Episode 438 - Stars of "His Girl Friday"

Summary

Stars on Suspense (Old Time Radio)

Episode 438 – Stars of "His Girl Friday"
Date: February 5, 2026
Host: Mean Streets Podcasts
Featured Radio Plays:

1. "The Black Curtain" starring Cary Grant (Suspense, 12/2/1943)
2. "Consideration" starring Rosalind Russell (Suspense, 2/3/1950)
3. "His Girl Friday" with Cary Grant & Rosalind Russell (Gulf Screen Guild Theater, 3/30/1941)

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Episode Overview

This week's episode celebrates Valentine's Day with a salute to Hollywood's thrilling couples, spotlighting the legendary pairing of Cary Grant and Rosalind Russell – best known for their roles as Walter Burns and Hildy Johnson in His Girl Friday. The episode presents both iconic stars in their own Suspense radio dramas before featuring them together in a rollicking adaptation of His Girl Friday for the Gulf Screen Guild Theater.

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Key Discussion Points & Episode Flow

[00:51] Introduction & Setup

• Host Introduces "His Girl Friday":
  The episode honors "Hollywood tales of romance and classic couples" for February.
• The origin of His Girl Friday as Howard Hawks’ screwball remake of The Front Page:

  "Hawks took the two main characters... and instead of having them be two men, he turned them into a divorced couple."

• Praise for Cary Grant and Rosalind Russell’s fast-paced banter.
• Programming lineup:
  1. Cary Grant in "The Black Curtain" (Suspense)
  2. Rosalind Russell in "Consideration" (Suspense)
  3. Both in "His Girl Friday" (Gulf Screen Guild Theater)

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I. "The Black Curtain" starring Cary Grant

(Suspense – Originally aired 12/2/1943)
Segment Start: ~[08:44]

Plot Summary

• Opening Incident:
  Frank Townsend (Grant) wakes on a snowy street with amnesia, learning three years of his life have disappeared—a “black curtain” has come down across his memory.
  • ‘The last I remember was July 1943. Years just gone. Amnesia. A black curtain comes down over your mind.’ ([10:21], Grant)
• Strangers address him as "Dan" or "Danny," and he discovers items with the initials "D. N."
• Townsend is being pursued by a menacing man with gray eyes.
• He learns from a newsstand owner that he has a girlfriend, "Ruth," and tracks her to an apartment.
• Ruth reacts with fear—she’s worried about him being seen by detective Slattery (the gray-eyed man) ([18:34]).

Unraveling the Mystery

• Ruth proposes fleeing together, but hints at a shadowy event—murder.
• Newspaper clippings reveal Townsend (Dan Nearing) is wanted for the murder of his employer, John Dietrich.
• Ruth insists Dan is innocent but fears “if they get you, you’ll hang.”
• Ruth and Dan return to the scene of the crime to confront his forgotten past, seeking to jog his memory and find proof.
• The pair enter the old Dietrich home, speaking to the paralyzed old Mr. Dietrich:
  • 'He could see the murder through the mirror. Oh, if only he could talk.' ([26:30], Grant)

Tension Peaks

• Grant attempts to determine, by Mr. Dietrich’s eye blinks, who the real murderer is.

• As the authorities close in, Ruth’s guilt is revealed:

  'Why, Ruth? Why did you kill him?'
  'He was always after me... I hated him... I thought he’d never fall down and die...'
  ([32:22], Russell)

• Ruth takes her own life, motivated both by love and guilt.

Resolution

• Dan/Frank is exonerated by the paralyzed witness, but is left deeply affected:
  • “I want it all to die away and be still. And it will. All except Ruth. Because somewhere behind that black curtain, I was loved. And loved someone we must have known. A love that I'll never know again.” ([33:49], Grant)

Notable Quotes & Moments

• "That black curtain had been over mine for three years. Where had I been? Who had I been?" ([10:25], Grant)
• The halting, rising suspense as old Mr. Dietrich blink-communicates the truth.
• Ruth’s desperate confession and tragic ending.

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II. "Consideration" starring Rosalind Russell

(Suspense — Originally aired 2/3/1950)
Segment Start: ~[38:02]

Plot Summary

• Domestic Trouble:
  Ellen (Russell) and her husband Charles face financial ruin. Charles reveals he's embezzled from his company to cover his tracks and needs Ellen to replace $10,000 before the auditors arrive.
  • “Business has been pretty bad... I took out a mortgage... I paid it off with our company funds... Next week the auditors are coming in...” ([38:27], Charles)
• Ellen confesses: she’s gambled away all their savings and more, desperate for a win at the races.

Paranoia and Dread

• Charles’ reaction is unnervingly calm—he works obsessively in his home laboratory; Ellen becomes suspicious.
• A mysterious, locked trunk and frozen guinea pigs hint at deadly experimentation:
  • “Don’t open it... Just open the lock...” ([49:00], Russell)
• Ellen finds wrapping paper for dry ice, then confirms with the doctor that dry ice could be used to suffocate a person, leaving no trace—her fear escalates that her husband plans murder.

Suspense Reaches its Climax

• Charles increases their life insurance and plans a lavish final evening. Returning late, he urges Ellen to sleep alone in a room that would be ideal for a dry ice “accident.”
• A phone call from the frozen carbonic company confirms Charles ordered dry ice.[57:11]
• Ellen, drugged with sleeping pills, desperately tries to reach help as she starts falling asleep.
• Tom, Charles’ partner, calls:

  “I knew he took that money months ago... I've already made up for it out of my own pocket and... you and Chuck can pay me back whenever you can. He's much more valuable than a few dollars.” ([59:05], Tom)

• Tom intervenes in time—Charles is found groggy in his car, never having carried out any murderous plan.

Resolution

• Ellen and Charles, understanding restored through crisis, reconcile.

Notable Quotes & Moments

• “No, Ellen. I’m never going to forget anything. That’ll make you rest easier.” ([41:13], Charles)
• Ellen’s dread as the mystery builds: “Dry ice. A guinea pig. A dog.” ([49:18], Russell)
• The entire sequence of mounting terror as Ellen waits for what seems like certain death.

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III. "His Girl Friday" — Screen Guild Theater Adaptation

(Originally aired 3/30/1941)
Segment Start: ~[68:47]

Plot & Presentation

• A dynamically performed one-act radio version of His Girl Friday, highlighting the superstar chemistry and rapid-fire wit between Cary Grant (Walter Burns) and Rosalind Russell (Hildy Johnson).
• Iconic Banter and Character Dynamics:
  • Walter (Grant), managing editor, tries to win back Hildy (Russell), both professionally and personally.
  • Hildy announces her plan to marry Bruce Baldwin and leave journalism, but gets swept back into newspaper chaos when Walter ropes her into covering one final case—the fate of condemned prisoner Earl Williams.
  • Hilarious scenes as Walter manipulates every situation, including repeatedly landing Bruce in jail with invented charges.
• Classic Jokes and Exchanges:
  • "You look wonderful. Yep, you look like the latest edition right off the press." — Walter ([69:11], Grant)
  • "Aren’t you sorry your subscription’s been cancelled?” — Hildy ([69:16], Russell)
  • "Well, I was only a husband trying to protect his home." — Walter ([69:52], Grant)
  • "What home?" — Hildy ([69:55], Russell)
  • "How many times you got a murderer locked up in a desk? Once in a lifetime, Hildy." — Walter ([83:44], Grant)
  • Hildy, torn between love and journalism: “Gee, Walter, I never figured it that way.” ([84:03], Russell)

Memorable Scenes

• Hildy negotiating story and pay with Walter; Bruce’s continued misfortune at the hands of Walter’s schemes.
• The race against time to scoop the story of Earl Williams' escape, making slapstick use of a roll-top desk to hide the fugitive.
• The ultimate admission of true feelings and reconciliation:
  • "Oh, Walter, you darling." — Hildy ([91:44], Russell)
  • "We're going to be married again." — Walter ([92:21], Grant)
• Plans for a honeymoon quickly derailed by breaking news, poking fun at the relentless pull of the newspaper business.

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Standout Quotes & Moments (with Timestamps)

• Memory & Identity:

  • "The last I remember was July 1943. Years just gone. Amnesia. A black curtain comes down over your mind." — Cary Grant, The Black Curtain ([10:21])

• Revelation & Guilt:

  • “Why, Ruth? Why did you kill him?” — Grant
    “He was always after me... I hated him...” — Russell ([32:22])

• Domestic Suspense:

  • "Business has been pretty bad... mortgage... company funds... auditors are coming in..." — Charles, Consideration ([38:27])
  • "Dry ice. A guinea pig. A dog." — Ellen, Consideration ([49:18])

• Quippy Bickering:

  • “Aren’t you sorry your subscription’s been cancelled?” — Rosalind Russell, His Girl Friday ([69:16])
  • “What home?" — Rosalind Russell ([69:55])
  • “How many times you got a murderer locked up in a desk? Once in a lifetime, Hildy.” — Cary Grant ([83:44])
  • "We're going to be married again." — Cary Grant ([92:21])

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Structure & Pacing

• Seamless Tone & Patter: The succession of snappy dialogue, urgent plotting, and dramatic reveals gives each play a classic “Suspense” flavor but with unique shades—noir for Grant, psychological/domestic for Russell, screwball for their duo.

• Romantic Undercurrent: Despite the darkness of the themes (“The Black Curtain” and “Consideration”), love and redemption are central—either tragically denied (as with Ruth) or hard-won (as with Ellen and Charles, and Walter and Hildy).

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Conclusion

Stars on Suspense Episode 438 delivers high-caliber old-time radio drama, showcasing the versatility and star magnetism of Cary Grant and Rosalind Russell—whether in psychological thrillers, domestic suspense, or their legendary comic battle of the sexes in His Girl Friday. For fans of classic Hollywood, snappy dialogue, and vintage radio, this episode is a treat from start to finish.

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[Selected Timestamps for Key Segments]

• [00:51] Host intro and His Girl Friday background
• [08:44] The Black Curtain — begins
• [38:02] Consideration — begins
• [68:47] His Girl Friday radio adaptation begins
• [92:21] Walter & Hildy’s reconciliation/happy ending

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This summary is intended for listeners and fans of classic Hollywood and old-time radio who want a detailed, engaging overview of Episode 438’s highlights, content flow, and memorable moments. Dialogue captures original tone and language for authenticity.

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.

[B]

Hello and welcome to Stars on Suspense, presenting Hollywood legends in radio's outstanding theater of thrills. It's February and Valentine's Day is right around the corner. So in honor of Cupid, we're featuring Hollywood tales of romance and classic couples every week this month. And we're kicking off with an all time classic. Howard Hawk's screwball comedy romance, His Girl Friday. It's an adaptation of the Front Page, the play by Ben hecht and Charles MacArthur, a story that's been adapted several times for the big screen. But Hawks took the two main characters of newspaper editor Walter Burns and his star reporter Hildy Johnson. And instead of having them be two men, he turned them into a divorced couple. So there's more than professional feelings at play when Walter tries to keep Hildy from leading the world of journalism for married life with a new husband. And as the clashing couple, Hawks cast Cary Grant and Rosalind Russell, who are pitch perfect and who reprised their roles for a radio adaptation that we'll hear in just a little bit. Now, at the time of this recording, his Girl Friday is available to stream with ads on the Roku channel. But since its fast paced dialogue is such a huge a huge part of the movie's appeal, if you've never seen it, I recommend watching it on an ad free platform for the first time. You can buy or rent it digitally and you can get a nice blu ray or 4k from the criterion collection. Today we'll hear Mr. Grant and Ms. Russell as Walter and Hildy. But first they'll star in a pair of episodes from suspense. Cary Grant is up first in the Black Curtain, an adaptation of a story from cornell Woolrich from December 2, 1943. This marked the first time that suspense was sponsored by Roma wines. Then we'll hear Rosalind Russell in consideration from February 3, 1950. And finally, both stars reunite in a Gulf Screen Guild Theater adaptation of his Girl Friday. It originally aired on CBS on 3-30-19, 1941. We're off to the newsroom. But first it's a double dose of suspense. We'll kick things off with the Black Curtain right after these messages.

