Episode 436 - Stars of "My Darling Clementine"

Summary

---

Stars on Suspense – Episode 436: Stars of "My Darling Clementine"

Podcast: Stars on Suspense (Old Time Radio)
Host: Mean Streets Podcasts
Airdate: January 25, 2026

---

Episode Overview

In this episode, the "Winter out West" series spotlights the stars of My Darling Clementine, John Ford’s 1946 western classic. The show delves into old time radio with three Suspense episodes, each starring one of the film’s leads – Henry Fonda, Victor Mature, and Linda Darnell. The bonus is the 1947 Lux Radio Theater adaptation of My Darling Clementine, featuring Henry Fonda and Kathy Downs.

The episode explores crime, guilt, desperation, and drama, transporting listeners back to radio’s golden era with thrilling performances and iconic Hollywood voices.

---

Key Segments and Summaries

1. Introduction: Framing "Suspense" and "My Darling Clementine"

[00:00–05:02]

• The host defines "suspense," setting the tone for chilling, uncertainty-laden stories.
• Brief overview of My Darling Clementine: The story of Wyatt Earp (Henry Fonda), Doc Holliday (Victor Mature), and Chihuahua (Linda Darnell) in Tombstone, culminating in the Gunfight at the O.K. Corral.
• Roster for the episode:
  • Fonda in "Summer Storm" ([05:02])
  • Mature in "Momentum" ([30:55])
  • Darnell in "A Killing in Las Vegas" ([62:27])
  • My Darling Clementine Lux Radio adaptation ([100:10])

---

2. "Summer Storm" — Starring Henry Fonda

[05:02–30:55]

Plot Summary

• Eddie, a socially awkward, introspective boarder, is preparing to leave his boarding house during an impending storm.
• A confrontation with the negligent, greedy landlord, Mr. Waters, turns physical. Eddie, in the heat of the moment, inadvertently causes Waters’ death.
• Overcome by guilt and fear, Eddie tries to evade the law, hiding in the attic and later, after escaping the house, seeking refuge in an all-night diner.
• A twist: The landlord died not from Eddie's actions, but from food poisoning – both he and his wife fell victim to tainted pig’s feet.

Key Themes & Insights

• The psychological torment of guilt – Eddie’s ongoing inner monologue reflects his unraveling state.
• Suspense built on misunderstanding and misfortune.
• The episode plays with the idea of self-doubt versus actual guilt.

Notable Quotes

• Henry Fonda (Eddie):
  • "Some people are sensitive to changes in the weather, like me. There's nothing odd about that. It's like people who talk to themselves. I talk to myself a lot." ([05:07])
  • "They'll say you killed him, Eddie, and they'll hang you for it. They're calling the police now. When they find you here, they'll say you killed him, whether you meant to or not." ([13:38])
• On the twist:
  • "Old lady Waters up on Elm Street, you gotta be over careful of them things... They were from the same batch that killed her husband earlier today." ([30:35])
• Eddie's relief:
  • "Did you hear that about Mr. and Mrs. Waters both dying from the same thing? Yeah, pig snuff. ... Well, looks like the storm's over. Just a summer storm and now it's all over. That'll make it nice for you. Feel all right?" ([30:55])

---

3. "Momentum" — Starring Victor Mature

[30:55–62:27]

Plot Summary

• Dick Payne (Mature), a down-on-his-luck inventor, is frustrated and emasculated by unemployment and his wife Pauline’s role as breadwinner.
• Facing eviction, Dick approaches his former boss, Mr. Burroughs, demanding money for his invention. The tense meeting turns deadly; Dick accidentally kills Burroughs and flees, taking a wallet filled with cash.
• A sequence of dangerous encounters follows: Dick is almost caught in a bar, injures a bartender, and kills a bailiff sent to evict him.
• Wounded and now a double murderer, Dick desperately tries to reconnect with Pauline and escape New York.
• The final twist: Pauline had already obtained $200 from Burroughs – the money Dick thought he was owed. He killed for nothing.

Key Themes & Insights

• The destructive snowball effect of desperation and pride ("momentum" as metaphor).
• The tragic gap between perception and reality.
• The cost of toxic masculinity and the refusal to ask for help or admit defeat.

Notable Quotes

• Victor Mature (Dick):
  • "Yeah, this is some of that bad trouble. My wife always telling me I'm gonna get myself in bad trouble. All those people dying on account of it. Like a snowball when it starts rolling itself up, gathering. What is it? Momentum." ([33:16])
  • "You see, it was just one of those days again. He said. And I said something. And it all piles up like a snowball. The first thing, somebody gets hurt." ([44:13])
• Pauline (Loreen Tuttle):
  • "I believe in you." ([49:22])
• Pauline’s devastating reveal:
  • "I got off work early and went to see Mr. Burroughs. He gave me $200. He said when you came by, he'd have you sign a release for it." ([57:50])

---

4. "A Killing in Las Vegas" — Starring Linda Darnell

[62:27–100:10]

Plot Summary

• Dixie Evans, a nightclub dancer, visits the police, terrified her husband Charlie is trying to kill her.
• Her story unfolds in flashback: an attack backstage leaves her nearly strangled; later, she narrowly survives a gas-leak “accident” in her hotel room.
• As Dixie unravels the web of lies, she discovers Charlie’s story about a gambling win is fabricated; he left no message at the club, never won money.
• When Dixie confronts the police, they are initially skeptical due to lack of evidence, motive, or eyewitness testimony.
• In the finale, Charlie all but confesses during a fraught drive outside town; he cannot bring himself to kill her, but threatens to make her life hell as revenge for refusing him a divorce.
• The ending is ambiguous and dark: Dixie is left facing a life of torment rather than death.

Key Themes & Insights

• Gaslighting and psychological abuse within marriage.
• Institutional skepticism toward women's claims of domestic danger.
• The theme of being trapped: emotionally, legally, and physically.

Notable Quotes

• Linda Darnell (Dixie):
  • "My husband is trying to kill me." ([63:23])
  • "What does a woman do when she finds out that her husband is trying to murder her? What does she do? What would any other woman do? She’d go to the police. So I came to talk to you." ([78:02])
• Police Lieutenant:
  • "Are you so certain that the man who tried to choke you in back of the Oasis Club was your husband? You didn't see his face." ([80:12])
• Charlie (Lamont Johnson):
  • "I'm gonna make life hard for you, Dixie. And I'm gonna make it so hard for you, you'll wish that I had killed you." ([86:22])

---

5. "My Darling Clementine" — Lux Radio Theatre Adaptation

[100:10–148:00+]

Plot Summary

• Adaptation of John Ford's film starring Henry Fonda as Wyatt Earp, Richard Conte as Doc Holliday, and Kathy Downs as Clementine Carter.
• Wyatt Earp and his brothers arrive in Tombstone, lose their cattle, and James is murdered. Wyatt becomes town marshal and seeks justice while navigating local power struggles with the Clantons and Doc Holliday’s complicated relationships.
• Clementine arrives, rekindling Doc’s feelings for his past and sense of honor. Tensions culminate in the Gunfight at the O.K. Corral.
• The story balances Western action, romance, and the theme of law versus lawlessness.

Key Themes & Insights

• The hard cost of justice in the West.
• The redemption and tragedy of Doc Holliday.
• The meaning of starting anew (Wyatt and Clementine’s ambiguous future).

Notable Quotes

• Henry Fonda (Wyatt Earp):
  • "All I want to know is whether that marshalling job’s still open. Sure is, Wyatt. I’d like to take it then, providing my two other brothers are deputies. When do you want to start? Now." ([99:24])
• Kathy Downs (Clementine):
  • "What kind of a person am I, John?" ([116:09])
• Closing moment:
  • "Ma’am, I sure like that name of Clementine." ([142:49])

Memorable Moments

• The tense poker game and confrontation between Wyatt and Doc Holliday ([101:01]).
• Doc’s struggle with love and mortality, particularly during the surgery scene ([135:09] and on).
• The shootout at the OK Corral and its gritty emotional aftermath ([139:32]).

---

Notable Quotes & Moments (with Timestamps)

• On guilt and fate:

  • Eddie/Fonda (Summer Storm): “They'll say you killed him, Eddie, and they'll hang you for it. ... You can only hang once.” [13:38]

• On unraveling under pressure:

  • Dick Payne/Mature (Momentum): “It’s been my fault. ... You need to get a certain amount of momentum to... Ah. Why kid anybody? It’s been my fault.” [49:01]

• On gaslighting and gender:

  • Lieutenant (A Killing in Las Vegas): “You didn’t see his face. ... Then how do you know it was your husband, Mrs. Evans?” [80:17]

• Wyatt’s code:

  • Fonda (Clementine): “Because I’m wearing a badge. And the badge says you got to have a trial first.” [127:15]

---

Structure and Flow

• Archival OTR Experience: The host seamlessly transitions between the Suspense dramas and the movie adaptation, creating a sense of a lost radio night.
• Each tale stands alone: All stories feature characters thrust into the unknown, grappling with internal and external threats, and facing morally fraught circumstances.
• Classic Radio Appeal: The original dialogue, earnest performances, and atmospheric sound design evoke a world of tension, paranoia, romance, and redemption.

---

Final Thoughts

This episode is a trove of vintage radio drama, showcasing Hollywood legends exploring suspense, fate, and the consequences of both conscious and unconscious choices. For fans of classic Westerns, noir, or just the crackle of radio theater, it brings an era—and its anxieties—brilliantly to life.

---

Detailed Segment Timestamps

• Intro & Overview: [00:00–05:02]
• "Summer Storm" (Henry Fonda): [05:02–30:55]
• "Momentum" (Victor Mature): [30:55–62:27]
• "A Killing in Las Vegas" (Linda Darnell): [62:27–100:10]
• "My Darling Clementine" (Lux Radio, Fonda/Downs/Conte): [100:10–148:00+]

---

Compiled and summarized by Mean Streets Podcasts. "A tale well calculated to keep you in suspense."

Transcript

[A]

Would you hand me that, please? Thank you. Now, let's see. Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation. Or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense. Hello, and welcome to Stars on Suspense. Presenting Hollywood legends and radio's outstanding theater of thrills. Our Winter out west series continues today with the stars of My Darling Clementine. John Ford's 1946 classic about the town of Tombstone. And the days leading up to the legendary Gunfight at the O.K. corral. It stars Henry Fonda as Wyatt Earp. Victor Matour as Doc Holliday. And Linda Darnell as Chihuahua, Doc's old flame who gets in the middle of the feud between the Earps and the Clanton gang of outlaws. Now, there's no shortage of movies about Wyatt Earp and the OK Corral. And there are a lot of good ones. But My Darling Clementine remains one of the best. You can buy it on disc from the Criterion Collection. And you can also rent or buy it digitally from your preferred retailer. Today we'll hear three of the film's Ms. Darnell and Messrs. Fonda and Mature in episodes of Suspense. Then Henry Fonda reunites with his screen co star Kathy Downs. Who played the titular darling Clementine in a radio recreation of the film from the Lux Radio Theater for Suspense. Fonda is up first in his only appearance on the program. From October 18, 1945, it's summer storm. Then Victor Mature stars in momentum from October 27, 1949. And finally, we'll hear Linda Darnell in A Killing in Las Vegas, Originally aired on February 25, 1952. Then we'll close with a trip to Tombstone, the Lux radio theater from April 28, 1947. But before we saddle up for My Darling Clementine. We'll hear three of its stars in Tales from Suspense. We'll start with Henry Fonda right after these messages. Constipation can be a problem for anyone, even doctors. And when constipation occurs, it's interesting to see just what doctors consider important about a laxative they might use or recommend. Well, a majority of the doctors we heard from had this to say a laxative should be effective, gentle, close to natural acting. A medicine that can be used with complete confidence. Now, Ex Lax has been popular with many doctors and millions of people over the years. Because chocolate and Ex Lax is effective overnight. It helps you toward Your normal regularity, Ex Lax is so gentle, so close to natural acting. There's no upset. That's why many doctors and millions of people use Ex Lax with complete confidence. Ex Lax, the laxative that helps you toward your normal regularity. Gently, overnight. Next time you refresh, enjoy a frosty, ice cold Pepsi Cola.

[B]

Sociability, Charlie.

[A]

All right, Kay. How's this? Pepsi is light. Refreshes without filling. You like to refresh? Have a Pepsi right now.

[B]

Well, offer it to everybody, Charlie.

[A]

I will. Enjoy Pepsi at the fountain. It's delicious at home, too. Have one at lunch or with a snack.

[B]

Charlie.

[A]

At the beach or at dinner. Wherever you go. Who? Wherever you're thirsty Pepsi is there.

[B]

It's here too, in our Be Sociable song. Be sociable, work smart. Keep up to date with Pepsi. Drink light, refreshing Pepsi. Stay young and fair and get an air. Be sociable.

[A]

Have a Pepsi for the weekend. Have plenty of Pepsi around. Pick up an extra carton today. CK I'm sociable with Pepsi.

[B]

Everyone is.

[A]

Ed Stevens of Long Beach, California is the Whistler fan who receives a $20 Signal gasoline book this week as a token of our appreciation for sending in this limerick. There once was a driver named Abbott whose car took off like a rabbit. Signal Ethel said, he is the fuel for me. From now on, I'll make it a habit. Signal, Signal, Signal gasoline. Your car will go far with go farther gasoline. If, like our friend Abbott, you like pickup that's quick as a rabbit, then Signal Ethel is a gasoline for you. But flashing pickup, mind you, is only one of the improvements you'll discover when you power your car with this signature super fuel. In addition, you'll enjoy Signal Ethyl's extra power that makes cars fairly fly up hills and makes passing safer. And you'll be amazed at your engine's contented ping free purr. For Signal Ethyl is scientifically engineered to bring out the very peak of performance your car is capable of, regardless of age. So why not discover how much fun driving can be? Next time, treat your car to a tank full of the gasoline that's packed. Packed with more gold. Next time, fill up with Signal Ethel. And now, a tale well calculated to keep you in suspense. Suspense. Tonight, summer storm, starring Mr. Henry fonda. Produced by charles banda. It's exciting when there's a storm and strange things can happen. Now, some people are sensitive to changes in the weather, like me. There's nothing odd about that. It's like people who talk to themselves. I talk to myself a lot. I think about things and I talk to myself about them. There's nothing odd about that. Come on, Eddie, get the suitcase, pack and let's get out of here. Like that I talk to myself, you know, Just making up my mind because there's no one else around to talk to me. Just getting myself on the move again because the landlady wasn't taking care of the room. She was away on a visit and her husband, Mr. Waters, was slopping around in a bathrobe trying to run the place. Come on, Eddie. He never makes the bed. You use the same towel for a week. It's time to get. Get out. Lock up the suitcase and get going. Uh oh, there's Waters. Guess you can't sneak out without you seeing me. There's a mean man, Eddie. You can tell by his little eyes. All fat men aren't good natured. Look at him, stuffing himself with pig's knuckles or whatever they are. Well, come on. Hello, Eddie. Morning, Mr. Waters. Yeah, pig knuckles don't taste as good as they did an hour ago. Yes, that'll feed the rest of them to Graham's dog. Oh, that'd be nice, Mr. Waters. Yeah. Taking your laundry out? No, sir. These are clothes I'm leaving, sir. You're what? Leaving. I'm sorry. What's the matter, Eddie? Don't you like the place? Yes, sir, but I gotta get closer to my work. Here's the keys before I forget them. Better wait a while, Eddie. Looks like we're gonna have a storm sometime today. Oh, I don't mind a storm, Mr. Waters. I'm funny that way. Yeah, well, it'll be a lot better if you'd wait till the wife gets back. Won't be more than a couple of hours. Mean she'd blame you for my leaving. Yeah, she might got a nasty tongue. Stick around till she gets back, Eddie. No, I gotta be going. Besides, I ain't feeling so hot. Been feeling bad all morning. Yeah, getting worse. Eddie. I'm sorry, Mr. Waters. It's my stomach. I'm sorry, Mr. Waters, honest, but I. I gotta go. Wait a minute. Ain't you forgetting something? Forgetting something? What are you trying to pull anyhow? I don't get it. You don't, huh? What about the rent? The rent? Last week's rent. What do you think I am, a sucker? I paid my rent. Oh, you did, huh? Give me that suitcase. I paid it to your wife before she went away. That's your story. Go ahead and leave if you wanna, but this suitcase stays here until I get that rent. But you've already got. I. You know, I paid it to Mrs.

