

[Mitch (Detective/Reporter)]

I'm sorry that music stopped. We've got to have music. There was always the organ playing at home. Come along, Jamie.

[Jeannie (Reporter)]

Where are we going?

[Mitch (Detective/Reporter)]

Upstairs to the organ loft. Now, don't, don't. Don't scream. Please. Don't say anything.

[Announcer/Commercial Voice]

Don't.

[Jeannie (Reporter)]

I won't. I won't. Mitch, you're not well. I'm glad you told me. I love you, too. You must believe me. I love you. Mitch, please.

[Mitch (Detective/Reporter)]

She was a clever devil trying to win me over with talk of love. I wasn't gonna take any chances with her. We went up the narrow steps to where the organ was. I closed the door behind us. I didn't need my knife. I could smash her with my hand. Smash her. Pound the evil flat, stamp it out on the face. The other five were bad. They'd sin. But she. She was like that woman at home, the woman in the red hat. I knew what had to be done with her. I'd known that from the day that I'd met her. Tall, with long legs, fresh face masking wickedness.

[Narrator/Host]

Mitch? Jeannie, where are you?

[Jeannie (Reporter)]

Please. Please.

[Narrator/Host]

Stay down there. Bill.

[Jake Garvey (Sheriff)]

Don't.

[Narrator/Host]

Don't come up. I've got her. You stay there. I found her out. I've known all the time. She's got to die.

[Commercial Voice]

You know that.

[Announcer/Commercial Voice]

Bill.

[Narrator/Host]

I'm coming up. Mitch, it's okay.

[Announcer]

We'll take her in together.

[Narrator/Host]

That's why I sent those notes, Bill. I had to trap her. You understand? Sure. Sure. I'm right, aren't I?

[Announcer]

You're dead right.

[Narrator/Host]

Mitch, Open the door.

[Announcer]

We'll take her in together.

[Narrator/Host]

No. Stay out there, Bill. I don't need your help. I can do it.

[Jeannie (Reporter)]

Mitch. Mitch, you're sick, but it's all right. I'll make you better. Because I love you.

[Mitch (Detective/Reporter)]

You turn this thing on? Must be a switch.

[Narrator/Host]

No, no, don't. Don't. Don't go near that door, Genie. Mitch, open the door.

[Mitch (Detective/Reporter)]

Here's one.

[Narrator/Host]

Mitch, open it a minute.

[Mitch (Detective/Reporter)]

Don't worry.

[Narrator/Host]

She won't hurt me. Not anymore.

[Jeannie (Reporter)]

Mitch, please. Whatever I've done to you, I'm sorry You're the woman.

[Mitch (Detective/Reporter)]

You're always the woman in red. But not anymore. I'll be all right now.

[Narrator/Host]

Play.

[Mitch (Detective/Reporter)]

There has to be music. There was music at home. At my mother's funeral. Play.

[Jeannie (Reporter)]

I can't play it. I don't know how to play.

[Announcer]

Louder.

[Narrator/Host]

Louder. Louder. Louder. Drop that knife. Drop it.

[Announcer/Commercial Voice]

Bill.

[Narrator/Host]

Bill. Turn it off. Turn it off. The music.

[Joey (Child)]

Stop it.

[Narrator/Host]

Stop it. It's killing me. It's kill.

[Announcer]

Suspense. Presented by autolite. Tonight's star, Mr. Van Heflin.

[Narrator/Host]

Hey, Wilcox, Any standouts on your team?

[Commercial Voice]

Why, yes, hap more than 400 of them.

[Jake Garvey (Sheriff)]

400?

[Narrator/Host]

Sure.

[Commercial Voice]

The more than 400 products made by Autolight for cars, trucks, planes and boats in 28 plants from coast to coast. These include complete electrical systems used as original factory equipment on many leading makes of America's finest cars. Coils, distributors, generators, voltage regulators, starting motors, wire and cable and electric windshield wipers, all engineered to fit together perfectly. Work together perfectly because they're a perfect team. So friends, don't accept electrical parts supposed to be as good. Ask for and insist on Autolite original factory parts at your neighborhood service station, car dealer, garage or repair shop. And remember, you're always right with Autolite.

[Announcer]

Next week on suspense, Mr. Ray Milan as star of after the Movies. And in weeks to come, you will hear such famous stars as Alan Ladd, Dennis Day and Cornell Wilde, all appearing in tales well calculated to keep you in suspense.

[Commercial Voice]

Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morowek and conducted by Lud Gluskin. The lady in the Red Hat was written by Clock Daily and was adapted for suspense by Anthony Ellis. Van Heflin can soon be seen in Universal. Universal International's Technicolor production Tomahawk, co starring Yvonne DiCarlo.

[Announcer]

And remember, next week on suspense, Mr. Ray Milland in After the Movies.

[Jeannie (Reporter)]

You can buy world famous Autolite resistor type or standard type spark plugs, Autolyte stable batteries, Autolyte electrical parts at your neighborhood Autolite dealers. Switch to Autolyte. Good night.

[Commercial Voice]

The familiar kettle bells are starting to ring on the street corners of America. The Salvation army again appeals for your help. Make this Christmas a merry one for the unfortunate. Contribute to the charitable work of the Salvation Army. This is cbs, the Columbia Broadcasting System.

[Announcer]

Autolite and its 96,000 dealers present suspense. Tonight, Autolite brings you a killing in Abilene, a suspense play starring Mr. Allen lad.

[Alan Ladd]

I Traveled hard for 300 miles to find the man who killed my brother. I'd come down out of the Snake Range that morning, followed the river trail through the canyon that afternoon had found Pleasant Valley a handful of buildings, desolate and huddled in the cold shadows of the mountains around. Tall, dark. No man appeared as I rode through the town. Only a dog challenged, and he. From a safe distance then it was quiet. About a quarter of a mile beyond an easy rise, I saw what had happened to the people of the town. There were maybe 60 or 70 standing in a circle. And as I got closer, I saw they were gathered around two men. Two men who were digging. You stay put, horse. There was a look on the face of the people standing there. Even the kids peeking from behind skirts and trouser legs. And it was something I'd seen before. It wasn't a good look. It was the look some people had had two years before in Abilene. When we discovered my brother's body.

[Commercial Voice]

In just a moment, Mr. Alan Ladd in the first act of Killing in Abilene.

[Jake Garvey (Sheriff)]

Hi, Arlo. What do you got there?

[Commercial Voice]

Christmas present, Hap.

[Jake Garvey (Sheriff)]

You get one already?

[Commercial Voice]

Yes, siree. And it's an Auto Light Stay full battery that needs water only three times a year in normal car use. Why, my car will really cut a caper over this capable Christmas cheer.

[Mitch (Detective/Reporter)]

You believe in giving your car some.

[Jake Garvey (Sheriff)]

Holiday spirit too, eh?

[Commercial Voice]

I sure do, Hap. And because the Autolite Stay full battery has over three times the liquid protection of batteries without stay full features, it helps eliminate one of the greatest causes of battery failure. And that's mighty important to the spirit of every car owner.

[Jake Garvey (Sheriff)]

And your gift will last a long, long time too, Harlow.

[Commercial Voice]

Right you are. Because the Autolite Stay full battery gives longer life. 70% longer life, in fact, as proved by tests conducted according to SAE Minimum life cycle standards.

[Jake Garvey (Sheriff)]

A wise selection, Harlow.

[Commercial Voice]

Yes, friends, for quick, dependable starting, treat your car to an Autolite Stay full battery. The battery that needs water only three times a year in normal car use. See your neighborhood Autolite battery dealer. And remember, you're always right with Autolite.

[Announcer]

And now, with a killing in Abilene. And the performance of Mr. Alan Ladd, autolyte answers many requests in bringing you a story of the Old West. Hoping once again to keep you in suspense.

[Jake Garvey (Sheriff)]

Hold up a minute. What's the matter? I hit something.

[Mitch (Detective/Reporter)]

Wait.

[Alan Ladd]

Better go slow.

[Mitch (Detective/Reporter)]

Dig around this side. Here.

[Narrator/Host]

I. I can't do it anymore.

[Alan Ladd]

One of you boys take over.

[Jake Garvey (Sheriff)]

I'll do it, Jim. Somebody's got to. It's him, all right. I seen his shirt. You were right then.

[Alan Ladd]

Ben.

[Jake Garvey (Sheriff)]

Jake. Jake Garvey. You're a sheriff? Better Come take a look. Yeah, That's him. That's Fred Carson, all right.

[Alan Ladd]

The other women folk led her away. The men stayed pushed in a little closer to the pit and waited there until the job was finished. Then they noticed me.

[Jake Garvey (Sheriff)]

What are you doing here, stranger? Where are you from?

[Alan Ladd]

You're the sheriff.

[Jake Garvey (Sheriff)]

That's right. Jake Garvey.

[Alan Ladd]

Man is my name. From Abilene. So I'm looking for a man in these parts. Calls himself Lee Burridge.

[Jake Garvey (Sheriff)]

Who did he say, Sheriff? He said Lee Burridge. Ben, you tell him we'll take care of him. What do you want him for? What's it matter what he wants him for? We know what we want him for. Come on, now. There ain't gonna be no trouble. Find the law in Pleasant Valley. I'll say what we do. We elected you sheriff, Jake. We can unelect you like Ben said. It was Burridge killed him.

[Narrator/Host]

You know it.

[Alan Ladd]

I've got to talk to you about Burridge, Sheriff. It's important.

[Jake Garvey (Sheriff)]

All right. My office, back at the meeting house. We don't need no talk about birds. We need to do something about the ugly sun. Come down, boys.

[Announcer/Commercial Voice]

Let's get on back to town.

