Episode 441 - Stars of "From Here to Eternity"

Summary

Stars on Suspense – Episode 441: Stars of "From Here to Eternity"

Original Airdate: February 27, 2026
Host: Mean Streets Podcasts
Featured Suspense Episodes & Stars:

• Frank Sinatra in "To Find Help" (01/18/1945)
• Burt Lancaster in "The Big Shot" (09/09/1948)
• Deborah Kerr in "The Lady Pamela" (03/31/1952)

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Overview

This episode of Stars on Suspense pays tribute to the major stars of the 1953 Academy Award-winning film From Here to Eternity—Frank Sinatra, Burt Lancaster, and Deborah Kerr—by featuring them in three separate, classic episodes of radio's "theater of thrills," Suspense. Although From Here to Eternity itself was never adapted for radio, the host presents a "triple feature" of the cast in some of their finest moments behind the microphone. Each star is showcased in a distinctive suspenseful drama, highlighting their range and legacy.

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Host Introduction & Context [00:52 – 03:35]

• The host wraps up a month-long focus on classic Hollywood romance by spotlighting From Here to Eternity—set in pre-Pearl Harbor Hawaii and known for its iconic beach scene with Burt Lancaster and Deborah Kerr.
• Notes the film's major stars and highlights that Frank Sinatra's role, which jumpstarted his comeback, inspired the famous horse head scene in The Godfather.
• Explains that the radio adaptations feature the film's stars, not the film itself.
• Teases listeners: "It's a triple feature of the stars of From Here to Eternity..." [02:28]
• Segues into the first episode featuring Frank Sinatra.

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Frank Sinatra in "To Find Help" [06:15 – 29:23]

Episode Summary

A chilling psychological thriller: Mrs. Gillis (Agnes Moorhead), an elderly woman, hires a meek-seeming young man, Howard Wilton (Frank Sinatra), as handyman help. What seems an ordinary day turns sinister as Howard’s demeanor shifts, revealing a deeply troubled mind and a potentially violent threat.

Key Points & Insights

• Sinatra’s Unexpected Role: Known for charm, here Sinatra plays a young man whose mental instability and paranoia become increasingly menacing, opposite Moorhead's resourceful, frightened Mrs. Gillis.
• Changing Tone: Early awkwardness and social anxiety from Howard escalate into threatening behavior.
• Themes: Isolation, vulnerability, the dangers of misjudging appearances, and the terror under the surface of the mundane.

Memorable Moments & Quotes

• Howard’s paranoia:
  • "They said...there was something wrong with my mind. Yes? I just thought maybe you'd like to know." – Howard (Sinatra) [13:25]
• Mrs. Gillis’ realization:
  • "Suddenly I was thankful that there was a phone...he was such a peculiar boy. Not alarmed. Not then I wasn't..." – Agnes Moorhead [09:50]
• The climax—Howard’s threat:
  • "When he comes back, you're going to get rid of him. Do you hear? And if you give me away, I'm going to kill you." – Howard [22:05]
• Mrs. Gillis desperately trying to outwit Howard, feigning normalcy with the milkman and the utility worker.
• The final twist, with the phone repairman and the suggestion of escape: [27:19]
  • Mrs. Gillis, urgently: "That man—he was dangerous. Drive us to the police station as fast as you can."

Notable Performances

• Sinatra’s ability to flip from meekness to unnerving aggression.
• Agnes Moorhead’s blend of fear and calculation as the situation turns deadly.

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Burt Lancaster in "The Big Shot" [31:58 – 57:32]

Episode Summary

A hardboiled gold-smuggling adventure set in Mexico. Charlie Morton (Burt Lancaster), a tough, young, ambitious mining engineer with a "pretty baby face," plots to seize all the riches for himself through cold-blooded engineering and betrayal. The story spirals into double-crosses, violence, and ironic justice.

Key Points & Insights

• Character Study: Charlie crafts a persona tougher than his looks and seeks to command respect through ruthlessness.
• Backdrop: Greed-fueled gold rush, international crime, and betrayal set against an atmospheric Mexican landscape.
• Long Con: Charlie manipulates his crew, fabricates the threat of a bandit ("El Chico"), and hatches a scheme to abscond with all the gold.
• Irony and Downfall: Trust unravels, plans backfire, and betrayal begets betrayal.

Memorable Moments & Quotes

• Charlie on toughness:
  • "You gotta be tough to be a big shot. Especially when you're cursed with yellow, curly hair and a pretty baby face." – Charlie (Lancaster) [32:29]
• The calculated violence:
  • "He wouldn't take orders, so I had to show him." – Charlie, after a fatal fight [39:19]
• The confrontation with Quinn:
  • "You think I was going to blow you all up, didn't you? Get away, Quinn. You can't stop me now." – Charlie [54:58]
• The final reversal, when Charlie is outsmarted and double-crossed by Lolita and El Chico:
  • El Chico: "You are very smart man, Senor Charlie. I should like to be your friend. Except you are gringo and you mistake to make the love to the sweetheart of El Chico." [56:40]

Notable Performances

• Lancaster’s intensity, blending swagger with increasing desperation.
• Strong supporting cast creating a vivid sense of place and peril.

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Deborah Kerr in "The Lady Pamela" [62:56 – 87:17]

Episode Summary

A noir-tinged tale of crime, betrayal, and survival. Pamela Barnes (Deborah Kerr), a British expatriate, masterminds a jewel robbery, winds up double-crossed by her partner Halliday, and spends years in prison. Upon release, she seeks revenge and her share of the loot, only to fall into another web of deception.

Key Points & Insights

• Strong Female Protagonist: Pamela is cool, intelligent, and driven—steering the story.
• Web of Double-Crosses: Partners betray partners; the insurance man joins the grift; trust is always a gamble.
• Postwar Uncertainty: The storyline stretches from New York to London, with shifting identities and allegiances.
• Cynical Resolution: Even after prison, Pamela is denied satisfaction; the men around her, including her latest "ally," betray her again.

Memorable Moments & Quotes

• Pamela laying down the law:
  • "You're to follow orders, nothing else." – Pamela (Kerr) to her partner [65:07]
• On her time in prison:
  • "I relaxed for two years, nine months, and 14 days in prison. I feel like working now." – Pamela [78:29]
• The standoff with Halliday:
  • "I want my share, Halliday." [82:13]
  • Halliday: "Over here, I’m the man. I don’t take orders anymore. And if I did, it wouldn’t be from a woman." – [82:38]
• Betrayal revealed:
  • Pamela: "You must be crazy."
  • Wiley (insurance agent): "I've got to call the police." [86:20]
• The story's cynicism and wit shine through the clipped, urbane repartee.

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Notable Quotes & Timestamps

| Time | Speaker | Quote | |---------|-----------------|----------------------------------------------------------------------------------------------------------| | 00:52 | Host | “We wrap up our month-long series of classic Hollywood romance with From Here to Eternity…” | | 13:25 | Frank Sinatra | “They said there was something wrong with my mind. Yes? I just thought maybe you’d like to know.” | | 32:29 | Burt Lancaster | “You gotta be tough to be a big shot. Especially when you’re cursed with yellow, curly hair...” | | 82:13 | Deborah Kerr | “I want my share, Halliday.” | | 86:20 | Ben Wright (Wiley) | “I’m with International Insurance Company, New York office. We knew the jewels had been sold, but we wanted to recover as much of the money as we could.” |

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Important Segment Timestamps

• [00:52] – Host’s main introduction to the theme and lineup
• [06:15] – Start of "To Find Help" (Sinatra)
• [31:58] – Start of "The Big Shot" (Lancaster)
• [62:56] – Start of "The Lady Pamela" (Kerr)
• [90:26] – Closing remarks, preview of next episode

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Conclusion

This “triple feature” episode stands out for its parade of cinema legends reinterpreted on radio in roles that demonstrate their dramatic versatility. Listeners get a taste not only of From Here to Eternity’s famous cast, but also the atmospheric suspense, noir, and psychological unease that defined the golden era of radio drama.

“Next week…in honor of the Academy Awards, each of the films we’ll feature is a movie that took home the Oscar as best Picture…” – Host [90:45]

For fans of classic Hollywood, radio drama, or just sharply crafted suspense, this episode provides both a history lesson and a gripping listening experience.

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For More:
Check out the “Down These Mean Streets” Old Time Radio Detective podcast for more episodes and retrospectives on radio’s greatest stars and shows.

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 with more Hollywood legends in radio's outstanding theater of thrills. Today we wrap up our month long series of classic Hollywood romance with From Here to Eternity, the best Picture winner of 1953. Set in Hawaii on the months leading up to the surprise attack on Pearl harbor, it follows a trio of American soldiers and the women they love. Even if you've never seen the film, you've likely seen an iconic moment. The scene of Burt Lancaster and Deborah Carr in an adulterous tryst on the beach as waves crash over them. Lancaster and Carr were nominated for Oscars, as were their co stars, Montgomery Clift, Donna Reed and Frank Sinatra, with Reed and Sinatra winning as supporting actress and actor. Sinatra's efforts to win the role that helped him launch a career comeback inspired the Horsehead scene in the Godfather. You can rent or buy From Here to Eternity digitally from your preferred retailer. It's also available on blu ray and 4k, but at the time of this recording, you can only get the 4K as part of the third volume of the Columbia Classics series. Oddly enough, given From Here to Eternity's popularity with audiences and the Academy, the movie wasn't recreated for radio. So today we only have the stars and not an adaptation of the film itself. But the three episodes of Suspense we have are great and they each feature fantastic performances from the leads. Up first is Frank Sinatra in his only visit to the suspense microphone. And in a performance you'd never expect from the chairman of the board, he co stars with Agnes Moorhead. In to find help, we'll hear an Armed Forces Radio Service rebroadcast from January 18, 1945. Then we'll hear Burt Lancaster in the big shot from September 9, 1948, one of my favorites. And finally, Deborah Carr in another one of my favorites, the Lady Pamela from March 31, 1952. It's a triple feature of the stars of From Here to Eternity. And we'll kick things off with the Oscar winning Frank Sinatra right after these messages.

[A]

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[C]

Chicago.

[D]

Chicago is right.