[B]

Waters.

[A]

You're trying to make me out a liar. No, but you.

[B]

You were.

[A]

Here. You got a receipt? Well, she never gave me one. I said I didn't need it. Give me that suitcase. Don't you take a swing at me. You can't slap me around. No, wait.

[B]

Eddie.

[A]

Eddie, My. My back. Stop pushing. You asked for it. Eddie. Eddie. Let go. Oh, you don't like it when I fight back, huh? Eddie. Eddie, you're killing me. No, I'm not. Maybe I should. There.

[B]

Help.

[A]

Help. Somebody. Help. Got enough Help. Help. Better let him go. He looks bad, Eddie.

[B]

Huh?

[A]

Who. Who are you talking to? Myself. Get over there, you fat. I pushed him too hard, I guess. He looks bad. He's out cold, Eddie. Mr. Waters?

[B]

Mr.

[A]

Waters, you all right? Somebody at the door better be quiet. Hey, Waters. That's Mr. Graham from Next door. That clock's awful loud. Are you in there, Waters? Hey. Hey, what's up, Graham? Come on up here, old fowl. Something fishy going on.

[B]

Huh?

[A]

What?

[B]

What's going on?

[A]

Come here to the door and listen. I. I don't hear nothing. Something fishy was going on in there. What do you mean? Waters was yelling his head off a minute ago. Now he won't answer the door. Hey. Hey, Waters, you all right? I don't hear him. That's what I mean. I think we ought to go in and see what's the matter.

[B]

You mean. You mean just walk in?

[A]

What do you think, huh? They're coming in here, Eddie. You gotta get away out the back door. No, no, no. They can see it from where they are. The attic. That's it. They don't know about that. What do you mean? Up the stairs. But don't make any noise. Better not let them find Jetty up there where you help Mrs. Waters store the blankets. Why don't you just step over, Mr.

[B]

Waters?

[A]

Eddie, he looks bad. There, now, quiet. Right up here is a place to hide from. If they start upstairs, I can crawl in the attic. What is. No answer, Graham? Well, is that what I told you? Come on, now. I gotta listen. I guess we gotta see what they do, but try. Try. Can't let them see me There. Come on in. Do you think we ought to?

[B]

Sure.

[A]

I bet a Purdy something's wrong in here.

[B]

Come on.

[A]

I don't like it, Graham.

[B]

I'm getting out.

[A]

And leave me alone. Nothing do. Well, this ain't none of my business, Graham. I. I feel like a fool. If Waters comes strolling down those stairs. Well, he's not gonna look. Look under the table.

[B]

Good Lord.

[A]

Waters. Hey, listen. Well, let's get the table away. Don't stand there. I don't like this. Straight. Let's get the table away, I tell you. Maybe it's hurt bad. Grab the table. All right. Waters. Waters, you all right? We better call a doctor. Yeah. There's a phone over there. Hey, wait. We don't need no doctor. What? We need the police. The police? Yeah. The guy's dead. Dead? Waters was dead. The words made me weak, sick all over. I hadn't hit him hard. I just grabbed him around the neck and pushed him back. When the fight went out of him. I remember the table, though. When he fell against it, it tipped up and must have smashed the back of his head. That was it. That had killed him. And now. Now they'd start looking for me. And when they found me, they'd hang me. They'll say you killed him, Eddie, and he'll hang for it. They're calling the police now. When they find you here, they'll say you killed him, whether you meant to or not. And they'll be right, Eddie. You did. But maybe you can get away. Listen. Be quiet. See what's going on down there. No sound but the clock. Wonder where they are.

[B]

You.

[A]

You can tell the police about this when they get here. Graham, stick around. You're a witness, too. No, no, siree.

[B]

I'm going back home. I don't want to get mixed up in this thing.

[A]

What's the matter? You yelling? No, no, I ain't yelling.

[B]

I told you before this was none.

[A]

Of my business, and now I'm getting out of it. You're right. Go on, get out. I'll wait here until the police come. Maybe. Now's your chance, Eddie. He's all alone. Sneak downstairs before the police come. Get out of this house and get away, far away. Watch out for the stairs. They squeak. Who's there? Jumpy, I guess. He's right below you, Eddie. But he can't see you. Take it easy. Now's your chance. That heavy chest. Drop it on him. Of course you don't want to kill him, but if you do, you can get away from here. Just lift it over the rail and drop it. You killed one man, or they'll say you did. They can only hang you once. Lift it slowly, Eddie. Slowly. Now lift it over. Quiet. You missed your chance. You let the clock scare you. He's gone.

[B]

The police.

[A]

They're here. For the first time, panic overtook me. I Set down the chest and stepped back into the shadows. Beside me was the door of the hall closet. Now remembered that in there was the trap door which led to the attic. I slipped in, got a foot on a wall hook and scrambled up over the clothes that were hanging there. I pushed back the little trap door, lifted myself through the hole and. And listen for a minute. I could hear the muffled voices, but I couldn't hear what they were saying. They must be down there with Mr. Waters. Somebody's coming up the stairs. He's coming down the hall. The attic was long. He wouldn't think of anyone being up in there. Or would he? It was dark, except for the light from a small ventilator. I moved back into the shadows. I crouched low because the space was too small to stand up in. Suddenly, my hand brushed against the short piece of pipe. It had been left there for a long time and the dust was thick on it. But it was a weapon. It made me feel safer. I moved quietly over the trap door and waited. Get ready for him, Eddie. If he opens the trap door, you'll have to hit him. They can only hang you once. Anybody up there, Officer? No, nobody. That's all I remembered for a while. I must have passed out for hours. When I woke up, the attic was black and heavy with heat. Still, there was no storm, only a vague threat and distant thunder. And inside of me, there was a threat, too. The beginning of a storm. My head ached and my mouth was dry. I knew there was cold water in the icebox and I wanted it. The storm was coming closer inside of me and I had to be moving. I slid the COVID back and listened. The house was quiet, with only the ticking of the big hall clock. So I dropped through the hole and started down the stairs. Don't let that clock scare Yeti. There's no one here now. Maybe you can get out now, Eddie. There's your suitcase in the hall. Don't forget that. Someone's at the door.

[B]

Hello, Mrs.

[A]

Waters. The wife wants me to call it you, Mr. O'.

[B]

Farrell. I'm glad someone come over. Even you. I've been alone for hours, ever since the cops got me back from assistance.

[A]

Well, the wife says. Oh, gosh, I can't tell you how bad I feel about.

[B]

Come in, Mr. Farrell.

[A]

He was a swell man, Mrs. Waters. Your husband, I mean. Yes.

[B]

Yes, he was.

[A]

Yes, sir.

[B]

He really swelled.

[A]

They didn't come any better than him, anyway. Anyway, the wife seen you from the.

[B]

Window and she seemed to me to come in. Mr. O'. Farrell.

[A]

In in there, I mean.

[B]

Well, yes, for a minute. Well, all right. Just for a minute.

[A]

They won't find you, Eddie. Not if you stay quiet and keep back here in the shadows. I am. I. I can't stay long. Anyway, the wife wants to know that if there's anything we can do. I mean, if you're scared to be alone or anything.

[B]

No, no, there's nothing. Just finish up my dinner and I'll go to bed very shortly. And I'm not frightened.

[A]

Oh, gosh. Gosh, it was awful. Simply awful. The way he was lying there and breathing so heavy. I was standing right there looking at him, and it was the way he was breathing that got me sort of gasping. You know what I mean?

[B]

Yes, yes, I. I know, Mr. Farrell. But he's gone now and there ain't any good.

[A]

Listen.

[B]

Listen.

[A]

Did you hear something?

[B]

Listen. Hear something? Where?

[A]

It sounded like somebody breathing. Stop breathing, Eddie.

[B]

I don't hear anything.

[A]

Good Lord, it sounded just like them.

[B]

What on earth are you talking about? Your nerves are all on edge, Mr. Farrell.

[A]

No, look, I gotta be getting back. If you're sure there ain't nothing you need now.

[B]

No, I'm quite all right.

[A]

If there's anything you want, you just call.

[B]

I'm gone. Right to bed. I don't feel well.

[A]

Well, I shouldn't wonder. I shouldn't wonder. I'll tell my wife. Never mind.

[B]

I'll be all right.

[A]

All right.

[B]

Good night, Mr. Farrell, and don't worry about me.

[A]

Yes, well, good night. I gotta get back to the wife.

[B]

Good night.

[A]

I gave her an hour to get to bed and to sleep. I stayed right there, counting the seconds and listening to the ticking of the big clock in the hall. My muscles were stiff and my throat was dry and sore from swallowing. I hardly did. I dared breathe. Finally, I slipped out, picked up my suitcase and started to tiptoe out. The back door would be the best, I thought. I went slowly in the dark, thinking that I could see the spot in the kitchen where Mr. Waters body had been after the fight. But the back door was in blackness. I tried the knob softly. The door wouldn't open. It was locked. Not with a night latch, but with the old fashioned iron locks that were on all the doors in the house. There was no way out without a key. I started for a window. That was no good either. The screens were heavy and were nailed firmly in place. I'd help nail them myself. I knew that cutting them would make too much noise. There was no way out except with the key. And that must be in Mrs. Waters room, back down the hall. I went to the downstairs bedroom. The door was unlocked and I opened it and listened. She's asleep, Eddie. Listen. The keys must be on the dresser, Eddie. Right over there. The storm was getting close outside and. And I felt all stormy inside. I had to get the keys, get out of this house. It wasn't too dark to see Mrs. Waters in bed. She was breathing heavily. I brushed past the bed and my knee touched a chair. I went on until I felt something waist high. The dresser. I moved my hand slowly over the top. First some clothing. Then I felt around for the keys. They weren't there. I felt more slowly. A hairbrush, a comb, then a pile of hairpins. Where was the key? I held my breath until Mrs. Waters started breathing regularly again. I was shaking now and scared. And the storm was building up inside. I reached into a drawer. I tried not to make any noise, but there was some. I reached inside. There was something steely and cold. The key. No scissors. Long ones, sharp and pointed. The phone was frightening. I wanted to run, to get out of the room, but I couldn't remember where the door was. I held the scissors like a weapon, a knife, and flattened myself against the wall.

[B]

Oh, dear, the phone. Oh, the phone.

[A]

Eddie. Eddie, hide somewhere.

[B]

The phone itself. This hour.

[A]

I stepped back into the closet, pulled some clothes in front of me just before she snapped on the light over the bed. I'm coming.

[B]

I'm coming.

[A]

I talked softly to myself, like I always do when I'm alone and scared. You've got the scissors, Eddie. If she comes in here, you'll have to use them. They must know you killed Mr. Waters. It wouldn't be right to kill her, too. But what if she finds you, Eddie? You're no killer, Eddie. But you can't be caught. You can't. If she opens the door, do it. Do it quickly, Eddie, and then run.

[B]

Where's that dang bathroom? All right, all right.

[A]

She didn't find Yeti. You didn't have to kill her. She just took a robe off the hook.

[B]

Hello?

[A]

Yes? You didn't have to kill her, did you?

[B]

Oh, hello, Mrs. Not yet. What?

[A]

But now's your chance, Eddie. Her handbag's on the bed. Let's see.

[B]

You must.

[A]

Here they are. The keys. Eddie. Get the back door before she's through.

[B]

Hurry.

[A]

I walked a long time in the rain while a storm out inside me settled down the same steady rhythm as the raindrops. I hadn't eaten all day and I was weak and shaky. The water dripped from me. And the bag slapped against my leg and my shoes made little splashing noises in the mud. I counted my footsteps. I counted to a thousand and then started over. And then through the rain, I saw an all night diner. I shook the rain from my hat, looked inside. There was a man in an apron. No one else. I hesitated for a moment, but the smell of food and coffee came to me and I opened the door and walked in. Yeah? What'll it be? Coffee. Coffee. Bed. Boy, you're really wet. Yeah, Boy, give me a sandwich, any kind of sandwich. Sure, sure, sure. Coming up. Look, kid, take off the coat and let me hang it up for the coffee boiler. Oh, I'm all right. Let me have the sugar. Cream? No. New sandwich. All right. It's all I got. Hello, Casey. Well, what's cooking with the police department on a night like this? Morning, Mike. Give me a cup of coffee in a hurry, will you? Cup, Eddie, don't run. Take it easy. Coffee coming up, Casey. Hey, kid. Beef sandwich okay? Sure. This raincoat's dripping all over your floor. I'll hang it up, Mike. Okay. It's really wet out there. He's hanging up his gun too, Eddie. Maybe you can get it if you have to. Well, how'd you get so wet, kid? Didn't see you before. I got caught in the storm. Yeah, I see. Oh, thanks, Mike. Look, kid, maybe you better come along with me down to the station house. It was done. It was over. They'd caught me. I'd felt free up until now. I looked at where his gun was hanging by his raincoat. Now I'd have to try it. I'd have to kill again. I thought I could get them both and get away. Maybe they could only hang me once. How about it, Kin? I'll book you as a sleeper for morning. You'll be dried out on your way. Okay. You mean. You mean just sleep? There? Sure. There won't be any charge against you. Well, thanks, but I've got to get along. Okay. Have it your own way. Well, what do I owe you, Mike? Just a dime. Yeah, thanks. You been hitting the ball tonight? I'll say. Been taking the doc around. Have to go back and pick him up now. Oh, emergency case, huh? Yeah. Doc called it botulism. Something like ptomaine poisoning. Said it was from eating pig's feet. Old lady Waters up on Elm street, you gotta be over careful of them things. Well, they'd warned her about them, but I guess she ate em anyhow. They were from the the same batch that killed her. Husband earlier today. But she didn't know that was what happened to him. And she ate him, too. Ah, TO means bad stuff hit you just like that. Yeah. Well, so long. So long, Jersey. More coffee, kid? No, thanks. Did you hear that about Mr. Mrs. Waters both dying from the same thing? Yeah, pig snuff. Ah, you got to be careful of that. Home ain't Steph. Well, looks like the storm's over. Sure is. The moon's out. Just a summer storm and now it's all over. That'll make it nice for you. Feel all right?