[Jake Garvey (Sheriff)]

We'll take her as she comes. Smoke?

[Alan Ladd]

No, thanks.

[Jake Garvey (Sheriff)]

The boys want to know why you're here. So do I. We don't like strangers. What do you want with Lee Burridge?

[Alan Ladd]

I had a brother killed out in Abilene. Burridge did it. Oh, he and another one drove a herd into the railroad. Burridge got drunk and killed my brother. Buried him, same as here. We found this pouch near the grave. His name burned into it. It's taken me two years to find him. Now I want to talk to him about it.

[Jake Garvey (Sheriff)]

The boys are pretty sure he killed Fred Costin, too. So am I now.

[Alan Ladd]

Maybe so. Fred Carson isn't my business. My brother is. And I want to see his killer back in Abilene. Standing trial. I made a promise I'd bring him back, that there'd be no more killing.

[Jake Garvey (Sheriff)]

We didn't know your brother, but we knew Fred. And we liked him. You can help take care of Burridge here, if you ever mind her.

[Alan Ladd]

Try him here. You mean on both charges?

[Jake Garvey (Sheriff)]

No need for that.

[Alan Ladd]

What do you mean, take care of him?

[Jake Garvey (Sheriff)]

How did he kill your brother?

[Alan Ladd]

His head was beat in. He was beat to death?

[Jake Garvey (Sheriff)]

Yeah. Same as he did to Fred. Men who do a thing like that don't need no trial.

[Alan Ladd]

Not for you, maybe, but there'll be no more killing in my family. We'll give him a Fair trial here in Abilene, but a fair trial.

[Jake Garvey (Sheriff)]

If Bird's done these killings, he's gonna pay for it here.

[Alan Ladd]

I don't go for lynching.

[Jake Garvey (Sheriff)]

We don't call it lynching when we hang a man for murder. If you don't like it, go on back to Abilene.

[Alan Ladd]

Maybe I'll do that when I take Lee Burridge out for trial.

[Jake Garvey (Sheriff)]

I don't know what you're trying to do. I suspect it's get Burridge out of town. If I'm right, you're heading into a lot of trouble. Let's go get him.

[Announcer/Commercial Voice]

Ben.

[Jake Garvey (Sheriff)]

About the time.

[Alan Ladd]

One of you boys gonna direct me to where Lee Burridge lives.

[Jake Garvey (Sheriff)]

We could. We felt inclined. What do you want with him?

[Alan Ladd]

Just want to talk. Anybody got objections?

[Jake Garvey (Sheriff)]

Yeah.

[Alan Ladd]

Who are you?

[Jake Garvey (Sheriff)]

Ben Chaffey. There ain't gonna be no talking. He's done what he's done. He's gonna pay for it. Ain't nobody gonna stand in the way. Time use riding out of here.

[Alan Ladd]

And if I don't?

[Jake Garvey (Sheriff)]

Then I'll help you climb off.

[Commercial Voice]

Ben.

[Mitch (Detective/Reporter)]

We don't need no private wars here.

[Alan Ladd]

Why does he live?

[Jake Garvey (Sheriff)]

Come on. Boy.

[Alan Ladd]

Turned away from me and moved into the sheriff's office Leaving me alone to find. Walked down the strangely quiet street towards the hills the thunderhead was beginning to gather Moving in slowly near the end of the street two men were building a coffin in front of a small house. This where I'll find Mrs. Carson.

[Jake Garvey (Sheriff)]

Why do you have to come meddling.

[Narrator/Host]

Around here at a time like this? Can't you leave a widow for her sorrow?

[Jake Garvey (Sheriff)]

Cause he's a stranger, Bob. Boy, strangers don't have no time for other people's sorrow.

[Alan Ladd]

Maybe you're right, old timer. Maybe they got timiny themselves.

[Jeannie (Reporter)]

Yes?

[Alan Ladd]

I'd like to talk to you. Man Could I come in? What?

[Jeannie (Reporter)]

Just can't you see this house is in mourning?

[Alan Ladd]

Ma', am, I know how you feel.

[Jeannie (Reporter)]

How can you know what I feel?

[Alan Ladd]

I had a brother once, killed by this man Burge.

[Jeannie (Reporter)]

Oh.

[Alan Ladd]

I'd like you to help me. It was two years ago my brother was killed. His wife would like the killer brought back to Abilene for trial. I'd like you to speak to your friends and let me take him away.

[Jeannie (Reporter)]

He didn't give my friend a chance before he killed him. He's a cruel, ugly man. He's a killing man. You can see it in his eyes. I understand how that woman feels. I feel the same way. I want him killed too. But here where I can watch will.

[Alan Ladd]

You tell me where he lives.

[Jake Garvey (Sheriff)]

Don't tell him nothing, Mrs. Carson.

[Narrator/Host]

You'll go warn him all.

[Jake Garvey (Sheriff)]

Let him go if he wants, I say. A man's got one life to live and he's got a right to lose it. Any dang way pleases him. I'll tell you where you can find Lee Bridge.

[Alan Ladd]

Few miles outside of town where the canyon spread. I saw his hut set against a fire blast. Second hill. There's no growing thing in the rocky ground except one sick, twisted tree. Stunted limbs reaching out. Empty, waiting. Hold it.

[Commercial Voice]

Easy, horse.

[Alan Ladd]

Easy.

[Jake Garvey (Sheriff)]

Draw your gun down, you. I won't miss with the next one. Neighbors. Draw it down.

[Commercial Voice]

I'm Jeff Mander.

[Jake Garvey (Sheriff)]

My brother Seth.

[Alan Ladd]

You killed in Abilene.

[Jake Garvey (Sheriff)]

That's who you are. You've caused me enough trouble. Get out of here.

[Alan Ladd]

They'll give you a fair trial.

[Announcer/Commercial Voice]

There.

[Commercial Voice]

Stay here and you're gonna be lynched.

[Alan Ladd]

For Fred Costin's killing.

[Jake Garvey (Sheriff)]

Don't come no closer. Nobody's going to lynch me while I got this.

[Alan Ladd]

Listen to me. I don't hold no love for you. I shouldn't care what happens to you. Well, it took me two years to find you. Now I'm taking you out.

[Jake Garvey (Sheriff)]

I've come no closer.

[Alan Ladd]

Put up your gun.

[Jake Garvey (Sheriff)]

I'm warning you.

[Narrator/Host]

Put up your gun.

[Alan Ladd]

I knew he was shooting to miss. But I didn't know what would happen if I moved closer. So I got out of his canyon. I was clouding over heavy when I rode into town. Maybe an hour, hour and a half after I'd left the sheriff's office. The streets were still empty. But in a couple of the houses I saw curtains moving windows and shadows duck away as I looked at them. I wondered if the old man had told them I'd gone to see Burch. And if they knew what they planned doing about. Old Timer.

[Jake Garvey (Sheriff)]

Yeah. I see you had to talk with Boridge. You see you ain't wearing a gun. He get the drop on you?

[Alan Ladd]

Yeah.

[Jake Garvey (Sheriff)]

Surprised he didn't kill you.

[Alan Ladd]

So was I. Did you tell him I'd gone there?

[Jake Garvey (Sheriff)]

Yep.

[Alan Ladd]

What'd they say?

[Jake Garvey (Sheriff)]

They said if you get Burridge first, they'd get you. They said you should go back where you came from while you still can.

[Alan Ladd]

I will. After I settle with Burge. Where's the sheriff?

[Jake Garvey (Sheriff)]

I went off with the boys.

[Alan Ladd]

After Burge?

[Jake Garvey (Sheriff)]

Yep. They're gonna wait till dark, then they're gonna stream up.

[Alan Ladd]

Why are they gonna wait till dark? I wanna be with them.

[Jake Garvey (Sheriff)]

I thought you didn't like lynchings.

[Alan Ladd]

I don't But I wanna be there.

[Jake Garvey (Sheriff)]

I was told if you come back to town, you'd have to be with them. Don't make me use this. Son, just turn around and we'll join the rest of them.

[Alan Ladd]

All right.

[Jake Garvey (Sheriff)]

And I'd suggest you stop your talking about Lee Burridge. From what I overheard, you close to sharing a rope with him.

[Announcer]

Autolite is bringing you Mr. Alan Ladd in a killing in Abilene. Tonight's production in radio's outstanding theater of thrills, suspense.

[Jake Garvey (Sheriff)]

Well, Harlow, only eight shopping days till Christmas.

[Commercial Voice]

Now, that doesn't bother me, Hap. I'm giving everybody an Auto Light Stop. A full battery. The battery that needs water only three times a year in normal car use.

[Jake Garvey (Sheriff)]

Even folks without cars?

[Commercial Voice]

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[Jake Garvey (Sheriff)]

Says who?

[Commercial Voice]

Harlow? Why, everyone knows the Auto Light Stay full battery gives 70% longer life. And this is proven by tests conducted according to SAE Minimum life cycle standards.

[Jake Garvey (Sheriff)]

Sounds mighty powerful.

[Commercial Voice]

It sure does. And it's because every positive plate in an Autolite Stay Full battery is protected by a fiberglass retaining mat. To help reduce shedding and flaking. And keep the power producing materials in place.

[Jake Garvey (Sheriff)]

Go on, Harlow.

[Announcer/Commercial Voice]

Go on.

[Commercial Voice]

Well, friends, this Christmas present your car with the famous Autolite Stay Full Battery. A battery that needs water only three times a year in normal car use. See your neighborhood Autolite battery dealer tomorrow. And remember, you're always right with Autolight.

[Announcer]

And now, Autolite brings back to our Hollywood soundstage. Mr. Alan Ladd. In Elliot Lewis's production of the Killing in Abilene. A tale well calculated. To keep you in suspense.