[A]

That's right. Yes, all over America, all over the world, folks enjoy that number one international favorite Pabst Blue Ribbon finest beer served anywhere. It's the beer the whole world knows about. And remember, the quality that has carried the fame around the world is yours for the asking. So next time somebody says, what'll you have? Give them the world's best answer. That's smoother, smoother, smoother. Past Blue Ribbon Beer. Treat yourself often to refreshing, delicious Wrigley Spearmint Chewing Gum. There's lots of cooling, real mint flavor in every stick. And chewing Wriggly Spearmint helps keep you feeling fresh and alert. You feel better, work better, get more fun out of doing things. So indoors, outdoors, wherever you go, keep some healthful, refreshing, Wriggly Spearmint chewing gum handy to make every day more enjoyable. Treat yourself often to delicious Wrigley's Spearmint Chewing Gum. And now, a tale well calculated to

[E]

keep you in

[A]

suspense.

[D]

Suspense.

[A]

Tonight to find Help. Starring Frank Sinatra and Agnes Moorhead.

[C]

My rumor. Mr. Armstrong tried to warn me that morning he left on his business trip. I remember we were just finishing breakfast and he was rather in a hurry.

[A]

I don't care what you say, Mrs. Gillis. I just plain don't like it. You're alone here in the house all day. There are no close neighbors. After all, you know nothing about the man.

[C]

Good gracious, Mr. Armstrong. You'd think I was a pretty young thing of 20 to hear you tell it.

[A]

And another thing Seems very strange to me that a young man should be job hunting from door to door in this day and age. Why, there are plenty of jobs to be had.

[C]

That is why it's so difficult to find health these days. Oh, you're a worrywart, Mr. Armstrong. And now that I've found someone to do my heavy work, I'm not going to let your silly notions change.

[A]

All the same, though, I'm not leaving the house this morning till I get a look at the guy.

[C]

I remember I kept worrying about poor Mr. Armstrong missing his train because it was getting to be 9 o'.

[A]

Clock.

[C]

He dried the breakfast dishes for me, and as he talked, he kept looking out of the window towards the long driveway.

[A]

Hey, here he comes. Well, I guess I needn't have worried.

[C]

Mr. Armstrong was smiling, for he'd seen my young man who was coming up the driveway. And I smiled too. Even I had forgotten what a meek, harmless looking lad he was. Why, he could hardly be called a man at all, I thought.

[A]

So that's the critter who's been causing me all this mental anger.

[C]

There, there, you see? You and your silly ideas.

[A]

Why, the little guy's not strong enough to keep a regular job, I suppose.

[C]

Why, I believe Sarah's getting some of your foolish notions, Mr. Armstrong.

[A]

There, there, there, there now, Sarah, I'm sorry that we made you nervous about him. Why, you can see the guy.

[C]

Oh, good morning. Good morning. I've been expecting you. This is my rumor, Mr. Armstrong. I. I don't believe you told me your name.

[D]

I'm Howard Wilton, ma'.

[A]

Am.

[F]

Howard Wilton.

[A]

Hello, Howard. I'm glad you come. I know you'll be a great help to Mrs. Gillis. And you'll be company too. Well, I'm off. Take care of yourself. I don't think you'll have much trouble.

[D]

I. I don't believe your dog likes me, Mrs. Gillis.

[C]

Yes, of course she does, but she's just getting a little old and peasy. Oh, come along now, Howard, and I'll show you where to hang your coat.

[D]

Yes. Oh, yes, I always hang my coat up.

[C]

He followed me into the closet store room at the back of the house. Then I handed him a clothes hanger and a rough, heavy apron which I kept for cleaning. Help.

[A]

Is.

[D]

Is this apron clean, Mrs. Gillis?

[C]

Why, of course it's clean. No one's worn it since it was laundered last.

[D]

But there are spots on it, see?

[C]

Spots. Well, here, let me look at it. Oh, that's paint. No, dirt and dried paint.

[D]

If you don't mind? I'd rather not wear it.

[C]

What one do you wear then? You didn't bring other clothes, did you?

[D]

I'm a neat worker, Mrs. Gillis. You needn't worry about my clothes. No.

[C]

I turned, and the light hitting his face from the small window made him look so different. I was startled for a moment. And then I thought, you're a silly old woman, Mrs. Gillis. And then I smiled.

[D]

Are you laughing at me, Mrs. Gillis?

[C]

Oh, I know. I was laughing at myself. Come along. Let's get started Now. He'd only been at the den floor a short time. When I heard him walk back to the closet storeroom. Can I help you, son?

[D]

I'm going after my coat, Mrs. Gillis. I don't like it being out there in the storeroom. It's a breeding place for moths, you know.

[A]

Oh.

[C]

Oh, now, son. It takes longer than that for moths to do any damage.

[D]

Perhaps you won't think it's quite so amusing when I tell you that it's my best and only coat.

[C]

Oh, I didn't mean to hurt your feelings, Howard. Where would you like to put it? In the kitchen, perhaps?

[D]

No, the cooking fumes wouldn't be good for it. I'll take it right in the den with me. That is, if you don't mind.

[C]

Oh, go right ahead, Holland.

[D]

If you don't mind.

[C]

Suddenly I was thankful that there was a phone. He was such a peculiar boy. I wasn't really alarmed. Not then I wasn't. Still, it was good to know the phone was there. And that old Sarah was still in the breakfast room asleep. I went on about my own work that morning. But several times I went into the den to have a look at him. He wasn't doing much. I could see that. He seemed to keep polishing one small square in the corner of the room. Is there anything you need, Howard? Howard?

[F]

Howard.

[D]

I won't be spied upon, Mrs. Gillis. I won't put up with that.

[F]

See?

[C]

See here, lad. I. I think we must have gotten off on the wrong foot. I'm not spying on you.

[D]

Then why do you keep popping in like this?

[F]

Why?

[D]

Would you like me to go faster? Would you like me to spill out my life's blood for you here on the floor? Is that what you're after?

[C]

Howard, Are you well? Are you well enough to work?

[D]

Of course I'm well. If only you'd quit bothering and pestering and questioning me. Is that too much to ask?

[F]

Look.

[C]

Look, Howard. I'm. I'm interested in Young men. I have two boys of my own. They're in the service. You see, that's Bill on the desk there. He's a marine. And on the table there, that's Dennis. He's in the infantry. He's overseas.

[D]

So that's why you hate me. I see it all now.

[C]

Hate you? Whatever gave you that?

[D]

Yes, you hate me. I could tell it the moment I walked into this house this morning.

[C]

But how it.

[D]

You hate me because I'm young and I'm not in the service like your boys.

[F]

Why?

[C]

Why? It never occurred to me. You must know I was grateful when you came looking for work.

[D]

Grateful you resented me. The only reason you have me here is to work my life's blood away. To punish me for not being in the service. Just because your sons are in the service and I'm out.

[C]

Son, son, you're ill. Let's put the work away now, and I'll make a cup of tea.

[D]

Oh, so you don't want me to do the job, is that it? You're like the army. There was a job to be done, and they wouldn't let me in. Now you'd like to stop me in

[E]

the middle of this.

[C]

I only want you to do whatever will make you feel better.

[D]

Well, leave me alone then.

[C]

Very well,

[D]

Mrs. Gillis.

[C]

Yes?

[D]

I'll tell you why I'm not in the army. If you insist.

[C]

I don't insist at all, Howard.

[D]

If you must know, I'll tell you. They said. They said there was something wrong with my mind. Yes? I just thought maybe you'd like to know. Mrs. Gillis. They said there was something wrong with my mind.

[C]

The first thing that I thought of when I reached the hallway was the phone. But it was in the den with Howard. I ran quickly to the back door, but it was locked. And the key wasn't in its usual place. The front door bib's locked too. And I heard a crash. It came from the den. I rushed in to find Howard peacefully polishing away at the same spot. He hadn't moved an inch. He didn't look up at me. Then I saw the phone, which had fallen to the floor beside him. But it hadn't just fallen. The wires had been torn out of the wall.

[D]

The phone, Mrs. Gillis.

[A]

It fell.

[C]

But the wires.

[D]

I suppose you think I ruined your phone.

[C]

The wires.

[D]

That happened when it fell to the floor.

[C]

It couldn't have.

[D]

That happened when it fell to the

[C]

floor, but it couldn't have.

[D]

I don't suppose you'll be able to use it anymore, Mrs. Gillis. Not for a while, anyway.

[C]

No, I don't suppose I will.

[A]

Sarah.

[C]

Here, Sarah. Here, Sarah.

[D]

Mrs. Gillis?

[C]

Yes.

[D]

You looking for your dog?

[C]

Yes, I, I. I haven't seen her all morning. She was in the breakfast room.

[D]

Well, she's not there any longer.

[C]

Yes, I know. Where is she, Howard?

[D]

Where is she?

[C]

Yes, where is she?

[D]

She's gone.

[C]

Gone? If you've harmed her.

[D]

She didn't like me, you know.

[C]

See here, I. I've put up with enough, you know. You tell me where my dog is.

[D]

Or what, Mrs. Gillis?

[C]

Well, I'll.

[D]

You'll do what, Mrs. Gillis? What will you do?

[C]

Sarah Fisher.

[D]

She's gone, Mrs. Gillis. I told you that.

[C]

You've harmed my dog.

[F]

Have I?

[C]

You killed her. Oh, poor old Sarah, who never hurt a thing.

[D]

She would have hurt me.

[C]

You're bad, Howard. You're wicked. You're wicked. You're a coward.

[D]

I'm not a coward, Mrs. Gillis.

[C]

Yes, you are.

[D]

Cowards are afraid to kill.

[C]

Only a coward would kill a poor old dog.

[D]

Well, if I were a coward, I'd

[A]

be afraid of you.

[D]

And I'm not afraid of you.

[C]

And you. Let me out of here.

[E]

Let me out.

[D]

I have strong hands, Mrs. Gillis. My fingers are like steel.

[C]

I've never harmed you.

[A]

No.

[D]

And Sarah didn't either. But she would have if I hadn't harmed her first.

[C]

Get me out of here.

[D]

You're getting very noisy, Mrs. Gillis. Perhaps if I locked you in this closet, you'd calm down a bit.

[C]

Coward.

[F]

Coward.

[C]

And then I heard the cake turn in the lock. For a moment, I had the feeling of unreality. What was this really happening? But I found out soon enough it wasn't a dream. For the dim light from the little square window. Picked out a limp, lifeless object in the corner among the dusty mops. I knew without looking further what it was. Poor Sarah. Sarah who never harmed her soul. I don't know how long he kept me there. I could hear him moving about the house. But he finally came back. He spoke to me through the door.

[D]

Have you calmed down, Mrs. Gillis?

[C]

Yes, Howard. Yes. Let me out.

[A]

Why?

[C]

Well, because it's. It's warm in here. Because I want to get out.

[D]

You were looking for your dog, weren't you?