[B]

Me?

[A]

I feel swell. Ron Refonda as star of Summer Storm. Tonight's study in suspense. This is the armed forces radio service. Suspend. Auto light and its 96,000 dealers. Present Mr. Victor mature in Momentum, a suspense play produced and edited by William Spears. Say, Hap. Yes, Harlow. This morning I was telling a cantankerous cartoon of a car it would run better with Auto light resistor spark plugs. When it reared up on his differential and replied the what do you think I'm waiting for a talking car? Well, every bright buggy knows that auto light resistor spark plugs mean a smoother idle and better engine performance on leaner gas mixtures. Why, that's common knowledge among cars. Right you are, Hap. Auto light resistor spark plugs have 200% longer electrode life. And they cut down on spark plug interference with radio and television too. Why, millions are in use backed by the engineering know how of Auto Light wide gap Auto light resistor spark plugs assure top all round spark plug performance. Get Autolite resistor spark plugs. Remember, you're always right with Autolight. And now with Momentum. And with the performance of Victor Mature Autolyte hopes once again to keep you in suspense, I look just like any other guy standing on a platform waiting for a train at night. The other people walking up and down here waiting for the their train. They might look and they might not. Just a guy waiting for a train waiting to say goodbye to New York. They don't know I'm different. It's starting to snow. They think the way I'm clutching my coat collar together is because I'm cold. They don't know I've got a bullet in my neck. Yeah, this is some of that bad trouble. My wife always telling me I'm gonna get myself in bad trouble. All those people dying on account of it. Like a snowball when it starts rolling itself up, gathering. What is it? Momentum. Well, in another 20 minutes her train will be here and I'll meet Her. And we'll be on our way to San Francisco and things will be different. Things will be a lot different. I never thought today was going to be like this. Since noon today, it's already lasted a couple million years. A couple of million years.

[B]

Dick. Dick. Dick, get up.

[A]

What's the idea?

[B]

Oh, Dick, get up. It's noon. 12 o' clock, and you haven't even gotten out of bed yet.

[A]

What? 12 noon? Hey, you're gonna be late for work.

[B]

I'm home on my lunch hour. I thought you'd do something like this, sleeping all day.

[A]

I was up late last night shooting pool. All right, all right, guys. Gotta have some relaxation.

[B]

Been relaxing for six months. You haven't even tried to get a job.

[A]

Oh, nuts.

[B]

Nobody's out of work these days.

[A]

Look, I told you. It's gotta be the right thing, that's all. I don't want to take the first stink of job that comes along.

[B]

Why do you want me to go on supporting you?

[A]

Didn't have to say that.

[B]

Well, everybody's saying. The people downstairs, the landlord, everybody. I didn't have my little job. How could we eat?

[A]

So everybody's saying you're supporting me, is that it?

[B]

Well, isn't it?

[A]

I'll show em. I'll show em all. Who are they? With the cheap little ideas and two bit jobs? You don't have to work like a slave to make a living.

[B]

Oh, Dick, when you talk like. Sometimes I'm afraid you're gonna get in trouble.

[A]

A guy's a little down on his luck and all of a sudden little wifey's a martyr. She has to go out and work.

[B]

Dick, please.

[A]

That's it, isn't it? You're a martyr.

[B]

No, darling, I didn't say that at all.

[A]

Oh, yes, you did. Yes, you did.

[B]

Dick, when I get home from work tonight, we're going to have to find a place to live.

[A]

Now this place isn't good enough for you?

[B]

No, darling. This is our last day. We're being evicted.

[A]

Says who?

[B]

The landlord stopped me this morning. We owe him three months rent. I simply haven't got it. Well, we have until tomorrow morning.

[A]

Listen, nobody throws Dick Payne out of his own place.

[B]

I'll try to get home early and find a hotel.

[A]

Maybe. Wait a minute. Don't bother. I'll get some dough. I know just where. Mr. Burroughs.

[B]

Oh, Dick, you're not going to Mr. Burrows.

[A]

Why not? He owes it to me. He's making money out of my invention, isn't he?

[B]

Dick, you know that when you worked for Mr. Burroughs. You were paid for everything you did.

[A]

Yeah, if you call a couple of bucks a week pay. Burroughs is making a lot of dough in that stinking shop just because of my invention.

[B]

But he's not that way. I worked for him too, remember?

[A]

Then you ought to know how he cheated me. Yeah, that's what he did. He cheated me.

[B]

You know, Mr. Burroughs isn't that kind of man. The firm isn't run that way. If you had anything.

[A]

Go ahead. Go ahead. That's right. Stick up for that shyster who robbed your own husband. I'm going over and see him today for a showdown.

[B]

Oh, Dick, please don't go over there. Don't make any trouble.

[A]

We need. No, don't we. We're being evicted, aren't we? Well, I'm going to show you a little action. I'm going out and get her some Dough.

[B]

You know, Mr. Burroughs won't listen to anything so foolish.

[A]

He'll listen to me and he'll pay two plenty.

[B]

Oh, darling. No, no.

[A]

What are you crying about? Look, when I get that dough, you won't have to support me anymore. Cut it out. Go on back to work. I'm gonna lie here a couple of minutes and figure this out. Come on. Come on. I guess I was pretty sore when I talked to her like that. But it made me mad. You know, like one of those things leads to another and the whole thing gets going like momentum. By the time I cooled off, I was up in the Bronx where Burroughs has his little office and machine. Shopping back. I phoned from a drugstore on 192nd Street. The girl said there'd be a lot of people there all afternoon. So I killed time to double feature. But I was back there at 6:30, just after dark. And I was mad again, thinking about the eviction and all. There was a light in his office, so I got around a side street and I tried to see what was going on. The blinds were down over the window, but there was enough space for me to see the part of the room. Someone was in there with me. I couldn't see who it was. They were just shaking hands. Well, good night. Don't you worry about it anymore. Good night. I waited right there by the window until whoever it was had gone. Then I walked around and up to the door. But I didn't have to knock. Oh, good evening, Mr. Burroughs. I was just leaving you. You want to see me about something? Yeah. Yes, sir, I do. Well, all right. Come in. Come in. It's chilly out tonight. Feels like snow. Maybe. Sit down. Sit down. Thanks. Now what? Well, I. I used to work here in the shop once. I quit six months ago. Remember me? Dick Payne? I most certainly do remember you, Payne Married the best secretary I ever had. Yeah. Pauline a wonderful girl. I think so. I'm sure you appreciate that. She's a very fine girl. Yeah, she's all right. How are things with you and Pauline? Good. Good. Want to come back to work, Payne? No, no. That isn't what I came to see you about. It's about that lug wrench you're still using in the shops. The one with the long side screw? Yeah, what about it? I. I invented it, Mr. Burroughs. Really? I thought Tim Riley worked that out. Well, Tim worked on it, but it was me who figured out how to set that thumb screw. Hasn't the thumb screw always been set that way? Not high on the wrench? No. Oh, I see. Since I figured it out while I was here, and since you're using it, well, I think I ought to be paid for it. I worked on it a long time. Payne. I just don't believe this, frankly. Tim Riley's been my foreman for 12 years. I know him pretty well. He'd have been the first to tell me if you'd contributed anything toward perfecting that wrench. Well, he wanted all the credit himself. Oh, no, no, Payne. It's not a matter of credit or money or anything else. Now, look here, Mr. Burke. Look here, Burroughs. I'm not gonna be cheated out of anything. Stop it, Payne. I'm not obligated to you in any way. Look, you're still using the wrench, aren't you? I don't want to argue with you, and I don't want to be bothered with you. If it weren't for Pauline and the respect I have for her, I wouldn't even listen to you. I told her, just leave her out of this, huh? She's my wife. Unfortunately for her. You know, Payne, I expected you to try something like this, and I'm ready for it. Yeah? Well, where's my dough? Here. I want you to sign this. Here. What is it? A release. Although I don't owe you anything, for Mrs. Payne's sake, I'm giving you some money because I. I know you both need it. This release will be my receipt. It'll ensure me against you bothering me about this again. Yeah, Go ahead, sign it. Where's the dough? Where's the dough? How much? $200. Well, why didn't you say so? I. Oh, no, you don't. Wise Guy, I want more than that. Look, if it's big enough to make me sign a release, it's big enough to bring in a lot more dough. Get out of here, Payne. Get out of here. And who's gonna make me? I'm smaller than you, Pain. But so help me, I'll throw you out myself. You're a no good worthless. How Pauline could ever have seen. I told you to leave her out of this. Get out of here before give me my dough. Out of here. Oh, no, you don't. You don't like that, huh? Well, try this. All right now. All right now. Mr. Burroughs. Come on. Mr. Burroughs, I didn't mean to. Mr. Burroughs. You see, it was just one of those days again. He said. And I said something. And it all piles up like a snowball. The first thing, somebody gets hurt. If he'd listened to reason and. Well, if he'd just listened to reason, he'd be alive now. When I felt his pulse, there was nothing. I opened his coat to feel his heart. And that's when a black shanty bill fold fell out. It was crammed with money. My money. Autolight is bringing you Mr. Victor Mature in Momentum. Tonight's production in radio's outstanding theater of thrills, suspense. Hey, Hap, what's the book you have there? Just a story I'm reading. Harlow Ruggles of Red Gap. Really? Say, maybe you'd be interested in my life story. Wilcox of Wide Gap. Wilcox of Wide Gap. It's all about my sterling and sensational success selling Wide Gap auto light resistor spark plugs. Sensational success. You certainly didn't, you know that over 20 million wide gap auto light resistor spark plugs have been sold. And small wonder who can resist having a set of Wide gap auto light resistor spark plugs installed in his car. When I tell them these Wide Gap whizzes mean smoother engine idle, better performance on leaner gas mixtures, actual gas savings. Why, everybody goes for auto light resistor spark plugs. With the exclusive built in 10,000 ohm auto light resistor, you get smoother, faster, easier starts in cold temperatures, 200% longer electrode life, reduced spark plug interference with radio and television reception. So friends, see your neighborhood Autolite spark plug dealer and have him install a set of the famous Wide Gap auto light resistor spark plugs in your car. Remember, you're always right with Autolight. And now Autolight brings back to our Hollywood soundstage. Victor Mature in Momentum. A tail well calculated to keep you in suspense. 11:50. The train will just Be pulling out of Grand Central now. It'll be here in 10 minutes. 12 o'. Clock. It won't be long now. Another 10 minutes, I'll be safe on that train with Paulie and all of this will be over. I'll make it. Nothing's gonna stop me. Nothing. Not even this bullet. He started it all, Mr. Burroughs. And then the whole thing got going. Momentum. I didn't mean to kill him. I just went there to get my money. The money he owed me for using my invention. But nobody saw me do it. And I got out of there. All I wanted to do was get home to Pauline. But first I had to stop somewhere and get a drink. I needed a bath. I found a little place on 3rd Avenue. A new 60 something. It was empty except for the bartender. Hello. Hello. Business is kind of slow tonight, huh? Big television shows don't start until 8. What'll it be? I'd like some whiskey. Just whiskey. Just whiskey and whiskey it is, mister. Yeah. Jason. No, Give me another one. Sure. Kind of dry, huh? Yeah, yeah. Another one. No, no, no. That's enough, thanks. That's a dollar 21.20. That's no problem. Just take it out of. Oh. Something wrong, buddy? Oh, no, no, no, no. I changed my mind. What about? I think I'll have another drink. Yeah, give me another one. Only make it a double this time. Sure. Want to pay me for the other two first? I'll pay you when I'm finished. House rule, huh? Every two drinks, we always collect in this place. That way, in case anybody tries to run out in a tab. Which they don't generally do. Because I don't like things like that. We don't lose much if they make it. Just a minute. You don't think that. Which they don't generally do. Look, I'm not trying to beach out anything. I. I got money. Sure you have. You know, there are some guys around this town you just can't tell about. What's the matter? I feel a little sick. Where's the watch from? Door? Right back there behind a cigarette machine. Want to pay me now? I'll be right back. Just my luck. The drinks were more than the change I had in my pocket. That meant I had to break one of those bills I took from Burroughs. They were all 50s and hundreds. I couldn't take a chance on that bartender. He might think it was funny and remember and tell the police. I could panic. It was another one of those snowballing things. I had to get out of that place in the washroom. There was a window that led off to the alley. I just raised it and it was climbing up on the sill when the bartender walked in. It was carrying a gun. All right, wise guy. I thought you'd try something like this. Come on, get off of that leg. Look, I was only opening the window to get some air out here. Sure, tell it to the cops. I'll pay you. Look, I'll pay anything you want. Deadbeat. I spotted you the minute you walked in that joint. I can spot him a while off. Now, come on, get moving. No. Let go of me.

[B]

You.

[A]

Crazy? I stood there with the gun in my hand. I didn't mean to hurt him either. But he tried to turn me over to the police for nothing. I hit him in the leg. He was out cold. I didn't know what to do. I didn't dare leave the gun. I. I just didn't know what to do. Finally, I thought I heard somebody coming in the front. I found the back door and ran until I was out of breath. I went up the stairs of our apartment house two at a time. And by the time I got inside my door, I told my knees were gonna buckle. But I had the safe feeling that a guy's own place gives him, you know, no matter how stinking it is. Pauline was cooking supper. Dick.

[B]

Oh, Dick. Hello.

[A]

Liver and onions again.

[B]

I heard you come in. Dick. I'm glad you're home.

[A]

Liver and onions.

[B]

Well, I know it isn't one of your favorites, but liver was on sale.

[A]

Turn it off.

[B]

All right, but I'm going to eat it.

[A]

No, you're not. Neither one of us are.

[B]

Dick. What is it now? You've been drinking.

[A]

Two drinks. And I'm drunk.

[B]

I didn't say that. But when you drink, it means something's happened. What is it this time?

[A]

I made up my mind.

[B]

Oh, you mean you're going to take a job?

[A]

Yeah. Yeah.

[B]

Oh, darling.

[A]

Well, you haven't heard it all yet.

[B]

I don't need to hear anymore.

[A]

Listen, I know I haven't been a model American husband. Nobody ever voted me the guy most likely to become a millionaire. But, honey. Well, I didn't always get the breaks, you know.

[B]

Of course not.

[A]

You need to get a certain amount of momentum to. Ah. Why kid anybody? It's been my fault.

[B]

No, it hasn't, darling. You've tried in your own way.

[A]

Don't keep it up. Everybody thinks I'm a sponge or a deadbeat. You told me they did.

[B]

They don't know you like I do.

[A]

Nobody believes in Me? There's no reason why they should.

[B]

I believe in.

[A]

Do you really?

[B]

Yes, darling, yes.

[A]

Say it again.

[B]

I believe in you.

[A]

How much?

[B]

As much as anybody could More.

[A]

Would you believe in me in Chicago or Milwaukee or in San Francisco?

[B]

Anywhere. Anywhere in the world.

[A]

All right, then, we're going.

[B]

Going where?

[A]

San Francisco.

[B]

My daughter.

[A]

From now on, I'm doing the work for this family.

[B]

How can we pick up that?

[A]

I've got the money. Here. Look at it.

[B]

Dick, how much is this you have? What'd you get?

[A]

Never mind, never mind. Look, I got it and it belongs to me. Take half of it. Go ahead, take it.