[A]

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[C]

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[A]

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[C]

Bill, what are you doing stretched out on the couch? You better get ready if you're going to that meeting.

[A]

I'll have to miss it tonight. Too much supper. My stomach's got me down.

[C]

Well, don't blame supper. You stuffed yourself like a glutton.

[A]

I'm not just stuffed, I feel awful.

[C]

I can imagine. You've got a good old fashioned upset stomach and I've got just the thing for it. Pepto Bismol.

[A]

Oh, I don't want to take anything. I can't afford to stay home tomorrow.

[C]

You won't have to. Pepto Bismol is not like that. It won't add to your upset, but will help to soothe and calm it very quickly.

[A]

Oh, nothing could be that good.

[C]

No, just try it. Here, Take a good swallow of Pepto Bismol and you'll begin to feel better in no time. Why, you might even get to that meeting tonight.

[A]

After all, Pepto Bismol is a gentler, better way to help an upset stomach. In fact, it's better in many ways. Pepto Bismol helps bring relief almost from the first moment. It begins to calm and quiet the upset right away. Then, because the Pepto Bismol formula is gentle and soothing, it doesn't interfere with normal digestion and doesn't add to the upset. Yes, Pepto Bismol Is the dependable, speedy, pleasant tasting way to care for common stomach disturbances. Remember this when your stomach's upset, don't add to the upset. Take Pepto Bismol to soothe it, calm it and feel good again. Make your bath a real pleasure and a beauty bath at the same time. With white floating Swan soap you can. Because Swan's exclusive super creamed blend gives you a wonderful new kind of beauty lather for your bath. Rich, creamy lather that cleanses gently then rinses away so completely your skin. Skin is left fresh, smooth, lovely as ever. Yes, it's the perfect bath soap. Super creamed Swan soap. And now a tale well calculated to keep you in suspense. Suspense. Presented by Roma Wines made in California for enjoyment throughout the world. Salud. Your health, senor. The world toasts Roma and Roma toasts the world. The wine for your table is Roma Made in California for enjoyment throughout the world. This is the man in Black here for Roma Wines to introduce this weekly half hour of suspense. Tonight in Hollywood, we are honored and happy to have with us one of the entertainment world's most distinguished gentlemen, Mr. Cary Grant. The suspense play, which stars Cary Grant and which is produced and directed by William Speer is the exciting, intense bestseller by Cornell Woolrich called the Black Curtain. Suspense is compounded of most mystery and suspicion and dangerous adventure. In this series. Roma brings you tales calculated to intrigue you, to stir your nerves, to offer you a precarious situation and then withhold the solution until the last possible moment. And so, with the Black Curtain and with the performance of Cary Grant we again hope to keep you in suspense. It began, or rather, life began again for me, I guess you'd say. That day on that street. My head was pounding terribly. I could hear all the noise and the people milling around. Everything was a jumble at first. Gangway there. Now let the doctor.

[C]

I seen it happen, Mr. Policeman. He was running. Boy, he really gave himself a clunk on a beat.

[A]

All right, son. Now get back there. Everybody back. Oh, my.

[C]

His wallet fell out of his pocket and a big boy grabbed it and ran away.

[A]

All right, now back, everybody. Let the doctor throw. Give him out here. I'm okay. No, never mind, Doc. I'm okay. Seems to be nothing much to matter with you, sir. No, I'm all right. Yes, I can talk to him now, Doc. I'll go ahead, officer. Just a bad bump on the head, I think. That's right. We can walk all right, can't you? Yeah, I think so. Sure. Now, let me brush you on. Thanks. Thanks. I'LL be fine. Hey, wait a minute. What am I doing with an overcoat? All right now, mister, just so they got it on the blotter. What's your name? Where do you live? Townsend. Frank Townsend. 820 Rutherford St. I want a cigarette. You're still sick here. Oh, no, thanks. Don't smoke. Well, I'll be getting back then. Drop in at the Receiving Hospital if you want us to check you off. Yeah, I will.

[C]

Hey, here's your hat, mister. I found it.

[A]

Oh, thanks, kid. That's all. Now, come on, move along. The guy's all right. Come on. Oh, well, thanks. I'm sorry about the fellow that got your wallet anyway. Here's your cigar case, Mr. Townsend. Guy found it right alongside of you. Hey, wait a minute. This isn't my hat. D.N. those are my initials. D.N.

[C]

Sure, that's your hat. I seen it roll off you when you went down. Try it on.

[A]

You see?

[C]

It fits. Looks good.

[A]

But what am I doing with a cigar case? D.N. same initials as the hat.

[C]

Don't you even know your own hat, mister?

[A]

Wait a minute. Wait a minute. I'm trying to think. Where is this?

[C]

What?

[A]

This street you're on. Tillery Street. Tillery Street? What am I doing on Tillery Street?

[C]

He's lost.

[A]

All right. Now, sir, my suggestion is that you go on home and go lie down. It's cold and starting to snow. No, no, please. Wait a minute. Don't leave me. Tell me what happened. Why, you slept on this icy sidewalk. Fell down and hit your head good and hard on the curb. You're out for about 20 minutes. Ice on a sidewalk. Well, look at it. That street cleaning department ought to clear away the snow there too. Snow and ice? Sure. Why? Snow in July? July? It's December. December, 1943. 1943. You better go on home, son. Good night. 1943. December 1943. The last I remember was July 1943. Years just gone. Amnesia. A black curtain comes down over your mind. That black curtain had been over mine for three years. Where had I been? Who had I been? I hadn't been Frank Townsend. I'd been someone else. D.N. someone whose initials were D.N. i walked along Tillery street thinking about it. Those three years. I could have been married. I could have been a thief. I could have. Something made me turn around on the street for a moment. That was when I first saw him. Gray eyes. He'd been talking to the cop who took my name. He looked up as I did, and then he started to walk rapidly. In my direction. I backed away. Instinctively, something about him spelled trouble. He called to me as he came forward. Stop Townsend. Instinctively, I knew I should run, get away from him. I looked back as I rounded the corner. He had a gun in his hand. He raised it. Then I turn and ran for my life. What lay behind that black curtain which separated Townsend from his past? With this remarkable story, and with Hollywood's distinguished Cary Grant as our star. The Roma Wine Company of Fresno, California. Tonight assumes the sponsorship of Suspense Radio's Outstanding Theater of Thrills. This is the dinner hour at an exclusive yacht club in Latin America. And we discreetly eavesdrop on that gentleman and his lady there at the table.

[C]

This has been a time long, lovely dinner, Ramon. And only you would have thought to have such a delicious wine as the finale. It was so perfect. Is it truly a wine from California? In North America, yes.

[A]

See, this is denoted Roma Port of California in the United States. We were fortunate to have it tonight. For now, in time of war, only occasional ships can bring us Roma wines. I knew that you were fortunate. Yes, for Roma wines. Please. The exacting tastes of wine lovers in many countries. And we in the United States are most fortunate of all. Or we can enjoy any of those delicious wines. From the famous Roma wineries. Located in choice wine districts throughout California. At prices unbelievably small for wines of such distinguished character. Because we do not have to pay heavy shipping costs and duty here at home in America. Roma wines cost only a few cents a glass. What's more, you'll find Roma California wines just around the corner. At your favorite dealers. Right there waiting for you now the types of Roma wines you most enjoy. So if you haven't yet discovered the delight of Roma wine. Regularly with meals or when entertaining friends. Make your first purchases of Roma tomorrow. R O M A Roma. America's largest selling wines made in California for enjoyment throughout the world. And now it is with pleasure that we bring back to our soundstage. Mr. Cary Grant and the Black Curtain. A story well calculated to keep you in suspense. Why was he following me with a gun? What did Gray Eyes want with me? I must have done something. I beat it down the subway and hid. I had to think it all out carefully. I knew I was on the spot for something. Gray Eyes meant business. What could it be? Who had I been during those last three years. With that black curtain in front of them? Well, maybe I'd been a gangster. And he was one of a mob that wanted to rub me out. I didn't know. No identification. My Wallet stolen. Nothing in my pockets that would help. Just dn in the hat and dn on the cigar case. Dn My head was aching with worry. My stomach had panic in it. I had to find out who I'd been, what I'd done. But how? Where? Tillery Street. That's where I'd been when I woke up. Tillery Street. Well, maybe Gray Eyes would go back there too, looking for me. But I had to take that chance. Tillery Street. Yeah. Oh, good evening, Pop. Oh. Oh, hello there. Couldn't see you under that hat at first. Oh, you know me? Sure. What can I get you, son? Oh, well, you got an evening paper I could look at? Nope. Sorry. Never read them. Too much trouble in the world these days anyhow. So how you been? You haven't been around two or three weeks. Oh, well, I'll be kind of busy. Look, Pop. Yeah? I made a bet with a guy that even though you see so many customers, you'd walk right up and give me my full name. Oh, well, I'm sorry I don't know it. I don't think I ever heard your name, but I know your girl. My girl? You do, huh? Yeah. Well, now, maybe I can still win my bet if you'll give me her name. Gee, I've heard you mention it. I'd know it if I heard it. You are? Well, see if I can steer you a little. Now, is it Mary? No. Alice. Lillian?

[C]

Ah.

[A]

Margaret? No, wait a minute. Wait. I know. Ruth. That's it.

[C]

Ruth.

[A]

Ruth. Yeah. Well, sure. You got it now. Now, what's Ruth's last name? Gee, I don't know her. I know where she lives, though. You do? Yeah, right across the street. Artillery Apartments. Well, that's right. But now. Now what? Apartment. What's the number of Ruth's apartment? 3C. Apartment 3C. Say, that's pretty good, if I do say so. I was only there once. Remember? The night I brought the sandwich over. Well, thanks. Will you win your bet, mister? Huh? Oh, yeah. Yeah, I think I will. What's your name? So I'll know it next time? Oh, I'll tell you tomorrow, I hope. So long. So long, Pop. Thank you. I'll be. What's the matter? Nothing, nothing. Just tying my shoe. I'd just been going to walk out when I saw him standing across the street. Gray eyes again. I ducked down behind the store window and watched him. He looked over in my direction and then up and down the street. Then he lit a cigarette and stole down the corner. The minute he disappeared, I yanked the door open, dashed out, ran across the Tillery Apartments and went in.

[C]

Who is it?

[A]

Ruth?

[C]

Yes?

[A]

It's me.

[C]

Dan. Oh, Danny, where have you. Get in here. Oh, darling, it's really you. I thought you.

[A]

Hello, Ruth.

[C]

Oh, Danny. Why did you come here? He's been around here twice today. He may be in the neighborhood right now for all you know.

[A]

Who?

[C]

Oh, well, Slattery, of course.

[A]

Has he got gray eyes?

[C]

What? Yeah. Did you ever see a detective that didn't?

[A]

Oh, I see. Sure, sure.

[C]

Danny, what's the matter with you? You're acting so strangely.

