Episode 449 - Stars of "Seven Days in May"

Summary

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Stars on Suspense Episode 449: Stars of "Seven Days in May"

Podcast Host: Mean Streets Podcasts
Release Date: April 30, 2026

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Episode Overview

This week’s Stars on Suspense features three Hollywood legends—Kirk Douglas, Edmund O’Brien, and Frederic March—who starred in John Frankenheimer's 1964 political thriller Seven Days in May. The host spotlights their appearances in episodes of Suspense, “radio’s outstanding theater of thrills,” and adds a bonus Cold War segment reflecting key themes from Seven Days in May.

Main Theme:
Showcasing classic Suspense radio dramas starring the iconic actors from Seven Days in May, exploring their performances in tales of intrigue and deception that parallel the film’s exploration of power, trust, and paranoia.

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Introduction and Context

[00:50 - 03:27]

• The host introduces the episode as a tribute to Seven Days in May and its stars.

  • John Frankenheimer’s Seven Days in May (1964): Focused on a foiled military coup, with Cold War anxieties, written by Rod Serling, starring Kirk Douglas, Burt Lancaster, Ava Gardner, Edmund O’Brien, Martin Balsam, and Frederic March.
  • “I feel like it gets overlooked in Frankenheimer’s filmography, which is fair considering it comes in the midst of a hot streak for the director in the 60s.” (Host, 00:58)

• No radio adaptation exists due to the movie’s late release, but the stars appear in classic Suspense episodes:

  • Kirk Douglas in “The Story of Markham’s Death” (Oct 2, 1947)
  • Edmund O’Brien in “Muddy Track” (Nov 11, 1948)
  • Frederic March in “The Night Reveals” (May 26, 1949)
  • Plus, a bonus: “The Case for Dr. Singer” (June 28, 1951—a Cold War, atomic secrets drama)

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Segment 1: "The Story of Markham’s Death" – Kirk Douglas

[07:43–36:40]

Plot Summary

• Philip Martin (Kirk Douglas) is a once-famous novelist facing writer’s block, contemplating his faded talent and the growing distance from his lover, Ann.
• He travels to London for inspiration, discovers a hidden Edgar Allan Poe manuscript in a bombed-out building, and plagiarizes it for his comeback novel.
• Guilt and paranoia set in as Dr. Sellgrove, a Poe scholar, uncovers the theft and attempts blackmail.
• In a bid for self-preservation, Martin kills Sellgrove and desperately covers his tracks, only to become ensnared in a greater web of suspicion when Ann is murdered—by her just-escaped criminal brother, though all evidence points to Martin.
• The episode ends with Martin ironically condemned, his alibi for one murder incriminating him for another.

Key Discussion Points & Insights

• Creative Desperation & Morality:
  “You can’t possibly understand the complete futility you feel when your talent is suddenly turned off like a water spout.” (Philip Martin/Kirk Douglas, 09:51)
• Paranoia and Suspicion:
  The blackmail encounter with Sellgrove builds as a game of intellectual cat-and-mouse, echoing the suspense novelist’s own plots.
• Poetic Irony:
  The “perfect alibi” traps Martin, highlighting themes of fate and just deserts.
  • “The only way I can save myself is by telling that I was busy killing Dr. Sellgrove at the time I’m supposed to have killed Ann Fleming… Well, I see where they dug up another original hitherto unknown manuscript by Edgar Allan Poe… Otherwise they’d say I’d been plagiarizing Poe again.” (35:31)

Notable Quotes

• “Temporary? Anne, I can’t even write a decent 10-word telegram. Well, it’s no use, Anne. I’m afraid I’m through.” (Philip Martin, 10:20)
• “I was about to be reborn and literary immortality was at my fingertips.” (Philip Martin, 15:17)
• “That will be fine, doctor. I’ll be there around 9. And as I set the receiver back on the hook, I wondered just how much he actually knew and what I would have to do to silence him.” (Philip Martin, 19:26)

Memorable Moments

• The tension-filled award banquet where Martin is presented the Poe-inspired “Edgar” award (17:22).
• The climactic confrontation with Dr. Sellgrove—murder and the attempt to erase evidence (27:09).