[B]

Well, all right, but I go down.

[A]

To Grand Central and buy two Pullman tickets to San Francisco on the 9 o' clock train.

[B]

Well, I'll have to pack. Did you rob a bank?

[A]

Don't bother. Don't bother. Buy what you need downtown. It'll give you something to do. From now on, we forget this stinking place and start over from the bottom up. New clothes, new landlords, jobs, new friends and new enemies. Dick Payne will show them. Yeah, I'll show them all what I can do.

[B]

Why do you want me to go alone to the station? Why aren't you coming?

[A]

I got business to do first. I'm gonna pay off all my debts. Everybody I owe. How do you like that?

[B]

Oh, it's wonderful, Dick. Honestly. Now, where did you get that?

[A]

Skip the questions. It's my bill I work for. Satisfy you. Well, now listen. You get reservations at Grand Central and get on the train. It stops at 125th Street. I'll be busy uptown, so I'll get on at 125th. You got it?

[B]

125Th Street Station, right? Yeah.

[A]

And when that train pulls out of that station, the guy sitting next to you is going to be me. And we'll be heading for a new life, baby. A new life. If she knew what was really on my mind, she'd never have left. I couldn't risk hanging around 42nd street, showing up at Grand Central with all its bright lights and its cops. I had to hide in some uptown dive where nobody'd find me, and then sneak on the train to 125th street, but got only about three bulbs and no cops. I stood at the window and watched across the street. That's when I noticed this guy. A guy standing on the other side of the street, looking up right at the apartment. Big, bulky, with policeman type shoes. I jumped back from the window as he started to cross the street. I pulled my gun out to see if it was loaded. I heard him. I heard him coming up the stairs. There was nothing to do but wait for him. What do you want? You're Richard Payne? No, Anderson's my name. Isn't this apartment 12? Yeah, it is. I moved in this morning. Paid, moved out yesterday. Oh, now, wait a minute. You fit the description I got. Until I find out, Vettie, you're the man I want. Look, I tell you that. You get a little business, you and I. And I don't know. I reached. I jerked him off his feet into the room. I knew they'd find me, but I didn't think it would be this quick. He was big and I. He knew how to handle himself. But I swung the butt of my gun against the side of his head and he went limp. I held him up against the door. I didn't want to touch him, but I thought maybe I could find something in his pockets that would tell me how they knew about me. He didn't have a gun or badge, only a piece of paper. He was a bailiff from the City Hall. He's come to evict us. Evict us? And I'd killed him. I wasn't a killer. It was this momentum. Everybody. I met three people in three hours. Out of my way.

[B]

What are you doing with a gun?

[A]

Out of my way. Go crazy. This place is a regular buffous.

[B]

Why, Mr. Payne, what's the matter?

[A]

Move that baby carriage. Get out of my way.

[B]

Don't point that gun at me. Move it.

[A]

I said move it. Oh, no, you don't. Pop her. The second bullet hit me. Hit me somewhere in my back. Up high. I don't know where exactly. The pain was everywhere. Once and for a moment, everything stopped working. I grabbed the edge of a building and saw a long alley wavering in front of my eyes. It was a long, dark alley. There was a light at the other end. I got my breath and started towards that bright spot. I knew the whole neighborhood would be after me. Besides everything else now I'd been shooting at cops. The light at the other end turned out to be a milk truck without a driver. All of a sudden, nobody had to tell me what to do. I got in and I drove off. I left the truck somewhere on 127th street or someplace, I don't know where, a block or two from here. The toughest thing of all was climbing the stairs to get up here to the station. Three flights of stairs, a step at a time. And like my head would fall off from pain every time I took a Step. Just a minute.

[B]

Oh, hello.

[A]

Hey, you seek, mister? Where. Where do the Pullmans stop? Oh, the Pullmans always stop up front by the second light. What time does a Chicago train come in? Oh, they just arrive. Leave Grand Central 11:50 o'. Clock. Arrive here 12 midnight under the hut. Eight years I sweep up the platform. Always on the time. You. You going to catch? Yeah. My wish are your bags. My wife got on at Grand Central with the luggage. I. I'm meeting her. We're. We're going places. Boy, that's nice. Where you going in Chicago? Kansas City. As far as it'll take me west. Oh, San Francisco. That's a nice town. When you get there, what are you gonna do? I got a job there. That's good. Well, maybe someday I take a train to San Francisco. Now I got a job here. Sweep. Sweep. Hey, listen. She just come out of the tunnel. It's on the time. Good. That's a pretty, huh? Except when the train comes at night. When I work, it's always quiet up here. I used to brush the dirt off the side. Down she goes, 45ft down to the street where the dots belong. Mister, please move the foot so I sweep where you stand. Sure, sure. Thanks.

[B]

Thanks a lot.

[A]

Thanks. We produce it. Hey, what's this? Huh? Your nose don't bleed. There's a fresh blood drip on the platform. Hey, what's your name? None of your business. Just a minute. More blood. I don't like this. Now I know why you don't tell me your name. You shame. Maybe you the same fellow shoot a policeman tonight. All right, turn around. Oh, you got to go. Turn around, I said. Don't you worry. What do you think? Help. Help me up the steps, Lee. Thank you. Oh, what's the matter with that fella? You look so funny.

[B]

Dick. Oh, here I am. You were going right past me, Pauline.

[A]

The lights were flickering. I. I couldn't see.

[B]

I couldn't see.

[A]

Just tired terribly. I kept my word and met you. But I'm so tired.

[B]

Deep your heart.

[A]

Take care of me, Pauline. Don't. Don't let them get me. Don't let.

[B]

Who? What is it, dearest? Who are they?

[A]

Hold me. Hold me. Pauline.

[B]

Oh, darling. What did you do?

[A]

It wasn't my fault. I went to get the money from Burroughs. The money you owed me. I killed.

[B]

Oh, no.

[A]

And everything went wrong. Everything. All those people. But I had to get that money. I had to get that money for us.

[B]

Oh, Dick. No, no, no.

[A]

You had to what?

[B]

I got off work early and went to see, Mr. Burroughs, he gave me $200. He said when you came by, he'd have you sign a release for it.

[A]

Polly. Okay. Suspense presented by Autolight. Tonight's star, Victor Mature. Mr. Mature, that was a top performance. Well, thanks a lot. Do you know something else that gives a top performance? Well, you're probably going to say Auto Light resistor spark plugs, huh, Rick? You're right. With Auto Light. Harlow, I would have been very much surprised if you'd said anything else. Why, sure. Auto Light resistor spark plugs with the exclusive. Exclusive built in 10,000 ohm. Auto light resistor permit a wide gap setting. Giving top spark plug performance. Top performers, too are the more than 400 other products made by Autolite for cars, trucks, planes and boats. In 28 auto light plants coast to coast. They include complete electrical systems for many of America's finest cars. Spark plugs, batteries, starting motors, generators, coils, distributors. All engineered by Autolite to fit together perfectly. Work together perfectly. Because they're a perfect team. So, friends, don't accept electrical parts that are supposed to be as good. Insist on and get Autolite original factory parts. At your service station, car dealer, garage or repair shop. Remember, you're always right with Auto Light. Next Thursday for Suspense. Red Skelton will be our star. The play is called the Search for Isabelle. And it is, as we say, a tale well calculated to keep you in suspense. Tonight's suspense play was produced and edited by William Speer. And directed by Norman Macdonald. Music for suspense is composed by Lucian Morowek. And conducted by Lud Bluskin. Momentum is a Cornell Woolrich story. Adapted for radio by E. Jack Newman. Victor Mature appeared through the courtesy of 20th Century Fox. Producers of the Technicolor production. Oh, you Beautiful doll. In the coming weeks, you will hear such stars as Van Heflin, Lucille Ball and Desi Arnaz. By the way, Loreen Tuttle Tonight was Pauline. And now, don't forget. Next Thursday, same time, Autolite will present Suspense starring Red Skelton.

[B]

You can buy Autolite resistor spark plugs, Autolite staple batteries, Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night.

[A]

This is National Safety Congress Week. The Electric Autolite Company, which received the National Safety Council's Public Interest Award this year. Urges you to do your part to promote safety on the highway, in the home and on the job. Drive slowly. Death and danger. Travel in fast company. And remember to be careful. Wherever you are. The life you save may be your own. This is cbs, the Columbia Broadcasting System. Auto light and its 96,000 dealers bring you Ms. Linda Darnell in tonight's presentation of suspense. Tonight, Autolight presents the story of a woman who knew her husband was trying to kill her and was powerless to stop it. A dramatic report we call A Killing in Las Vegas. Starring Ms. Linda Darnell. Hi, Hap. Oh, hello, Harlow. Boy, you really gave me a powerful start. Just like the powerful starts you can be sure of getting from your Autolite Stay Full battery, Hap. And an Autolite Stay Full needs water only three times a year in normal car use. I know, Harlow, and half. Do. You also know that the Autolite Stay Full gives longer life as proved by tests conducted according to accepted life cycle standards? I do, Harlow. Well, okay then. Visit your nearest Autolite battery dealer. He services all makes of batteries and he has an Autolite Stay Full for your car in case a replacement is needed. To quickly learn his location, just phone.

[B]

Western Union by number and ask for me, operator 25. I'll gladly tell you the name of your nearest Autolite battery dealer where you.

[A]

Can get an Autolite Stay Full, the battery that needs water only three times a year in normal car use. And remember, from bumper to tail light, you're always right with Autolite. And now, with a killing in Las Vegas and the performance of Ms. Linda Darnell, autolight hopes once again to keep you in suspense. Yes, ma'.

[B]

Am. I'd like to see the policeman in charge, please.

[A]

Maybe I can help you, ma'. Am. What is it?

[B]

My husband is trying to kill me.

[A]

I see. You better come with me. Oh, Hank, I think you better talk with this lady. Oh, yes, ma'. Am. Come in. Have a seat.

[B]

Thank you.

[A]

Now, what is it you wanted to see me about, Mrs. Evans.

[B]

Dixie Evans. I'm a dancer over at the Oasis Club.

[A]

Oh, yeah, the Oasis. You must be one of the new acts. I don't believe I've seen you.

[B]

Well, I just started my run this week.

[A]

Well, what's your trouble, Mrs. Edwards?

[B]

My husband is trying to kill me.

[A]

Your husband?

[B]

Yes. Twice in the last 24 hours.

[A]

Well, maybe you better start at the beginning.

[B]

Well, my husband Charlie and I arrived here in Las Vegas about a week ago. Frankie Parris, a booking agent in Los Angeles, had gotten me a six week run at the Oasis Club over on the main highway.

[A]

I know the place well.

[B]

Charlie doesn't usually bother to travel with me when I go out on road bookings, but this time he did. Charlie likes to gamble. I guess that's why he came with me. Well, last night, Charlie didn't Show up at the club at 1:30 to pick me up like he usually does. So I waited for him and by 2 o' clock the club had been emptied and everybody'd gone home. I was still in the back waiting for him.

[A]

Who is? Oh, it's you, Dixie.

[B]

Hi, Barney.

[A]

What are you doing out here all alone?

[B]

Well, I. I'm waiting for my husband. He's late.

[A]

Sure is. It's almost 2:30. You know where he is?

[B]

No. Getting lucky, I hope.

[A]

That's what I call wishful thinking.

[B]

Did the house get much play tonight?

[A]

About usual. Hey, would you like me to give you a lift downtown to your hotel?

[B]

Oh, no. No thanks, Barney. I better wait for him. He'd have called me if he wasn't coming. He'll be along any minute.

[A]

Yeah, if nothing happened to him.

[B]

I know him like a book. After living with him for seven years, I should know he'd have called.

[A]

You've been married that long, huh?

[B]

Yep.

[A]

Well, look, Dixie, I don't like to leave you out here all alone like this.

[B]

Don't be silly.

[A]

Well, if I can't offer you a.

[B]

Lift to town, thanks just the same, Barney.

[A]

Tell you what I'll do. I'll wait around till he gets here. I don't want you to get lonesome.

[B]

Oh, no. You go on home and get some sleep. I won't be lonesome. I've got all those wide open spaces of Nevada just to keep me company.

[A]

Okay, Dixie.

[B]

And besides that, I got a strong pair of lungs. I can always scream for help.

[A]

Sure, but who'll hear you? Like you said, those are wide open spaces out there.

[B]

Are you trying to scare me?

[A]

Nope. I'm just tired. I'll see you tomorrow night. Good night, Dixie.

[B]

Good night, Barney. It. Charlie? Charlie, that you? Who is it? Charlie? Then before I could move, I thought someone grab me from behind. It was a man. He twisted my arms and yanked me back in the shadows. I kicked and spit and tried to fight myself loose, but it was no use. His hands were like steel. I tried to scream, but his hands closed around my throat. When I came to, I was lying on the gravel back of the club. It was still dark. I took a deep breath and my lungs felt as if they were going to burst and my throat ached. I staggered to my feet and ran around in front of the club on onto the main highway. It wasn't long before a passing cab picked me up and took me back downtown to the hotel. When I let myself into the room, Charlie was in bed. I sat down and started to cross, cry. He got up, came over and put his arms around me. That's when I should have known. When he put his arms around me.

[A]

Look, Dixie, baby, come on, get hold of yourself now. Come on, take hold, honey. He's shaking like a leaf. What is it?

[B]

Oh, Charlie. Charlie, it was terrible. Someone. Someone tried to kill me.

[A]

Charlie, look, will you stop crying long enough to tell me what you're talking about? Someone tried to kill you?

[B]

Yes. Yes. Where? In back of the club. The Oasis. I was waiting for you and any.

[A]

Didn't you get my telephone message?

[B]

Message?

[A]

Yeah, I left a message for you.

[B]

No.

[A]

Well, what happened?

[B]

Well, I. I was back there waiting for you. I heard a noise, and first I thought it was you. I called your name, and then. Then this man rushed up behind me, grabbed me around the throat and I.

[A]

Did you see what he looked like?

[B]

No, I couldn't see his face. It was too dark. But he tried to choke me. Charlie.

[A]

Look, Dixie.

[B]

Oh, it was terrible. His hands around my throat.

[A]

What happened after that?

[B]

I don't know. I passed out. I guess he thought I was dead. But why did he want to kill me?

[A]

Just wait a minute, Dixie. How do you know he wanted to kill you?

[B]

I don't know.

[A]

Was anyone from the club around him?

[B]

Oh, no. Everybody'd gone home.

[A]

I see. Could have been someone trying to rob the club, huh? Yeah, sure. That might have been it. Some guy was gonna break in and rob the club. He thought everybody had gone home. When he got running back, he found you, got scared and he attacked you.

[B]

Well, maybe. Maybe you're right.

[A]

Of course I'm right.

[B]

You say you called me?

[A]

Yeah, I sure did. I was having a run of luck at the club. Cartwheel must have won about 500 bucks, baby. I didn't want to leave, so I called the club and told him to tell you to take a.

[B]

But I didn't get the message.

[A]

Somebody just forgot to give it to you, Charlie.

[B]

Maybe I ought to call the police.

[A]

What for?

[B]

To tell them what happened.

[A]

It's late now, honey. Only got up in the morning, huh?

[B]

All right, Charlie. You won $500, Johnny.

[A]

Yeah. Isn't that great?

[B]

Can I see it?