[Alan Ladd]

We rode out of Pleasant Valley, the old man and me. We rode fast, without speaking. Through scattered herds of cattle on the lower range. Land rolling in from the east. The black cloud smothered the mountain tops. The old man still held the gun on me.

[Jake Garvey (Sheriff)]

Oh, you wind horses. Won't be dark for a couple hours yet. Lynching parties get their guts after dark.

[Alan Ladd]

How come you weren't with them waiting for you?

[Jake Garvey (Sheriff)]

I thought you'd be around. Besides, I seen the lynching once. Too much trouble. Yeah. You still figuring to take Porridge with you to Abilene?

[Alan Ladd]

I can try.

[Jake Garvey (Sheriff)]

Ain't that going to be a might, Darren? Without a shooting iron?

[Alan Ladd]

Might be.

[Jake Garvey (Sheriff)]

I'm surprised after two years looking for him. You didn't shoot him when you found him.

[Alan Ladd]

That's not what I come for.

[Jake Garvey (Sheriff)]

Why not kill your brother?

[Alan Ladd]

I made a promise to somebody.

[Jake Garvey (Sheriff)]

His wife? Yeah.

[Alan Ladd]

Mine Too. What was it between Costa and Burge?

[Jake Garvey (Sheriff)]

Well, I don't know. Nobody's seen much of Burrige in the past couple of years. Ever since Ben told us about how he was a killer. Ugly man, just ugly.

[Jeannie (Reporter)]

Mean.

[Alan Ladd]

You said Ben told all of you Burge was a killer.

[Jake Garvey (Sheriff)]

Yeah. Yes. Your brother, he killed. That right?

[Narrator/Host]

That's right.

[Jake Garvey (Sheriff)]

And now because of him, you might get killed.

[Alan Ladd]

But why?

[Jake Garvey (Sheriff)]

They think you made it up about your brother. They think you're trying to take Burrige away.

[Alan Ladd]

Do you?

[Jake Garvey (Sheriff)]

Well, I haven't decided yet. We bore the stream here. Oh, watch your pudding, Sonny. Yeah, they haven't seen you yet. You still got time to get out.

[Alan Ladd]

You let me go.

[Narrator/Host]

No.

[Alan Ladd]

No. I've come this far. I'll finish him.

[Jake Garvey (Sheriff)]

Well, I always said a man's got one life and he's got a right to lose it. Any dang way pleases him.

[Alan Ladd]

Hello, Chef.

[Jake Garvey (Sheriff)]

Thought you'd left Pleasant Valley. We decided he ought to come with us where we can watch him. You decided, Ben? What do you say, mister? I'll tell you what he says, Sheriff. He says he wants Burrige one way or the other. Yes, to join, that's what he says. Get off of the horse, mister.

[Alan Ladd]

All right.

[Jake Garvey (Sheriff)]

Now say that lie to me and I'll make you choke on it.

[Alan Ladd]

I want Verge as bad as the rest of you.

[Narrator/Host]

You?

[Alan Ladd]

I'd prefer him to stand trial. That's the difference. I don't want this lynching if we can avoid it.

[Jake Garvey (Sheriff)]

Well, you take your hand off your gun. Ben. He ain't armed. Take it easy, Ben. We decided what to do. You're here because I want you here. Burge killed Fred Coston in a fight. Now we going to settle it. Burge kills easy. I seen him do it once before. He's not going to do it again.

[Alan Ladd]

You saw him kill my brother. I thought you didn't believe me.

[Jake Garvey (Sheriff)]

I saw it. You need more of a trial than that.

[Alan Ladd]

I looked at the faces, angry, filled with hate. And I thought of the ugly man up in the canyon. In the broken down shack. I wondered if he knew it was wicked waiting for him a mile or so away. It was quiet then. Storm clouds are quickening. The end of the day. The party became shadows, sitting nervously or smoking. Two of the men had some whiskey and were building their courage for the night's work.

[Jeannie (Reporter)]

It's nearly dark.

[Alan Ladd]

I didn't think you'd come.

[Jeannie (Reporter)]

I had to.

[Alan Ladd]

All the way.

[Jeannie (Reporter)]

My Fred's dead.

[Alan Ladd]

So is my brother.

[Jeannie (Reporter)]

My Fred was a good man. Never hit me. But he was a dark man with drink like those two.

[Alan Ladd]

What was it between Burge and him?

[Jeannie (Reporter)]

We lost some chickens. Fred said that man stole them when he came to town for supplies. Fred and him got to fighting. That man hated him and beat him. Fred was terrible hurt. Afterwards, everybody laughed and made jokes.

[Alan Ladd]

They laughed at their friend.

[Jeannie (Reporter)]

Oh, it was man laughing. No harm. But to a dark man like Fred, it was bad. He swore to get even. That was last Saturday. He went in to drink and didn't come back. We all thought he ruled out some place for shame.

[Alan Ladd]

Why do you think birds killed him?

[Jeannie (Reporter)]

They were all talking about it.

[Alan Ladd]

Who was?

[Jeannie (Reporter)]

All the men. Saturday night, they said Fred and that man were arguing.

[Alan Ladd]

Who heard them?

[Jeannie (Reporter)]

Ben did. When Fred didn't come back, we all knew that man had killed him. He did, and he's going to pay for it.

[Alan Ladd]

Who found the grave, ma'?

[Narrator/Host]

Am?

[Jeannie (Reporter)]

Ben did. I'm sorry for your brother's wife, but it's gotta be this way. Just like the Holy Book says. An eye for an eye.

[Jake Garvey (Sheriff)]

Let's go, boys. It's time to ride.

[Alan Ladd]

We rode to the widening of the canyon, dismounted and went the rest of the way to the hut on foot. We took one horse with us.

[Jake Garvey (Sheriff)]

He's there, all right. There's a light inside. Hold up, boys. Bob, you, Jim and Needle, come with me. Right here. We'll bring him out. The rest of you stay here. What's the idea? You're too quick tonight, Ben, and given too many orders.

[Mitch (Detective/Reporter)]

You stay.

[Jake Garvey (Sheriff)]

Still. Trying to get him away, son?

[Alan Ladd]

I might.

[Jake Garvey (Sheriff)]

You're like an Injun I knew once. Had to shoot him five times before he knew he was dead.

[Narrator/Host]

What do you want here?

[Jake Garvey (Sheriff)]

You know what we want. Burridge, get out of here. Get off my lantern.

[Narrator/Host]

You come outside quiet like.

[Jake Garvey (Sheriff)]

We don't want no trouble. Trouble? I ain't asking for trouble.

[Narrator/Host]

You asked for it when you killed Fred Coston.

[Commercial Voice]

Coston?

[Narrator/Host]

Who killed? I didn't kill him.

[Jake Garvey (Sheriff)]

Save your breath while you still got it.

[Narrator/Host]

Come on. The lamb. Let her go up and smoke. He won't be using it anymore. I'll kill you. I'll kill you all for this.

[Jake Garvey (Sheriff)]

You done your last killing. Get that rope over that lamb. Is this your doing, Ben? Yeah. Tie his hands, Bob.

[Alan Ladd]

I'll hold him.

[Jake Garvey (Sheriff)]

You're gonna blame this one on me too, Ben. Shut up, I said.

[Joey (Child)]

Come on.

[Mitch (Detective/Reporter)]

He didn't do it.

[Alan Ladd]

He didn't do it.

[Jake Garvey (Sheriff)]

Let it go, son. You can't stop him now.

[Alan Ladd]

I gotta talk to him before they do. He didn't do it. Now I know it.

[Narrator/Host]

Wait a minute.

[Mitch (Detective/Reporter)]

Take my gun.

[Alan Ladd]

Thanks. The flames in the shadows sticked over the ugly man's face. The rope was around his neck. He knew he was going to die. But as I. I could see in the light, there was no fear in his eyes. Only hate. Lifted onto a horse. The rope was tightened. He was ready to be lynched. Then he saw me. One request, Sheriff.

[Commercial Voice]

What?

[Jake Garvey (Sheriff)]

Burridge.

[Alan Ladd]

Let me talk to him a minute.

[Jake Garvey (Sheriff)]

The stranger here For a minute. No more talking. Kick that horse out from under him.

[Announcer/Commercial Voice]

No, don't, Bob.

[Jake Garvey (Sheriff)]

Not yet. Let him talk.

[Alan Ladd]

Why do you think I killed your brother?

[Jake Garvey (Sheriff)]

They're trying to get away or something. Jake. Shut up, Ben. Let them have their say. Why?

[Alan Ladd]

We found your pouch near my brother's grave. Your name on it. And tonight Ben told me he saw you do it.

[Narrator/Host]

I didn't.

[Alan Ladd]

I wasn't with Ben that night. Ben wanted to drink and I didn't. He left me, took my pouch with him.

[Jake Garvey (Sheriff)]

What does it matter about his brother? It's Fred Costin we're hanging him for. I didn't kill Fred.

[Alan Ladd]

Listen, mister, I didn't kill your brother.

[Jake Garvey (Sheriff)]

He stalked enough. He killed Fred Carston. I told you that.

[Alan Ladd]

What about it, Burge?

[Jake Garvey (Sheriff)]

I didn't kill Fred Coston. He's a lion, Skunk.

[Narrator/Host]

Let's get it over with.

[Alan Ladd]

I say let him talk.

[Jake Garvey (Sheriff)]

Where'd you get that gun, mister?

[Alan Ladd]

How did you know where Fred was buried, then? How did you know where Fred was buried? Mrs. Costa says you found the grave. How'd you know where it was?