[C]

Well, never mind about that, Howard. Just let me out.

[D]

You know, Mrs. Gillis, if I kept you in there, you wouldn't be able to spy on me.

[F]

Ever.

[C]

I won't spy on you, Howard. Please let me out.

[D]

Do you know what I've been doing, Mrs. Gillis?

[C]

No.

[D]

I've been doing your den floors just like you asked me to.

[C]

And that's fine, Howard.

[D]

It was fine being able to work peacefully, knowing that you were someplace where you couldn't bother me.

[C]

I won't bother you, Howard.

[D]

It was very peaceful. Nobody to bother me.

[C]

Let me out, Howard.

[D]

Will you promise to do as I tell you?

[C]

Yes, I promise.

[A]

Anything?

[G]

Anything.

[D]

Very well, then. Now, no tricks.

[C]

No.

[D]

Feel my hands, Mrs. Gillis.

[C]

He held them out before him. They were thin, weird looking hands. Then he turned them over slowly and he looked down at them.

[D]

Are they nice hands, Mrs. Gillis?

[E]

Yes.

[C]

Yes. Then I can.

[D]

But you haven't felt them.

[C]

I knew better than to argue and I forced myself to take hold of one of them. It was icy cold and the floor wax had made it sticky.

[D]

Have your sons as nice hands as these?

[C]

Oh, no, no, they haven't.

[D]

But they got into the army, didn't they? I'm just as good as they are, you know.

[C]

Of course you are, Howard. Wouldn't you like some food, lad? You haven't eaten all day, you know,

[D]

some food would be good.

[C]

Let me fix you some, Mrs. Gillis.

[D]

You know, a woman I worked for once said my hands were weak.

[C]

She did?

[D]

Yeah. But she soon found out, however.

[C]

Well, here, you know, I have some nice cold roast in the ice box.

[D]

I thought her a lesson.

[C]

And it'll only take me a minute to fix some salad.

[D]

Are your son's hands strong, Mrs. Gillis?

[C]

Not as strong as yours, Howard. I've hit the table right away, Mrs. Gillispiece.

[D]

Feel my hands again. They're like steel, you know.

[C]

I finally managed to get some lunch on the table and Howard sat beside me. He didn't say much and he ate very little. I tried to appear casual, to engage him in a conversation, just anything. Do you work often, Howard?

[D]

Not often.

[C]

Well, did you have trouble finding John?

[D]

Well, people are anxious to find help these days. Weren't you?

[C]

Yes, to find help.

[D]

Mrs. Gillis, they're looking for me.

[C]

Who, Hollis?

[D]

Well, I don't know exactly. The people I worked for last, I guess.

[C]

But was that here in this town?

[D]

Oh, no, no, it was in another town. Everyone was looking for me, so I went away. It was horrible to be spied upon, Mrs. Gillis. Do you know what it is to be spied upon?

[C]

No, no, I don't.

[D]

Would you like to know?

[C]

No, no, no, I wouldn't.

[D]

Howard, I think I'll spy on you for the rest of the day so that you'll Know how it feels.

[C]

No, no, no, no, Howard. Whatever it is you want, just. Just take it and go away.

[D]

There's Nothing I want, Mrs. Gillis. I only want to stay here with you.

[C]

I can't stand it, Howard. I can. I am an old woman. Now, please go away and leave me alone.

[D]

I'm not going away, Mrs. Gillis. There's still a job to be done. I'll go away after I've done everything that's to be done.

[C]

Howard. Howard, I have some money here. I got it upstairs for you. It's a great deal, and I'll give it to you.

[D]

I don't want your money, Mrs. Gillis.

[C]

Well, then go away.

[D]

Oh, that would be foolish. Then you tell her.

[C]

No. No, I wouldn't. I wouldn't. Really, Howard. Go away, and I'll never tell her so that you've been here. I won't tell it.

[D]

I don't believe you, Mrs. Gillis, and I don't trust you. There's only one way of being certain that you won't tell and that.

[A]

My heart choked.

[C]

For when I looked out the window I thought that it was an ill man. Howard moved quickly to the window with me.

[D]

Tell him to go away.

[C]

I can't. I. I've ordered some extra things.

[D]

Then go into the storeroom until he goes.

[F]

I can't, Howard.

[C]

He knows I'm here, and he'll expect me to pay him.

[D]

You promised to do as I told you. Now, will you tell him to go away?

[C]

Howard. Howard. If I tell him to go, he'll think something's wrong, and then he'll get caught for sure.

[D]

All right, Mrs. Gillis. Take whatever you've ordered. But if you pull any tricks, you'll be sorry.

[C]

He opened the cabinet drawer, and I saw him take a knife out. Without another word, he stepped back between the stove and the wall. But he was still within easy reach of me. My hands were shook. The milkman knocked as usual at the window of the sink. Just a moment.

[A]

Well, good afternoon, Ms. Gillis.

[C]

Good afternoon.

[D]

Lovely day, isn't it?

[E]

Yes.

[C]

Yes, it is.

[D]

Ms. Gillis, I think I have good news for you.

[F]

Well, you have?

[A]

Yeah.

[D]

Beginning the first, I think we're getting

[A]

some badly needed help in the future.

[D]

Your deliveries will be made in the early morning, like.

[C]

Nice.

[A]

I. I don't believe you ever did

[D]

like these late deliveries, did you?

[C]

Well, I never really minded.

[D]

Well, if all our customers were like you, Ms. Gillis, it wouldn't be such a bad world.

[A]

Here you are. One quart of milk, a pint of half and a half.

[D]

Bye, Ms. Gillis.

[C]

But the. The extra things. You forgot them.

[D]

The extra things.

[C]

Yes, yes, the extra things.

[F]

You.

[C]

Now don't tell me you've forgotten the eggs and then the butter.

[D]

I'll get them right away, Mrs. Gillis. I'm going to give you one more chance. When he comes back, you're going to get rid of him. Do you hear? And if you give me away, I'm

[A]

going to kill you.

[D]

I'll kill you before he can get inside this house. And I don't care what happens.

[C]

I. I won't. I won't give you away, Howard. I won't give you away. I'll only pay him. I have to do that.

[D]

Shut up and remember. Well, here you are, Ms. Gillis.

[C]

Thank you. Anything else? No, no, no, that's all, Ms. Gillis.

[A]

I'm.

[C]

I'm sorry. I can't stop the top today. I'm very. Stood. Stood for a moment behind the stove. His eyes were blazing. Then he spoke without moving.

[D]

You're very clever, aren't you, Mrs. Gillette?

[F]

What do you mean?

[D]

You thought you were going to put something over on me, didn't you?

[C]

I sent him away, didn't I?

[D]

The extra things you ordered. There were.

[C]

Yes, there were.

[B]

There were.

[C]

You saw him. You heard him.

[D]

He didn't know what you were talking about.

[C]

The milkman had returned. He stood out.

[F]

Right.

[C]

Howard looked at me and I saw his knuckles go.

[D]

This is your last chance.

[C]

Get rid of him. Yes, I. I will. I will, Howard.

[F]

I will.

[D]

Sorry to bother you again, Ms. Gillis, but you forgot the points on the butter.

[C]

Oh, yes, yes, the ration point. Here you are.

[D]

Sorry I had to bother you, Ms. Gillis, but you see, I have.

[A]

Yes.

[C]

I'm dizzy. Can't you see I'm dizzy?

[D]

Tell me when he's gone, Mrs. Gillis.

[C]

I stood by the window and watched. He got into his truck and then he drove off.

[D]

So that was your scheme, was it? So you wanted to give me away.

[C]

He's gone now, Holly.

[D]

You thought he'd save you, didn't you?

[C]

No. No, I sent him away. Like you asked me.

[D]

Do you know what would have happened to me?

[A]

Do you?

[D]

He would have taken me away.

[A]

Leave me alone.

[D]

I'm going to punish you.

[C]

No, I haven't been punished.

[A]

No, you haven't.

[C]

Standing very close now, and I knew he still held a knife. And suddenly everything was black. And I slipped to the floor. When I came to, I was in a den. On the den floor. My head throbbed. Then I Remembered everything. I laid there for long and listened. Then I. I heard a sound. A soft swishing sound. Suddenly, the hall clock began to turn. Why? Why, it was five. I'd been unconscious for longer than I thought. I sat up. The room had already turned dark in the late afternoon light. But I could see now. He stood in the middle of the room. He was pushing my heavy floor polisher back and floor.

[D]

What time is it, Mrs. Gillis?

[C]

About five.

[D]

Well, I guess I'll call it a day. Now, I've done a nice job, haven't I?

[C]

Yes, I. Very nice.

[D]

I think I'll be going now.

[C]

I got to my feet. He paid no attention. He picked up his coat, which he'd placed over a chair when he'd taken it from the storeroom. Then he looked at the floor again.

[D]

Doesn't it shine nicely, Mrs. Gillis?

[F]

Yes.

[C]

Yes, it does.

[D]

Was it worth $5 to you?

[C]

Oh, yes, Holland.

[D]

I have nice hands, haven't I, Mrs. Gillicks?

[C]

Yes, Howard.

[F]

You. You have.

[C]

Here, you take the money.

[D]

Thank you. You know, it's a pity they have to be used to polish floors.

[C]

You've done such a good job, Howard. I'm going to give you a few extra dollars.

[D]

Thank you. Will you be needing me tomorrow, Mrs. Gillis?

[C]

No. No, thank you, Howard.

[D]

The door is locked, Mrs. Gillis.

[C]

Yes, Howard? Do you have the key? Yes.

[D]

Yes, I do. I just remembered. I just remembered a lot of things, Mrs. Gillis. There's someone at the door.

[C]

Yes, Howard. Will you open it?

[D]

Should I?

[C]

Yes, Howard. You have the key.

[D]

I have this it, Mrs. Gillet. Grow.

[A]

Yes, it is.

[C]

Open the door. Open the door, Howard. Open it.

[D]

All right, Mrs. Gillis. Hello. I'm Mr. Stevens of the phone company.

[G]

Your phone's been reported out all day.

[D]

I'm sorry we couldn't get around any sooner, but we're really swamped. Mrs. Gillis. Is your phone out of order?

[C]

No, no, no. There must be some mistake.

[D]

Well, now, that's strange. We've had several reports.

[G]

Maybe I better run back and check my books in the.

[C]

Just. Just a moment, Mr. Stevens. Could you do me a favor?

[D]

Well, certainly. This boy, Mrs. Gillis.

[C]

Boy, he's worked here all day. He's done a good job. But I. I don't think he's well.