[A]

Oh. Didn't want to carry a lot of money with me. I told him to make it out to me in a check and pick it up tomorrow.

[B]

Oh.

[A]

Now, you get to sleep, Dixie. Get a good night's rest, huh? You need it.

[B]

Okay, Charlie, I will. I am tired. I had a very restless night. I didn't get much sleep. But the next morning, the More I thought about what Charlie had said, the more I began to believe that maybe he was right. Maybe it had been somebody just wanting to rob the club. We got up late and had lunch at one of the restaurants along Fifth Street. Then played some bingo at the Palace. Then we walked around town for a while and went back to our hotel about 2:30.

[A]

Hey, Dixie, why don't you go upstairs and take a nap, huh? Gotta get some rest. You had a pretty restless night there.

[B]

Yeah, I know, Charlie, you're not.

[A]

No, honey, I'll. I'll go on over and pick up the check at the club. Cartwheel should be ready for me. Get yourself half hour of sleep. It'll do you good.

[B]

Maybe I will.

[A]

I got your key, huh? Good. Okay. I'll come wake you up in about half an hour.

[B]

All right, Charlie.

[A]

Hi, Dixie.

[B]

Lay off the dice table, huh?

[A]

Sure.

[B]

Yes, ma'. Am. Three, please.

[A]

Yes, ma'.

[B]

Am.

[A]

Three up.

[B]

Oh, brother, this feels good. I didn't even bother to take my clothes off. I was too tired. All I could think about was getting some sleep. And the bed felt soft and good. I started to drift off into a dream. It was a terrible dream. I saw the man in the back of the club in my dream. He was chasing me. Now, I tried to run away, but he caught me and tied me up. Then he picked me up in his arms and carried me over to where a train engine stood and laid me down in front of it. The train in my dream hadn't started to move yet. But I could hear the hissing of the engine. And it seemed that the louder the hissing got, the harder it was for me to breathe. I tried to wake up, but it was hard. And then finally I did. But the hissing of the train didn't disappear with the rest of my dream. The hissing became the gas jet in the corner of the room. The window. The window. Gotta break. It breaks my. My shoe.

[A]

Autolite is bringing you Ms. Linda Darnell in our Killing in Las Vegas. Tonight's production in radio's outstanding theater of Thrills South. Spencer. Harlow. I've told you before that I have an auto light Stay Full battery. What do you think of it, Hap?

[B]

It's great. It's grand. It's magnificent.

[A]

And it's protected too. Protected? Yep. Every positive plate in the Autolite Stay Full is protected by fiberglass retaining mats to reduce shedding and flaking and give the auto light stay full longer life as proved by tests conducted according to accepted life cycle standards. And the Autolite Stay Full needs water only three Times a year in normal car use. So, friends, visit your Autolite battery dealer, the man who services all makes of batteries. To quickly learn his location, just call Western Union by number.

[B]

And as for me, operator 25. I'll gladly tell you the name and address of your nearest Autolite battery dealer where you can get an Autolite staple the battery that needs water only three times a year in normal car use.

[A]

And remember, from bumper to tail light, you're always right with Autolite. And now, Autolite brings back to our Hollywood soundstage. Ms. Linda Darnell in Elliot Lewis production of A Killing in Las Vegas. A dramatic report well calculated to keep you in south. All right, Mrs. Evans, just try to finish your story if you can. You say you tried to break the window with your shoe?

[B]

Yes. It finally broken. I got some fresh air.

[A]

And this was how long ago?

[B]

About an hour.

[A]

Then what happened after you were able to revive yourself?

[B]

Well, I was scared. I asked myself, what have I done so bad that someone wants to kill me for it? Because now I believe that someone was trying to kill me. I tried to get hold of Charlie, my husband, to tell him to come back to the hotel right away. Main desk. Would you ring the Club Cartwheel for me, please? Just a moment.

[A]

Club Cartwheel. Julio Colsby.

[B]

My name is Evans, Mrs. Dixie Evans. My husband was coming in to pick up a check. Can you tell me if he's still there?

[A]

Pick up a check? What's he do, work here?

[B]

No, no. He came in there last night. He had a run of luck, and he said he told you to make out a check for him.

[A]

What was that name again? Evans.

[B]

Yes. Yes, Charles Evans.

[A]

Just a second. Hey, does anybody know anything about a check for ev. No.

[B]

You mean he hasn't picked it up yet?

[A]

A record of a check waiting for him.

[B]

But he told me.

[A]

Yeah, lady, sure he told you.

[B]

I'm. I'm sorry I bothered you.

[A]

No bother at all.

[B]

Nine Death. Would you get me the Oasis Club, please? The number is 4,062. One moment.

[A]

Oasis Club.

[B]

This is Dixie Evans. I was wondering if there were any messages left there for me last night.

[A]

Oh, wait a minute. I'll look. Not a one, Mrs. Evans.

[B]

Thank you. And just like that, I find out that my husband Charlie is the person who's been trying to kill me. My own sweet, loving husband. He didn't win a pile at the Club Cartwheel, and he didn't leave a message for me at the Oasis Club. I guess I must have surprised him when I walked into the Hall Hotel room last night. He'd left me for dead, so he'd had to try again. Sleep, Dixie. Get some rest. So he could turn on the gas jet in the room and try again. What does a woman do when she finds out that her husband is trying to murder her? What does she do? What would any other woman do? She'd go to the police. So I came to talk to you.

[A]

Uh huh. Is that all of it, Mrs. Evans?

[B]

Yes. Isn't it enough?

[A]

Mrs. Evans, tell me something. A man who tried to choke you back of the club, did you see his face?

[B]

Well, I didn't see his face, but.

[A]

You didn't see his face?

[B]

No. But.

[A]

Then how do you know it was your husband, Mrs. Evans?

[B]

Because I told you. He tried it again only a little while ago up in our hotel room. I found the gas jet in the room turned on. You don't believe me, do you?

[A]

Does your husband own a gun?

[B]

Yes.

[A]

Has he ever threatened you with it?

[B]

Well, no.

[A]

Has he ever threatened you at all?

[B]

No. No. But don't you understand?

[A]

Are you so certain that the man who tried to choke you in back of the Oasis Club was your husband? Huh? You didn't see his face.

[B]

I know, but.

[A]

Well, then you can't be sure.

[B]

But up in the hotel room, you'd.

[A]

Be quite surprised at the number of people who die every year by accidentally bumping against a gas jet and turning it on and never knew they did.

[B]

I tell you, my husband is trying to kill me.

[A]

Why?

[B]

Why?

[A]

Can you tell me why your husband wants to kill you?

[B]

I don't know why. I don't know. I haven't the slightest idea.

[A]

There, you see? You can't tell me why. Now look, Mrs. Evans, why don't you go back to your hotel now and get some rest. We'll look into it for you.

[B]

Look into it? But. Well, aren't you going to arrest him or something?

[A]

I don't see how we can. You haven't given us any kind of substantial evidence that'd prove your husband is trying to kill you. In fact, you can't even tell me why he wants to kill you.

[B]

I can't tell you why. I don't know myself.

[A]

Well, you better get back to your hotel, Mrs. Evans. Get some rest. We'll get on this right away.

[B]

Yes, maybe you're right. I'll go back to my hotel. Sure. Thank you, Lieutenant.

[A]

Not at all. You get taken care of, lady.

[B]

Huh? Oh, yes, yes. Thank you.

[A]

Dixie. John. Dixie, I. Get in the car. My dancing wife. I've come to take your arm.

[B]

Charlie. I. I thought we were going back to the hotel. This isn't the way. What are we doing on the highway? Charlie, what's the matter? What's wrong? Oh, don't turn the radio louder. Charlie, I. I want to talk to you. Charlie, you. You're mad at me, aren't you? What have I done that's made you mad? Charlie, take me back to our hotel. Let's. Let's get home. I want to go home. I don't want to go for a ride. I'm tired now. I'm awfully tired. Charlie, please don't turn it louder. It makes my head hurt. Please, Charlie. Charlie, don't I mean anything to you anymore? What is it? What are you mad at me about? Is it the divorce?

[A]

Charlie, I don't want to hear you talk.

[B]

That's it? That's what you're mad at me about? The divorce? I can't give it to you, Charlie. I can't.

[A]

Look, it doesn't matter anymore. She's married now. She wouldn't wait any longer. So yesterday she got married.

[B]

Charlie, I didn't know it meant so much to you.

[A]

I only tried to do what I.

[B]

Thought was best for the both of us. We're not getting any younger. And when two people were married for as long as we were married, I thought maybe we should try to make something of it.

[A]

You thought that. What? About me?

[B]

You?

[A]

About what I thought?

[B]

Oh, you're right, Charlie. But you can't kill me now.

[A]

Why can't I?

[B]

I told the police.

[A]

You told them what?

[B]

That you were trying to kill me. That it was you in back at the club. That you turned on the gas jet. Oh, no. You can't kill me, Charlie. They'll pick you up in a minute.

[A]

Okay, Dixie.

[B]

Shall we go back to the hotel now?

[A]

Okay, Dixie. What do we do now?

[B]

There's nothing to do, Charlie. We just go on, I guess, like we have.

[A]

You do that. Stay with me. Married to me, knowing I want you dead.

[B]

I have to, Charlie, because I won't give you a divorce.

[A]

Well, like chess, Sticksy? We're stalemated, aren't we?

[B]

Looks that way.

[A]

You know how much I hate you.

[B]

Now.

[A]

I know. Up to now it's been a game of cat and mouse. You were the mouse and I was a cat ready for the kill. But you tricked me. My pretty wife must feel pretty proud. But look, the game's gonna change, Dixie. Work hard, you make lots of money, because I'm gonna spend it all. Charlie, have I been a good husband to you? Dixie, think back. Remember all the soft, sweet things that we ever held between us. Think about them. Cause those soft, sweet things will become just a memory from now on. I'm gonna make life hard for you, Dixie. And I'm gonna make it so hard for you, you'll wish that I had killed you.

[B]

I'm tired, Charlie. I'm gonna try to get some rest.

[A]

Yeah, get some rest. Get a lot of rest, Dixie. You're gonna need it. You tell the police why I wanted to kill you. Dixie. Did you tell him how I asked you in a civilized manner for a divorce? You tell him that.

[B]

Goodbye, Charlie. Dixie. Dixie, what did you do? Dixie.

[A]

Don'T die. You're police. Dixie.

[B]

They'll think I did it. Dixie, please.

[A]

Dixie, don't die.

[B]

Dixie, don't die.

[A]

Sal Spence. Presented by Autolite Tonight star Ms. Linda Darnell. This is Harlow Wilcox speaking for Autolite, World's largest independent manufacturer of automotive electrical equipment. Autolite is proud to serve the greatest names in the industry. And during these early months of 52, the Autolite family joins in, saluting the leading car manufacturers. Who install Autolight products as original equipment. Our Autolight family is made up of the nearly 30,000 men and women in 28 great autolight plants from coast to coast. And in still other Autolight plants in many foreign countries. It also includes more than 18,000 people who have invested a portion of their savings in Autolite. As well as 96,000 autolite distributors and dealers in the United States. And thousands more in Canada and throughout the world. Our Autolite family will salute the DeSoto division of Chrysler Corporation. On the next Autolite suspense television program. If you live in a television area, check the day and time of suspense on television so that you'll be sure to see this program. And remember, be with us next week for another thrilling Autolite suspense program on radio. Next week on suspense, our star will be Mr. Herbert Marshall. In a radio dramatization of the true story of the 39 steps. In weeks to come, we shall also present Ray Milland and Frank Lovejoy. All on so Spence. Suspense is produced and directed by Elliot Lewis. With music composed by Lucian Morowic and conducted by Lot Glovskin. A killing in Las Vegas was written for suspense by Richard George Pantochini. In tonight's story, Lamont Johnson was heard as Charlie and Joseph Kearns as the lieutenant. Featured in the cast were Jerry Hausner, Charles Calvert, Eve McVeigh and Jim Nusser. Linda Darnell will soon be seen in David E. Rose's production of Saturday Island. And remember, next week on suspense, Mr. Herbert Marshall in the 39 Steps. Did you know that more than 7 million American men, women and children are victims of crippling arthritis? Help prevent this waste of human happiness and power. Give today to the Arthritis and Rheumatism foundation, care of your local postmaster. This is the CBS Radio Network. Lux presents Hollywood. Lever brothers company. The makers of lux flakes bring you the lux radio theater. Starring henry ponder, richard conti and kathy downs in my darling clementine. Ladies and gentlemen, your producer, Mr. William keeley. Greetings from Hollywood, ladies and gentlemen. Tonight we bring you the story of Wyatt Earp. Among the many heroes of the early West, Wyatt Earp and his three brothers stand as symbols of the fighting marshal, the sheriff who fought with fist and gun to establish law and order on our frontiers. Earp is played tonight by Henry Fonda in 20th Century Fox's screen success, My Darling Clementine. Co starred with Henry is Kathy Downs, also from the original cast. And that new and talented arrival among screen stars, Richard Conte. My Darling Clementine was filmed in Arizona in that primitive, weirdly beautiful country of the Navajos. There were no laundry facilities there, of course. And Kathy Downs was telling me how she and other members of the troupe did their own in tubs of lukewarm water and luxe flakes. They were observed in this daily ceremony by a group of fascinated squaws. And one of Kathy's favorite souvenirs is a cake of soap made of yucca roots that an Indian woman gave her in exchange for. Yes, you're right. A box of Lux. Which only goes to prove that the bargaining instincts of the red man, or red woman in this case, are as keen as ever. It's playtime. And here's Henry Fonda starred as Wyatt Earp. Richard Conte as Doc Holliday and Kathy Downs as My Darling Clementine. Our curtain rises on the first act. Oh, my darling oh, my darling O my darling Clementine. Ten thousand cattle gone astray Left my range and wandered away and the sons of guns. Arizona, the 1880s. Along a broad sweep of rangeland, the herd of cattle settles down for the night. Nearby, around the campfire, four men have just finished supper. The men are brothers, the Earp brothers. James Virgil Morgan and Wyatt Wyatt Earp. Until recently United States Marshal. At Dodge City. Suddenly, breaking through the twilight, five riders draw up to the camp. Howdy. Howdy. Wait here, boys. I'll see what they want. My name's Clinton, mister. He's here. And my boys. Evening. Howdy. Howdy. Your cattle huh? Yeah, Me and my brothers are trailing them on to California. They'll never make it. Son, if you ain't got him committed to no shipper, I'll take em off your hands. Thanks. Not interested. Me and my boys will make you a good offer. Pay you silver, $5 a head. Paid more than that in Mexico. It'll be a sorry looking lot by the time you get to California. Oh, they'll feed out when we get the grass. Say, what do they call this place? Just over the rise there. Big town called Tombstone. Fine town. Tombstone? Yeah. Heard of it. Well, me and my brothers might ride in there tonight. Get ourselves a shave, maybe. Glass of beer? Yeah, you'd enjoy yourself. Wide awake, wide open town. Tombstone. Well, thanks for stopping by. Change your mind about them cattle, I'll be around. Come on, boys. More coffee, Wyatt? No, thanks. Morgue. That was a tribe of Clanton. Look about as mangy as we do. Well, let's get to cleaning up supper dishes. Yeah. James, that was mighty fine chow, son. One of these days he's gonna be as good a cook as Ma. Well, I'm learning and trying. That's what I keep telling him to do. Corey sue ain't marrying him because he's so pretty. It's because he's such an awful good cook. That's a fact. Hey, if we're going into town, what are we waiting for? Supper dishes, Brother Verge. Oh, go on. I'll clean up here. My turn to 10 hurt anyway. Don't be lonesome, Kid. I won't be lonesome. You can sit here and think about your girl. I bet you marry Corey sue first day we get back home. Look, I. I didn't show you this. I bought it for last week. Think she'll like it? Say, what do you call that thing? A necklace? Sort of, I guess. It's a pendant. Solid silver. Sure is pretty, James. And look mighty pretty in them yellow curls of Corey Sue's. Oh, ain't that the truth now? Well, if you're going into town, you better mount up. Keep the fire going, James. We'll be back four or five hours. Yeah. Sure wasted a dollar for that bath in town. Stayed with James and just stood out in this rain. It's coming down all right. That's some wide open town, that Tombstone, huh? Yeah. Funny you running into Mr. Scott. What Mr. Scott? Knew him back in God City, Verge. He's mayor of Tombstone now. Know what he did? Offered Wyatt a job as marshal. $250 a month. 250? Well, why aren't you. You didn't take it, did you? I sure didn't. We're in the cattle business. I don't know whether we are or not. Pull up. What are you talking about? Look. Those boulders. We left our cattle just north of those boulders. How can you see in all this rain? I can see all right. And they're gone, Wyatt. The cattle's gone. James. A chuck wagon. Still there, see? Well, likely James is in the wagon. Come on. He's dead, Wyatt. James is dead. Shout in the back. Our kid brother. Shout in the back. Morgan. Virgil. We're going back into. When we got there, Mr. Scott, James was dead and the cattle was gone. All I want to know is whether that marshalling job's still open. Sure is, Wyatt. I'd like to take it then, providing my two other brothers are deputies. When do you want to start? Now. Who runs a gambling in this town? Fella named Holliday. Doc Holliday. Who runs the cattle? The Clantons. Old man Clanton and his four sons. Say, where you figure on living with? Hadn't thought about it yet. I'll get some rooms here in the hotel for you and your brothers. Swear you all in over the jail first thing in the morning. Any idea where I might find old man Clanton? Hard to say. Duck. Holidays? Place, maybe. Thanks. I'll try. Holiday. Good evening, Mr. Clanton. Huh? Oh, evening. Well, you were right. Huh? Our cattle. They said I wouldn't get very far with them. It was Russell this evening. That so? That's too bad. Hear that, boys? Fellas. Herd was Russell. Well, guess you ain't heading for California, then. No, I just got myself a job. Cow punching. Marshalling. Marshaling. In Tombstone. Well, good luck to you, Mr. Earpiece. Wyatt Earp, huh? Oh. Well, good night, Mr. Earp. Come on, boys. This here is not much of a grave, James. Best we can do for you now. 18 years old. Didn't get much of a chance, did you? I wrote to Pa and Corey Sue. They're gonna be all busted up over it. Corey Sue's young, but Pa. Guess you'll never get over it. I'll be coming out here to see you regular, James. So Morgue and Verge, we're gonna be around here for a while. Can't tell. Maybe when we leave this country, young kids like you will be able to grow up and live safe. We're not forgetting you, James. Now we're getting nowhere sitting around the jailhouse. Wyatt. Where's Verge? Washing up in the hotel. He's all day scouting the Clanton's range. They've been moving cattle all right, but that doesn't prove anything. Got any ideas? No. Well, I'm going over to Doc Holliday's place. Holliday's back in town. If he isn't, I'll wait for him. What about Holliday's girl, the one who sings there? Chihuahua, she won't talk. See you later, Morg.