[Jake Garvey (Sheriff)]

Answer him, Ben. You told me where it was. Ben. I. I saw him burying poor Fred. That's how I knew.

[Alan Ladd]

If you saw the burial, why didn't you stop birds then?

[Jake Garvey (Sheriff)]

Was none of my business.

[Alan Ladd]

But it is now. What made you change your mind so fast?

[Narrator/Host]

Stay away from that horse, Ben. Get up.

[Announcer/Commercial Voice]

Get up.

[Narrator/Host]

Cut him down. You cut him down.

[Alan Ladd]

I think you'll be coming back to.

[Narrator/Host]

Abilene with me, Ben.

[Jake Garvey (Sheriff)]

You think so? You all right, son?

[Alan Ladd]

Yeah. Barge he live?

[Jake Garvey (Sheriff)]

Rest easy, son. You done a good job. But you ain't going to keep your promise about your brother's killer. There's no sense taking Ben Chaffee back to Abilene. We'll bury him here.

[Announcer]

Suspense presented by Autolight tonight's star, Mr. Alan Ladd.

[Jake Garvey (Sheriff)]

Christmas shopping can be fun. It doesn't have to kill one. Give an auto light stay full battery. Only three times a year do you fill one.

[Commercial Voice]

And that's because the Autolite stay full battery is the battery. That needs water only three times a year in normal car use. And it's one of more than 400 products for cars, trucks, planes and boats made by autolite in 28 plants coast to coast. These include complete electrical systems used as original equipment on many leading makes of America's finest cars. Electric windshield wipers, starting motors, voltage regulators, coils, distributors, wire and cable generators, all engineered to fit together perfectly. Work together perfectly because they're a perfect team. So friends don't accept electrical parts supposed to be as good. Ask for and insist on original factory parts at your neighborhood service station, car dealer, garage or repair shop. And because all Autolite parts are original factory parts, you can be sure you're right. Because you're always right. With Autolight.

[Announcer]

Alan Ladd will soon be seen in Paramount's Technicolor production branded. Next week on suspense, Mr. Dennis Day, a star of Christmas for Carol. And in weeks to come you will hear such famous stars as Cornell Wilde, Ezio Pinza and Ginger Rogers, all appearing in tales well calculated to keep you in suspense.

[Commercial Voice]

Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morowek and conducted by Lud Bluskin. Portions of this program were transcribed. A Killing in Abilene was written for suspense by Gil Dowd and Anthony Ellis.

[Announcer]

And remember, next week on suspense, Mr. Dennis Day. In Christmas for Carol.

[Announcer/Commercial Voice]

You can buy.

[Jeannie (Reporter)]

Auto Light staple batteries, Autolite standard type or resistor type spark plugs, Auto Light electrical parts at your neighborhood autolite dealers. Switch to Autolyte. Good night.

[Commercial Voice]

Better production means better living. That ideal has given America the world's highest standards of living. Learn how you can help to improve our economic life. For the free booklet the Miracle of America, write box 10, Times Square Station, New York City. This is CBS, the Columbia Broadcasting System.

[Announcer/Commercial Voice]

Welcome to Hollywood. The Iron Forces Radio and Television service brings you the Hollywood Radio Theater starring Alan Ladd, Van Heflin and Ruth Hussey in shame. Ladies and gentlemen, your producer, Mr. Irving Cumming.

[Narrator/Host]

Greetings from Hollywood, ladies and gentlemen. Tonight we bring you a story of our courageous western homesteaders and their dramatic fight against the cattle barons. It's George, Stephen Sheen. Appearing in their original roles, we have Alan Ladd and Van Heflin and as their co star, lovely Ruth Hussey. Shane won an Academy award nomination as best picture of the year for Paramount Pictures in 1954. Now Act 1 of Shane starring Alan Ladd in the title role. Van Heflin has Starrett and Ruth Hussey as Marion. Summer and winter, the tops of the mountains were capped with snow and reefs about with clouds. The valley below was rich in beaver, deer, elk and bear. These brought the hunter and the trap. The valley was rich in pasture land. And this brought the cattlemen. The pasture land was rich in loam. And this brought the homesteaders, people like Joe and Marion Starrett. That's Joe chopping wood out by the bar. And that singing you hear, that's Marion stirring the supper kettle.

[Joey (Child)]

Bang. Bang. Bang.

[Narrator/Host]

Oh, yes. And little Joey with his.22 rifle.

[Joey (Child)]

Bang, bang. Joey, I told you not to play with that rifle. It ain't loaded, Mark. I know, but just the same. Bang, bang. Joey. All right, Pa. Pa.

[Narrator/Host]

Yes, son.

[Joey (Child)]

Someone's coming.

[Narrator/Host]

Well, let him come. I hope you don't mind my cutting through your place. No, no, I guess not. You see, I didn't expect to find any fences around here.

[Joey (Child)]

Bang. Bang.

[Narrator/Host]

You're a little touchy, aren't you, mister? Pulling a gun on a boy of 8? I didn't see him coming. All I heard was the gun cocking. I'm. I'm sorry, boy.

[Joey (Child)]

Joey. Joey, give me that rifle. I. I told you, I just wanted to show it to him, Ma. I bet you can shoot mistress, can't you?

[Narrator/Host]

Well, a little bit. I was wondering where your friends were. My friends?

[Announcer/Commercial Voice]

Yes.

[Narrator/Host]

What are the rer boys up to this time? You know, I wouldn't know a RR from your Jersey cow.

[Jeannie (Reporter)]

Joey, you better go inside.

[Joey (Child)]

Oh, now, mind.

[Jeannie (Reporter)]

Into the cabin.

[Joey (Child)]

Quick. All right.

[Narrator/Host]

Hold it. Yes, what is it now, Riker? I came to let you know I got that beef contract for the reservation. All right, now I know it. Maybe you don't understand me.

[Announcer/Commercial Voice]

I'm gonna need all of my range. You're gonna have to get off this.

[Narrator/Host]

Place before the snow flies. It happens to be mine, Roof. I'm homesteading it. We don't care what you call it, Starrett. You're gonna be stupid. Me and my brother can blast you and them squatters right out of here. Well, I don't frighten easy, you know. And I know that the time for gun blasting a man off of his place is past you. And right now, you're trespassing on my claim. Now, get off your claim. How about that, boys? Maybe you'd better do what Starts says.

[Jake Garvey (Sheriff)]

Yeah.

[Narrator/Host]

Who are you, stranger? A friend of Starts. Well, st. You can't say I didn't warn you. All right, Come on, boys. Well, I guess I'll be moving along too.

[Jeannie (Reporter)]

Joe, supper's almost ready.

[Narrator/Host]

Oh, fine. Joe.

[Announcer/Commercial Voice]

Oh.

[Narrator/Host]

Oh, yeah, sure. Wait, mister. Something. Yes, I'm Sorry about the way I acted, taking you for one of the Rikers and. Well, now, you heard what the little woman said. Why don't you stay? And he said, with us now. How about it? Well. Well, now, sure you will. You know, I. I just plum forgot. My name is Start. Joe Start. And this here is Marion. I'm pleased to meet you. And you are? Well, just. Just call me Shane. Mind if I ask where you're bound, Mr. Shane? One place, Another? Some place I've never been. Well, I know one thing. The only way they're gonna get me out of here is in a pine box.

[Joey (Child)]

What do you mean, Pa?

[Jeannie (Reporter)]

Joe, don't talk like that.

[Narrator/Host]

No, that's the truth, Marian. We've got our roots down here. This is the first real home that we've ever had. The only thing is that there's just more work here than I can do.

[Mitch (Detective/Reporter)]

You know, cutting wood and plowing seed and.

[Narrator/Host]

And. And fencing. If I could just hire me a good man.

[Jeannie (Reporter)]

You had one, Joe.

[Narrator/Host]

Yeah, until the Riker brothers roughed him up a bit and run him off.

[Joey (Child)]

They knocked his teeth out, didn't they?

[Jeannie (Reporter)]

Pa tell we.

[Narrator/Host]

Well, that was elegant dinner, Mr. Start. You'll excuse me.

[Joey (Child)]

Pa, Mr. Shane didn't even say goodbye.

[Narrator/Host]

Well, no, no, Joey, he's not going. His gun and cartridge belt are still hanging on the wall.

[Joey (Child)]

He wouldn't leave without him, huh?

[Narrator/Host]

Not anybody like Mr. Shane. Joy.

[Jeannie (Reporter)]

Joe, listen.

[Narrator/Host]

Well, I'll be. Dog gone. Well, I guess he really did appreciate your dinner, Marian. Shane. Shane. Now, leave some of that there stump for me. I've been trying to get that thing out of there for a year.

[Joey (Child)]

Ma?

[Jeannie (Reporter)]

Yes, dear?

[Joey (Child)]

Mr. Shane could sleep in the barn, couldn't he? I suppose you think Pa's gonna ask him to stay.

[Jeannie (Reporter)]

I think he has, Joey. I think he's already done it.

[Joey (Child)]

Bang. Bang, bang.

[Narrator/Host]

What are you shooting at, Joey?

[Joey (Child)]

Rikers. Bang, bang.

[Narrator/Host]

You getting any?

[Joey (Child)]

I missed one. Oh, Mr. Shane, would you learn me to shoot?

[Narrator/Host]

Well, you think you're older than me?

[Joey (Child)]

Sure I am.

[Narrator/Host]

Shane. Yeah? There's a load of pants wire waiting for me at Grafton's General Store. Do you want to go in and pick it up for me? Yeah, I'd be glad to, Pa.

[Joey (Child)]

I'm old enough, ain't I?

[Narrator/Host]

For what, son?

[Joey (Child)]

To learn to shoot.