[D]

I'm all right, Mrs. Gillis.

[C]

Oh, but you're tired, aren't you? Aren't you tired, Howard? Doesn't your headache.

[F]

Yes.

[D]

Yes, I am tired and my head does ache.

[C]

Well, maybe Mr. Stevens will be kind enough to drive it to the car line.

[A]

Sure.

[D]

I'll be glad to, Mrs. Gillis, but

[F]

I can't wait long.

[C]

Right away. And I'll go along too. I, I, I have some marketing to do. And Mr. Stevens, as long as you're here, would you mind checking the phone just to make sure?

[A]

Of course.

[C]

I'll show you where it is.

[D]

Can I Show him, Mrs. Gillis?

[C]

No, no, Howard. You wait here. We'll be right back. I move quickly towards the den. Mr. Stevens followed me. Once inside, I closed the door behind him. He spotted the rip wires at once.

[A]

Say, there's f. Boy.

[C]

Boy, that man. He was dangerous. Drive us to the police station as fast as you can. Where is Howard? Howard. We've got to find him. We can't let him get away.

[G]

We'll take the truck.

[A]

Come on.

[C]

But when we reached the car, I suddenly saw him. He was sitting in the front seat with his coat folding neatly over his lap.

[D]

Were you looking for me, Mrs. Gillis?

[C]

Yes, Howard. Yes, I was. Are you ready to go?

[D]

Yes, I'm ready. It's very kind of you to do this for me. I'm very tired. I, I can't seem to remember things.

[C]

Well, now, don't try to, Howard.

[D]

Well, we already.

[C]

Already, Mr. Stevens?

[D]

Already, Mr. Steven.

[A]

And so closes To Find Help. Starring Frank Sinatra and Agnes Moorhead. Tonight's study in suspense. Suspense is produced, edited and directed by William Speer. Sa. This is the armed forces radio service. In just a moment, Suspense with Burt Lancaster. You just sit down and make yourself at home, Doc. Mary.

[C]

Yes?

[A]

Look who's here. Doc Lewis.

[C]

Oh, my goodness. Who's sick?

[G]

Oh, golly. Can't a poor doctor make a simple social visit like ordinary folks?

[A]

I just finished my last call, so I stopped by to steal haps easy

[G]

chair, relax and listen to the Auto Light suspense show.

[C]

Sit right down.

[G]

My car and I have had a tough day. We have to keep in shape too, you know.

[A]

I suppose you've got a sure fire prescription for keeping your car in shape. Don't. Oh, you bet. Auto light resistor spark plugs, Auto light batteries and auto light ignition systems. I wish every case was as easy as that one.

[C]

Well, you sound like Frank Martin. Is your prescription for tired doctors The Auto Light suspense show.

[G]

Right again.

[E]

Let's listen.

[A]

Suspense. Autolite and its 60,000 dealers and service stations bring you radio's outstanding theater of thrills. Starring tonight, Mr. Burt Lancaster in Anton Leiter's production of the Big Shot by Brett Halliday. A tale well calculated. To keep you in suspense.

[E]

You gotta Be tough to be a big shot. Especially when you're cursed with yellow, curly hair and a pretty baby face. I learned about that early when I was a kid and the other kids started razzing. I learned that if you bounced a brick off somebody's head, the razzing stopped and you were somebody. It was a very profitable lesson which paid off as I grew up. And I found it pays dividends whether you're on East 10th street or down in Mexico.

[G]

Martin. Charlie Morton.

[E]

Yeah. Yeah.

[G]

Well, welcome to Mexico.

[E]

Well, thanks. You're Quinn, I suppose.

[A]

Right.

[G]

Glad to meet you.

[E]

Same here.

[G]

Well, it's lucky you were the only American on the bus, or I'd never have recognized you.

[A]

No, no.

[G]

Collins Road. He was sending a young fella out just from engineering school. But I didn't expect.

[E]

Listen, Quinn. Never mind my looks. You asked for a mining engineer and you got one. Any complaints? Why, of course. Well, if there are, you can pay me off my guarantee and I'll get back on that bus.

[G]

Now, wait a minute, Morton. I didn't mean to offend you. I got no complaints as long as you can do the job.

[E]

I can do the job.

[G]

Yes, I guess maybe you can.

[E]

Now, how about a drink?

[G]

Sure. Right over here at the corner. In Mexico, there's always a bottle of tequila. Not too far away. That's one thing makes it attractive.

[E]

Must be the only thing then.

[G]

Oh, I don't know. Some of us like it down here.

[E]

Is that so?

[G]

Why'd you come then?

[E]

That's easy. They told me there was money in it.

[A]

Yeah.

[G]

Yeah, there is. In here.

[C]

Ah, bienvenidos, senores.

[G]

Dos tequilas, por favor.

[C]

Dos tequilas.

[F]

See?

[G]

I hope you like tequila, Morton. It's about all they have around here.

[E]

It'll do. Are all the bartenders like that?

[G]

Oh, no, that's Lolita.

[E]

Her father owns a place sure to be plenty good for business.

[A]

I guess so.

[G]

Say, your stuff is all arrived. Last box of equipment came in last night. So you can start setting up the mill as soon as we get back.

[E]

Don't worry, I'll get it up.

[G]

I'm not worried. But time is important.

[E]

Si.

[G]

Gracious.

[A]

Lolita.

[E]

Yeah, thanks. Beautiful.

[C]

Beautiful.

[E]

Si, baby, that's you from top to bottom.

[C]

Is okay, senor?

[E]

Is plenty okay, baby? Plenty.

[C]

Gracias, senor.

[E]

Maybe I'm gonna like Mexico after all.

[G]

Look, Martin, I don't know how much Collins told you about the setup.

[A]

Not much.

[E]

Said there was a chance for some. Some money and. Plus a little excitement.

[G]

He didn't tell you there Might be more than excitement. Jail, maybe, or worse.

[E]

He mentioned it.

[G]

Oh, okay. Then you understand that we've got a ticklish proposition on our hands. We got to be careful, especially with these people. If they knew what we were planning.

[E]

Okay, what are we planning?

[G]

We struck a rich vein of gold, quartz, in the remote mountains about 20 miles from here. I've got my crew mining as fast as we can before anybody around here finds out about it. So the tough part comes in getting it out of the country. There's a wave of Mexico for Mexicans right now. And if we haul the ore out to the regular stamping mill in town, the government will confiscate most of the gold.

[E]

I see. So you bring me in to set up a small stamping mill at the mine and mill the ore there.

[G]

Right. We figure that in the next month we can sluice out maybe a half million dollars worth of free gold. Then get out quick before anybody gets

[E]

half a million dollars.

[G]

Yes, but we'll still have to smuggle it out of the country. It's gonna be a tough job.

[E]

Kid stuff.

[A]

Yeah.

[G]

It's not just the law we've got to worry about.

[E]

Well, what else, Lolita?

[G]

Sure, these people would inform on us if they found out. They wouldn't tell the government. They'd tell some bandit gang around in the hill somewhere.

[E]

Bandits? I suppose they got a Robin Hood down here, too.

[G]

Okay, Morton, maybe you'll learn.

[E]

Well, I thought a half a million would take.

[G]

And a twentieth of that is your share. Maybe 25,000. That's not hay. Careful, Morton. No, no. Gracious.

[C]

Gracias, senores.

[E]

Hello, Lita.

[C]

Si, senor.

[E]

You understand comprende English?

[C]

Si, senor. I speak English. Muy gul.

[G]

Oh, so I see.

[E]

Never mind, baby. A little is enough. Your old man ever give you any time off?

[C]

Que? Senor, no comprendo.

[E]

Well, let's put it another way. Are you doing anything Saturday night?

[G]

Wait a minute. Morton better not make any dates.

[E]

Well, why not? A guy can't work all the time, especially with stuff like this around. You don't expect me to stay up there.

[G]

Quiet, you fool.

[E]

Okay, never mind. Beautiful. See you later. Comprendi?

[C]

Si, senor. See you later.

[E]

Yeah, you get the idea.

[G]

Look, Morton, I warned you. Be careful.

[E]

I'm a big boy. I can take care of myself. And her.

[G]

Just remember, there's a half a million involved.

[E]

Yeah, half a million maybe.

[G]

Altogether for the company, 25,000.

[E]

For you, half a million dollars.

[G]

Listen, Morton.

[E]

And 25,000 for me.

[G]

That's not enough.

[E]

For you, it'll do for a start.

[G]

You think you're a pretty big shot, don't you, Morton?

[E]

And you don't like it. Is that it?

[G]

I don't like you.

[E]

That bus is still out there. And you could get another engineer down here in maybe six weeks.

[G]

Something tells me I ought to take you up on that. But I don't have to like you. As long as you do your job and stay out of trouble.

[E]

Okay, then let's leave it at that. Whatever happens, it won't be me you'll have any regrets. The setup was just like Quinn said. Except that the ore was even richer than I'd expected. There was a pile of it already mined. And I put them into work right away assembling the stamping mill. You know, hard rock miners are funny. They hate being bossed by an engineer who's learned all his mining out of books. And they didn't like it either. That I was getting a bigger share than it. Than they were. And of course, to add that my looks, the yellow hair and the baby face. I knew that sooner or later I'd have to show them that they. He couldn't draw any wrong conclusions from my face. Well, it didn't take long for the showdown to come.

[A]

Hank, let's knock off. Chow's ready.

[E]

Wait a minute. Logan.

[A]

Yeah?

[E]

That sluice is not tight. You better get down there and tighten up those bolts.

[A]

You can wait till tomorrow. Chow's ready.

[E]

I said get down there and tighten up those bolts.

[A]

Who's gonna make me a dude engineer?

[D]

I am.

[G]

Why, you measly little. But you're not tough enough. Me, Will. You're too close to the gully.

[A]

Morton, look out.

[G]

Morton, you knocked him over the cliff. He went down in the gully.

[E]

I saw him. Hurry up.

[G]

Get down there.

[A]

Man.

[G]

He's probably hurt bad. Must have fallen 30ft. Morton, where are you going?

[E]

Somebody said supper was ready.

[G]

You didn't have to do that. You didn't have to knock him over the cliff.

[E]

Yeah, all I asked for.

[G]

But you didn't have to fight like that. Like you meant to kill him.

[E]

They wouldn't take orders, and I had to show him.

[G]

Okay, Martin.

[E]

Quinn.

[G]

Hey, Quinn. Yeah, He.

[D]

He's dead.

[E]

His neck's broke.