[B]

Baldy, you. You busy?

[A]

Bar's kind of slow this afternoon, Chihuahua.

[B]

You know when Doc's coming back? I hear he'll be back tonight.

[A]

Maybe I ain't heard.

[B]

Where has he been this time, Baldy?

[A]

Tucson, over the border. Who knows where Doc goes?

[B]

That's right. Who knows? I see the new marshal, the poker player.

[A]

He's been doing all right too.

[B]

I don't like martials. Maybe I go hang around the table a little while.

[A]

Careful, Chihuahua.

[B]

Oh sure, sure.

[A]

Well Marshall, your play. My play? I love poker. Yes sir, I really love poker. Oh, howdy Chihuahua.

[B]

Mind if I watch?

[A]

Hang around. Maybe you'll bring me some luck. It's still your play, Marshall. Now what would I do if I was in your boots, Colonel? You're a real gambler, huh? But you're living at it, huh? Oh well I just drew three cards and I stood pat. And it you raised me. Now the question is, what should I do? Take your time, Marshall. Poker's a game of chance, isn't it Chihuahua?

[B]

Some people think so.

[A]

But the way you're standing over my shoulder increases the odds. Consider.

[B]

What's the matter, sport?

[A]

Oh nothing. Except you just told the Colonel what cards I'm holding.

[B]

Oh, you got eyes in back of your head, huh?

[A]

That mirror over the bar. I saw you raise three fingers. You better get out of here, Chihuahua.

[B]

Listen, you think Star, if I catch.

[A]

You doing that again I'll send you back over the border where you belong.

[B]

This is Doc Holliday's town. When he comes back.

[A]

Better run along, Chihuahua.

[B]

Oh sure, sure, I run along.

[A]

Now where were we? Sorry gents, but I don't like eight handed poker deals. Oh now Marshall, you don't think that I. No, no, no. Now let's see, you just raised me. Yeah, well seeing as how you know I got three of a kind, I'll just have to call you. Guess you lose, Marshall. Got a little straight that should. Well, Doc just walked in, huh? Oh, that's Doc Holliday, huh? Nice looking fella. I thought I told you to get out of town, Colonel. Have a heart, Doc. I said I'd cut you in. I told you to get out of town. I'm going, Doc. I. You're headed in the wrong direction. That door's for ladies and gentlemen. You go through the kitchen.

[B]

Sure, Doc. Sure.

[A]

Go on with your game, gentlemen. It's. It's getting late. I better cash in. Yeah, me too. This sure is a hard town for a fellow to have a quiet game of poker in. Sorry to have broken it up. I just don't like the way the colonel plays. Doesn't matter. I just been killing time. Anyway. Been waiting to see you. I've been out of town, Mr. Earp. So you know who I am. I know all about you and your reason for being here. Yeah, I've heard a lot about you too, Doc. You left your mark around in Deadwood, Denver and places. Fact, a man could almost follow your trail. Going from graveyard to graveyard. There's a graveyard here too. The biggest graveyard west of the Rockies. Marshals and I usually get along much better when we understand that right away. Get your meaning, Doc. Good. Have a drink. Thanks. Believer. Will. Baldy, a glass of champagne for the marshal. Make it whiskey. You're my guest, marshal. Champagne. Plan on staying here long? A while. Till you catch the rustlers who killed your brother? That's the general idea. What's the specific idea? I don't follow you quite well. You haven't taken it into your head to deliver us all from evil. I hadn't thought of it quite like that. But it ain't a bad idea. That's what I'm getting paid for. Let's get down to cases, marshal. What about me, for instance? How would you handle me if I took a notion to break the law? You already have, from what I've heard. The law is my business, Doc. I see we're an opposite camp, but why draw a gun? To learn how good you are with yours. I'm a great one for education, marshal. Sorry, but I'm not carrying a gun. We can remedy that quickly enough. Are you down there? Let's have your gun. There's a gun, Mr. Rick. Yeah. Looks familiar, too. Belongs to my brother. Thanks, Verge. All right, Wyatt. I've got another. Now, if I killed you, Marshall, chances are he'd kill me. Chances are that charge would ruin my reputation as a gambler. Folks might say you were a fool to have started it. So let's have that drink instead. Verge, meet Doc Holliday. Howdy, Doc. Howdy. Have a drink. Thanks. Thank you. I'd like you to join us too, Baldi. Yes, sir. Thank you, Doc. Well, gentlemen, your help Your help, Doc. You. You all right? I'm all right. Fill up the glass. Going to the performance tonight, Marshall? Performance? Haven't you noticed the posters? Oh, that Shakespeare's come to Tombstone, huh? Yeah. Been a long time since I've heard Shakespeare. How would you like to join me? Fine. With or without a gun? With, by all means. Next time your brother might not be around. Where are we going, Doc? To find our Shakespearean actor. The theater's filled with people, and he hasn't even showed up. I'm afraid Mr. Dennison P. Thorndike is drunk. Drunk or not, we'd better get him there. Last three shows we've had, the star's been drunk. And the management had to fill in with bird imitations. Well, the population's getting mighty sick of bird imitations, Mr. Epp. Guess we'd better find Thorndike then. Unless you want to have a riot on your hands. Me? It doesn't matter. I'd still like to know where we're going. There's a little Mexican saloon. Since he's not at my place, chances are he's there. Really? Gentlemen, I must get to the theater. Shut up, Thorndike. We want any more poetry, understand? If you're an actor or act. Maybe he'd rather dance. No, no, please. I want to see some acting. Finn, you can dance later. Very well. To be or not to be, that is the question. Whether tis noble. Well, there's your actor, Mr. Slings. How to get him out of here? Wait. Stay back. I want to hear this. Or to take arms against a sea of troubles. By opposing end them. To die, to sleep, no more. And by asleep to say we end the heartache and the thousand natural shocks. That flesh is air to. Tis a consummation devoutly to be wished. To die, to sleep. To sleep, perchance to dream. Ay, there's the rubber. For in that sleep of death what dreams may come. When we have shuffled out this mortal coil. Ah, that's enough. You know nothing but poems. Leave him alone, Clanton. What? Oh. Oh, sure, Doc, sure. Please go on, Mr. Thorndike. Thank you, sir. Must give us pause. Must give us pause. I. Please help me, sir. Must give us pause. There's the respect that makes calamity of so long life. For who would bear the whips and scorns of time, the law's delay, the insolence of office and the spurns that patient merit of the unworthy takes. When he himself might his quietus make? Excuse me, Marshal. What's the matter with Duck? I don't know. They're waiting for you at the theater, Mr. Thorndike. Thank you, sir. Shakespeare was not intended for Tavern, sir. Nor for Tavern. Lout. Hey, wait a minute, Marshall. Hamlet stays here. What's going on in here? My apologies, Mr. Clanton. I had to hit Ike. And I guess I creased one of Finn's ribs. Finn, you all right? I'm all right. Guess they had a little too much to drink, Mr. Earth. Sure, I figured they were just having themselves some fun. Come on, Mr. Thorndike. I'll take you to the theater. What happened? I pulled my gun on him, Paul. And when I did. You see this whip? All of you, you see this whip? Next time when one of you pulls a gun, kill him.

[B]

Understand? Kill him.

[A]

Our stars, Henry Fonda, Richard Conti and Kathy Downs will return in a moment with act two of My Darling Clementine. Libby. I hear there was quite a bit of monkey business going on over at Paramount Studios while they were filming that exciting adventure story, Calcutta.

[B]

Monkey Shines, to be exact.

[A]

How come?

[B]

Well, when I arrived on the set, there was Gail Russell.

[A]

She co stars in Calcutta with Alan Ladd and William Bendix, doesn't she? Mm.

[B]

And the scene of the picture is a glamorous, mysterious city in India. Well, there was Gail, admiring the most expensive prop in the picture.

[A]

Now, let's see. India, probably a gem.

[B]

Good guess. It's a gorgeous 106 carat star sapphire. But while Gail was admiring it, a cute ringtail monkey was watching her just a few feet away. Josephine. That's the monkey's name. Became so intrigued with the shining stone that she made a dash for Gail, tried to climb on her lap.

[A]

And in the scuffle, Gail's costume suffered.

[B]

No, but her beautifully sheer nylon stockings were ruined.

[A]

Oh, too late for Lux then, wasn't it, Libby?

[B]

Well, yes, but Lux came to the rescue all the same. You see, the wardrobe department keeps dozens of beautiful nylons lovely with luxe care. So whisk, out comes another pair. Gale changes and the shooting goes on. Of course, Josephine was in disgrace.

[A]

I should think so, really. Lovely sheer nylons are treasures these days. But then, that kind of an accident isn't likely to happen to many girls.

[B]

No, but often a run pops for apparently no reason at all. At least that's what some girls think.

[A]

The chances are those unexplained runs come from using a strong soap. Lux girl's no better than to risk that, Libby. For we've proved in hundreds of tests by an impartial laboratory how Lux cuts down runs over 50%. Yes. Lux stockings lasted twice as long under the most severe strain Tests twice as long as stockings washed with a strong soap. So it's never wise to take chances. Use gentle Lux to double stocking wear. We return you now to William Keeley act two of My Darling Clementine. Starring Henry Fonda as Wyatt Earp, Richard Conte as Doc Holliday and Kathy Downs as Clementine. It's a couple of weeks now since Wyatt Earp settled down in Tombstone. But the new marshal's no closer to discovering the murderer of his young brother James. It could be the Clantons. Could even be Doc Holliday. Doc who's haunted by a racking cough. Doc the tavern keeper who quotes Shakespeare and scorns the law. One person might know the full story of mysterious Doc Holliday, his dark skinned girl Chihuahua. But Chihuahua's full of smiles and silence. Early one morning the westbound stagecoach leaves a passenger at the mansion house alone on the porch. Wyatt Earp watches her come up the hotel steps.

[B]

If you don't mind getting out of your chair, I have some baggage there.

[A]

Oh, sorry miss.

[B]

Thank you.

[A]

Hotel clerk seems to disappear as a rule. He watches out for the stage. Any special place you want those bags?

[B]

Well I'd like them brought to my room but if the clerk is.

[A]

Oh, something wrong?

[B]

Why you're the sheriff.

[A]

Marshall.

[B]

I thought you were employed here. I'm terribly sorry.

[A]

No need to be sorry. About time I got myself out of that chair. You here for a visit?

[B]

I'm looking for someone. Dr. John Holliday.

[A]

You mean Doc Holliday?

[B]

Well I imagine so.

[A]

Doc rode out of town early this morning, miss. Hard to say when he'll be back. Supper time most likely. Oh, here's the clerk now. Got a customer for you dad. We want a nice room for Ms. Carter.

[B]

Clementine Carter?

[A]

Yes ma'.

[B]

Am.

[A]

Now then, if you just sign the register, Ms. Carter don't mean nothing. Phones up the place a little low.

[B]

You really didn't have to bring my bags upstairs Marshall. And show the.

[A]

I told him to send up a couple of buckets of hot water in case you wanted to take a bath.

[B]

That's very thoughtful of you.

[A]

Well, here's your room. What do you know.

[B]

What's the matter?

[A]

Looks like they put you right across the hall from Doc Holliday.

[B]

That's John's room.

[A]

Yes ma'. Am.

[B]

I wonder if it's locked.

[A]

He doesn't have to lock his doors miss. Nobody in Tombstone be fool enough to waltz in there.

[B]

I would.

[A]

Come along Then.

[B]

This is where he lives then Where John lives?

[A]

That's right, miss.

[B]

Look on the wall. His diploma from college.

[A]

Yeah, that's a diploma, all right.