[Narrator/Host]

Oh, yeah, I suppose. All right, Shane. I got the team all hitched up, so whenever you're ready. Well, I better get started. Oh, while you're in town, Shane, you can buy yourself some work clothes. Well, that is, if you'd like to stay on here. What can I bring you, Joey?

[Joey (Child)]

Soda Pop?

[Narrator/Host]

I'll see what I can do, Shane. Yeah? Riker and his men hang out at Grafton, so you be careful. I don't want my trouble to be none of yours now. Yeah, I know you don't.

[Joey (Child)]

Pa. Why ain't he wearing his gun?

[Narrator/Host]

Shane's going to trade at this store, son, not hold it up.

[Joey (Child)]

But his gun looks good on him, Pa. It goes with him.

[Narrator/Host]

Maybe. Well, looks like Ernie Wright coming, huh?

[Joey (Child)]

Could you whip Shane?

[Narrator/Host]

Well, what for? Shane's on our side. Well, howdy, Joe. Yeah. How goes it, Ernie? No good. I'm pulling up steaks. I'm leaving this here valley. Now. Now, Ernie, you said that before. Yeah, but the Riker brothers hadn't busted in all over my wheat last night. They tore down the fence, drove their steers right through my crop. Ruined everything. Oh, that's. That's bad. Bad, Joe. I'm. I'm just wore down and out. Tired of being bullied by them fellows called a pig farmer and a sod. Buster, I'm leaving Now. Now, don't go and throw up your tail, Ernie. I tell you what. I tell you what we'll do.

[Mitch (Detective/Reporter)]

We'll have a meeting here tonight, right here at my place, and we'll figure out something.

[Narrator/Host]

Yeah, just more talk. No, now, maybe not. You just be here tonight, Ernie, and spread the word around to the others. Tell them that this time we're going to stand up to those Rikers. Mr. Grafton. Yeah? How much do I owe you? Ah, let's see. Yeah, work pants, two shirts and a belt. That'll be. Young man, you owe me two dollars and two bits. Oh, well, the exact amount. Thanks. Oh, by the way, have you got any soda pop? Sure do. Just step through those swinging doors and ask the barkeeper. Thank you very much. Hey, will you smell something bad in here all of a sudden? Maybe something like. Something like pig. Oh, bartender. Yep.

[Announcer/Commercial Voice]

What do you have?

[Narrator/Host]

You got any soda pop? Just what flavor would you like? Sod Buster. Lemon or strawberry or lilac? You speaking of me? For sure I am. Hey, wearing a brand new shirt, too. Would you just buy that off of Grafton? Yeah, well, well, and let's us christen it with a little bourbon. Now you smell like a man. What's going on in there, Chris?

[Announcer/Commercial Voice]

Just fumes.

[Narrator/Host]

You take it easy, Chris.

[Jake Garvey (Sheriff)]

Oh, now, why, Grafton, we're just having.

[Narrator/Host]

A nice little talk about one thing or another. Hey, sod Buster, didn't we see you out to Joe Starrett's? Place yesterday. Yeah. Who's we? Roof and Morgan Riker. A couple of others. Sure. You're the one I'm working for, Star. Oh, here's your bottle of soda pop, mister. Thank you. You're not gonna drink that in here. Sod. Buster, start moving toward that door. Go on. I said get out. See that, boys? Mr. Soda Pop is just as gutless as the rat.

[Joey (Child)]

Shane, they're waiting for you. Everybody's here.

[Narrator/Host]

Well, I had to finish the evening chores. Joey in the parlor.

[Joey (Child)]

Yeah, fine. Mr. Shane, would.

[Jeannie (Reporter)]

Would you take this pot of coffee along with you? Everybody needs one warming up.

[Narrator/Host]

Sure. Oh, the cups.

[Jeannie (Reporter)]

I already laid them out on the parlor table.

[Narrator/Host]

All right.

[Jeannie (Reporter)]

Joey, time to get ready for bed.

[Narrator/Host]

Now. That's just what Riker's trying to do. He's trying to scare us. Shoe us off here like a flock of chickens. But I'm not leaving. Not now or any other time. Hey, Joe. Joe. And a coffee. Oh. Oh, thanks, Shane. Here, I'll pour that. Yes. Most of you here don't know Shane. Shane, this is Ernie Wright. Howdy. Hello. And Fred Lewis. Yeah. Senior in town. And Axel Shipstead. How do you do? And Yank Potts, Ed Howells, Luke Johnson and Stonewall Tory over here. Glad to know you. Well, we've just been talking over about what to do about Riker. Shane, some of the boys are kind of worried about going into town for supplies. You know, they're afraid that Rikers boys may try to jump.

[Commercial Voice]

Not me, they won't.

[Narrator/Host]

I'll put on my.38 and go into town anytime I please. You leave your gun at home, Tori. I got a better idea. Now, on Saturday, we'll all just get together and we'll go into town in one bunch. They won't try anything with eight of us. How do you figure eight? They seven of us? Well, with Shane here, we can't count on Shane for anything. He sure approved that. Hold on, now. Just watch what you're saying. Ask Shane what happened between him and his Chris Calloway that works for Riker. I saw it and I heard it. What is this, Shane? He says he saw it. Heard it? Let him tell it. Well, Fred, Shane let this Callaway buffalo him in Grafton Saloon. Now Calloway's going around bragging how he put the run on a sod Buster. Well, maybe he did, maybe he didn't. Fred, I told Shane to stay away from trouble. It looks like he just did what I told him to. Shane, where are you going? Well, I thought you could talk easier if I'M not around.

[Joey (Child)]

Shane. Tell him it ain't so.

[Jeannie (Reporter)]

Joey, you hush up.

[Joey (Child)]

I heard him, Shane. I was listening. But I know you ain't a floor grade.

[Narrator/Host]

Thank you, Joy.

[Joey (Child)]

You wouldn't let anybody skill you unless you were just pretending. That's what you were doing. Weren't you just pretending?

[Narrator/Host]

It's. It's a long story, Joy.

[Jeannie (Reporter)]

I think we understand, Shane.

[Narrator/Host]

Maybe. Good night, ma'.

[Announcer/Commercial Voice]

Am.

[Joey (Child)]

Jane.

[Narrator/Host]

Ma'. Am.

[Jeannie (Reporter)]

I hope. I hope the barn isn't too wet for you tonight.

[Narrator/Host]

It won't stop me from sleeping. Good night.

[Joey (Child)]

Good night, Shane.

[Jeannie (Reporter)]

Joey. I told you to get ready for bed.

[Joey (Child)]

Uh huh.

[Jeannie (Reporter)]

Joey.

[Narrator/Host]

Yeah?

[Jeannie (Reporter)]

Don't get to like Shane too much.

[Joey (Child)]

Why not?

[Jeannie (Reporter)]

Well, because. Because you mustn't.

[Joey (Child)]

Is there something wrong with you?

[Narrator/Host]

No.

[Joey (Child)]

Well then, why shouldn't I?

[Jeannie (Reporter)]

You'll be moving on one day, Joey. You'll be upset if you get to liking him too much.

[Narrator/Host]

You'll be awful.

[Announcer/Commercial Voice]

We'll hear Act 2 of Shane in a moment. With our American servicemen in many countries around the world, they have a wonderful opportunity to observe new customs and traditions. What might have seemed strange before is becoming pretty familiar to them. For instance, take this business of superstitions or omens. In Holland and Germany, if you meet a left handed person on a Tuesday morning, that's a bad omen. In Sweden, if you turn around when starting out on a business trip, it's liable to turn out badly. German girls place their shoes at right angles by the side of their beds to bring a visit from their sweethearts. And in Japan and the Far east, there's a superstition to cover practically every event of the day. Well, all these things might sound strange, but as our servicemen have observed, we have plenty of superstitions too. Let's just count some of the things.

[Narrator/Host]

That are lucky or unlucky.

[Announcer/Commercial Voice]

Finding a horseshoe, Lucky. Four leaf clover.

[Narrator/Host]

Lucky.

[Announcer/Commercial Voice]

A black cat crossing your path.

[Narrator/Host]

Unlucky.

[Announcer/Commercial Voice]

Walking under a ladder, unlucky. Breaking a mirror. Seven years bad luck. Spilling salt, unlucky. Unless you throw some over your left shoulder. Knocking on wood. Lucky. A rabbit's foot lucky. Well, those are just a few of them. Lots of people carry a lucky coin or a charm of some sort. All of us have a lucky number. And whenever we have something good happen.

[Narrator/Host]

To us, we know it's our lucky day.

[Announcer/Commercial Voice]

People world over are great believers in this business of luck. That's all the superstitions are based on. They're either meant to bring on good.

[Narrator/Host]

Luck or keep bad luck away.

[Announcer/Commercial Voice]

According to the customs and traditions of Your own people, you do certain things to try to influence that luck. Now, the way of doing things may vary between different people, but the ideals are the same. These customs are important to the people who follow them. And our servicemen are helping to maintain goodwill by observing the customs of other people in other lands.

[Narrator/Host]

Now, our producer, Mr. Cummings, Act 2 of Shane, starring Alan Ladd in the title role and Van Heflin as Star and Ruth Hussey as Marion. Saturday came, and with it, the homesteaders weekly shopping trip to Grafton's general store. But this Saturday was to be very different and long remembered. Howdy, sir. What can they do you for? Well, you're gonna have to ask my wife. Grafton. Marin's got the shopping list of one thing for sure.

[Commercial Voice]

We need plenty gunpowder to make fireworks.

[Narrator/Host]

What kind of fireworks? For big celebration. Fourth of July and your Starrett's wedding anniversary all the same day. That's right. Hey, Marion.