[G]

So you gotta show us all how tough you are, don't you, Morton? Even if it amounts to murder.

[E]

If nobody else wants any supper, I do. I'm hungry.

[A]

For suspense. Autolight is bringing you Mr. Burt Lancaster in radio's outstanding Theater of Thrills. Suspense.

[C]

Oh, my. I wouldn't call suspense Very relaxing, Dr. Lewis.

[A]

Well, suspense is certainly no sedative, Mary. But I like it that way. Full of ginger. Like those Autolite resistor spark plugs you mentioned, Ain't I Now?

[G]

Say, Hap, don't you get me started

[A]

on those Autolite resistors. Cause I'm a bug on them.

[D]

I guess it's pretty important that you

[A]

doctors have spark plugs that you can really depend on, huh?

[G]

Right as rain, Hap. You know, my patients just can't wait. They expect me to be Johnny on the spot. Day or night, fair weather or foul.

[A]

Yes, folks, come rain or shine, Auto light resistor spark plugs are just what the doctor ordered for your car. Right now you can get auto light resistor spark plugs anywhere in the United States. And they're sensational. Why, no other spark plugs can give and maintain such performance. Auto Light ignition engineered a 10,000 ohm resistor right into the Autolite spark plugs. This permits a wider gap setting and maintains it far longer than any other spark plugs. Replace your narrow gap spark plugs with a set of wide gap auto light resistor spark plugs. You can actually tell the difference in your car. Autolite resistor spark plugs are a great new development of Autolite ignition engineers. Autolite engineers, tests and produces complete ignition systems. That's why Auto light spark plugs work in special harmony with your car's entire electrical system. Get a set of Autolite resistor spark plugs right away. And now, Autolite brings back to our Hollywood sound stage. Mr. Bert Lancaster as Charles Morton in the Big Shot. A tale well calculated to keep you in suspense.

[E]

You gotta be tough. It's a tough world. And you gotta be tougher than the next guy. I was tougher than Joe Logan, that's all. I beat him in a fair fight. If he slipped and fell over that cliff, well, it's just too bad. While they buried him, I ate my supper. After that, I had no more trouble with the men. The first Saturday that everything was running smoothly, I went up to Quinn's tent.

[A]

Quinn? Yeah.

[G]

Oh, come in, Morton. We're just looking over the take so far. What's your guess?

[E]

Maybe a hundred thousand?

[G]

Yes, maybe. We'll pull at least 250.

[E]

We'll get that half a million. Don't you worry.

[G]

If nobody bothers us.

[E]

Don't be so jumpy. Nobody's gonna bother us.

[G]

I hope not. Say, Morton, I gotta admit, you've done a whale of a job so far.

[E]

Forget it.

[G]

Don't worry, Morton. I Don't like you any better, but I can appreciate it when a man knows his job and does it well.

[E]

Okay, okay. Look, I'm going into town.

[G]

You want any supplies, I'm sending Andy in for him.

[E]

There's no use of the two of us going.

[G]

Morton, I'm the boss here.

[E]

Are you?

[G]

Yes.

[E]

You told me as long as I did the job, that was all you cared about.

[G]

That's right.

[E]

Okay, I've done the job. It'll take the crew two days to catch up. I'm going to town.

[G]

I'll tell Andy you'll get the supplies.

[E]

Cc baby, come here.

[C]

Senor charm.

[E]

Love me, baby.

[C]

I have never meet one like you.

[E]

Well, that goes double. Baby, you're sensational. You'd knock them dead in the States. I'd like to take you back there. I'd like to dress you up in fancy clothes with diamonds in your hair.

[C]

Diamonds? Oh, senor, you must be very rich.

[E]

Not yet. Not yet. But give me time.

[C]

It's very interesting. Tell me more, querido.

[E]

Later, baby, later. Right now, let's blow this joint.

[C]

But, senor Charlie, is it not you must go back to wherever you go?

[E]

Ah, they can do without me for a while? I like it here better. Okay,

[C]

okay, senor.

[E]

Well, what was that? What'd the kid say?

[C]

It's nothing, senor Charlie. It's a game they play.

[E]

Well, what'd he say?

[C]

He say, beware El Chico.

[E]

Oh, Who's El Chico?

[C]

It's nobody, senor. You must not mind.

[E]

Sounds like a Mexican goblin or something.

[C]

El Chico is, they say, a bandido. He not like americanos. He rob, kill them. They see me with Americano, they say, beware El Chico. It's a game.

[E]

I get it. He's the Mexican equivalent of Superman, eh? An imaginary Robin Hood in a sombrero.

[C]

Oh, no confrendo, senor.

[E]

Well, never mind, baby. Forget the fairy tales. That kid ought to be home in bed anyway, instead of running around a saloon.

[C]

He's my little brother.

[E]

Oh, I get it now. This is the family getting to scare off the americanos, eh?

[C]

No, no, senor.

[E]

Well, I don't scare easily, baby. I don't scare at all.

[C]

Ah, bueno.

[E]

No, sire. I say, okay.

[C]

What does the matter, Senor Charlie?

[E]

Nothing, baby, nothing. I just had a great idea, that's all. Thank your little brother for me, baby. He's just given me a great idea. Yeah, a great idea. For a long time I've been thinking, why just 25,000? Why not the whole half a million? There's something wonderful about those little Ben of free gold. You know, they're so negotiable. You don't have to exchange them for anything else before you can get the cash. With a half a million. And Lolita, life could be beautiful. And now the plan was shaping up in my mind. I started putting it into effect as soon as I got back to the camp. Quinn was waiting there for me as I rode up and I could see he was boiling.

[G]

Where in thunder have you been? You were due back two days ago.

[E]

Ah, I got drunk. I didn't feel like hitting the trailer this morning.

[G]

Oh, just like that. Take it or leave it.

[E]

Well, that's it.

[G]

I don't blame a man for getting drunk once. But I'll send somebody else in for supplies next week.

[E]

I'm going in. I got a date next Saturday night.

[G]

Listen, Morton, I told you.

[E]

You want to fire me now, huh? You got anybody else who can keep the mill going?

[G]

I haven't and you know it.

[E]

All right, then. Let's get to work.

[G]

Morton.

[E]

Maybe we better speed up a little, too. Why? Well, they're talking in town about this El Chico.

[G]

El Chico?

[E]

Yeah, Bandito thinks he's gonna run all the americanos out of Mexico. He's making a war on the Americans. Been raising Cain up north.

[A]

Up north? Yeah.

[E]

The talk in town was that he's heading down this way.

[G]

I was afraid of something like that. You better tell me about it, Morton. Tell me all about.

[E]

Was a cinch from the very first. He swallowed it all. By the next Saturday, he was begging me to go back to town, keep my ears open, find out all I could. Of course, I heard plenty. Then Quinn was hurrying them in, trying to figure out a way we could get out. But the way I told him, El Chico had complete control of the province to the north and blocked our way back to the States. The only other way was across the mountains to the west. And they were impassable without native guides. He knew that, but I reminded him. And then the next time I went into town, I brought back the map. A greasy, crumpled, dog eared pencil map scrawled on butcher paper. It was a masterpiece. It should have been. It took me a whole night to draw it. And it showed an old wagon road going out over the mountains to the coast. I told Quinn I bought it from an old Mexican. It was the prelude for my trump card.

[G]

Okay, Map looks genuine, all right. And if it is, that road can't be more than 10 miles due west of here.

[E]

I figure less than that. Straight over There, in that low pass.

[G]

My golly, I think you're right.

[E]

Sure. All we gotta do is to get across this one. This. This one canyon right here.

[G]

And how do you figure we do that? With wings? It's 300ft deep and 100 wide.

[E]

It's easy.

[G]

Yeah, that tequila you've been swilling in town's got you goofy.

[E]

I wanna throw a bridge across.

[G]

I love the way you say that. Like, why not have another flapjack for breakfast?

[E]

Look, I'm an engineer, remember? I'll put a bridge across there in three days.

[G]

Morton, you do that, and I'll take back everything I ever said about you.

[E]

The next morning, I tied a 200 foot length of rope around my waist, took a pulley with me and started down to the bottom. It took me all day to make it up to the other side. I tied the pulley to a jack pine and pulled the rope through tight and tied it off. And then I came back, hand over hand. After that, it was simple to finish. The slickest suspension bridge you ever laid eyes on. Plenty strong enough to hold all our men and mules. Fully loaded. Was so good that even Quinn had the grace to admit it.

[G]

I gotta hand it to you, Morton. I've seen a lot of engineers that can work things out on paper, but not many that can do the job themselves.

[E]

Thanks.

[G]

What do you say we take a look over there tomorrow for that road?

[E]

No need to. I took a little walk the day I ran the cable across. Road's there all right. Just where the map shows it.

[D]

Oh, all right.

[G]

If you found it. I guess that takes care of that.

[E]

Sure. We're all set.

[G]

Thanks to you. I guess I owe you an apology, Morton. Maybe we all owe our lives to you.

[E]

That's the only time before or after that. I had a qualm when he said that. But you gotta be tough. I couldn't forget that. It was too late now to back out. Everything was ready. We were all set to leave on short notice. Quinn wrote a letter to Collins in the States telling him to meet us on the coast with a boat. Quinn gave me the letter to mail in town, but of course I never mailed it. I spent my time in town getting the necessary mules and the gear. And then I went to Lolita.

[C]

Queried o'. Neill. I have missed you.

[E]

Well, it's the last time you'll have to miss me, baby. This is it. The diamonds, the fancy clothes, all of it. Yours.

[C]

Mine, querido. You are rich now.

[E]

By this time tomorrow, we'll Both be rich with more gold than we'll know what to do with for the rest of our lives.

[C]

Gold? You have found much gold, see?

[E]

And it's ours, thanks to El Chico.

[C]

El Chico, Remember?

[E]

Beware El Chico. The game you played with your brother. Oh, see, that's what gave me the idea. And it worked perfectly. We'll have to thank El Chico if we ever run into him.

[C]

Oh, I do not think that will happen. After all, El Chico is only in a game, remember?

[E]

Well, never mind the games now, baby. We got work to do. Now, get some clothes. But keep it light. We'll plot of here at midnight. And tomorrow. Tomorrow we're rich.

[A]

Hello there.

[E]

Alto.

[C]

We are here already, querido.

[E]

No, but. But you stay here with the mules while I go into camp with Quinn's train. It'll be dawn in an hour. Then you start up. And remember, raise as much dust as you can. That's part of the plan, Si. By the time you get there, everything will be ready.