[B]

He's a wonderful surgeon, isn't he?

[A]

I wouldn't know, ma'. Am.

[B]

And here, his photograph. I remember when he had this picture taken. See? He wore a mustache then.

[A]

That other picture. That's you, ain't it?

[B]

Yes. I was a nurse then in a hospital in Boston. That's. That's how I met John.

[A]

Well, I. I guess I better get along, miss.

[B]

Thank you for your trouble, Marshall.

[A]

Real pleasure. Hope Doc shows up soon.

[B]

Would he come straight here to the hotel, do you suppose?

[A]

I imagine he'd go to that place down the street.

[B]

What place?

[A]

Well, it's sort of a bar.

[B]

Well, then I'll wait from there. What's the name of it?

[A]

It's called Doc Holliday's Place. What's the matter, Chihuahua? Why don't you stop singing for that.

[B]

Girl who just spoke to you? She was here before, wasn't she?

[A]

Yeah. Come in twice this afternoon.

[B]

What does she want?

[A]

Looking for Doc.

[B]

So you sent her to him.

[A]

Well, of course I did. He's back now, ain't he? Maybe he wants to see her, too. Oh, don't look so mad, Chihuahua. You know Doc.

[B]

Yes, I know Doc.

[A]

Well, stop worrying. You're the only girl he pays any attention to.

[B]

Am I? Still, I should like to know what's going on back there.

[A]

Ah, forget it, will ya? Come on, sing something. Sing something for old Baldy.

[B]

Oh, sure, Baldy. Sure.

[A]

Clem, I just don't know what to say.

[B]

Aren't you glad to see me, John?

[A]

Sure, Clem, sure. But I'd like you to meet a friend of mine. Wyatt Earp. Miss Carter.

[B]

We met earlier today. Hey, John. Good evening, mister.

[A]

Howdy, ma'. Am. Well, I'll see you both later.

[B]

It's wonderful to see you again, John.

[A]

Why did you come here?

[B]

You're happy I came. I can see or not you're upset.

[A]

It was ill advised, Clem.

[B]

Any less ill advised than the way that you gave up medicine and left Boston?

[A]

How did you know I was here?

[B]

I didn't know. I've been months finding you from cow camp to cow camp, from one mining town to another. Well, I should think that if nothing more, you'd at least be flattered to have a girl chase you.

[A]

Look, Clem, you've got to get out of here.

[B]

No.

[A]

This is no place for your kind of person.

[B]

What kind of a person am I, John?

[A]

Please, Go home, Clem. Go back where you belong. Forget that you ever.

[B]

You heard what he said. He said, go back home. Who are you? It does not matter who I am. He's sick, isn't he? Those coughing spells, does he have them frequently? Too often. Each time he's worse. Oh, that frightens you, doesn't it? Maybe now you go home, huh? Maybe now you leave him alone. You're ill, John. That's why you left home.

[A]

That has nothing to do with it.

[B]

What if that would have mattered?

[A]

I tell you, Clem, my health has nothing to do with it.

[B]

I don't believe, and I'll give you.

[A]

The truth, the man you once knew doesn't exist anymore. There's not a vestige of him left. Nothing. Now, come on. I'll take you back to the hotel.

[B]

John, please. You can't send me away like this. You can't run away from me any more than you can run away from yourself. Now I know why you don't care whether you live or die. While you've tried to get yourself killed. I've heard all about you, John. And you're wrong. So wrong. You have no right to destroy yourself. A world of friends back home who love you. And I love you.

[A]

There's a stage leaving in the morning. Take it. Clem, if you don't time moving on.

[B]

Very well, John. I'll go.

[A]

Here, Abe. You think your brothers can finish supper all by themselves? I'd like to see you. Sure, Doc. Trouble? I don't think so. Morgue where I'm standing her. That tin badge you're wearing doesn't give you the right to stick your nose into my personal affairs. What's eating you, Doc? Why didn't you tell me Ms. Carter had come to Tombstone? Didn't she tell you why she wanted to surprise you? All right, all right. Now let me alone. I'll be around for a while if you have any more questions. Baldy. Yeah, Doc? Give me that bottle in the glass. Oh, Doc, you're not going to start drinking whiskey again. I said give me that bottle in the glass. Out for it, Doc. Shut up. Stop singing, will you?

[B]

What is wrong?

[A]

Go squirrel your stupid little song somewhere else. Now get out of here, Doc. Sure. Lapping up the liquor. I'm gonna see if I can get him out of here. Finish your supper, Wyatt. Sorry. I'm finished. Have a drink, Marshall. No, thanks, Doc. I said have a drink. No, thanks. Look, Doc, I ain't trying to poke my nose into your personal affairs. But from where I stand, I'm not. Man will have to go a long way before he finds a nicer girl than that Ms. Carter. Or a prettier one, for that matter. There ain't a man, Marshall. You've said enough. Just as you say, Doc. And this isn't any of your business either. Keep that up and you'll be out of business. You've just given me a brilliant idea. It's time I tempted fate. What are you pulling your gun for? Now, let's see who's in here tonight that I don't particularly like. That's a sucker game, Doc. There's of plenty. Probably 50 men around town just waiting to see you get liquored up so they can fill you full of holes. Build them a great reputation. The man that killed Doc Holiday. See those fellas playing poker down there? That lamp should suddenly crash down on their table. They may not like it. I'm going to find out. Marshall. Sorry I got to do this, Doc. Give me a hand, Baldy. Let's get Doc to. Morning, wife. Morning, morgue. Morning, Verge. Have a good breakfast? Three chops and four eggs. Feel pretty good.

[B]

Hey.

[A]

Sitting all alone on the porch? Yeah. Just came from the barber shop. Had my hair cut. See? Looks nice. Virgin. I figured on riding out to James's grave. Figured I might ride out myself this afternoon. Say, is that a church bell I hear? Yeah, that's a church bell, all right. You know, if I wasn't in the territory, I'd swear we were back home on a Sunday morning. Yeah, with Ma scrubbing our necks to go to camp meat. By golly, I bet that's what it is. A camp meeting. Could be. You know, I can almost swear I smell the honeysuckle blossoms. That's me. Barbara put some stuff on my. Ha. Sure like to know what's happened. That a church bell is ringing in this godforsaken town. They're trying to build a new church, Verge. Need more money, though. They're having a social this morning after the service. Mayor said there'd likely be some dancing, too. You know, there's probably a lot of nice people around here. We just ain't met them. Let's get started, Morg. See you later, Wyatt. See you later. Hiya, Chihuahua. Morning, Chihuahua. Looking for someone?

[B]

I'm going into the hotel. Any objections?

[A]

Doc's still in his room, I think.

[B]

He won't be there long when he finds out you're here. You hid him last night. He come down here and twist that tin badge around your heart. Yes, what is it? I came up here to see Doc. I decide to see you first. What about? Oh, I see you are packing your clothes. I said, what about? I am, Chihuahua. I am Doc Holliday's girl. I just wanted to make sure you were packing.

[A]

Slamming doors, women yelling. I'm trying to rest.

[B]

Oh, I'm sorry, darling. You're not angry, are you?

[A]

Do you know, Chihuahua, what right have I got to be angry with anyone or anything?

[B]

She's pegging, Doc. She's leaving town.

[A]

Happy, aren't you?

[B]

Oh, yes.

[A]

Get me a drink. There's a bottle on that table.

[B]

Yes, Doc.

[A]

Chihuahua, I'm going into Mexico for a week or two. While I'm gone, I want Doc.

[B]

Take me with you. Please, Doc? Please.

[A]

Take you with me? Sure. Why not? Doc, I've got another idea. Go over to the saloon. Tell Bali I want a wedding breakfast prepared. Flowers, champagne, everything. Then get into your prettiest dress, Chihuahua. And if Baldy starts asking questions, just tell him the queen is dead. Long live the qu. Good morning, Ms. Carter.

[B]

Good morning, Mr. Earth.

[A]

You've been standing there long.

[B]

I just came down. I thought I'd wait here on the porch for the stagecoach.

[A]

You leaving?

[B]

I'm going back east.

[A]

Eastbound. Stage don't leave till noon on Sunday. It's a mighty short visit.

[B]

Miss John thinks I've overstayed my visit already.

[A]

I don't know, ma', am, but if you ask me, I. I think you're giving up too easy.

[B]

If you ask me, I don't think you know too much about pride.

[A]

No, ma'. Am. Maybe I don't. You hear that, Ms. Carter? The church bell. Church bell and Tombstone.

[B]

I believe that's the first church bell I've heard in months. This may sound strange, Marshall, but I love your town in the morning. The air so clean and clear. And the scent of the desert flowers.

[A]

That's me.

[B]

Barber, are you going to the church service?

[A]

I've been sitting here pondering over it.

[B]

If you do, may I go with you?

[A]

You? Well, I guess I'm through pondering. Miss Carter, I'd sure admire to take you to church. And so, folks, while all we got is a foundation and a bell, I hereby declare their first church of Tombstone. Which don't have a name yet. No. No preacher either. Officially dedicated. Now, I don't pretend to be a preacher, but I've read the Good Book from COVID to cover and back again. And I never found nothing against dancing. So we'll commence by having a dad. Blasted good dance. Start the music, boys. Well, will you oblige Me, ma'? Am.

[B]

Thank you.

[A]

Morning, Mr. Clanton. Don't mean to bust up your dancing, miss, but I've been wanting to ask the marshal something. It's all right, Mr. Clanton. Find out who shot your brother yet? I've got a pretty fair idea. Good. Maybe this. This town will turn out like the mayor said, honest and God fearing. When you figure to round up them rustlers. It won't be for a while, Mr. Clanton, but I promise you, you'll be one of the first to know. Much obliged, Marshall, Much obliged. Sorry, ma'. Am.

[B]

Well, after all, you are Marshall. Here.

[A]

There's some who think I forgot what I took the job for. I haven't forgotten. Well, now then, Ms. Carter. Well, we're back in time for Sunday dinner, ma', am, if you want to freshen up. You. Hello, Doc. Hello, Marshall. Hello, Clem.

[B]

Hello, John.

[A]

You might better say goodbye.

[B]

Where are you?

[A]

It doesn't matter. I told you last night to leave Tombstone. I told you if you didn't, I would. Just a minute, Doc. Running people out of town, that's my business. That's what I'm getting paid for. Ms. Carter or any other decent citizens can stay here just as long as they want to. We're through talking, Marshal. My advice to you is to start carrying your gun. That's good advice, Doc. Thanks.

[B]

You. This is the second time you've burst into my room, Chihuahua. I wish you'd knock after this. He's gone. Doc's left town. He was going to Mexico and take me with him. He was going to marry me. Where'd you leave in town to? I had every intention of leaving town, but I've just about changed my mind. The stage leaves in 20 minutes. You'll be on it, you hear? You'll be on it.

[A]

What's going on, Ms. Carter?

[B]

It looks like a slight case of hysteria, Marshall.

[A]

What are you doing here, Chihuahua?

[B]

None of your business.

[A]

Why don't you behave yourself? Now go back where you belong.

[B]

I'm not getting out till she leaves town. What do you know about it anyway? What do you know about Doc and me? We were going to get married. He was going to marry me after these. Milk.

[A]

What's that you're wearing, Doc?

[B]

Doc told me to dress up. There would be wedding breakfast.

[A]

That pin it around your neck. Where'd you get it?

[B]

Doc gave it to me. Where did you think I got it?

[A]

You're sure that's the truth?

[B]

Why should I lie about it? It's solid silver. Doc gives me everything I got.

[A]

Go to your house, Chihuahua. Go to your house and stay there.

[B]

I go where I wish.

[A]

It's your house or the jail. Did I bring Doc Holliday back here?

[B]

Why?

[A]

Never mind. Wyatt, give me that pendant. Sorry, Ms. Carter. Maybe we can have that Sunday dinner some other time. I got your horse ready. Wyatt. Find out where Doc went. I found out he's riding a bullion coach to Tucson. You and Vert stay in town. Keep an eye on Chihuahua. What do you have to dock for? Cause I just found this. The pendant. The pendant James showed us the night he was killed. Brought it for Corey Sue. James did. Chihuahua added Doc Holliday gave it to her. Sure you don't want me to ride with you? Funny, I suspicioned it was the Clantons all the time. Didn't know Doc went in for shooting. Kids in the back. No morgue. Thanks. I'll get him alone. We pause now for station identification. This is cbs, the Columbia Broadcasting System. In a moment, our stars will return with Act 3 of My Darling Clementine. Millions of people saw lovely Colleen Townsend on the COVID of a national magazine. But it took an alert 20th Century Fox talent scout to see her screen possibilities. Colleen, you look like an outdoor girl.

[B]

That's true, Mr. Keeley. I love swimming. And I'm crazy about horses.

[A]

Did you see Those fine thoroughbreds 20th Century Fox had for the shooting of Homestretch?

[B]

No. Oh, yes, indeed. In fact, one day I met Cornell Weil down at the corral. He invited me back to the set to watch him do a scene with Maureen O'. Hara.

[A]

You studied that technique?

[B]

Well, frankly, Mr. Keeley, the Technicolor sets were so lovely, and Maureen's wardrobe was so gorgeous. Well, that's all I had eyes for. You see, pretty clothes are a weakness of mine.

[A]

Well, how about those shorts and old shirts you wore in your own picture? It's got a. Who's got a hay?

[B]

Well, maybe they'll let me wear more glamorous costumes next time. June Haver and I had quite a time with our Technicolor suntan makeup. We practically covered ourselves with it for our farmer roles. And, well, of course, it got in our lingerie as well as our costumes. But what do you think, Mr. Kennedy?

[A]

I think I know, Ms. Townsend. The wardrobe department whisked those things away, luxed them, and they look wonderful again.

[B]

Yes, that's it. Our things were luxed day after day. And yet, after all the shooting, I do believe they look just as nice as ever.

[A]

Well, that's not surprising, Ms. Townsend, because we've proved by actual test that luxe care actually keeps lingerie color fresh and lovely three times as long. Now, if the studio had washed them the wrong way, although only careless people do that, you'd have found your lingerie looked faded and drab much too soon. That's what happened in our tests. But when identical under things had gentle luxe care, they still looked lovely after three times as many washings.

[B]

Well, I've always been a luxe fan myself. But when I found a studio using luxe flakes too, I was pleased to think how well, how smart I'd been.