[A]

Well, I. I just want to look at you.

[C]

You seem so different, so far away. You haven't kissed me.

[A]

Well, that's easily fixed.

[C]

Oh, darling. Where have you been for three weeks?

[A]

All around. Miss me?

[C]

You know I did. Oh, Danny, do you suppose. Do you think we could get away tonight? I've got $3,000 saved up. We could go to Mexico or South America. We could get married. Mr. And Mrs. Daniel nearing tour the world.

[A]

Daniel Nearing and wife.

[C]

Sounds plenty good to me.

[A]

You'll never know how good.

[C]

We'll get out of here tonight. I'll call up and tell them I'm quitting my job. I'll say I'm sick. All my stuff's here. Nothing's out there but a couple of uniforms. I'll make Alma and Franklin a present of those.

[A]

Alma and Franklin.

[C]

Don't you bother your pretty head about those two charmers. Maybe they weren't glad when it happened. A couple of vultures. Bye bye to them all. With you back, Danny, just think, with my 3000, we can.

[A]

Do you think you ought to quit your job?

[C]

Absolutely. I think so. I was never cut out to be a nurse anyway.

[A]

I guess you weren't any more than I was cut out.

[C]

Any more than you were meant to be a secretary.

[A]

That's right. Well, I never wanted to be a secretary. Just drifted into it, I guess. Kind of got on my nerves. Especially toward the end. You know, the. The boss was no cinch to work for.

[C]

He certainly wasn't. It was a rat. The whole dickory bunch are mean, rotten. The whole family?

[A]

Yeah, that's right.

[C]

Well, except the old man.

[A]

Oh, yeah, the old man. I sort of liked him, didn't I?

[C]

He loves you, Danny. I think he wished you'd been his son. Poor old man. He's the only reason I've stuck around out there this long.

[A]

How are things out there?

[C]

Oh, they've been questioning all of us. They've laid off lately, though, since you. Oh, Danny. Don't let's talk any more about it. You're back. That's the main thing. I just want to forget New Jericho.

[A]

And the whole New Jericho, huh?

[C]

Yes. Oh, Danny. Danny, if only it hadn't happened.

[A]

What hadn't?

[C]

You know what. Oh, Danny, what's going to become of you and me?

[A]

I wish I knew.

[C]

Danny, get away from that window. Leave that shade down.

[A]

He's down there.

[C]

Who?

[A]

Gray eyes. He's standing in front of the hydrant. He's coming in here in the building.

[C]

Did he see?

[A]

Ruth, will you help me?

[C]

What are you going to do?

[A]

I'm going to give myself up.

[C]

No. No.

[A]

You know it's better than getting shot at. What can they do to me?

[C]

You crazy fool? They can send you to the chair.

[A]

The chair?

[C]

What do you think happens to a man when he's guilty of murder?

[A]

Murder? Ruth, listen to me. I'm not a murderer. If the whole world says I committed murder, I say I didn't. The me that's in me says I didn't.

[C]

I never said you were, Danny. I always said you didn't do it. Oh, if you hadn't run away.

[A]

So that's it. All right, Nearing, open up.

[C]

Why did you come here, Danny?

[A]

Why? We gotta get out of here. How about the fire escape shaft? Dumb waiter.

[C]

Dumb waiter.

[A]

Here, get in. I'll stand on top and work the ropes.

[C]

I don't think it can hold us both.

[A]

Got to. Can you hear me?

[C]

Yes. Yes. Danny. Danny, what do we do?

[A]

We're going back there. To New Jericho.

[C]

New Jericho? No. Danny. Door, please, for me.

[A]

Got to. I've got to find out. We're going together.

[C]

No. No, Daddy. No. I've got the money. We can get out of here and.

[A]

We can stop it.

[C]

Daddy. Ouch. My arm. You're hurting me.

[A]

From here on in, we're sticking together. They're gonna take me back there, back where it happened.

[C]

All right, darling. You're crazy, but I'll go wherever you go. I can't lose.

[A]

On the train. Ruth and I said very little to each other while I hid in the telephone booth at the Pennsylvania Station. She'd bought us a couple of cheap overcoats. I sat hunched up in mine, thinking. Thinking Ruth had brought along the newspaper clippings. I looked at what they said for the 20th time, trying to see if there was anything there that would help me. Dietrich. Slayer's soft, it said. Secretary wanted in brutal slaying at suburban estate. Police are pressing the search for Daniel Nearing, secretary in the employ of the late John Dietrich, 58, member of a well known local family who was shot and killed in the drawing room of his new Jericho estate on the morning of November 7th. Nearing disappeared November 7th. On the morning of which date he is known to have had a bitter quarrel with the deceased. This last was attested to at the inquest by Elmer and Franklin Dietrich, widow and brother of the murdered man, me. Well, I had all the facts now. Wanted for murder. And yet everything that was in me told me that no matter who I'd been, however many memories I had lasted, I was no killer. That I couldn't have. I had to get into that Dietrich house and stand again in the room in which it had all happened. Maybe something would come back to me. Maybe there would be.

[C]

Danny. Danny.

[A]

Over here, Ruth.

[C]

It's dark. I couldn't see you. Almond Franklin just left. They drove down to the village.

[A]

Did you say anything about you being out here on your day off?

[C]

Yeah. Alma said something, but I said I had nothing to do in town and came out to write some letters.

[A]

Let's go then.

[C]

Oh, Danny, I'm scared. Please, let's not stay out here.

[A]

You said you loved me.

[C]

I do, Danny. I do. That's why I'm scared. They're only going to the village. They'll be back in half an hour at the most.

[A]

Go on. Open the door, Bruce. Hurry. I've got to see the inside that room. The place where it happened.

[C]

What's wrong, Danny? I'm telling you, you're wrong.

[A]

Open the door, Ruth. Quickly. All right. Now let's have a look at that room.

[C]

Please, Danny, please don't. Don't talk about it.

[A]

So this is where I'm supposed to have murdered John Dietrich.

[C]

Danny, please.

[A]

Where was it? Show me exactly where it was, Ruth. I've got to know.

[C]

It was there, right there. He was standing by the grandfather's clock. When are you going crazy, Danny? If they get you, you'll hang that clog, huh?

[A]

You still believe in me, don't you, Ruth?

[C]

I believe you, Danny, but I'm scared. I love you, Ruth.

[A]

Wait a minute. What's that? Listen.

[C]

It's only the old man. He's asleep in that room up there. Don't go in there, Danny. You'll wake him.

[A]

I want to see him.

[C]

No, no, don't, Danny. He can't help you, you know. He's paralyzed and he can't talk.

[A]

Turn on the light. I want to see him. There.

[C]

You woke him. It's me, Mr. Dietrich. Ruth. This is Danny. You remember? Danny, don't you.

[A]

Hello, Mr. Dietrich.

[C]

See how his eyes are shining?

[A]

Yeah. Was he here when it happened?

[C]

You know that, Danny. Why do you ask such funny questions? He's been in bed here for five years.

[A]

That mirror on the wall there, the clock looks. You can see the grandfather's clock in the other room.

[C]

What are you getting at, Danny?

[A]

He could see it. The old man could see the murder through the mirror. Oh, if only he could talk.

[C]

He can't talk. You scare me, Danny.

[A]

He saw the man who killed John Dietrich. Look, look, he understands what I'm saying. He's blinking his eyes.

[C]

Oh, stop torturing him, Danny. Can't you see what you're doing?

[A]

He's trying to say something. Look, look, his eyes are blinking. He's gonna help me. Go outside and watch Ruth. Go on.

[C]

Now, watch out at the entranceway. Be careful, Danny, please. They'll be back any minute.

[A]

All right, leave me alone with him.

[C]

I'll call if I hear them coming.

[A]

Look, now, Mr. Dietrich, don't be afraid. I'm gonna ask you a question and you're gonna answer me. Are you trying to tell me something about the murder? Now blink your eyes. Blink twice if you are, and that's it. Once. Twice. That's good. Did you see it happen here in your mirror? Think once if the answer is no, twice if the answer is yes. Once. Twice. You did, huh? You saw it. Now then, is the murderer in this house?

[C]

Get out of here. Hide. Run, Danny, run.

[A]

Is the murderer in this house? Blink once for no. Twice for yes. Yes in this house.

[C]

Danny. Danny, they're coming.

[A]

Wait. Wait. I've almost got it now, Mr. Dietrich. Was it me? Once for no, twice for yes. Was it me?

[C]

Get out of here, Danny. Into the big room behind the curtain. I'll talk to them.

[A]

All right? All right. Well, thanks, Mrs. Dietrich. I'll be back.

[C]

Ruth. Ruth, is that you in Father's room? Yes. Are you here alone? Why, yes. Why?

[A]

We thought we heard voices. What are you so jittery about, Ruth?

[C]

I'm just tired, that's all. May I go to bed now? Father's still awake, Ruth. He'll go to sleep all right. I'm going upstairs, Mrs. Dietrich.

[A]

Now, good night, Ruth. And take your flashlight with you.

[C]

Oh, I'm sorry. It was dark on the road tonight. Good night, Drew. Good night.

[A]

She's brought him back here with her. Him? I think.

[C]

Who? Dan? Oh, Franklin.

[A]

Take it easy. If he's here, we'll get him.

[C]

After the evidence we gave against him at the hearing.

[A]

I'm frightened.

[C]

Let's get out of here fast. I'll go to the village for the police.

[A]

Call the police. No. I'll do it. Hello? Hello? It's too late. It's dead. The wire is cut. Come on. We'll both drive to the village.

[C]

But he may be waiting for us out by the car.

[A]

What?

[C]

What are you doing there, Franklin?

[A]

I think I just might need my gun. Come along. The moment they left the house, I made for the old man. I called for Ruth, but she was gone. Maybe Franklin and Elma had caught her after she cut the telephone wire. But I couldn't wait. My life was hanging on minutes now. I shot the flashlight on the old man's face. Now, Mr. Dietrich, you're helping me fine. You know I'm trying to save my life, don't you? Now, the murderer. Was it me? Was it me who did it? Me, Danny Nearing. Blink once for no. Once. Once. Oh, you're sure? You're sure it wasn't me? Oh, you're smiling, Mr. Dietrich. Smiling. Now, it was somebody in this house. Then who was it? Oh, can't you make a sound? Help me. You've got to. Was it Elmer? Twice for yes, once for no. Once. Not Elma. All right, then. Was it Franklin? Up with the hands. Nearing up. Or you'll never go to trial. Franklin. Look, you've got to listen. You've got to shut up. And drop that flashlight. Trying to kill the old man too, huh? The murderer returns to the scene of his crime. You know I didn't kill him. You tell that to the police. Alma will have him here in a couple of minutes. Where's your girlfriend, Ruth? She's not here. I don't know where she went. Never mind. They'll find her. You're a dead duck, Neary. He killed my brother and beat it. What'd you get out of it? That's always puzzled us. You killed your brother and now you're going to kill me. You've gone nuts, too. Why should I kill my own brother, you idiot? To get his share of the estate and his wife, Alma, amongst other things. But you can't stop with killing me. Someone else knows the truth. The old man saw it in the mirror. You'll have to kill your own father, too. The old man saw it. How do you know? He told me. You're lying. He can't talk. He can't even move. He can hear. He can blink his eyes. Come over here and look. Now look here. I don't mean Rose.

[C]

He'll be all right. I heard him. He Was going to kill you. Here's the gun, Danny. Take it.