[C]

Comprende, Sicurido? You are sure there will be no mistake?

[E]

Not with me running this clam bake, honey. Now give me a kiss, girl. Hostela huega, baby.

[C]

Good luck, Carri, though.

[E]

But I wasn't depending on luck. You don't need luck when you got everything figured. I knew the leader and I'd be on our way back to the States with a trunk full of that yellow stuff. And the men, well, I didn't even give them a thought. Not even Quinn. Dumb lungs. Too stupid to reach for what they wanted. They deserved whatever life handed them. Just before I rounded the last bend into camp, I stopped the pack. It's awful quiet in the mountains. Just before dawn, I took a deep breath and.

[A]

Quinn.

[E]

Quinn. Get going. Your magic cutters, fighter. Look like you've been running for 20 miles. Quinn or. Quinn.

[A]

Who is it?

[G]

Your partner? Is that you?

[A]

What is it?

[E]

What's the matter, Alta? We'll have to get out in a hurry. El Chico's on his way here with 20 men. He'll be here inside of two hours.

[G]

How'd he find out about us?

[E]

Oh, it's all my fault. I was a fool to trust Alita. I thought she was okay. She sent word to old Chico about the gold.

[G]

You blasted idiot. I told you to keep your mouth shut.

[A]

I know, I know.

[E]

You can kick me anywhere. I've been kicking myself all the way up here.

[G]

I'd like to kill you.

[E]

Well, I wouldn't blame you, Quinn.

[G]

All right, men, get those mules back. We're getting out the gold first. Two saddlebags for each mule.

[A]

Hurry.

[E]

I work like a demon alongside the men getting the stuff packed. And then, just as the last mule was getting his diamond hitch, I grabbed Quinn's arm.

[G]

What do you want?

[E]

Quinn? I've been thinking. I got to do something.

[G]

Looks to me like you've done enough.

[E]

Don't you see it's my fault? It's up to me to do something now.

[G]

This is no time to beat your breast. We're getting out. Getting out of here as fast as we.

[E]

No, look. Look, I got an idea. You gotta let me square myself.

[G]

Make it snappy. We can't waste time.

[E]

Well, listen. I placed a dynamite charge under the eye bolts at this side of the bridge.

[D]

Uh huh.

[E]

Now, I'll stay on this side and wait till you're safely across, then blow the bolts clean so there'll be no trace left.

[G]

I see.

[E]

You cut the cables on the other side with a hacksaw, and the whole bridge will drop to the bottom where the brush will hide it. You'll be out of sight when El Chico comes, and I'll tell him you've out slicked and gone north. He'll wait several days riding after you before he realizes the truth. And by that time, you'll be safe on the coast.

[G]

And what about you?

[E]

Hell, I don't matter. This wouldn't have happened if I had shut my mouth off. Come on, you fellas.

[G]

Get going. Nuts. We'll stick together. Cutting the cables on the far side's a good idea. He'll lose a day going back to where he can cross the canyon.

[E]

Day is not enough. His horses will catch your moves. We got to destroy every sign of the bridge. Make them think you've gone the other way. I'm staying.

[G]

I don't know.

[E]

It's the only way. Quinn, look. Look. You can see the dust cloud over there on the trail. He's coming. You haven't got much time to get out of sleep.

[G]

All right, Martin. Maybe I was wrong about you. Let me shake your hand. Good luck.

[E]

Good luck. That's all guys like Quinn can think about. They don't understand a man who's tough enough to make his own luck. All of them lined up and they shook my hand. They all hated me since I came on the job. Now they were shaking my hand. And in a minute, the lead mule started. Soon they were all strung out on that long swing. Quinn stayed till last, spacing them out. I waved to him and waited for him to step out on the bridge. My hand inched Toward the plunger. Then the stupid fool started back toward me. Go on, Quinn. Hurry. There's no time.

[G]

I can catch up with him. Listen, I've been thinking, Morton. Sunday, while you were in town, I looked around for that road. I couldn't find it.

[E]

They're all right. You'll find it. Hurry, Quinn.

[G]

Maybe so, but I was just thinking. Why'd you plant the dynamite under this end of the bridge?

[E]

Well, I.

[G]

Why couldn't you have strung wires and blown it out from the other side?

[E]

I just didn't. I made a mistake.

[A]

All right.

[E]

I'll take the consequences.

[G]

Still do it, Morton. We've got plenty of wire. No need for you to fall into El Chico's hands.

[E]

Go on, you fool. Go on. In a minute it'll be too late.

[G]

Too late for what, Morton?

[E]

Look at that dust. He's coming.

[G]

You know what I think? I think El Chico isn't anywhere within 500 miles up here.

[A]

What?

[G]

I think you plan to blow up this bridge with the men on it. Drop us all at the bottom where you could pick up the pieces.

[E]

Get away, Quinn. You can't stop me now. I'll take care of you later.

[G]

To eat in that dredger. Stop it, Morton. Get your hand off that. Stop.

[E]

The concussion had my head reeling for a few seconds. When the landscape swam back into focus, I could see the bridge was gone. The bridge and the men and the mules. But I couldn't seem to figure out what happened. Quinn lay beside me, very still, and I could see blood. How did I seem to remember hearing a shot? But where did it come from?

[A]

Charlie.

[C]

Senor Charlie.

[E]

Lolita, you did it. You shot him.

[C]

You're wonderful.

[E]

We did it, baby. We did it. Look it down there. A half a million bucks, baby. Three million pesos in gold. And all we gotta do is go

[C]

down and pick it up.

[A]

Indeed. A good job, senor.

[E]

I stared stupidly at the little man in the big sombrero who stepped out of the manzanita and grinned at me. A smoking revolver dangled from one hairy paw and the other. The other was pulling Lolita toward him. My Lolita. She put her arms around him and kissed him in a way that she never kissed me.

[A]

We will pick up your goal for you, senor. You are very smart man, Senor Charlie. I should like to be your friend. Except you are gringo and you mistake to make the love to the sweetheart of El Chico. Thank you, Burt Lancaster, for a splendid performance. Mr. Lancaster will return in just a moment. Doc, what do you do for an

[G]

Acute case of goose pimples, huh?

[A]

Well, if I knew, I'd prescribe some for myself.

[C]

What you both need are some cool, calm, carefree auto light words from Frank Martin.

[A]

Now, Mary, can't a couple of old jalopy men talk about spark plugs? Everybody's talking about auto light resistor spark plugs. Why, they're the best thing that's happened in spark plugs for years. Replace your narrow gap spark plugs with the sensational new wide gap auto light resistor spark plugs. You can actually tell the difference in your car. You'll enjoy immediate improvement, like smoother idling and gas savings. Buy a set of Autolite resistor spark plugs tomorrow. So remember, Autolite means spark plugs ignition. Engineered resistor spark plugs. Auto light means batteries. Stay full batteries. Auto light means ignition system. The lifeline of your car. Yes, and Autolight also makes in its 26 nationwide plants. More than 400 automotive, aviation and marine products. Famous the world over for engineered dependability. And now, here again is Mr. Burt Lancaster.

[E]

My thanks to the fine cast of radioactors who appeared on tonight's show. Suspense is always one of my favorite programs, whether I'm acting on it or listening to it. And you can be sure that I'll be glued to my radio next Thursday. Thursday evening when Gregory Peck appears in a story called Hitchhike Poker. Another gripping study in suspense.

[A]

Burt Lancaster will soon be seen in the normal production, Kiss the Blood Off My Hands. Tonight's suspense play was written by Brett Holiday and adapted for radio by Lawrence Goldman. With music composed by Lucian Marowick and conducted by Led Bluskin. The entire production was under the direction of Anton M. Leiter. In the coming weeks, Suspense will present such stars as Robert Young, Virginia Bruce, Edward G. Robinson, Ray Milan and many others. And of special note, our star tonight, Burt Lancaster, may currently be seen in the film version of Sorry, Wrong Number. That great suspense play soon to be repeated on this program with Agnes Moorhead in her original role. Make it a point to listen other each Thursday to suspense radio's outstanding theater of thrills. And next Thursday, same time, hear Gregory Peck in Hitchhike Poker.

[C]

This is the Auto Light suspense show. Drive slowly. Death and danger travel in fast company. Good night. Switch to Auto light.

[A]

This is cbs, the Columbia Broadcasting System. Autolite and its 96,000 dealers bring you Ms. Deborah Carr in a story based on fact. Tonight's presentation of Sal Spins. Tonight, Autolight presents the story of a girl who chose a most dangerous way

[E]

of making a living.

[A]

And bet her Life on its success. A story true, except for changes in names and places which we call the Lady Pamela, starring Ms. Deborah Carr. This is Harlow Wilcox. I was visiting Sam, my neighborhood Autolite spark plug dealer, the other day when his phone rang. Hello? Yes, sir. Huh. Well, it may be spark plug trouble because spark plugs are the very heart of your car's ignition system. Better let me and my plug check indicator take a look. That's the exclusive Autolite plug check indicator which instantly shows the exact condition of your spark plugs and whether they're right for your style of driving. Well, they may only need cleaning, but if new ones are needed, I'll install auto light resistor or standard type spark plugs. They're world famous. Yes, sir. And when you replace worn out spark plugs with ignition engineered Autolite spark plugs, you get smoother performance, quick starts and gas saving. You know our location, sir. Okay, see you soon. And friends, to quickly learn the location of your nearest Autolite spark plug dealer, just call Western Union by number and ask for operator 25. And remember, from bumper to tail light, you're always right. With Autolight, Deborah Carr is appearing by arrangement with Metro Goldwyn Mayer, producers of the Technicolor musical Singing in the Rain, starring Gene Kelly, Donald o' Connor and Debbie Reynolds. And now, Autolight presents the Lady Pamela, starring Ms. Deborah Carr. Hoping once again to keep you in South Spence.

[F]

Mr. Tillett, I'm afraid that I'm taking up too much of your time.

[A]

Not at all, Ms. Bond, not at all.

[F]

I mean, you've shown me so, so many beautiful things and I. I simply can't decide. It's extremely naughty of you to have so many lovely.

[A]

My dear lady, such jewels as these were made only to adorn one such as yourself. The afternoon is yours, and with it, my services.

[F]

How sweet of you.

[A]

Now, this is the tiara.

[F]

Oh, it's perfectly. Mr.

[A]

I want you to notice the rubies here and the exquisite workmanship of the filigree.

[F]

I dare to ask. It's priceless, I know, but $50,000? No, I've got to be sensible. It's quite out of the question. Now, what about the necklace?

[A]

24,000.