[Joey (Child)]

Yes, Joe? I'm coming, Mr. Grafton. What do I get for this empty solar pile?

[Narrator/Host]

Well, one bottle brings just about one stick of candy.

[Joey (Child)]

Peppermint.

[Narrator/Host]

Peppermint. But first you go through those swinging doors over there and you give the bottle to Will.

[Joey (Child)]

All right.

[Narrator/Host]

Shall we?

[Joey (Child)]

Yeah.

[Narrator/Host]

Shane, I'll take that bottle in for you.

[Joey (Child)]

Well, if you want to.

[Narrator/Host]

Well, now, looky here what we got. Yeah, there's a sod buster. The one we call Soda Pop. Bartender? Yep. Two whiskeys. Two. Hey, look at big farmer. Don't you think you better get back inside with the women and kids?

[Mitch (Detective/Reporter)]

Were it safe.

[Narrator/Host]

Don't push it, Calloway. Get going. Two whiskeys. Take his money, Will. But I'm getting the drinks. Yeah, like this.

[Jake Garvey (Sheriff)]

Re.

[Narrator/Host]

All right, all right. Anybody else? You, Riker? No, no, no. Let's cool down a bit, huh?

[Announcer/Commercial Voice]

Maybe I could use a man like you.

[Narrator/Host]

I'm working for Starrett. Whatever he's paying, I'll double. I'm not interested. What's so good about Starrett? I like him. And he's got a pretty wife. Why, you dirty, slinking old man. All right, all right. I gave you a chance. Nobody messes up one of my boys.

[Announcer/Commercial Voice]

And gets away with it. Now, we're gonna rough you up, Shane. We're gonna ride you out of this valley.

[Joey (Child)]

Shane.

[Narrator/Host]

Joey. Joey, get out of here.

[Joey (Child)]

But, gee, there's too many. Let's go.

[Narrator/Host]

You wouldn't want me to run away, would you? Go on, sweet. Please. It does.

[Joey (Child)]

Too many, Shane.

[Narrator/Host]

Too many.

[Announcer/Commercial Voice]

All right, boys.

[Narrator/Host]

Close that light of.

[Joey (Child)]

Kill, Shane. They're all in there beating him and kicking him.

[Narrator/Host]

They Are.

[Announcer/Commercial Voice]

Are they?

[Narrator/Host]

Come on, honey. Action.

[Commercial Voice]

Now.

[Alan Ladd]

We.

[Joey (Child)]

We.

[Narrator/Host]

We better stay out of it, Joe. All right. So I'm gonna make it mine. Here, give me that axe handle. All right, boys, here's another one.

[Joey (Child)]

You bet.

[Narrator/Host]

There it is, right there. After today, I. I don't think those Riker brothers will give us any more trouble. No trouble at all. Maybe not.

[Jeannie (Reporter)]

Shane, I think I ought to put some of this turpentine on that cut of yours. Whatever you say, it's going to hurt bad.

[Joey (Child)]

You wouldn't say nothing, no matter how much it hurt.

[Jeannie (Reporter)]

Joey, back to bed.

[Joey (Child)]

You wouldn't say nothing, would you, Shane? Joey, would you?

[Narrator/Host]

Well, I. I don't know, Joey. You see, I just might.

[Joey (Child)]

No, you wouldn't.

[Jeannie (Reporter)]

Joey, did you hear me?

[Joey (Child)]

All right. Will you come in and kiss me good night? Yes. Right now.

[Narrator/Host]

All right.

[Joey (Child)]

Shane.

[Jeannie (Reporter)]

I'll fix that cut in just a minute.

[Narrator/Host]

That's all right, mister. Start. I'll. I'll take care of it.

[Jeannie (Reporter)]

Now, into bed.

[Joey (Child)]

Ma, I just love Shane.

[Jeannie (Reporter)]

Do you?

[Joey (Child)]

I love him almost as much as I love Pa. That's all right, isn't it?

[Jeannie (Reporter)]

He's a. A fine man, Joey.

[Joey (Child)]

Don't you like him?

[Jeannie (Reporter)]

Now? Get under the blankets, Joey.

[Joey (Child)]

Don't you, Ma?

[Jeannie (Reporter)]

Yes, I like him too, Joey.

[Joey (Child)]

Good night.

[Narrator/Host]

Joe.

[Jeannie (Reporter)]

Where'd Shane go?

[Narrator/Host]

Out to the barn. He's turned in. Oh.

[Mitch (Detective/Reporter)]

What's the matter, honey?

[Joey (Child)]

Hold me, Joe.

[Narrator/Host]

Marian.

[Jeannie (Reporter)]

No, don't say anything.

[Narrator/Host]

Just. Just hold me.

[Jeannie (Reporter)]

Hold me t.

[Joey (Child)]

Bang, bang, bang.

[Narrator/Host]

Hey, Shane.

[Joey (Child)]

Come on. You promise.

[Narrator/Host]

Coming, Joey.

[Joey (Child)]

Gee, you really brought your gun, huh?

[Narrator/Host]

Yeah.

[Joey (Child)]

You really gonna show me how to shoot, huh?

[Narrator/Host]

Well, like you said, Joey, I promise. But, well, first of all, you see. You see how I wear my holster?

[Joey (Child)]

Uh huh. It's higher than Pa wears his.

[Narrator/Host]

Well, most men wear them either too low, and some either wear them too high. Either way, it takes too long to draw. You see, right about here is just right.

[Joey (Child)]

Gosh, is that the way the real gunfighters do?

[Narrator/Host]

No, not necessarily. You see, each one has a trick of his own. One likes a shoulder holster. Some like two guns. But Joey, one's all you need.

[Joey (Child)]

Let's see a shoot. Shane.

[Narrator/Host]

Please. Please, Joey.

[Joey (Child)]

Please, Shane.

[Narrator/Host]

Well, what do you want me to shoot at?

[Joey (Child)]

Well, could you hit that little white rock way over there?

[Narrator/Host]

Maybe you want a fast draw and a hit.

[Joey (Child)]

Mm. Gosh almighty golly, Shane. Ma, did you see Shane? You see him bust that rock all to flinters?

[Jeannie (Reporter)]

Yes, Joey. Now you run along. Get ready for the 4th of July party.

[Joey (Child)]

But Ma, Shane's gonna show me how to shoot.

[Narrator/Host]

Better do what your mother says, Joey.

[Joey (Child)]

Bang. Bang, bang.

[Jeannie (Reporter)]

Shane, I don't want my boy to build his life around guns.

[Narrator/Host]

A gun is just not a tool, Marian. It's as good or as bad as the man who uses it.

[Jeannie (Reporter)]

As the man himself. Shane.

[Narrator/Host]

Yes?

[Jeannie (Reporter)]

Nothing.

[Narrator/Host]

Shane, you come along to the celebration over the ship's heads, aren't you? Well, if they want me. Well, of course they do. Now, go on and hitch up the team. We're going to have that dog gundest big time you ever saw. Listen to me.

[Joey (Child)]

No speeches, Axel.

[Narrator/Host]

This is going to be one Fourth of July without no tall. It's more than Fourth of July. This was the day your star had got himself hooked. It's very.

[Joey (Child)]

That's good. On our nation's Independence Day, Joe lost his own.

[Narrator/Host]

Come on, Yo. Now you say something. Well, well, well. All I can say is it's true. Ten years ago, I gave up my independence.

[Joey (Child)]

But no man gave it up as easy as he did.

[Narrator/Host]

Well, that's right. And what's more, I wouldn't trade places with any man in this world. And boy, who's getting thirsty. It's stone Mal toy.

[Joey (Child)]

And look what he's bringing.

[Narrator/Host]

That's right. Bottles and bottles of the stuff. I like the cleaned out Grassho. Happy anniversary to you and the Miss Hori. I thought we decided none of us was going to go into town alone. Oh, there's nothing to be afraid of. When I went in at Gratton's, I walked right past Riker. Say, by the way, saw Riker talking to a new man in there. A stranger wearing a couple of guns. What's his name? What'd he look like? Oh, hello, Shane. This man, what'd he look like? He's kind of lean. Packs two guns on his hips. Was he wearing a black hat? Yeah, come to think of it. Friend of yours? No, but there's a man named Wilson who looks like that. A gunfighter over in Cheyenne. Shane, this Wilson, would you know him if you saw him? Maybe. That is Wilson. He's fast. Real fast on the draw. You seem to know an awful lot about this kind of business. Well, maybe we ought to be glad he does. At least we know what's going on.

[Jeannie (Reporter)]

Just what is going on, Josh? I thought we were celebrating our anniversary.

[Joey (Child)]

Fourth of July.

[Narrator/Host]

Well, sure we are, honey. Well, come on, everybody, now, this a party. Let's keep it going. Mr. Shane. Mr. Shane. Yes? I've been wanting to go to the blacksmith shop, but Joe Starrett says We shouldn't go alone. And. And now we got this man Wilson and Tone. You. You think maybe you could sometime go to the blacksmith with me? Well, I might. I'll go with you, Axel. Anytime you want. I'm not afraid of bullies and cowards. I'll tell them so. The best thing to do is tell them nothing. I'll tell him. You see if I don't. Just see if I don't. All right, Joey, jump down. Open the gate, son.

[Joey (Child)]

Yes, Pa.

[Narrator/Host]

Wait a minute. Somebody's doing it for us.

[Jeannie (Reporter)]

Joe. It's Morgan Riker.

[Narrator/Host]

Drive right in, folks. Brother Ruth's come to pay you a little visit. Go on, drive in. It's your place, ain't it? It? Sure.

[Joey (Child)]

Joe.

[Jeannie (Reporter)]

Who's that with Riker?