[A]

Rose. I shouldn't have. In another minute. I'm not sure it was Franklin.

[C]

Dan, darling, please. Let's run for it. They'll be here in a second. It's your last chance. They'll all swear you did it.

[A]

Not if I can be with the old men in another half minute. Mr. Dietrich. Mr. Dietrich, it's Danny again.

[C]

No, Danny, don't. Don't.

[A]

Tell me, Mr. Dietrich, was it Franklin? Did Franklin kill your son John? Think once if he did. He's afraid. Why are you afraid? Oh. Oh, it's this gun. Here. Take the gun, Ruth. You take it. He's afraid. I'm not Gonna hurt you, Mr. Dietrich. What's the matter? Why don't you answer me? Who killed John Dietrich? It wasn't me. It wasn't Elmer, it wasn't Franklin. But someone in the house. Was it Ruth? Ruth. You.

[C]

I told you. I told you not to come. Oh, I love you, Danny. I wanted you. I wouldn't have let them get you.

[A]

Why? Why, Ruth? Why did you kill him?

[C]

He was always after me. Wouldn't leave me alone. I hated him. Then that night he came at me, threatened me. Said he'd kill me if he couldn't have me. Nobody could. He had a gun, and I got it away from him. He hit the clock. He leaned against it. I thought he'd never fall down and die. It was the day you ran away. And I was crazy. They thought it was you. They started looking. I love you, Danny. I still love you. I begged you not to come back here.

[A]

Ruth. Put down that gun. Ruth.

[C]

No. Stand back, Danny. Stay over there. Just want to look at you. I was hoping we could get away together. But you've been through enough, Danny. And all because of me. Now you're clear, Danny. And this is going to clear me. Darling.

[A]

Oh, Bruce.

[C]

Ruth.

[A]

Well, I guess that's about all there is to tell. I tried to put it all behind me, to resume my life where it left off over three years ago. Sometimes, when it gets toward evening, I go and walk along Tillery Street. Once in a while, somebody, somebody I don't know, will say hello. Danny. I just say hello and walk on. I don't want to find out anything anymore. I want it all to die away and be still. And it will. All except, Ruth. Because somewhere behind that black curtain, I was loved. And loved someone we must have known. A love that I'll never know again. And so closes the Black Curtain, starring Mr. Cary Grant. Tonight's Tale of Suspense since the beginnings of history, people have enjoyed wine. Ages ago, our ancestors found that wine made any food taste better. Wine is a simple pleasure that anyone can enjoy. That is why Roma has devoted all its winemaking skill to producing wines of fine quality at a price that means you can enjoy them often, just a few cents a glass. Don't feel that you need fine crystal or a special occasion to serve Roma wines. Next time you have a quick supper, serve Roma wine in plain tumblers with your spaghetti or cold meats. And notice how much more enjoyment and zest it adds to the meal. Serve Roma wine often, cool or chilled. You'll quickly discover why Roma R O M A R Roma wines are America's largest selling wines. Yes, Roma wines are true to type. Roma wines are faithful in flavor. Roma wines are sound of character. Roma wines are reasonable in cost. Made in California for enjoyment throughout the world. Our thanks to Cary grand for his suspenseful performance here tonight. And Mr. Grant wants us to say that he will be listening with you next week at the Same hour to Mr. Robert Young in the story called the Night Reveals. Don't forget. Then next week, same time for Robert Young in suspense presented by Roma Wines. R O M A Made in California for enjoyment throughout the world. This is the Columbia Broadcasting System. Suspense. Autolite and its 96,000 dealers present Ms. Rosalind Russell in Consideration a suspense play produced and edited by William Spear, Hollywood and Vine Driver and Can you make it snappy? I'm late. Can I make it snappy? I got auto light spark plugs. What's snappier? Auto light spark plugs. Which type? Regular or resistor? Why resistor, my hurried huckster. Only auto light resistor spark plugs. Hold on, my haloed hackster, let me say it. Only auto light resistor spark plugs can give you smoother performance on leaner gas mixtures, greater gas savings and double life under equal service conditions. You right there. All right? Of course I'm right. And it's all because every auto light resistor spark plug has an exclusive built in 10,000 ohm resistor that permits a wider gap setting and makes all these advantages possible. So, friends, next time you have your car serviced, ask your dealer to install a set of auto light spark plugs. Remember, whether you choose auto light regular spark plugs or wide gap auto light resistor spark plugs, you're always right with auto light. And now, with consideration and the performance of Rosalind Russell, Otolite hopes once again to keep you in suspense.

[C]

Well, gloom don't Irate. A. Good morning.

[A]

I'm sorry. Good morning, darling.

[C]

You know the Masons have asked us to cocktails tomorrow. I told them I didn't know I'd check with you. Oh. Oh, by the way, I'm completely out of aspirin again. Would you mind picking me up a bottle on the way? Charles, you're not reading the paper, are you?

[A]

No, Ellen, I'm not.

[C]

Oh. What's the matter?

[A]

Everything's the matter, darling. Everything.

[C]

What is it? Whatever. Oh, come, dear. Nothing could be as bad as the look on your face.

[A]

I'm afraid it's worse.

[C]

Well, dear, what on earth?

[A]

Bad trouble, honey?

[C]

Charles, what do you mean?

[A]

Business has been pretty bad since the war. Our contracts ran out, and so you wouldn't have to go without, I took out a mortgage. Mortgage on everything. House, car, even your jewelry. I figured on business getting better, but the note came due, so I paid it off. Our company funds. Well, don't look. Look at me like that. Tom and I had a Navy contract coming up that would cover it and I wouldn't have to dip into our savings with the Navy canceled. And now next week the auditors are coming in to examine the books and I have to go.

[C]

Why didn't you tell me?

[A]

I figure roughly we should have between 15 and 18,000 in the safety deposit box. I want you to go down this morning, take out 10,000, put it into a cashier's check and bring it to my office before 3 this afternoon. Charles, I know all I can say now is that I'm sorry, but. Well, just do it, will you, please?

[C]

Charles, I've got to tell you something. I can't bring the money down to you this afternoon.

[A]

Honey, you have to because.

[C]

Because there isn't any.

[A]

What did you say, Ellen?

[C]

Well, you know how I love to go to the races. You took me to my first one, remember, Charles? We went with Zell and Tom and. Well, you always used to say that if you lose, so what? You'd spend it on a nightclub and you'd hate the floor show, remember?

[A]

Go ahead.

[C]

Well, I don't know how it happened. I started betting here at home on the phone and got in deep and began doubling up.

[A]

Ellen, I'll go to prison if I don't have that money.

[C]

All I had to catch is one winner, just one, and I'd been even. Just one, Charles. But it wouldn't come in.

[A]

Don't believe it. You couldn't do that to me, Charles.

[C]

In one month I'd gone through $22,000, including some money I borrowed from the bank. Charles. Charles, I didn't mean to. Oh, Charles. Don't hate me, Charles. That night, he didn't come home till very late. Very late. And when he did, he. He was different. He wasn't angry with me.

[A]

It's all right, darling. Don't you worry.

[C]

What are we going to do?

[A]

It won't be so bad.

[C]

Oh, you can't go to jail.

[A]

Of course not.

[C]

Well, have you. Have you worked out something?

[A]

Everything.

[C]

Oh, I'm sick. I'm so sorry. What are you going to do?

[A]

No worrying.

[C]

Oh, but I do worry, and I should.

[A]

Darling, don't work yourself up. I've already made arrangements and everything's going to be taken care of. Now take your aspirin and go to bed.

[C]

Aspirin? Even in the midst of all this, you didn't forget?

[A]

No, Ellen. I'm never going to forget anything. That'll make you rest easier.

[C]

From then on, he began to work a great deal at night. Work for hours alone in his little laboratory that he had built out there in the garage. I could feel attention mounting inside me, building and building and building to my nerves. Became so taut that I couldn't sleep. The least sound awakened me. One night in particular, I thought I heard the muffled whine of a dog in our backyard. We had a high wire fence completely enclosing our grounds. It would be impossible for any animal to get in. I raised up on one elbow, listened intently. There it was again. I got up and went to the window. Saw nothing. There was no reason to arouse Charles. He'd worked late out there again. I slipped on a robe and went. Went down the stairs. I opened the back door. Then again. This time it was distinct. There was no doubt it was coming from the laboratory. I walked across the yard to the garage and waited. There were no more sounds. As I reached for the latch, I noticed that my hands were wet. And then I stopped. There was a new lock on the laboratory door. In the practical light of the next day, I convinced myself that I had a very bad dream and that I'd better watch my nerves. That evening, Charles brought home a dinner guest. Bill Dover, an old friend of the family and our insurance agent. After dinner, Bill leaned back. There's a cigar.

[A]

Well, how about it?

[C]

What?

[A]

Bill, the insurance darling. He's talking about increasing our policy.

[C]

Oh, Well, I don't know. Maybe sometime.

[A]

You've come a long way. Your standard of living is higher. If something should happen to either of them.

[C]

Well, maybe things seem more prosperous than they are right now. I don't think we can even consider.

[A]

Let him talk, Alan. But we have a new family plan. Talking to Chuck about it this afternoon. Where both of your policies could be increased to 30,000 apiece. In other words, trebled. While your premiums would only be twice what you're paying now.

[C]

We can't afford anything like that right now. Don't you agree, dear?

[A]

There's anything we can afford, it's this. We've discussed it before. Write up the papers. Oh, well, as the fellow says, I just happen to have them here in my briefcase. This is very wise, but now, please don't meet it as a salesman. Insurance is always a wise investment. Security. It isn't pleasant, but should something happen to either of you, the other would receive $30,000. That's security.

[C]

I watched with a sort of numb helplessness as Bill filled out the papers. Charles signed his name and handed them to me. He looked at me and then he lowered his eyes. I looked down at the application form that he put into my hand. It was a mass of fine prints. All those clauses. But one word jumped up at me. One word that stood out as if it were printed in bold type. In big letters. The word was murder. I found myself reading. Suicide by the insured within two years following date. Policy is in effect. Voids all claims. Murder insured by beneficiary or any party connected in a fraud, fraudulent manner with beneficiary in said murder. Voids all claims. Any fraudulent act.

[A]

30,000. Well, Ellen, sign it.

[C]

Yes. Yes, of course. That night, Charles. Charles did something I'd never known him to do before. He got drunk. Bill left finally about midnight, and I got Charles upstairs. Somehow I helped him out of his clothes and he stumbled into bed and fell into a troubled sleep. I reached down and picked up a letter that had fallen out of his pocket. The letter head said, the city health department, office of the veterinary surgeon. Dear Mr. Forester, the autopsy you requested to be performed on your dog revealed no trace of poison any place in his system. Blood and all organs seem normal. Therefore, it is the belief of this office that your dog died of natural causes, probably a hidden heart ailment. And that there are no grounds from this examination to be suspicious of your neighbor. Sincerely yours, Dr. Lois Morial, Examiner. I stood there over my sleeping husband all these terrible words that I'd heard and seen tonight. Fraud, beneficiary, autopsy, murder. And two other words that Charles was mumbling in his sleep.

[A]

Thirty thousand.

[C]

Thirty thousand dollars. Thirty thousand dollars.