[A]

Smart girls Everywhere, luxe girls. Ms. Colleen Townsend. Thank you so much for coming tonight. Now back to our producer, William Keeley. Act three of My Darling Clementine. Starring Henry Fonda as Wyatt Earp, Richard Conti as Doc Holliday and Kathy Downs as Clementine. After a furious three hour ride across country, wired earpiece has overtaken and cut off the northbound stage at the mouth of the Huachuca Pass. He stands now in the center of the road and signals the stagecoach to come to a stop. Marshal, what's wrong? I want your passenger, driver. Climb down, Doc. All right, Marshall. Now what? I'm carrying government money, Marshall. Ain't ought to stop here. I'm not holding you. You can go on. You're not going until I'm back aboard. You heard what he said, Doc. Whip up your horses, driver. Yeah, sure, Marshall, sure. Hey, up there. You shouldn't have done that, Marshall. The stage is going to Tucson, Doc. But you're coming back to Tombstone. Now, suppose we just talk it over. I told you, I'm through talking. Still, you're coming back with me. Sorry, but I'm not going back. Well, in that case, I'll be taking you back. Stay where you are, Doc. Talk for your gun, Marshal. You call it, Doc. Come any closer and that's it. I said I'm taking you back, Doc. Ready to come with me now, Doc? That was no accident, was it, Marshal? Shooting the gun out of my hand? Be hard to miss it at 12ft. Why didn't you want to kill me? Because I'm wearing a badge. And the badge says you got to have a trial first. Trial? For what? For murder. For killing my kid brother. You've got the wrong man. Have I? Suppose we talk it over on the way back. Come on, Doc, we'll pick up a horse for you. Come on, bartender, whiskey for me and my boy Ike. Maybe I better pour three, Mr. Clanton. Three. Ain't that your other son coming in? Ain't that Billy, huh? Looks like Billy's got something on his mind. Paul. Wait here. I. What's the matter, Billy? Pa, I just seen him ride into town. The marshal and Doc Holliday. Well, what you fretting about? They head up for Chihuahua's place and they're gonna start asking Chihuahua questions. You fool. You crazy? I told you to keep away from that girl. But, Pa, what can I do now? What am I gonna do? There's only one thing you can do. Go on.

[B]

Who is it?

[A]

The marshal.

[B]

Who do you think you are, banging on people's doors this time of night?

[A]

Better let us in, Chihuahua.

[B]

Doc, is that you? Doc?

[A]

Open up, Chihuahua.

[B]

Oh, Doc, you came back.

[A]

Why did you tell the marshal I gave you this silver pendant?

[B]

Well, you did, Doc. You gave it to me.

[A]

I never saw this piece of junk before in my life. Who gave it to you?

[B]

When? You. You can't remember everything you give me, Doc. Sure you did. Don't you remember when I. I don't know. A week ago, maybe. What difference does it make?

[A]

That being the case, Doc, I charge you with the murder of my brother, James Earp.

[B]

Oh, Doc, he's fooling.

[A]

I ain't fooling, Chihuahua. It was stolen from my brother the night he was shot in the back. Do you still insist I gave it to you?

[B]

Oh, no, no. Corona.

[A]

And who did?

[B]

I. I can't be a squealer, Doc.

[A]

And that's that. Come on, Doc. Let's go.

[B]

Oh, no, no. Let him go.

[A]

You gonna tell us the truth?

[B]

Yes. It wasn't Doc. A few nights ago, it was late. Somebody knocked at the door. I. I thought it was you, Doc. So I. I opened the door and it was somebody else.

[A]

Who?

[B]

Oh, Doc, don't be mad. I. I didn't know.

[A]

Who?

[B]

Billy Clanton. He gave me the jewelry. And then he tried.

[A]

First. What happened, Wyatt? That shot Billy Clanton. There he goes, Verge. Beyond the barn. Go get him. Billy Clanton. You better stay at the hotel tonight, Chihuahua. Next time they may not miss.

[B]

He. He did not miss this time.

[A]

I got everybody out of the saloon, Marshall. But why'd you bring her down here for? She's hurt real bad. Mayor. Put a couple of them poker tables together and set some lamps around him. Give him a hand, Baldy. Sure. Marshall. Morgue. You're at the hotel. Get Ms. Carter. She's a nurse. Tell her to stop by Doc's room and get that doctor's bag. I told you I can't do it. You gotta do it, Doc. She was Badly hurt. And I stopped being a doctor three years ago. You said she'd have to be operated on. And why haven't you sent to Huachuca for the army doctor? That'd take hours. He may not even be there. Doc, you're gonna operate? I'll try. I'll do what I can. I'll be in the kitchen. We'll need boiling water. She's unconscious again, Marshall. Yeah. Boldy Billy Clanton, huh? Maybe your brother got him. You heard them shots before. He'd have been back by now. No. I guess Verge has got a chase on his hands. You'll get him.

[B]

I'm ready whenever you are, John.

[A]

Thanks, Clem. Better move that lamp a little closer.

[B]

She seems to be regaining consciousness.

[A]

It's a pity, Chihuahua.

[B]

Sorry, Doc. Steal my husband.

[A]

No, honey. Look, I haven't got anything to put you to sleep with. So this is going to hurt like blazes. Yell, scream, holler, anything you like.

[B]

Bite on this towel, Chihuahua. It may help. Thanks, Ms. Milk Face.

[A]

Just nod your head when you're ready. Hold her hands, Marshall. Maya, watch her feet. Now bite on that towel, Chihuahua. Bite hard. What is it? I'm Virgil Earp. I'm looking for your brother. There was a shooting in town. I followed him here to this house. There's a deputy here, Pa. He can come in. He's right in there, Mr. Earp. On the bed. He's dead. My boy Billy. Shot down on the streets of Tombstone. Murdered. It's too bad it had to end this way, Mr. Clinton. He got off his horse, walked in and dropped down dead. Who shot him, Deputy? I did. I was doing my duty. Yeah. Sometimes killing is a man's duty. You can go back to town now, can't you? Yes. I'm sorry. Hand me that rifle, Finn. Earpo, open the window. Mr. Earp. Yes. Get your horses, boys. We're going into town. It's all over now, Chihuahua. I'm all finished.

[B]

It he doesn't hurt anymore, Doc.

[A]

You're all right now, honey. You've been a brave girl.

[B]

We're taking you to the hotel, Chihuahua. You'll be more comfortable there. Morgan, if you and the mayor.

[A]

Sure, ma'. Am. Ready, Mayor.

[B]

Gently now. I'll go with her, John.

[A]

Thanks, Clem.

[B]

I'm awfully proud of you, Dr. Holiday.

[A]

How about a drink, Doc? No, I. I've got to get cleaned up. I'll be over in a few minutes, Clem. You have a drink, Marshall. I could use one, Baldy then, Doc. Oh, he sure did it, didn't he? Marshall. Yeah, Baldy? Have you ever been in love? Me? No, Marshall. Never been a bartender all my life. Well, I. I better get started looking for Verge. You'll find this body in front of the hotel. You'll find me and my boys waiting for you at the Wells Fargo corral. The mayor's forming a posse, Wyatt. Be over in a little while. First James and now Verge. No. No posse. This is just for you and me, Morgue. I was hoping you'd say that. There's four of them Clantons. That's all right. They're walled in on that corral, all right. Baldy Song. It's just at the edge of town. Here comes Doc. Yeah. How's Chihuahua? Chihuahua is dead. Dr. John Holliday. When do we get the Clantons? We? Thanks, Doc, but. Sorry, Morgue. I kind of think Doc wants to come along. We go after him at sunup. Doc. Thanks. Here they come, Paul. Three of them, huh, Ike? Sam. Shut up. Stay where you are, Sam. You too, Ike. Maybe others coming in from around the back. It's them, all right. Marshall, his brother and Doc Holliday. Make a pretty target, son, walking straight down the road there. They crazy but on your gun. Wait till they get closer.

[B]

You fly.

[A]

Stay undercover, Ike. You too, Sam. Don't worry, Pa. Finn, get behind the post. They're splitting up. Paul, let him. One to the left, one to the right, and one keeps coming straight ahead. Paul, let him have it. In good time, son. All in good time. Morning, Mr. Clatten. Cover him, Finn. What do you want? He's stuck in behind the staple. That's talk a while. Well, now, you go right ahead and talk. I got a warrant here for you and your sons. Charging the murder of James and Virgil Ear. There's also a charge of cattle rustling. I'm giving you a chance to submit now to the proper authority. You come right on and serve your warrants, mister. Which one of you killed James? I did. And the other one too. And I'm killing you this morning.

[B]

Pike. And back here.

[A]

Give it to him, boys. I got him.

[B]

I got Doc.

[A]

Better come out of that shed, Mr. Clanton, while you're still alive. Mr. Clanton, you saw what's happened. You're the only one left now. He's opening the door, Wyatt. Careful. Throw out your rifle, Mr. Clanton. Now come out with your hands up. My boys, I. Sam, they're dead. But I ain't gonna kill you. I hope you live a hundred years. Feel just a little what my pa's gonna feel. That's your horse over there? My horse? Yeah, yeah. Get in the saddle and keep going. Get out of town. Start wandering. You're letting them get away. Yeah. An old man who's seen you sons die. Where's Doc? Back of the shed there. Doc. Not how good I was to you. It's all right, Doc. You couldn't help it. I got one of them, didn't I? Yeah, you got one of them. I had to start coughing. Sorry. We'll get you back to the hotel, Doc. You'll be all right. No. I knew this cough would kill me one way or another. Doc. Doc. Wyatt. Look out, old man. Clapton. And he won't be trying to shoot any more men in the back. He should have known he'd have a gun in his saddle. Thanks, Morgue. Well, I guess we can turn in our badges now. Come on, Wyatt. Got some ground to cover today. Be right there, Morgue.

[B]

I'm sorry to see you leave, Wyatt.

[A]

Thank you, ma'. Am.

[B]

There were so many things I wanted to say, and now nothing seems appropriate.

[A]

Yes, ma', am, I. Yeah, I know. The mayor says you might be staying here a while. Maybe helping get a school started, maybe. Well, that's mighty nice, ma'. Am. Me and Morg are going out to see Pa. Tell him what happened. I might come east again, get some cattle. Maybe stop by here again.

[B]

Stop by the schoolhouse.

[A]

Yes, ma'.

[B]

Am.

[A]

I sure will. Goodbye, ma'. Am.

[B]

Goodbye, Wyatt.

[A]

Ma'. Am. I sure like that name of Clementine. Before our stars return for their curtain calls, I'd like to ask the women in our audience a question. How do you wash dishes after every meal? Twice a day. Once a day. There's a lot of debate on which method is most efficient. It might interest you to know that many home economists say you can save considerable time if you wash the dishes from all three meals together instead of washing them after each meal. That is, of course, if you scrape the dishes first and rinse them well with warm water. Now, another way to make dishwashing go faster is to use luxe flakes. Just pour in enough to make rich suds turn on the water and in a flash, the suds billow up. Luxe flakes dissolve fast, leave no gummy, undissolved bits to stick to the dishes. A quick hot water rinse, and your dishes are sparkling clean. Dishes dry without wiping too. Best of all, Lux is thrifty for dishes. Luxe flakes actually go so much further and are so rich, ounce for ounce, that they wash up to twice as many dishes as any of 10 other leading soaps tested. But here's the thing you ladies will be most interested in. No matter how many times a day you wash dishes, you won't get dishpan hands if you use Lux. Luxe suds are so gentle they won't redden and roughen your hands as strong soaps often do. In fact, if strong soaps have been making your hand red and dry, try changing tomorrow to Luxe flakes. Scores of women proved by actual tests the changing to Lux actually takes away dishpan redness makes red, rough hands smooth and soft again. Now, isn't Lux worth trying? Here's Mr. Keeley at the microphone. There's more to come as we bring our three stars back to the footlights for a curtain call. Henry Fonda, Richard Cotti and Kathy Down. You made the Old west seem very real tonight. Thanks, Bill. Actually, it seemed very real to us when we were shooting the picture. Is it true about you being surrounded by Indians?

[B]

Most of the time, yes. In fact, the producer hired a lot of them as extras.

[A]

Did you pick up any of the language? Oh, simple words like nanya for rain and shoe shay for papoose. Papoose?

[B]

Sure. Indian baby.

[A]

Oh, I thought you meant the rear end of a railroad train. But the Indians were really mighty helpful when it came to keeping us posted on the weather. You don't mean they could predict the weather? One old codger could. Every morning we'd ask him what it was going to do and he'd tell us. Never missed, huh?

[B]

Oh, he failed us once, at least. He shook his head and said he didn't know.

[A]

What reason did he give? His radio had broken down that morning. Well, Bill, if that Indian is listening in tonight, I'm sure he's waiting to hear what's on for next week. And we're glad to tell him because next Monday, from the studios of Universal International, we're presenting that current howling comedy success, the Egg and I. And our stars are Claudette Colbert and Fred McMurray. Both, as you know, from the original screencast. That's a very funny picture, Bill, and I'm sure it will make a delightful play for us. The story of two refreshing people who seek peace and riches on a chicken farm and end up more scrambled than the eggs.

[B]

Sounds like something to crow about.

[A]

We'll be listening. Good night. Good night and our sincere thanks. Lelever Brothers Company, the makers of Lux Lakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Claudette Colbert and Fred McMurray in the egg and I. This is William Keeley saying good night to you from Hollywood. Have you taken a can of used fat to your meat dealer lately? Ask him what he pays. You'll be surprised and delighted at the high prices you can get for used fat now, up to four times as much as last year. That extra money for used fats cuts a mighty nice piece off your meter grocery bill. So keep a tin can right out in sight and add used fat to it every day. America is still desperately short of fats and oils for making soap and scores of other products. Take advantage of these new high prices being paid by saving every drop of used fat. Tonight's screenplay, My Darling Clementine, was based on a book by Stuart N. Lake. Henry Fonda will soon be seen in the 20th Century Fox production, Daisy Kenyon. Richard Conti appeared through the courtesy of 20th Century Fox producers of the Ghost and Mrs. Muir Castle. Kathy Downs will next appear for 20th Century Fox in the Miracle on 34th Street. Heard in tonight's cast were Earl Ross as Clanton, Carlton Cadell as Morgan, Paula Winslow as Chihuahua and George Neese, Cliff Clark, Norman Field, Clark Gordon, Tim Graham, Eddie Marr, Bill Johnstone, Tyler McVeigh, Charles Seale and Edwin Max. Our music was directed by Louis Silvers. This program is rebroadcast to our servicemen and women overseas through the worldwide facilities of the United States Armed Forces Radio Service. And this is your announcer, John Milton Kennedy, reminding you to tune in again next Monday night to hear the Egg and I with Claudette Colbert and Fred McMurray. Spry when you bake and pry Spry.

[B]

Pour your cake and pie Spry it's your sharpening pie Rely on spry yes.

[A]

It'S spry for pastry so tender Flaky, not sweet Any pie filling tastes more delicious. You'll say pastry is extra delicate Better tasting with spry Rely on spry S.

[B]

P R Y.

[A]

Be sure to listen in next Monday night to the Lux Radio Theater presentation of the Egg and I with Claudette Colbert and Fred McMurray. And why not tune in to Joan Davis every Monday night over most of these stations. This is cbs, the Columbia Broadcasting System. We just heard the stars of My Darling Clementine, Henry Fonda, Victor Mature and Linda Darnell that will do it for this episode. Thanks so much for joining me and thanks for your patience as this one is coming up a couple of days late. However, I'll be back on schedule for this Thursday. In our next regular episode, when we'll hear the stars of Winchester 73. In the meantime, you can check out down these Mean Streets, my Old Time Radio Detective Podcast. New episodes of that show are out on Sunday. If you like what you're hearing, don't be a stranger. You can rate and review the show in Apple Podcast or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com/stsotR I'll be back next week with the stars of Winchester 73 appearing in Tales well calculated. To keep you in suspense, Sam. Ladies and gentlemen, the chief hope of our enemies is to divide the United States along racial and religious lines and thereby conquer us. Let's not spread prejudice. A divided America is a weak America. Through our behavior, we encourage the respect of our children and make them better neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.