[Narrator/Host]

Where?

[Jeannie (Reporter)]

Over there by the barn.

[Narrator/Host]

You seen Shane on that white horse? Yeah, I see. Kind of lean and wearing a black hat. Howdy, Star. Evening, man. Riker. Hey, something I'd like to talk over with you, Star. All right. I'll lay it right on the barrel head. How'd you like to work for me? I'm done working for others.

[Announcer/Commercial Voice]

I'll pay your top wages. You can run your cattle with mine. And what's more, I'll buy your homes.

[Narrator/Host]

I'm not interested. Set a price you think is reasonable, start it. You'll find me reasonable, too. You can't force me to do anything, Ruth, because I'm in the right. You?

[Announcer/Commercial Voice]

What do you know about right? I come to this country when you.

[Narrator/Host]

Weren'T much older than that boy of yours there. We had some rough times.

[Announcer/Commercial Voice]

Cattle we brought in hazed off the Indians and rustlers. I still got a bad shoulder from a Cheyenne arrowhead.

[Narrator/Host]

Then people move in, fence off my.

[Announcer/Commercial Voice]

Range, fence me off from water. And I gotta keep moving my stock. And you say we got no right to the range? No right hurt.

[Narrator/Host]

I'm not belittling you, Riker, but you didn't find this country. There were trappers here and there were Indian traders long before you showed up. They tamed this country a lot more than you did. No, no, no. Look. Stuck. You think you've got the right to say that nobody else has got any. Well, that ain't the way the government looks at it. All right.

[Announcer/Commercial Voice]

That's your answer to me?

[Narrator/Host]

That's my answer. Then you don't give a man much choice.

[Announcer/Commercial Voice]

All right, Wilson, let's go.

[Narrator/Host]

Shane. That fellow with Riker. Yeah. Yeah, it's Wilson, all right. The one I was talking about.

[Mitch (Detective/Reporter)]

What do you think Riker wants with him?

[Narrator/Host]

Well, that's not too hard to figure. Wilson's got only one line of business, and it ain't punching cows. I like Starrett, but I tell you, I'll kill him if I have to. You mean I'll kill him if you have to. That's just what he means, eh, Ruth? Well, I can't have any run in with the law. Grafton's watching us, you know. Well, looky there. Looky there. No, isn't it? Come here. You too, Ruth. Couple of those sod busters. Yeah. Shipstead and Stonewall Tory. Maybe I ought to take care of. No, this isn't the time. I'm not ready yet. How long you gonna keep on waiting? Ruth, let me gun him. When word gets around, the rest of the pack will stampede out of here. I don't know. It'll be easy. It's gotta look right, Wilson. It will. How about it? All right. Hey, yo. You talking to me? Uh huh. Come here. No, Tortie, don't. You go on to the blacksmith, Axle. I'll be along. No, Tortie. No, please. I hear they call you Stonewall. Anything wrong with that? They named a lot of that Southern trash after old Stonewall. Maybe because old Stonewall Jackson was trash himself. And Lee and all the rest of the them ribs. You too. You're a low down lion, Yankee. Prove it. No, Tori. No, I will. I. One less sod, buster, Actually. Now wait a minute. Not. Not so fast. The new man shot him. That. That. That. Wilson. I'll be across the street and see it. But you didn't hear what they're arguing about. No, no, I. I hear only the anger in the words. Then Tory reach for his gun. But the new man is quick, terrible quick. One shot. Tori is dead. One shot.

[Jeannie (Reporter)]

Poor man. And poor Mrs. Tory and the children.

[Mitch (Detective/Reporter)]

Marion, you get ready.

[Narrator/Host]

I'll take you over to stay with her. I already tell her. Yo. I see Ernie, Wright and Johnson on my way over. I tell them too, and they scared. They say they leave the valley right now. Maybe they won't have to. Shane, go hitch up that wagon. Going to town?

[Mitch (Detective/Reporter)]

Yes.

[Joey (Child)]

No, Joe. I won't let you.

[Narrator/Host]

Sooner or later, Marion, somebody's got to go. Maybe. But not now.

[Jeannie (Reporter)]

No, you can't go alone. The others are all in this too.

[Joey (Child)]

You said so yourself, Jo. You said you'd all have to act together.

[Narrator/Host]

She's right, Joe. And you're forgetting something else. What? Tori's funeral. First things ought to come first. All right, first Tori's funeral. But after that.

[Mitch (Detective/Reporter)]

After that chain. I'M making no promises.

[Announcer/Commercial Voice]

In a moment. Act three of Shame. Make a friend and you make an ally. There's a thought for you to keep in mind, as many another American has. Since the end Of World War II, many American cities have adopted European ones, mainly through the work of a citizen group in New York called Operation Democracy. One of the greatest ties of friendship has been made between American cities and towns in Holland. The people of the American city supply their Dutch friends with clothing, food, and during the floods early in 1953, the Americans won the undying gratitude of the Hollanders for their help. Several of the American communities have raised money to send a community ambassador to visit the European town they've adopted. And the children keep up a two way correspondence. To date, several hundred towns in the United States are in contact with others overseas and the number is steadily increasing. These contacts include towns in 13 European countries, as well as Japan and Hawaii. Recently, three more countries were added. Norway, Yugoslavia and India. And arrangements have been started to include Turkey, Spain and Peru. Americans in every walk of life have done something to satisfy their desire for international friendship. And you too can learn. And as they did that, by helping others, you help your country. We pause now for station identification.

[Narrator/Host]

The curtain rises on Act 3 of Shame, starring Alan Ladd in the title role, Van Heflin as Starrette and Ruth Hussey as Marion. On a lonely, windswept hilltop, a dozen men and women pay their last respects to Stonewall Toll. Forgive us our trespasses as we forgive.

[Joey (Child)]

Those who trespass against us. And lead us not into temptation, but.

[Narrator/Host]

Deliver us from evil.

[Joey (Child)]

For thine is the kingdom and the.

[Narrator/Host]

Power and the glory forever.

[Jeannie (Reporter)]

Amen.

[Narrator/Host]

Well, I guess that's about it. We'd like to say goodbye, Joe, and. And to you, Ms. Star.

[Jeannie (Reporter)]

You leaving today?

[Narrator/Host]

Yeah. It's our wagon at the bottom of the hill, all packed and waiting. Come on, sue, round up the kid. Wait for us, Fred. We're pouring out food. Us too, Fred. Just give us time to load the board. Hold on, everybody. Let's not be in such a hurry. All Riker wants to do is to stampede us. Joe, the last time you argued us in staying, Tory was alive. Yes. What do you want us to stay for? More of this? You know what he wants you to stay for. You gotta agree with him, Shane. You work for Starrett. It isn't that. He's asking you to stay because. Because this valley is your home. It's a place for all of you to grow up and be happy. That is, if you've got Nerve enough not to give it up. Now that.

[Announcer/Commercial Voice]

That's right.

[Narrator/Host]

Who's Ruf Riker to run us out? The good Lord didn't make this valley for just one man like him. Look. Look there.

[Joey (Child)]

A cabin on fire.

[Narrator/Host]

Sure, that's brand new. It's his place. Riker set it on fire. I'll bet you sure Riker done it. Riker lit it. I built that cabin with my own hands. Riker don't have no right to do that, Fred. Maybe he wouldn't if you hadn't packed up and left it. We're sort of part of me like it'd still be. We can build it again. That's right, Fred. Now if we just stick together, we can put your cabin right back up. Can't we, Marion? Yes, Fred.

[Joey (Child)]

I'll help sue make new curtains, new rugs, new everything for the whole place.

[Narrator/Host]

You do that for us? No, not just for you, Fred. For all of us. Joe. Y Y. That's it. This is for everyone who loves this. Now how about it, everybody who's for staying?

[Joey (Child)]

Hello.

[Jake Garvey (Sheriff)]

I will.

[Joey (Child)]

Same here. All of us.

[Narrator/Host]

Everybody stay in. Looks like Lewis has gone back home. What for? There's nothing but ashes. Maybe he's sticking. Get Starrett. He's holding them all together. Starrett's got to go. I've warned him twice. He's pigheaded. Now he's got to go. Morgan, I want you to ride out to Starrett's place. Uh huh.

[Jake Garvey (Sheriff)]

Tell him.

[Narrator/Host]

Tell him things have gone far enough. Tell him I'm beat. Tell him anything, but get him in here. He'll come. He thinks he can settle things by by talk. And when he gets here, don't start sweating. I'm not asking you to do it. Oh, you Wilson? Uh huh. Me? No need for the shotgun start. This is a peace party. You expect me to believe that? After your brother fixes us to have my friend Tory killed? No, brother. Rufe wouldn't kill anybody. Tori was a hothead. Picked on a stranger who could draw faster. Torrey wouldn't be reasonable. But you are, Starrett. You talk sense. If Ruth talks sense. Isn't that about the size of it? I'm willing to be fair. Sure you are. So is Ruth. That's why he wants to see you. He'll be waiting at Grafton's with how many others? Why, nobody. Me and the boys are heading out under the rain.

[Joey (Child)]

Bang. Bang. Bang.

[Narrator/Host]

All right, all right. I'll out see your brother. That's the spirit. So long. Start. Shane. Want me to hit up the team? Yes.

[Jeannie (Reporter)]

Joe, you. You can't do it. The Rers want to trick you.

[Narrator/Host]

What? Were you done listening?

[Jeannie (Reporter)]

Yes, Joe, it's some kind of a trap.

[Narrator/Host]

Well, maybe not.

[Mitch (Detective/Reporter)]

Maybe Torrey's death has brought Riker to his senses.

[Narrator/Host]

Made him see that we all got to live together peaceably.