[F]

The brooch and earrings?

[A]

18.

[F]

Oh, they're adorable. And the diamond?

[A]

14,000.

[F]

For you, Ms. Bar, I should really close my eye.

[A]

I'm sorry, gentlemen, I'm. Oh, keep your hands on the velvet, friend, and nobody's going to get hurt. You, lady, just sit there and don't open your mouth or I'll close it for you. You're this. Is this. Hold up. We'll take that. Please.

[F]

Don't you dare touch me. I. Oh, okay.

[A]

Thanks for everything. So long. Here we are, dear. How are you, sweet? Oh, you know David Archer, don't you?

[F]

Of course. Do sit down. Have you all. Colonel, I'm famished.

[A]

I did. We were only waiting for you, my dear.

[F]

No trouble?

[A]

No, not a bit. Everything went off splendidly.

[F]

Good. David, that slap, it was a little too realistic. Don't ever do it again.

[A]

Well, look, I was only.

[F]

I'm taking 500 out of your cut for that. You're to follow orders, nothing else.

[A]

Listen, if you think you can get away.

[F]

That's exactly the point, David. I do think you don't. Tillip might have seen a scar on your wrist when you slapped me. You've got a record. You could be identified by that. Follow orders in the future.

[A]

Oh, now, now, now, children.

[F]

Be quiet, Halliday. Do you understand? David.

[A]

Yeah. Sorry.

[F]

All right. When are you disposing of the things?

[A]

Halliday, I. I'm flying to San Francisco tomorrow.

[F]

Good. Today's the 10th. We'll meet at my flat on the 15th. 8 o'. Clock. That should give you enough time.

[A]

Oh, ample, my dear, ample.

[F]

David, where are you staying?

[A]

Join on 84th street, off the park.

[F]

I think it would be better if you move to a hotel. Change your name, too. Don't phone me. Send a note to the usual place.

[A]

Sure. Ah, here we are. Dinner. The finest food in New York, my dear. Just wait. You'll see.

[F]

We had done much better than I thought we would. Although I didn't expect Halliday to sell for more than 40,000 in San Francisco. I remember as I brushed my hair before going to bed that night that I felt almost sorry for Mr. Tillet. But he was such an old rou a. Next time he'd know better. Wicked little eyes. I didn't get up until 11 the next morning. It was a wonderful day, bright and clear. I was having my second cup of coffee when. Yes?

[A]

Police. Miss Barnes.

[F]

Yes, just a moment. I'm awfully sorry. I.

[A]

It's all right. Miss Barnes. May I come in? My name's Boland. Robbery detail?

[F]

Well, I suppose so. I. I think you might have telephoned first. Did you find the jewel?

[A]

Not yet. I'd like to ask you a few questions.

[F]

I thought I'd answered them all yesterday.

[A]

No, miss.

[F]

Oh. Would you like some coffee?

[A]

No, thanks.

[F]

Please sit down. You make me feel awkward.

[A]

I'm sorry. Now, Mr. Bolan, you know a man named Archer? Miss Barnes. David Archer.

[F]

No. No, I don't think so.

[A]

He was picked up this morning. We think that he was one of the men in the robbery yesterday.

[F]

Really?

[A]

He was identified by a scar on his wrist. Mr. Tillett remembered it.

[F]

How wonderful. But they were two men.

[A]

Yes, we know. You're sure you don't know Archer?

[F]

No, I'm positive I don't.

[A]

You've never met him?

[F]

No. You sound as though you think I should, Mr. Boland.

[A]

You were followed after the robbery, Ms. Barnes. You went to a restaurant on East 53rd Street. You had dinner there with two men. One of them was Archer.

[F]

That's ridiculous.

[A]

No, our man didn't know it was Archer until this morning when Mr. Tiller Cleargrass. He was identified. The detective who followed you recognized Archer.

[F]

I'm afraid you're mistaken, Mr. Boland.

[A]

We're not. The whole thing was too nicely timed. Who was the other man?

[F]

Really, I don't know what you're talking about.

[A]

All right. Get dressed, please, Ms. Barnes. You'll have to come downtown.

[F]

Am I under arrest?

[A]

Let's say you're a material witness. It sounds better.

[F]

I don't think I was frightened. I was terribly annoyed, though. But at least they hadn't got Halliday. Mr. Bolan questioned me in a dirty little office at police headquarters. He wasn't at all like a Scotland Yard man. He smoked. Allowed me to smoke. His first name was Jack, and he was rather nice looking.

[A]

Name?

[F]

Pamela Kittredge Barnes.

[A]

Age?

[F]

24.

[A]

Height and weight?

[F]

5ft 4. 119 pounds.

[A]

Scars or marks?

[F]

No.

[A]

Nationality?

[F]

British.

[A]

Married.

[F]

No.

[A]

Previous convictions? None. You know. We'll check with the other side on that.

[F]

I imagine that you will. And when the questioning was finished, they released me. Perhaps Mr. Boland thought that I'd lead him to Halliday. I didn't. But I got in touch by telephone.

[A]

Oh, you just caught me. I was on my way to the airport. Anything wrong?

[F]

The police have arrested David. They questioned me this morning. I'm free at the moment. Now, look here, there's not much time. I know they'll get in touch with Scotland Yard about me. And when they do, I won't have a chance.

[A]

I suppose not.

[F]

A couple of men followed me from police headquarters, so I can't very well get away. But, Halliday.

[A]

Yes?

[F]

I want to know where I can reach you.

[A]

When?

[F]

Later. If they put me away so I can get my money.

[A]

Well, as soon as I get back from San Francisco, I'll phone you. If something's happened, word will have got Around. Now, don't worry. When you get out, the money will be here waiting for you.

[F]

Where?

[A]

I'll get in touch. I must dash now, darling. The plane.

[F]

All the best, Halliday.

[A]

Good afternoon, Ms. Barnes.

[F]

Oh, Mr. Boland.

[A]

I thought we just received a cable from Scotland Yard about you. I'm afraid I'll have to ask you

[F]

to pack your things this time. You're arresting me, aren't you?

[A]

That's right.

[F]

David Archer got 10 years. I spent two years, nine months and 14 days in prison. And I was nearly 27 when I went back to New York. The first thing I did was to get my hair done. Halliday hadn't been in touch with me, but I realized it might have been too dangerous. The police and the insurance company were still looking for the jewels. So I began to look for Halliday. I telephoned every hotel in New York and every possible contact that Halliday might have had. And at the end of a month, I knew what had happened. He'd gone, run out, leaving no word. And my share of the money had gone with him.

[B]

Hello?

[A]

Ms. Barnes?

[F]

Yes.

[A]

My name's Robert Wiley. I'm downstairs in the bar. I'd like to come up and talk to you for a few minutes.

[F]

I don't think I.

[A]

No, you don't know me, but I've heard about you. Oh? Some people have been saying that you're looking for somebody.

[F]

People?

[A]

Yeah. They say you're looking for someone called Halliday.

[F]

Do they?

[A]

Listen, I'm not a cop, if that's what you mean. Can I come up?

[F]

I'm not in the habit of receiving strangers in my hotel room, Mr. Wylie. If you'll wait a few minutes, I'll come down.

[A]

Okay. I'll wait for you here in the bar. What will you be wearing?

[F]

A gray tweed coat.

[A]

Right. So long table over there. Okay.

[F]

Yes.

[A]

You. You're English, aren't you?

[F]

Yes.

[A]

Yes. I thought so.

[F]

How clever of you. You too.

[A]

I was.

[F]

What was it you wanted to see me about?

[A]

A deal.

[F]

What kind of a deal?

[A]

I'll sell you. Colonel Halliday.

[F]

You know where he is? That's right. I haven't any money.

[A]

But you will have when you find Halliday.

[F]

Who told you about me? About Halliday?

[A]

Halliday? I've been working for him. At least I was up until a couple of weeks ago. We didn't agree on a couple of things and he ended up double crossing me.

[F]

How much do you want?

[A]

50. 50. Partner.

[F]

Too much, Mr. Wiley. Much too much.

[A]

I Don't think so. Halliday is a big shot. Now, you're going to need help. You couldn't do it without me.

[F]

Did he tell you how much he got for the job?

[A]

50,000. Oh, now what? Is he all right?

[F]

Where is he?

[A]

Partners?

[F]

Yes, where is he, Mr. Wy?

[A]

Of course, there's one little thing.

[F]

What's that?

[A]

He said if he ever saw me again, he'd kill me.

[F]

Isn't that going to make it rather awkward? I mean, for you?

[A]

Well, it might. Unless. Well, that's where you come in.

[F]

Exactly how do I come in, Mr. Wily?

[A]

Well, I thought it might be awkward for Halliday to knock me off if we get to him first.

[F]

In other words, before you tell me where he is, I have to agree to help you kill him. Is that the idea?

[A]

If you want your dough, that's the idea.

[F]

I want my dough.

[C]

Mr. Whitey.

[F]

Where is he?

[A]

Autolyte is bringing you Ms. Deborah Carr in the Lady Pamela. Tonight's production in radio's outstanding theater of thrills, suspense. Hey, Sam, you really go for the exclusive Autolite plug check indicator, eh? Sure do, Mr. Wilcox. It's a quick sure check on the exact condition of your car's spark plugs. I go for that plug check indicator just like drivers go for those great auto light spark plugs. And great is right, Sam, for those ignition engineered auto light spark plugs are designed by the same Autolite engineers who design the Coil distributor and all the other important parts of complete ignition systems used as original factory equipment on many leading makes of our finest cars, trucks and tractors. And boy, that auto light resistor type spark plug is really something. It sure is, Sam. The new auto light resistor type gives double life and greater gas savings as compared to spark plugs without a built in resistor. And it's only one of a complete line of ignition engineered auto light spark plugs designed for every use. So have your Autolite spark plug dealer check your spark plug soon. And remember, from bumper to tail light, you're always right with Auto light. And now Auto Light brings back to our Hollywood soundstage. Ms. Deborah Carr in Elliot Lewis's production of the Lady Pamela. A dramatic report well calculated. To keep you in suspense.

[F]

Halliday was in London and a week after our meeting, Robert Wylie and I booked passage on the first day. It was the second day of our departure. I remember the night lovely and clear. Wiley had gone to buy a packet of cigarettes. I was leaning over the rail watching the flashes of phosphorus and the water was endless.

[A]

You ought to be careful leaning over the rail like that.

[F]

It's beautiful.

[A]

Well, I wouldn't want to be in it.

[F]

Can't you swim, Mr. Wiley?