[A]

Autolite is bringing you Rosalind Russell in Consideration tonight's production in radio's outstanding theater of thrills, Suspense. Say, driver, how is it you know so much about wide gap auto light resistor spark plugs? I used to have a set of worn out spark plugs and this old buggy jumped and jounced like a bucking bronco. Then I heard a guy named Wilcox on the radio. Did he say that auto light resistor spark plugs let your engine idle smoother than silk, run better on leaner gas mixtures and actually save gas? Yeah, and he. And did he say that with auto light resistor spark plugs your engine starts like a whirlwind and gets off to a galloping start in cold weather? Yeah. He said that auto light resistor spark plugs have doubled the life of ordinary spark plugs under equal conditions. Yeah. Everyone with old worn out spark plugs should tell his dealer to install a set of auto light spark plugs right away. Either auto light regular spark plugs or wide gap auto light resistor spark plugs. Because you're always right with Autolite. And now Autolite brings back to our Hollywood soundstage our star, Rosalind Russell. With John McIntyre in consideration, a tale well calculated to keep you in suspense.

[C]

The next morning I woke with a frightful sense of lurking danger. Charles was up and gone. There was a note that said, sorry, darling. As I got out of bed, I stepped on something cold. It was a key to a padlock, the key to the laboratory. I went out there. I stood in the tiny room, a maze of odd shaped bottles, test tubes and boxes. I was about to leave when my hand brushed against the side of an old steamer trunk. It was ice cold and damp. It was locked and I couldn't force it open. So I called a locksmith and he came over. Please hurry.

[A]

You just slip this little rod in like this. A little turn.

[C]

Don't open it.

[A]

I thought you wanted me.

[C]

No, no. Just open the lock. Don't lift the lid.

[A]

Well, I can't very well.

[C]

Don't lift the lid.

[A]

There. Hey, you always keep dead guinea pigs in trunks?

[C]

Oh, no. Was just part of an experiment.

[A]

What killed him? There ain't a mark on him.

[C]

Well, the experiment.

[A]

Give me my money.

[C]

Yes, yes, of course.

[A]

Thanks.

[C]

After the locksmith left, I forced myself to look through the trunk. Nothing else in it. Nothing but a few pieces of wrapping paper. Wrapping paper with the words Frozen Carbonic company Dry ice printed on it. Dry ice. A guinea pig. A dog. I got in the car and went to our doctor's office. Dr. Hanson might tell me There you are, Ellen.

[A]

I'll sit down here.

[C]

Thank you.

[A]

Now, what's our trouble, Ellen?

[C]

Jay, Maybe I'm being silly.

[A]

Nothing silly if it worries you.

[C]

Well, Charles has been puttering around his laboratory. You know how he does. And he's been doing some experimenting with. With dry ice. And I. I've heard some things about it.

[A]

What kind of things?

[C]

That it. That it was dangerous. Say, if left in a closed room, it might even kill a person.

[A]

Oh, now, listen. Of all the chemicals he plays around with, dry ice is the least of your work.

[C]

Would it kill a person?

[A]

Oh, really?

[C]

Well, would it?

[A]

Well, I suppose it would. It evaporates into carbon dioxide gas. Would actually cause suffocation. Heart would.

[C]

There wouldn't be any trace of poison in the system. It would seem like natural causes.

[A]

What's that?

[C]

And then if it evaporated, there wouldn't be anything left, like water. No way to know. Nothing to trace.

[A]

What are you driving, Al?

[C]

Oh, I don't know. I. I'm upset. I guess you're right. I am being silly.

[A]

Now, look, Ellen, Charles is really a brilliant man. He knows exactly what everything he experiments with can do.

[C]

Yes, of course.

[A]

Of course. You didn't sleep well again last night, did you?

[C]

No. No.

[A]

I'll take two of those sleeping tablets and get to bed early.

[C]

Sleeping tablets?

[A]

The ones I gave Charles for you.

[C]

Oh, yes, yes, of course. That night, I sat in the upstairs den, read until my eyes burned without having the least idea what was written in the book. An hour passed by. Two, three. There were no more sounds coming from the bedroom. Charles was asleep. I wanted to sleep myself. Desperately, I had to sleep. But I wouldn't go into that room with him. I remember hearing the clock in the living room strike three. The night breeze shake loose a shutter downstairs. The distant cry of a tomcat. And then, unmistakably, I sensed a chill coming over the room surrounding me. A pale light was filtering through the Venetian lines. Morning was near. The room was like ice.

[A]

Ice. Charles, Don't. Ellen. You fell asleep. I just brought a blanket for you. I thought maybe you were cold.

[C]

No, I, I.

[A]

You've been dreaming. Now. There.

[C]

I don't want a blanket.

[A]

All right. Here, take these.

[C]

Take what?

[A]

A couple of your aspirin. Here.

[C]

No, no, no. I don't want to. I apologized an hour later for getting so upset. I even made coffee for him before he left for work. I was wary. Now, you see, it was far better not to let him know that I found out. And I'd have the advantage on him. And he wasn't able to deny it and change his tactics. So now I held the advantage and I. Hello, darling.

[A]

Surprise.

[C]

Oh, Charles. You're home early.

[A]

Well, don't look so disappointed. Expecting the iceman? Look.

[C]

What is it?

[A]

Open it up.

[C]

An orchid. It. It's beautiful.

[A]

Not half as beautiful as my lovely wife. That ain't all. More lots tonight, my darling. We're going out. Dinner at the Plaza, the show at the Green Hat, the gypsy violinist at Little Asia. And champagne. Nothing but champagne. All the champagne we can drink. We're going to pack into this night everything you ever wanted, ever loved. All the places we used to go. Tonight's yours.

[C]

Why, Charles?

[A]

Why? Well, does there have to be a why?

[C]

Usually not with this husband. Well, I mean, I don't.

[A]

You deserve it. That's enough now. Upstairs and into your best. Tonight's the night.

[C]

We started on the merry ground. But all that I could think of was tonight is the night. We went to all those places. Charles laughed a lot, but there was something horrible in the back of his eyes. They didn't laugh. It was very late when we got home. There was one of those notices on the door you get when a telegram has been delivered and no one was home to receive it. He called Western Union, listened while they read it to him, and then he put his coat back on, came over and put his arms around me.

[A]

Ellen, there's a new contract that came in this afternoon. I've got to go down at the office.

[C]

But it's nearly three in the morning.

[A]

I'll call you when I get there.

[C]

Well, if you have to.

[A]

It's a rush deal and I've got to figure out a formula so the boys can work on it. Morning. So go to bed. Dog.

[C]

Operator, Western Union, please. Just a moment. Western Union. This is Mrs. Charles Forrester, 1552 Cotton Manor Way. You sent a wire that was just read over the phone. My husband wanted me to get the exact wording. Would you read it again, please? One moment, please. Here it is. Go ahead. Charles tried reaching you by phone. Auditors still working on books. Call office immediately. Signed, Tom. Thank you. The auditors were still working on the books. Charles's boss was trying to contact him. Well, Charles wasn't worried. He'd have the missing money and a little extra besides the difference between $30,000 and. Hello?

[A]

Hello, darling. How do you feel?

[C]

All right.

[A]

I called to tell you that I wouldn't be home till very late tonight. Maybe not even until tomorrow. Something came up at the office and I'll have To drive out of town.

[C]

Oh.

[A]

Now I want you to go to bed.

[C]

I will.

[A]

You haven't had a good night's sleep in a week and I'm worried about you. Take a couple of aspirin and hit the hay. Why don't you sleep in the upstairs den and I won't wake you if I should have.

[C]

All right.

[A]

Promise?

[C]

Promise.

[A]

Bye, darling.

[C]

Goodbye. Tonight's the night.

[A]

Yes. Of course.

[C]

He wouldn't be home when it happened. He'd be out of town. But then what? Where would it come from? My head was aching so that I could hardly see. I took three aspen and sat down to wait for him.

[A]

Hello? Is Charles Forrester there?

[C]

Well, who's calling him?

[A]

Well, I'm terribly sorry to bother you at this hour, but I'm not sure that this is the forester I want. This is the frozen carbonic company. You wouldn't know whether your Mr. Forester ordered some dry ice for tonight?

[C]

Well, why?

[A]

Well, the plant's shutting down for the night and this fellow made such a fuss about it. Said it was so important that I wanted to make sure he found it. He said for us to leave it on the back ramp, but he hasn't picked it up yet. I guess he'll find it all right.

[C]

You. You must have the wrong forester.

[A]

Oh, I'm sorry to bother you.

[C]

The upstairs den. That's why he wanted me to sleep there. A small room where dry ice could do its suffocating faster, more surely, more believably. And realizing it, why wasn't I excited? My heart wasn't beating fast anymore. In fact, I felt quite cool. Drowsy. Drowsy. I shook my head. It still ached. The aspirin. Why hadn't it stopped my headache? I have to take two more. I started to the medicine cabinet. I couldn't walk straight. I opened the cabinet and got out the bottle of aspen. I'd already taken five. Why didn't they. No, no, they weren't aspirin at all. They were sleeping tablets. He tricked me. I'd been drugged. Had to run stop him. I was helpless. He won. I got to keep awake. Got to. Got to. Yes?

[A]

Hello, Ellen?

[C]

Yes, who is this?

[A]

This is Tom. Where's Charles?

[C]

Well, isn't he there? He said he was going to the office.

[A]

Oh, I've been trying to get him all night. Even sent a wire.

[C]

Oh, no, Ellen.

[A]

Things aren't as bad as all that. Look, I've known you for 20 years. Think I haven't made mistakes? You're wrong. I knew he took that money months ago and I. I figured it must have been for a pretty good reason. All I wanted was for Charles to tell me about it. I've already made up for it out of my own pocket and. Well, you and Chuck. And pay me back whenever you can. He's much more valuable to me than a few dollars. Well, do you hear me, Ellen?

[C]

Yes. Yes, Tom, I hear you. He doesn't know that, does he? It's all right. It's all all right.

[A]

That's why I wanted him to come down. All he had to do was ask me. Well, after all, that's what friends are for and.

[C]

Oh, God, this stuff.

[A]

I got you. You go to sleep, Ellen. We'll get it all straightened out in the morning. Give Zell a ring one of these days. She's home a lot. Maybe you too could.

[C]

Yes, thank you. Thank you. It's all right. I got to tell him.

[A]

I got.

[C]

Information. What. What is the number of the frozen carbonic company, please? Just a moment. It is in your direction, directory. The number is ELM 44892. Thank you.

[A]

Rosen Carbonic Company.

[C]

Hello, this. This is Mrs. Forrester.

[A]

Yes.

[C]

My husband is coming down to pick up some dry ice from you. I want you to tell him. But I called and said everything was all right.

[A]

Understand, lady, your husband picked up the dry ice about 20 minutes ago.

[C]

Hello?

[A]

Hello, Mrs. Forrester?

[C]

I. I hear you.

[A]

If he comes back, I'll. Bill.

[C]

Come on, z. We'll be home soon. Hello, Zell? This is Ellen. Is Tom home? No, he's still at the office. She says no matter. I want you to talk to me. Ellen, do you know what time it is? No matter what happens, keep talking. Don't let me go to sleep. Is it a game? Sadie, you all right? Please, just talk. Tell me what you've been doing. Tell me everything you did today. Oh, I had a terribly fascinating day. I got up at 8 and made Tom's breakfast. I got Lola off to school and at 10:30 I dusted and vacuumed the living room. Then at 12. How are we doing, Ellen? How. Ellen. Ellen.

[A]

Ellen. Ellen, wake up. Ellen. No, no, no. It's Tom, Ellen.

[C]

What?

[A]

Tom. Chuck's boss.

[C]

What are you doing here? Well, you fell asleep while I was talking to you. I tried to call you back. Then when Tom got home, I told him about it.