[Jeannie (Reporter)]

You don't really believe that.

[Narrator/Host]

Well, I'd like to. Besides, when I talk to Racker this time I'm gonna have something to back me up.

[Jeannie (Reporter)]

Shane, tell him he's wrong. Make him listen.

[Narrator/Host]

It's. It's not my place. Marion. Joe's got to do what he thinks is right. Yeah, I'm doing it. Hey, Shane, don't forget the team, please. Yell right away.

[Jeannie (Reporter)]

Just pride, that's all.

[Joey (Child)]

Silly kind of pride. Joey, please stop it. Jo Jo, don't I mean anything to you? Doesn't Joey.

[Narrator/Host]

Marion, honey, it's because you mean so much to me that I've got to go. Do you think I could go on.

[Mitch (Detective/Reporter)]

Living with you and you thinking that.

[Narrator/Host]

I'd showed yellow and Joey? Well, how do you think I'd ever explain this to him?

[Jeannie (Reporter)]

Oh, Joe.

[Narrator/Host]

Honey, I. I've been thinking a lot and. Well, I know I'm trying to slow somehow, but. Marion, I see things. And I know that if. If anything happened to me that you'd be took care of. Maybe even better than I could. You talk as if I'd be glad for you to go. Oh, honey. You're the most honest and the finest girl that ever lived. And I couldn't do what I got to do if. If I hadn't always know that I could trust you. Besides. Now let. Let's not go counting me out yet. You know, the game's just starting. Shane, how are you coming? Almost ready. Now. Let's get this finished. Shane. Shane. Who is it? Calloway. Chris Calloway. Stay where you are. No, hold. Hold it, Shane. Hold it. I got something to tell you. I'm not interested. Shane Starridge, he's. He's up against a stack deck. You mean this meeting with Riker? Yeah. Wilson's gonna be there.

[Joey (Child)]

Bang, bang, bang.

[Narrator/Host]

Why are you telling me? Well, I'm not holding a grudge against you, Shane. That day in Grafton, that. It was a fair fight, but not what Riker's planning. Now, bluffing, scrapping, that's one thing. Gun fightin something else. I'm not hanging around for it. Quitting. Riker.

[Announcer/Commercial Voice]

Quitting.

[Narrator/Host]

Well, now, you know, we. It's a long. Shane. Chris. Yeah, I. Thanks. Sure. We'll be seeing You.

[Joey (Child)]

Bang. Bang. Hey, Shane, let me show you how I.

[Narrator/Host]

No, no, no. Not now, Joy. Please.

[Joey (Child)]

Shane, you're wearing your gun. Hey, Pa. Shane's got his gun on.

[Narrator/Host]

What's the idea, Shane? This is my kind of game, Joe. You could take Riker maybe, but not Wilson. Well, then I'll outlast him. No.

[Jeannie (Reporter)]

Neither one of you are going to. This isn't worth anybody's life.

[Joey (Child)]

What are you fighting for? This shack, this little piece of ground. And nothing but work, work, work. Joe, let's move.

[Narrator/Host]

Let's leave. It's too late, Marion. And for you, too, Joe. Shane, now get out of my way. Joe, you're staying. Am I gonna have to fight you two? That depends on you. All right, Joe. Shane, stop. Stop.

[Joey (Child)]

Shane, come back.

[Narrator/Host]

Come back, Star.

[Announcer/Commercial Voice]

You're staying here.

[Joey (Child)]

Shane. You hit Pa with your gun. I hate you.

[Narrator/Host]

Marion. Marion.

[Jeannie (Reporter)]

Joey, go get some water in the towel.

[Joey (Child)]

Yes, Ma.

[Narrator/Host]

Marion, here's Joe's gun. Hide it, will you? He'll be all right. Yeah, in a little while. This way, no one can blame him for. For not keeping a date.

[Joey (Child)]

Jane, wait.

[Narrator/Host]

Yes?

[Jeannie (Reporter)]

I had hoped you were through with gun fighting.

[Narrator/Host]

I. I changed my mind.

[Jeannie (Reporter)]

Are you doing this just for me?

[Narrator/Host]

For you, Joe and Little Jo.

[Jeannie (Reporter)]

Then we'll never see you again.

[Narrator/Host]

Tell. Tell Joe I'm sorry.

[Joey (Child)]

Shane. Take care of yourself, please. Shane. Shane.

[Jeannie (Reporter)]

Joey, you mustn't feel badly about what he did to your father. He had to. You mustn't hate Shane.

[Joey (Child)]

I don't hate him, Ma. Shane, I'm sorry.

[Jeannie (Reporter)]

He knows, dear.

[Joey (Child)]

Shane. I'm sorry. Joey, come back. I'm sorry, Shane. I'm sorry. Joey.

[Narrator/Host]

Joey.

[Joey (Child)]

Shane.

[Narrator/Host]

Shane. Somebody's coming. Huh? Start. Sure. Didn't I tell you? He took the bait. Oh. Holler. Morgan, you get up at the top of those stairs. Cover us with the shotgun. Right. Wilson, where do you want to be? Right here by the bar. I came for that talk, Riker. I'm not dealing with you, Shane. Where's start? You're dealing with me, Riker. What do you want to talk about? With you? Not a thing. Oh, that's too bad.

[Jake Garvey (Sheriff)]

Why?

[Narrator/Host]

Because talking is a lot healthier than fighting. Don't push it, Shane. Oh, that should buy some. He means it, Shane. He's fast.

[Announcer/Commercial Voice]

Lightning fast.

[Narrator/Host]

Yeah, and you're right in the middle. Roof on one side, me on the other. So you're Jack Wilson. Heard about me, huh? I've heard. What have you heard? I've heard that you're a low down Yankee liar. Prove it.

[Joey (Child)]

Shane got on the stairs. Shane, he had a shotgun on you. I was looking through the door and saw him.

[Narrator/Host]

How did you get here?

[Joey (Child)]

Joey followed you? Ran all the way? I wanted you to know I don't hate you. And. And I'm sorry.

[Narrator/Host]

There's no need to be, son. Come on, let's get out of here.

[Joey (Child)]

Shane, your arm. It's bloody.

[Narrator/Host]

It's all right, Joan.

[Joey (Child)]

Soon as we get back, Ma'll fix it up good.

[Narrator/Host]

All right? I'm not going back, Joanne.

[Joey (Child)]

Why, Shane?

[Narrator/Host]

Because a man. Well, he has to be what he is, Joey. You can't break them all. I tried it and it just didn't work for me.

[Joey (Child)]

But we want you, Shane.

[Narrator/Host]

Enjoy this. No living with a killing. There's no going back. Now, you. You run on home to your mother and tell her. Tell her everything's all right. There aren't any more guns in the valley, Jane. Please, Joey, go home and grow up strong and straight like your father.

[Joey (Child)]

Jane, Pa's got things for you to do.

[Narrator/Host]

Goodbye, Little Joe. Shane.

[Joey (Child)]

Mother wants you, too.

[Narrator/Host]

He does.

[Joey (Child)]

I know she does. Shane. Shane, come back. Shane.

[Narrator/Host]

Shane.

[Joey (Child)]

I want to show. Shine.

[Narrator/Host]

Shine.

[Announcer/Commercial Voice]

Now here's Mr. Cummings with our stars.

[Narrator/Host]

And here they are coming forward for a curtain call, Alan Ladd, Van Heflin and Ruth Hudson. I hope you gentlemen won't mind if I take a moment to congratulate Ruth Hussey on her nomination by the Television Academy of Arts and Sciences as best actress in a single performance for her portrayal in Craig's Wife last season. We don't mind at all. In fact, we thought you were just great. Yes, indeed.

[Jeannie (Reporter)]

Well, I can see you really are too gallant. Gentlemen of the Old west, thank you for the congratulations.

[Narrator/Host]

Now, about next week's play. Irving. It's another of our 20 greats, and we're going to have one of the most popular romantic teams ever to appear, Phyllis Thaxter and Cary Grant in that delightful comedy, the Bishop's Wife, one of Samuel Gorwin's most charming pictures.

[Jeannie (Reporter)]

Oh, I just loved it, Irving. Good night.

[Narrator/Host]

Good night. Good night and thank my wonder.

[Announcer/Commercial Voice]

Hollywood Radio Theater is produced by Irving Cummings. Our orchestra is directed by Rudy Schrager. This is your announcer, Ken Carpenter, inviting you to be with us again next week at this same time for another presentation of the Hollywood Radio Theater. This is the United States Armed Forces Radio and Television Service.

[Podcast Host]

We just heard Van Heflin and Alan Ladd in suspense and Shane, that will do it for this week's show. Thanks so much for joining me. I hope you'll be back next week as our month of classic Westerns continues. Next week we'll hear the stars of My Darling Clementine, Henry Fonda, Linda Darnell and Victor Mature. In the meantime, you can check out down these Mean Streets, my old Time Radio Detective podcast. New episodes of that show are out every Sunday, and if you're still in a shame mood, you can check out our most recent episode, which is a salute to Alan Ladd and his radio Detective work. 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 Meansts OTR I'll be back next week with the stars of My Darling Clementine, each appearing in a tale well calculated to keep you in.

[Narrator/Host]

Suspense.

[Announcer/Commercial Voice]

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.

[Narrator/Host]

A divided America is a weak America.

[Announcer/Commercial Voice]

Through our behavior, we encourage the respect.

[Mitch (Detective/Reporter)]

Of our children and make them better.

[Announcer/Commercial Voice]

Neighbors to all races and religions. Remind them that being good neighbors has.

[Mitch (Detective/Reporter)]

Helped make our country great and kept her free. Thank you.