[A]

Listen, now, let's forget that Wiley stuff, Bob. Okay?

[F]

Okay.

[A]

How does a girl like you get mixed up with Halliday?

[F]

I wasn't mixed up with him. He was mixed up with me. There's a difference.

[A]

You know he worked for you.

[F]

That's right.

[A]

Are you kidding?

[F]

Not at all. Why should I?

[A]

From what he says, you were the front girl and he worked out the deal.

[F]

The colonel used to be an actor. I don't think he can bear second billing.

[A]

You're quite a girl.

[F]

And are you quite a boy?

[A]

I've been told. I say, why?

[F]

I know you feel because you're a man, you have to behave like one. But don't ever do that again.

[A]

I don't get that.

[F]

I have no intention of letting you. You better understand this. You and I have a business arrangement. I want my money. You want to take care of the Colonel. We'll keep to that.

[A]

Okay. Don't you ever relax?

[F]

I relaxed for two years, nine months and 14 days in prison. I feel like working now. Do you understand?

[A]

No. That. That's the way you wanted.

[F]

It is. And if you ever try to touch me again, we are fin. Three days later, we were in London. We found a nondescript hotel in Chelsea and laid doggo for a time. It wasn't going to be easy. The Colonel was a very top dog in black market. And we both knew that if he ever found out that Wiley was in England, there'd be trouble. It was Wiley's idea that I go to see him in his flat. But I thought an accidental meeting would be better. And so we planned it it that way. I bumped into the Colonel at Piccadilly Circus.

[A]

Oh, I beg your pardon.

[F]

I'm so sorry.

[A]

Pam. I say, it is you, Colonel.

[F]

I'd no idea.

[A]

Jeffrey, this is marvel. I mean, absolutely marvelous. How long have you been over here?

[F]

Only a few weeks.

[A]

Oh, marvelous. Oh, your lovelies. Ever lovely. Look, sir, could we have a cocktail together? Talk over old times?

[F]

Oh, I'd love to.

[A]

Oh, marvelous. How about Scott's? They know me there.

[F]

We went to Scott's, and on the way he prattled about England, his England and of the old days in America. And it was all quite respectable talk. The Colonel was a striking man. Wore his clothes beautifully and walked with the carriage you'd expect from a man who looked like that. They knew him very well. In the restaurant. I began to See that? This was not the same Halliday I had known three years before. We sipped our drinks and it was all like a very exciting play. He knew I was going to ask him about the money from the robbery. And I knew that my partner was going to kill him.

[A]

Things are not quite the way they were. Although I suppose one must put up with it, mustn't one?

[F]

You seem to have done nicely, Colonel.

[A]

Oh, my lovely girl. It's all a matter of comparison, purely

[F]

comparison to the jobs we used to do on the other side.

[A]

Oh, darling, those are trifles. I have no time for such nonsense now.

[F]

Neither have I. What did you do with the jewels?

[A]

Jewels?

[F]

Yes, the ones we got from Tillets. Remember? You went to San Francisco by Joe. Of course.

[A]

What a marvelous memory. Where it's mouth, isn't it?

[D]

Yes.

[A]

Rather bad show, I'm afraid. I was hijacked. As our American cousin so quaintly put it.

[F]

Who did it?

[A]

I don't know. It happened in San Francisco. Oh, yes. Then when I heard what had happened to you and Archer, I gave up and came home to England.

[F]

You were awfully lucky, weren't you?

[A]

Oh, not really.

[F]

Now, it's strange because I heard that you got $50,000 in San Francisco.

[A]

No.

[F]

Yes.

[A]

Rot.

[F]

Who said so? Wiley. Robert Wiley.

[A]

Wiley. And who is Robert Wylie?

[F]

Oh, what's the use of all that, Colonel? You know very well.

[A]

As a matter of fact, I haven't the slightest idea of what you're talking. I gather that I'm supposed to be on close terms with Mrs. Wilycheck.

[F]

That's right.

[A]

I see. Well, you can only believe one of us, can't you? And I tell you, I have never even heard of the man.

[F]

I do know you better than I know him, Colonel.

[A]

Then you take my word, eh?

[F]

No, I take his. I'd like my share, Halliday. My dear child, I want my share.

[A]

What can I say? I know what you've been through. I think of poor Archer, still incarcerated. But on my word of honor, Pam, I didn't get a brass farthing.

[F]

I want my money now.

[A]

Oh, Pam, Pam, you're too marvelous.

[F]

I mean it.

[A]

Darling girl. Things have changed, you know. Over here I'm the man. I don't take orders anymore. And if I did, it wouldn't be from a woman. Certainly not from you. Pam. You're much too emancipated even for me.

[F]

I think I would have killed him then in Scots. If I'd had a gun or a knife, I would have killed. Killed him. And as I walked to the underground station. I did something I can never remember having done before. I cried. When I got back to the hotel, I went to Wiley's room and told him what had happened. We were agreed we would have to work fast. And so that night we went to holidays flat.

[D]

Yes, who is it?

[F]

Pam, may I speak to you for a minute?

[A]

Oh, darling.

[F]

Hello, Colonel.

[A]

Dear girl, how are you?

[F]

Come in. Thanks.

[A]

Oh, twice in one day. You surprised me, Pam, but then you always did. Do sit down, won't you? And your young man. Drinks?

[F]

No, thank you.

[E]

Well, then.

[A]

Oh, what should we talk about?

[F]

You.

[A]

Oh, I say, in front of this gentleman. You know, you haven't introduced me there. Are you kidding? I never kid.

[F]

You're a rotten liar.

[A]

I may be, but I should still like to know. Oh, this must be Robert Wiley, am I right? There's not much point to this.

[F]

No. I want my money, Halliday.

[A]

Of course. And what do you want, Wiley? Never mind. This is almost funny, Pam. I don't know what you're up to, but I've really never seen this chap before in my life. You think she's going to believe that? Probably not.

[F]

You can give me Archer's share, too.

[A]

How thoughtful of you. And you'll see that he gets it, won't you?

[F]

Yes.

[A]

Come on, come on. The money. Oh, yes. Tell me, Wylie, where did we know each other when? What do you think you're going to do, Play me off against her? No, not at all. I'm just interested.

[F]

Colonel.

[A]

Yes, sir?

[F]

When you open the safe, please be careful.

[A]

Oh, a gun now, eh?

[F]

Yes.

[A]

Put it away. It's my gun. I underestimated you, my dear. I shouldn't have done that. You will have to take it in pounds, you know.

[F]

That's all right.

[A]

Poor Archer. I wonder if he'll look for you when he gets out.

[F]

He might. Hurry up, please.

[A]

Will you tell me one thing?

[C]

What?

[A]

Who is this man really? Hand it over. Why are you afraid to let me talk? Mr. Wiley? Don't you want her to find out the truth?

[F]

Give me the money.

[A]

Look out for him, Pam, dear. I don't know what he's been telling

[F]

you, but I'm going to tell you something now. I swore to myself that if I ever found you, I'd pay you out for what you did to me. I'd get my money and I'd pay you. I'm going to Colonel. He wants to do it. But I owe you more.

[A]

Oh, Pam. No, Sam. Oh, you silly. Give me that. I've been telling you the truth, Pam. I've never seen him in my life. Why did you have to do that?

[F]

Because I wanted to.

[A]

You must be crazy.

[F]

Come on.

[A]

You're not going anywhere.

[F]

Oh, stop it.

[C]

Come on.

[A]

You stay right there. I've got to call the police.

[F]

Police? Yes.

[A]

Maybe you should have listened to him.

[F]

What do you mean?

[A]

I'm with International Insurance Company, New York office. We knew the jewels had been sold, but we wanted to recover as much of the money as we could.

[F]

You didn't know him?

[A]

No, but I knew you'd be looking for him when you got out. He wanted to get you both together.

[F]

Don't. Wait a moment.

[A]

What?

[F]

On the boat coming over. Remember? You wanted to kiss me.

[A]

Uh huh.

[F]

Perhaps I've changed my mind.

[A]

Now I think I have too. I don't think we'd be happy together. You're not exactly my idea of the ideal wife, you know.

[F]

If I ever get out, I'm going to kill you.

[A]

If you ever get out. I deserve to get killed. Hello, Scotland Guard. I want to report a murder. Suspense A story based on fact presented by autolight. Tonight star, Ms. Deborah Carr. This is Harlow Wilcox speaking for Autolight. World's largest independent manufacturer of automotive electrical equipment. Autolight is proud to serve the greatest names in the industry. The many leading manufacturers who install Autolight products as original equipment. Our Autolight family is made up of the nearly 30,000 men and women in 28 great autolight plants. It also includes more than 18,000 people who have invested a portion of their savings in Autolite, as well as 96,000 autolite distributors and dealers in the United States and thousands more in Canada and throughout the world. Tomorrow night, Autolite will present the national television preview of the great Parade of Stars automobile show from the grand ballroom of New York's Waldorf Astoria Hotel. This program may be seen at the regular Autolite suspense television time tomorrow night or a few days later in some television areas. Don't miss this great program and remember to be with us next week for another thrilling Autolite suspense show on radio. Next week on suspense, our star will be Mr. Dan Duryea in a dramatization from your morning newspaper the dramatic report of a cold blooded killing and the awful consequences to its only witness. The story will be called Remember Me and it will be heard on South Spence. The Lady Pamela was written for suspense by Anthony Ellis. Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morowic and conducted by Lud Gluskin. In tonight's story, Ben Rife is heard as Robert Wiley and Joseph Kearns as Halliday. Features featured in the cast were Peter Leeds, Larry Thor and Ted Osborne. The Electric Auto Light Company salutes the Boys Clubs of America on this first day of National Boys Club Week. Boys Clubs serve the boy, the community and the nation. An investment in boys is an investment in America's future. This is the cbs radio network.

[B]

We just heard Frank Sinatra, Burt Lancaster and Deborah Carr, the stars of From Here to Eternity. That will do it for this week's show. Thanks so much for joining me. I'll be back next week to kick off a new month when, in honor of the Academy Awards, each of the films we'll feature is a movie that took home the Oscar as best Picture. 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 hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meansts OTR. I'll be back next week with the stars of a best picture winner, each of them appearing in tales well calculated to keep you in

[E]

suspense.

[B]

SA.

[A]

Ladies and gentlemen, the chief hope of our enemies is to divide the United

[D]

States along racial and religious lines and thereby conquer us.

[A]

Let's not spread prejudice. A divided America is a weak America.

[D]

Through our behavior, we encourage the respect

[A]

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.