[A]

Wait, Zill. Listen, I have to talk fast. Are you awake now, Ellen?

[C]

Yes, yes, go ahead.

[A]

Look, Charles is downstairs. I brought him home. He doesn't know anything about our conversation last night and he doesn't want you to know that he wasn't at the office. Have you got it?

[C]

Where was he?

[A]

Well, the police picked him up in his car. I went down to the station and got him. He was so groggy, they thought he was drunk. Crazy guy had taken a couple of sleeping pills, put off to the side of the road and gone to sleep. They noticed his car because the windows were frosted up.

[C]

Frosted up?

[A]

Yes, yes, all frosted on the outside. The cops couldn't understand. Oh, come in, Charles. Come on, let's go, Zell.

[C]

Yeah, sure.

[A]

Hello, darling.

[C]

$30,000. You wanted me to have the money and you were going to die.

[A]

Darling, it just seemed the only way to make things right.

[C]

It could never be right without you.

[A]

Oh, Ellen, I love you.

[C]

I know, darling. I know.

[A]

Suspense presented by Autolight. Tonight's star, Rosalind Russell. With John McIntyre as Charles. Here we are, Hollywood and Vine. Say, I just figured out something. You're Harlow Wilcox, right, my friend? And next time I see you, I'll tell you about Auto Light Bullseye Seal Beam Headlights. The new safe headlight that's guaranteed to function even when the lens is cracked or broken. Got him, Mr. Wilcox. Got them. Well, they're unbeatable, just like Auto Light spark plugs. And they're only one of more than 400 products made by Autolight for cars, trucks, planes and boats. These include complete electrical systems used as original equipment on many makes of America's finest cars. Batteries, spark plugs, generators, coils, distributors, starting motors and Bullseye Sealed beam headlights. All engineered to fit together perfectly, work together perfectly because they're a perfect team. So don't accept electrical parts supposed to be as good. Ask for and insist on Autolite original factory parts at your neighborhood service station, car dealer, garage or repair shop. Remember, you're always right with Autolight. Next Thursday for suspense. Kirk Douglas will be our star. The play is called Never Steal a Butcher's Wife. And it is, as we say, a tale well calculated. To keep you in suspense. Tonight's suspense play was produced and edited by William Speer and directed by Norman MacDonald. Music for suspense is composed by Lucian Morowek and conducted by Lud Gluskin. Consideration is an original play for radio by Richard Vodra. Rosalind Russell will soon be seen in the Columbia Pictures comedy A Woman of Distinction.

[C]

You can buy Auto Light regular or resistor spark plugs, Autolite stable batteries, Autolite electrical parts at your neighborhood auto light dealers. Switch to Autolyte. Good night.

[A]

This is cbs, the Columbia Broadcasting System. Cary grant rosalind russell, The gulf screen gill theater. Your host, the director of the Star's Own theater, Roger Prior. Good evening everyone. Your neighborhood good Gulf dealer and the Gulf oil companies welcome you to the Gulf Screen Gill Theater. During the next half hour you're going to hear a rollicking yarn about the craziest business in the world. The newspaper game. It's here His Girl Friday, starring Rosalind Russell and Cary Grant, with music by Oscar Bradley's Gulf Orchestra. With Frank Tours conducting. In just about two quick ticks of a watch, our two box office champions will come out of their corners fighting. While we're waiting for that to happen, I'd just like to remind you folks that today you're getting a lot more car for your money than ever before. And you might naturally think that the bigger the car, the. The more complicated the engine, the more care you'd have to give it. But thanks partly to your friend, the good Gulf dealer, cars today are actually easier to care for. Of course, there are some mighty important things to see to. Such things, for instance as checking the oil, the water and the tires. If things like that aren't done and done regularly, you may be in for a heap of trouble. That's why it's just plain common sense to stop at your local Gulf dealers. You see, he's trained himself to look after such things. Every month he gets a special eight page folder with information about the latest cars, how to care for them, what things to look for that might cause you trouble. So give him a chance to give you really top notch service. Tomorrow, stop at the sign of the Gulf orange disc at your neighborhood good Gulf dealers. And here come the stars. Carrie Grant and Rosalyn Russell are just making their entrances on our golf theater stage. The house lights fade. And here are Rosalind Russell as Hildy Johnson and Carrie Grant as Walter Burns. I'll play the part of Bruce Baldwin. And now here's Girl Friday. It's the office of Walter Burns, managing editor of the Morning Post. The door opens to admit Hildy Johnson, ex star reporter and former wife of Walter Burns, who has dropped in for a farewell visit with her one time husband. Walter's busy talking on the phone and doesn't see Hildy. Give me that, Duffy. You drag your dirty cockers out of that juke joint. Find the governor. You are too in a juke joint. I can hear music through the phone.

[C]

You tell him, Walter.

[A]

Shut up. Now listen, Duffy. The governor had to sign that reprieve because if Earl Williams gets hung tomorrow morning, the morning Post is washed up now. Find the governor. Of all the petrified pit. Hildy.

[C]

Hello, Walter.

[A]

Well, Hildy. Hildy, he is. Good to see you.

[C]

Thanks, Walter.

[A]

That's.

[B]

See.

[A]

How long has it been?

[C]

Well, I was in Reno six weeks, then Bermuda. Oh, about four months. Walder.

[A]

Ah, Hilda, you look wonderful. Yep, you look like the latest edition right off the press.

[C]

And aren't you sorry your subscription's been cancelled?

[A]

Hildy, I could cry. You did the wrong thing. You never should have divorced me. Makes a fella lose all faith in himself. Gives him a feeling he wasn't wanted.

[C]

Now that's a beautiful understatement. But you see, that's what divorces are for.

[A]

Nonsense. Here to you got the old fashioned idea of divorces last till death do us part. Well, divorce doesn't mean anything today, Hildy. We've got something between us nothing can change.

[C]

Oh, I suppose that's true in a way.

[A]

Not a girl.

[C]

I just wish you weren't such a stinker. Now, why did you promise not to fight our divorce and then do everything you could to gum up the whole work?

[A]

Oh, well, I was only a husband trying to protect his home.

[C]

What home?

[A]

What home? Don't you remember the home I promised you as soon as we got back from our honeymoon five years ago?

[C]

What a honeymoon. Instead of two weeks in Atlantic City, we spent two weeks in a caved in coal mine with a man named Krupsky.

[A]

Yeah, it wasn't a whale of a story. Oh, look, what's the use of fighting, Hildy, you come back to work on the paper and if we find we can't get along in a friendly way, we'll get married again.

[C]

What? Oh, Walter, you are wonderful in a loathsome sort of way. Well, thanks be to heaven. You're no longer my husband and no longer my boss. Look, third finger, left hand.

[A]

Very pretty ring, isn't it? Yep. Wonderful what you buy at the dime stores.

[C]

Now, this was given to me. Walter, I am getting married. And I'm also getting as far away from the newspaper business as I can get.

[A]

Really? What'd you do? Get some poor guy drunk? Make Google eyes at him?

[C]

Why, you bumble headed baboon.

[A]

All right, all right. Go ahead, get married. I know he's tight. One of those matrimonial draft dodgers. Where'd you meet this heel?

[C]

On the beach in Bermuda.

[A]

What is he, a Beachcom? What's his name?

[C]

His name is Bruce Baldwin and he's in the insurance business. And he's Kind and he's sweet, and he treats me like a woman.

[A]

How did I treat you? Like a water buffalo.

[C]

And he wants a home and children. Oh, my.

[A]

It sounds more like a guy I ought to marry. Don't you think I ought to meet this paragon and, well, you know, sort of congratulate him?

[C]

That's so sweet of you, Walter, but when you're sweet, somebody always gets loused up.

[A]

Oh, now, Hildy. Hildy, you don't mean to say you're afraid to have me meet him?

[C]

Afraid? Now, why should I be afraid? I'll call him in. He's right outside.

[A]

Baldwin. Baldwin? I knew a Baldwin once. Pickpocket in St. Louis. Couldn't be.

[B]

Oh, Bruce.

[A]

Yes, Hildy.

[C]

Come in, dear.

[A]

Is. Is anything wrong?

[C]

No, no, everything's under control. Bruce, I want you to shake hands with the best managing editor and the worst husband I ever had, Walter Burns.

[A]

Well, this is a mighty fine pleasure, Mr. Burns. Well, thank you, bro. Give me back my hand. Well, well, well. You're the lucky man, huh? You know, Bruce, certainly hate to lose Hildy. She's a fine newspaper man. If I ever needed her, this is the time. Earl Williams case. I'm afraid I'm behind in the news, Mr. Burns. Who is Earl Williams? Well, he was just a poor little bookkeeper who lost his job. He went screwy, traveling around the parks, making soapbox speeches. A cop came to quiet him down, Bruce. Yeah, William shot the cob. And tomorrow morning, Williams hangs. Well, if Williams was crazy when he did it, why doesn't the state put him away? Well, because there's an election coming up in a few days and the mayor is using the gallows for a bandwagon.

[C]

Yeah, the mayor would hang his own grandmother to be reelected.

[A]

Well, I'm certainly glad you told me. I won't vote for him. Spoken like a true rover boy, Bruce.

[C]

Look, Walter, don't they have to have another expert examine Williams before they hang him?

[A]

Sure, a guy named Engelhoff is going to do it. He'll say Williams is sane just like the rest.

[C]

Well, suppose he does.

[A]

What do you mean, Hildy?

[C]

Now, look, Walter, why don't you get an interview with Earl Williams, then print Engelhoffer statement.

[A]

Yeah, yeah.

[C]

And right alongside of it, you know, double column. You run the Williams interview. Alienist says he's sane and the interview shows he's goofy.

[A]

Oh, Hildy, it's wonderful you could do it. You could save that poor devil's life.

[C]

Yes, I know, I. Oh, no, I couldn't. Walter, Bruce and I are taking the 4 o' clock train to his home in Albany.

[A]

Well, Hildy, we could take the 6 o' clock train if it would save a man's life.

[C]

No, Bruce, I am through with this crazy business.

[A]

Well, I tried. Now, look, Brucie boy, I'll tell you what. You persuade Hildy to do this story, you can write yourself a nice fat policy for me. Oh, Mr. Burns, I couldn't use my wife for business purposes.

[C]

Now, wait a minute. Wait a minute, Bruce. What's the commission on a nice fat policy of, say, $10,000? No, let's say $100,000 too quick.

[A]

All right, 100,000. Now, wait a minute. Well, the commission on that would be $1,000.

[C]

Bruce, Bruce, we could use the thousand dollars. Now, how long would it take to have Walter examined?

[A]

Oh, I could get a company doctor here in 10 minutes.

[C]

How about it, tiger?

[A]

Oh, I thought you meant me. Okay, okay, get in the com.

[C]

All right, all right, it's a deal. Now, look, Bruce, I'll be in the press room of the Criminal Courts building. That's right by the jail where they've got Williams. Now, you phone me as soon as you've got Walter's check and be sure it's certified.

[A]

Maybe you'd like my fingerprints, too.

[C]

No, thanks. I still got those. Hey, Bruce, how much money have you got on you?

[A]

$500.

[C]

It'll be safer with me. No, not really, dear. I. I know what I'm doing, Mr. Burns. Might get you into a crap game.

[A]

Well, Hildy, I don't gamble, darling.

[C]

I knew a little man once who didn't drink till he met Walter Burns. Now they've got him in a bottle at Harvard. Now, let me have the money, dear.

[A]

Well, all right. Here.

[C]

Thank you, darling. Now, Walter, no tricks.

[A]

No tricks, Hildy. Honest. Across my heart. I'll even go further than that.

[C]

I know you'll double cross min.

[A]

Criminal courts. Press room. Oh, hey, Hildy, it's for you.

[C]

Thanks, Jake. Hildy Johnson speaking. Oh, hello, Bruce. You got the check certified? Oh, fine, dear. Wait a minute, though. Maybe it isn't so fine. Look, Bruce, put the check in your hat. In your hat, dear. Yeah. I know it sounds silly, Bruce, but. But do it for me and don't let Mr. Burns see you. That's fine, dear. Now go right down to the railroad station and wait for me. I'll be there just as soon as I.

[A]

Hello? Wallyburn speaking. Who? Oh, yes, Louie. Look, I've got a Job for you. No, you don't have to croak anybody. All you have to do is pick up a beefy gent by the name of Bruce Baldman at the railroad station. He's got my certified checking his wallet and I want that check back. You understand? Great. Oh, oh Louie, you think you can fix it so that Mr. Bman would be very busy around 4 o'? Clock? Fine, thanks.

[C]

Hello, Billy Johnson speaking. Yes, Bruce, where are you?

[A]

You're what?

[C]

In jail for stealing. Whose watch? His name is Louie. Now listen, don't worry dear. Just hang up and I'll get you out of there right away. That double faced, triple crossing, two timing snake. I'll show him he cat.

[B]

Hello?

[C]

Hello Walter. I've got some news for you. Now get this you double crossing chimpanzee. If I ever lay my two hands on you again, I'll hammer that monkey skull of yours so hard till it rings like a Chinese gong. Oh you don't, don't you? Well maybe Louie can tell you why Bruce is in jail for stealing somebody's watch. Goodbye you run over heel. I'm going to Albany and you can go to. Well boys, you heard it. So long you copy slaves.

[A]

How are you leaving, Hildy? It does my heart good to hear Walter Burns told off. When we see you again Hildy, you.

[C]

And the criminal court's building are never going to see me again. Jake. I'm going to be a wife and not a news getting machine for a two faced maniac. I'm never even going to read a newspaper again. I'm going to Albany and submit. Hey, what's that?

[A]

It's a jail drink. Hey look, it's Williams. He's crawling along the edge of that roof there.

[C]

Get out of my way. Give me the d. Hey Mike. Get this Earl Williams, Hildy. Shut up you lughead and get this. Earl Williams just escaped from the county jail. Yes, yes, don't worry, Walter Hild is on the job.

[A]

Hello Walter. Hildy, what goes on? Told you're on the job.

[C]

I gotta get the exclusive story and I've got it now on Williamson. How he escaped, but it cost me 500 bucks to tear it out of the ward.

[A]

Never mind that. What's the story?

[C]

You'll get it when you pay me the 500. That money belongs to Bruce.

[A]

Oh, you'll get it back. I swear it on my mother's grave.

[C]

All right, wait just a minute. Your mother's alive all right.

[A]

I'm a grandmother's grave. Don't Be so technical.

[C]

Well, send over the money and you get the story. Otherwise, no soap.

[A]

What's the matter with you, Hildy? Why worry about a little money? I'll see if you get it right away. Hold the wire a second, Louis. Yeah, boys? I need 500 worth of counterfeit money now. I just happen to have it on me. Thanks. Hello, Hilly. The money's on the way. Louie's starting right now. He'll be there with the 500. 15 minutes. He's got to pass the bank anyway.

[C]

Okay, Walter. Wait a minute. It's after 3 o'.

[A]

Clock.

[C]

The banks are closed.

[A]

Not to Louis. Now, listen, hilly, while you're waiting, see if you can dig up an eyewitness.

[C]

Okay. Well, I'll call you back a little later. What a day. Come in here, Fred.

[A]

I think we. Oh. Oh, hello, Ms. Johnson. I thought this room was vacant.

[C]

Greetings, Sheriff Hartwell.

[A]

Hello, Hildy.

[C]

And the mayor, too. Well, well, I imagine after what's happened, you two boys want to be alone. Be seeing you on the front page, huh?

[A]

Did you hear that, Sheriff? This blunder of yours will make me the laughingstock of the town. No, Mayor Williams can't get away. If he does, I'm absolutely washed up in next week's election. Why, his hanging was one of my solemn campaign promises. What do you want? My name is. I don't care who you are. I said, what do you want? I'm looking for Sheriff Peter B. Hartwell. I'm the mayor, he's the Sheriff. Go away, Mr. Pettibone. I'm busy. But, Sheriff, I've got a message for you from the governor. It's a reprieve for Earl Williams. What? What does this mean? Sheriff, you promised me there wasn't going to be a reprieve. No, Fred. How did I. Mr. Petty Bolton. Who else was there when the governor gave you that reprieve? Why, nobody, Mayor. He was out fishing. Hello? Yes. Yes, this is the sheriff. What? Holy Moses, Fred. The rifle squad has Williams trapped. Right up on the roof. Cover up that mouthpiece. Listen you, Mr. Petty Bone, you never arrive at this reprieve. But I'm. Here's a hundred bucks it says you. Do you understand? You never brought this reprieve. Well, I don't know whether my wife would look. Yeah, you got her this address. Not to forget you ever had a wife. You told him the mayor sent you. Goodbye, Fred. The captain in charge of the rifle squad? Still on the port. Good. Well, what'll I tell them to do about Williams? You tell him to Shoot the kill.

[C]

Hello? Hello, Walter? Hildy, I'm back in the press room. I just called to say goodbye.

[A]

Oh, you got the money?

[C]

Yes. Louie brought the 500. And I'm going to get Bruce out of jail on the way to the railroad station. No, no. Of course it's no hot. Walter, what's the matter? There's someone at the window. You crawl down from the room.

[A]

Walter, listen.

[C]

Drop that phone, Williams.

[A]

Stand back.

[C]

Put that gun down, Earl.

[A]

No, I won't.

[C]

You're not going to shoot me, Earl.

[A]

Why?

[C]

I'm your friend.

[A]

I don't believe you. You're going to tell them I'm here.

[B]

So they'll hang me.

[C]

Earl. Earl, put down that gun.

[A]

I'm going to kill you. I guess I used all the shells. I can't shoot you. I can't shoot anybody.

[C]

Earl, you must never do that again. Give me that gun.

[A]

I'm awful tired. I couldn't go through another day like this.

[C]

I couldn't go through the last minute.

[A]

Well, they'll hang me now, right out there. I throw the gallows.

[C]

No, no, no, they won't. Now, listen, don't worry, Earl. I'll save you. If there were only some place to. Earl, get in that desk.

[A]

Oh, no, no, it's too late.

[C]

No, it isn't too late. The desk. The other reporters won't find you in there. Get in the big roller top desk and pull the lid down. Come on. Come on, Earl, get in.

[A]

Well, all right.

[C]

You can trust me, Earl. Now, listen. Pull the lid down. And remember, whatever happens, don't make a sound. Hello? Hello, Walter, are you still there? Listen, I'm all right. I really am. Now, listen, stick on that hat of yours and beat it over here as fast as you can. I've got the hottest exclusive story in town wrapped up in a roller top desk. Mr. Burns, believe it or not, your ace reporter, Hildy Johnson has just captured Earl Williams.

[A]

And that, folks, was act one. Cary Grant and Rosalind Russell were the back. Following our usual brief intermission, which we will put to good use with some mighty helpful information. A man or woman who drives a car hears a lot of talk about motor oils. And a good deal of it can be mighty confusing. And yet, any motorist can easily determine just how good a motor oil actually is. You can tell with your eyes, your ears and your pocketbook. Take Gulf Pride motor oil, for instance. Use Gulf Pride in your car and your eyes to tell you that Gulf Pride stays up to the full mark a long, long time. Your ears tell you that Gulf Pride helps keep your motor purring like a contented kitten. And your pocketbook tells you that Gulf Pride helps keep repair bills down with a capital D. That's because Gulf Pride motor oil is refined by the famous Alchlor process, a process that makes Gulf Pride more resistant to the chemical breakdown of oil that's caused by air. So being more aerial resistant, Gulf Pride forms less sludge, less carbon, less engine varnish. Naturally, then it lasts longer, gives you finer lubrication and saves you money. So next time, let your eyes, your ears and your pocketbook be your guide and get Gulf Pride motor oil. And now, the curtain of the Gulf screen. Gil Fit is ready to rise on the second act of Ben Hecht and Charles MacArthur's great play, his Girl Friday. Starring Rosalind Russell as Hildy Johnson and Cary Grant as Walter Burns, her ex husband and managing editor of the Morning Post. It's a short time later and Walter, in response to Hilda's excited summer, has arrived at the press room of the criminal courts building. He's bending over the roll top desk where Hildy has hidden the escaped Earl Williams. Hildy, having completely forgotten that Bruce Baldwin, her fiance, is still waiting for her to get him out of jail, is pounding out her story on the typewriter smeared over the front page. Earl Williams captured by the Morning Post. Hey, Williams, how you doing in there? Coming out. I can't stand it in quiet. I kept her blonde in there for three days once. What have you got to squawk about?

[C]

Maybe he wants you to put the blonde back.

[A]

Hello? Yep. Duffy. Duffy, here's your leaf of that story. The blackest page in American history. You got that? Set it up. I'll shoot you the copy just as fast as Hildy pounds it out.

[C]

Walter, I just happened to think.

[A]

Hello, Duffy, you still there? All right, look, send over Butch and a dozen strong armed guys. I want to move Williams and the desk out of here.

[C]

Walter, I've got to go.

[A]

We load out the window with pulleys, you dope. Can you imagine that? Hey, Hildy, where do you think you're going?

[C]

I've got to get Bruce out of jail.

[A]

Are you crazy? How can you worry about a man who's resting in a nice quiet police station while this is going on? Hildy, this is war. You can't desert me.

[C]

We're just about to collect, cruise and catch that train.

[A]

We're getting married, you drooling idiot. There's 365 days in a year you can get married. How many times you got a murderer locked up in a desk? Once in a lifetime, Hildy. You've kicked over the city hall like an apricot. You got the man, the sheriff, backed against the wall. This isn't just a newspaper story. It's a career. And you stand there worrying about getting married.

[C]

Gee, Walter, I. I never figured it that way.

[A]

Hildy, there'll be naming streets after you. There'll be statues of you in the park. The radio will be after you. The movies by tomorrow morning. I bet you there's a Hildy Johnson cigar. I can see the billboards now. Just line up with Hildy Johnson.

[C]

Walter, stop that Handy. We got a lot of work to do.

[A]

Now you're talking. Now, as soon as Butch and the boys get here, we'll move Williams and the desk over to my office. Now, sit down that typewriter. Get the story rolling.

[C]

All right, Walter. Can I call the mayor a bird of prey?

[A]

Walter? Anything you like. Give him the works. What the place is happen to Butch. Why doesn't he. Is that too much? Oh, me. Bruce. Oh, it's a bastard. Bruce. Now what the devil do you want? Why don't you stay in jail? I've got to talk to Hildy. Well, come on in. I got to keep this door shut. Hildy. Hildy.

[B]

What?

[C]

Oh, Bruce, how did you get out of jail?

[A]

Well, not through any help of yours. Will you please tell me? I'd be trying to tell him nothing. He's a spy. Now, you keep out of this.

[C]

Hello?

[A]

Yes, this is Waterburn. Hildy, what happened to you?

[C]

Story, Bruce. A wonderful story.

[A]

Oh, wait a minute, Butch. What do you mean? You know what I had to do, Hildy? I had to wire home for $100.

[C]

Really? I'm sorry, Bruce. Really. Here's your 500 you gave me to keep. I'll explain everything later.

[A]

No, listen, Butch, I'm depending on you. Wait a second, Hildy. Will you please get going on that story? Well, excuse me, but, Hildy, this isn't the money I gave you.

[C]

I know, I know. I spent that. I got this from Wall.

[A]

Now get this straight, Butch. You make tracks over here. Hildy, dear, I'm taking that 9 o' clock train. And don't forget to bring your game. Are you coming to Albany with me, Hildy? Pounding on your butts? Don't let me down. Did you hear me? I said, are you?

[C]

I'm trying to write.

[A]

Why, Hildy? Kind of girl, Hildy. Now you shut up. Mr. Burns. What? You're doing all this to her. Hildy, I don't think you love me at all.

[C]

Darn it, I broke my nail.

[A]

I see what you are now. You're just a reporter. A story means more to you than a clean, honest life in Albany. But in case you come to your senses, I'll be at the station waiting for the nine o' clock train. Goodbye. Can you imagine a guy like that? Now, come on. Come on, Hildy. Keep that tight right of heart. Now look here, you. I can't stay in here any longer. Williams can. Get back in that desk. You mock turtle. And stay there. Don't come out again unless you hear three knocks. Like that. Now you got that? Good. Now sit tight now. How's it coming, Hildy?

[C]

Pretty good.

[A]

Where's Bruce? Bruce? Bruce? Who's Bruce?

[C]

Oh, Bruce.

[A]

You went out to get a cup of coffee.

[C]

Oh, is he coming back?

[A]

I didn't. You hear what he said? So he's coming back, Hild. He'll be back any minute. Keep that coffee rolling. Hello? Hello, Duffy? Well, where is Duffy? Oh, he is all right, all right. When he comes back down to get Malone this boy. I got a hunch Butch is ratted on us. Call me back. What have you got, Hildy?

[C]

And while hundreds of the sheriff's relatives spread their reign of terror, Earl Williams was lurking just 20 yards away. You. You double.

[A]

What are you in there for?

[C]

I mean you, you backfiring Blackhawk. I just remembered, remember?

[A]

What?

[C]

Bruce isn't coming back here at all. He said he was taking the 9:00 clock train.

[A]

Oh, well, in that case, he's gone by now. Don't sit there like a frozen robin. Get on with the story.

[C]

What a SAP I am.

[A]

Yes, well, now you've had a nice rest. Get back to work.

[C]

I'm not going back to work, Walter Baines. I'm. No, listen to me. I've still got 10 minutes to meet Bruce and catch the 9 o' clock train and I'm going.

[A]

Hildy, don't. That dog.

[C]

I'm going to Bruce.

[A]

Hildy, don't.

[C]

Just don't try and stop me, that's all.

[A]

Hello, Hilda.

[C]

Oh, hello, Sheriff.

[A]

We were just looking for you.

[C]

Listen, Sheriff, I've got a train to catch.

[A]

Better Hooley. Sheriff. Yeah, I see you. All the birds are cooking up some. Now, wait a minute, boys. What do you mean by breaking in here like this?

[C]

Oh, let go of me, will you?

[A]

Ask her where William says Hildy. Doesn't know anything. Hildy, I want you to talk.

[C]

All right, what do you want me to say?

[A]

What do you know about Earl Williams?

[C]

What do you know about Earl Williams?

[A]

Oh, I got ways of making you talk. Hilda. You're under arrest. And you too, Burns. Who's under arrest? Listen, you insignificant square toed droops. Do you realize what you're doing? I'll show you what I'm doing. Burns. You're obstructing justice and I'm going to see that you're fined $10,000. You'll see nothing of the kind to work. And I'm going to begin by impounding the Morning Post property. Is that roller top desk yours?

[C]

No. There.

[A]

Why of course it is, Hildy. Why lie to the sheriff? Sheriff, I dare you to move that desk out of here.

[C]

Why yes, Sheriff, you just dare move it out.

[A]

I warn you, Sheriff, you touch this desk, you'll be sued.

[C]

What was that?

[A]

There's someone in that desk.

[C]

No, it was just my knees knocking.

[A]

Sheriff, you've got Williams in that desk. Stand back everybody. Get out your guns, men.

[C]

No, wait a minute. Don't shoot him. He's harmless.

[A]

Williams is a dangerous criminal. Shoot right through the desk. Keep away from that hole. You want to get a scoop to your beagle face mongoose? Everybody aim at the center when I say three. One. Two. Hello, Daily Bulletin. Hold up, Williams. I couldn't stay in there any longer, Ms. Hildy. Go ahead, Sheriff. I give up. Go ahead, shoot me. He's unarmed, boys. We got him. Williams kept in criminal court's press room and coming, boys. Why Williams? In desperate struggle the police overpowered him. Take him away, boys. I'll be with you as soon as I finish with these two. Come on, Williams. Now Duffy, the morning pumps. Just turn Williams over to the sheriff. Well, give me that phone burn. Well, Sheriff, what's all the excitement? We got, Williams? Mayor. Caught these two red handed trying to kidnap him. Splendid, Sheriff. I think they both get 10 years for this.

[C]

Anytime. You think you can lick the Morning Post, Mayor, it's time for you to get out of town.

[A]

We've been in worse jams than this, haven't we Hilde?

[C]

No, Walter, we haven't.

[A]

Kid, you forget the power that always watches over the Morning Post. Mayor. Hello, Duffy. Get my lawyers, all the lawyers in the world. I'm trying to, boys. Your boy. So, boys, your boys. I mean, who is this man? Why don't you remember me, Mayor? I'm the man that brought you the Earl Williams. Reprieve? Wait a minute. You don't mean a reprieve in the government? Of course not. Oh, but of course. Yes. And here's your money back, Mayor. My wife said I shouldn't take bribes.

[C]

Bribes? Who was trying to bribe you?

[A]

A hundred dollars. That's all he gets. A man's an imposter. Besides, he's insane. You're both the another. Why, I. I gave them the Earl Williams reprieve hours ago, but they gave it right back to me. And $100 to forget all about it.

[C]

Uh huh.

[A]

So you would hang an innocent man, would you?

[C]

Trying to swing an election with a rope?

[A]

No, no, no, no, I wouldn't hang an innocent man. But my dear girl, you. You got the wrong attitude, my dear man.

[C]

William's almost got the wrong altitude.

[A]

Let's forget this little incident. Come along, Sheriff. We'll take dear Mr. Pettibone over the warden's office and deliver this reprieve ourselves. I'm sure it's all a little misunderstanding that might happen to anyone.

[C]

That was a tight freeze, Walter.

[A]

Yeah, hello? Hello. Give me Duffy.

[C]

Of course, there was the time we stole old lady Haggerty's stomach off the car on his table.

[A]

Yeah, we had some swell times, Hildy. Many in last. But it's all over. And you're doing the wise thing, Hildy. The newspaper game is a bad business. Well, you better get going. Meet Bruce.

[C]

Oh. Oh, gee, Bruce is gone by this time.

[A]

Well, send him a wire, honey. Meet him in Albany.

[C]

You really mean that, Walter?

[A]

Sure I mean it. Now, can't you understand? I'm doing something noble for once in my life. Get out of here, honey, before I change my mind.

[C]

Walter, gee, listen a minute, will you?

[A]

No, no. I know I made fun of Bruce. I know I got him in Dutch. You know why?

[C]

Why, Waller?

[A]

Because I was jealous of him.

[C]

You were?

[A]

Yes. That's because he can give you the sort of life you want. Hildy, I'm sorry. I promise you Bruce will have no more trouble.

[C]

Well, I. You know, I could stay and do the story and take the train in the morning.

[A]

No, no, no, forget it, forget it. You better go. Hello, Duffy, Read me what you got so far.

[C]

I'll get the other phone.

[A]

Hello?

[C]

Yes, this is Hildy Johnson, the 43rd Street Police Station. Did you say Bruce Baldwin arrested again for passing counterfeit money?

[A]

Oh, hold on, Duffy. A little trouble coming up on this end. Assurance?

[C]

Counterfeit. And he says I gave it to him. Oh, I see. Goodbye.

[A]

Hildy. I think I Can explain. I don't blame you for being mad. And, well, if you're gonna throw that telephone at me, go ahead, get it over with. Oh, Walter, you darling. Huh? Oh, honey, what are you crying about? Oh, now, you never cried before.

[C]

Well, I thought you really wanted me to go away with Bruce. I thought you didn't love me.

[A]

Now, what were you thinking? With honey?

[C]

I don't know. What are you standing there gawking for? So send Louie down to the jail and give Bruce some honest money so he can go back to Albany where he belongs.

[A]

Hello, Duffy. Everything's fine now. Haley and I are coming back to the office. No, she's not quitting. We're going to be married again.

[C]

Walter, can we go on a honeymoon this time?

[A]

Certainly, darling. Duffy, you can be married. Well, I'm on my honeymoon.

[C]

Atlantic City.

[A]

Walters. Yeah, Atlantic City. Hildy.

[C]

A whole two weeks.

[A]

Certainly a whole two. Wait a minute. What's that, Duffy? A strike. One strike in Albany. Oh, now I can't act.

[C]

All right, we'll honeymoon in Albany.

[A]

Fine, Fine. Hey, Hilly. What? Well, I just thought of something. Albany.

[C]

What is it, Walter?

[A]

Hey, I wonder if Bruce has got a spare room. Thank you. Carrie Grant and Rosalind Russell. It was swell of you to give up time from busy shooting schedules to do this performance tonight in a Gulf Screen Guild Theater. As you know, ladies and gentlemen, our stars contribute their performances here in the Gulf Theater and the money which the stars would normally receive. Golf gives instead to the Motion Picture Relief Fund toward the building of a home for the less fortunate members of the picture industry. Next week the market of the Gulf Theater will read Ginger Rogers and William Powell. Ginger Rogers, in her first radio appearance since winning the Academy Award, starred with one of your favorite screen comedians, William Powell in Lucky Partners. It's a story about a girl in a psychology minded artist whose luck changes the minute they meet. Everything goes splendidly until they decide to go on an experimental vacation together a week before the girl is the to marry another man. It's one of the funniest comedies of the season. There'll be music, of course, by Oscar Bradley's Golf Orchestra with Frank Tours conducting. So tune in the Gulf Screen Guild Theater next Sunday night at this same time it's William Powell and Ginger Rogers in Lucky Partners. Rosalind Russell will soon be seen in MGM's the Uniform. Cary Grant's latest for Columbia Pictures is Penny Serenade. And remember, you have a date to attend the Go Theater a week from tonight when we present Lucky Partners starring Ginger Rogers and William Powell. Until next week then, this has been Roger Pryor speaking for your neighborhood good golf dealer.

[B]

We just heard Cary Grant and Rosalind Russell in Suspense and his Girl Friday. That will do it for this week's episode. Thanks so much for joining me. I hope you'll be back next week as we continue our month long series of Hollywood romances with the stars of Casa Blanc Blanca. In the meantime, you can check out down these Mean Streets, my old Time Radio Detective podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can rate and review the show in Apple Podcasts or wherever you listen. If you'd like to lend support to the show, you can visit buymeacoffee.com memests OTR now good night. Until now. Next week when I'll be back with the stars of Casablanca, each of them appearing in tales well calculated to keep you in.

[A]

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