[Key Timestamps]

• 09:21: Martin’s creative crisis
• 14:36: Martin discovers Poe’s manuscript
• 19:26: Sellgrove's blackmail demand
• 27:09: The cover-up
• 35:31: Final confession and twist ending

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Segment 2: "Muddy Track" – Edmund O’Brien

[38:52–64:03]

Plot Summary

• Harry Clark (Edmund O’Brien) is a down-on-his-luck drifter, drawn into a bookmaking racket by the smooth-talking Augie Pershing.
• After accepting a shady job answering phones in a borrowed apartment, Harry becomes the prime suspect in the murder of “Brandy,” a manipulative model tied to the criminal underworld.
• As the law and Pershing’s henchmen close in, Harry tries to clear his name with help from Eleanor Grayson—only to discover her own secrets.

Key Discussion Points & Insights

• Noir Fatalism:
  Harry’s narration is steeped in cynicism and guilt (“They say, forget it, Harry. That I can’t do. I’ll never be able to forget it.” 39:25)
• Trust and Betrayal:
  Despite romantic sparks with Eleanor, betrayal lurks—sometimes from those closest.
• Race Against Time:
  The suspense is in the chase, as Harry must clean up evidence and decode the significance of a pawn ticket found in Brandy’s hand.

Notable Quotes

• “I should have walked out then. It was too easy. But I couldn’t kick too much. I had 25 of Pershing’s bucks in my pocket. That guaranteed he’d pick me up in the morning.” (42:33)
• “Brandy looked a whole lot different than she had last night. Her mascara had mixed with tears and her face was bruised. Somebody had given her the backhand treatment. It had all the earmarks of a fine Persian hand.” (47:38)
• “Never trust a dame, Clark. Any dame. Eleanor told us you’d be here.” (Augie Pershing, 61:51)

Memorable Moments

• Brandy’s body is discovered in the kitchen (44:01).
• The pawn ticket as the pivotal clue (57:24).
• Eleanor’s betrayal, gun in hand, and the final confrontation in the park (61:08).

[Key Timestamps]

• 39:25: Opening reflection, classic noir tone
• 44:01: The murder scene
• 57:24: The pawn ticket revealed
• 61:08: Betrayal and denouement

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Segment 3: "The Night Reveals" – Frederic March

[67:56–94:53]

Plot Summary

• Harry Jordan (Frederic March), an investigator for an insurance company, suspects his wife Marie of being a pyromaniac after a string of mysterious fires and her strange nocturnal habits.
• As the investigation deepens, signs point to her obsession with fire—and Harry's own mounting paranoia is mirrored by Marie’s gaslighting and increasingly suspicious actions.
• The story reaches a fever pitch in a burning building, where trust, guilt, and madness collide.

Key Discussion Points & Insights

• Psychological Suspense:
  “I should have known before that something was wrong. Gentlemen, you should have known by your eyes. It was a queer look.” (69:12)
• Obsession and Guilt:
  The recurring motif of matches and fire reflects internal turmoil and marital mistrust.
• Twisted Irony:
  Despite his investigation, Harry becomes both the hunter and the hunted, his family ensnared by suspicions and the destructive power of fire.

Notable Quotes

• “You look worried, as if you’d got something on your mind.” (77:28)
• “Strange, isn’t it, that this should happen to me? Me, a fire inspector. That’s funny. Give me the matches, Marie. All the matches.” (87:57)
• “The criminal is my husband, Harry Jordan. This man here, arrest him, officer.” (92:47, Marie’s breakdown)

Memorable Moments

• The burned locket discovery (78:54).
• The burning apartment escape (89:01).
• Marie’s confession to the police in front of witnesses (92:47).

[Key Timestamps]

• 69:12: Opening suspicion
• 78:54: The locket clue
• 89:01: House on fire
• 92:47: Final accusation

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Bonus Segment: "The Case for Dr. Singer" (Cold War/Atomic Espionage)

[97:19–124:04]

Plot Summary

• Presaging Seven Days in May's themes, this episode follows Dr. Singer, a physicist working on top secret H23 thermonuclear research, as Soviet espionage threatens to leak vital scientific secrets.
• Suspicion falls on several trusted colleagues; paranoia and methodical surveillance lead to the discovery of a mole using a dentist’s office to pass intel.

Key Insights

• Paranoia in the Atomic Age:
  The drama captures the same air of suspicion and betrayal as Seven Days in May.
• Trust vs. Security:
  “It keeps the trust and the faith alive in all of us. And that's the biggest thing we have—you know, trust in each other and faith.” (123:41)
• True-to-life Espionage:
  Inspired by real cases, with careful procedural detail in uncovering the spy.

Notable Quotes & Moments

• “If it is Singer, smart as they come.” (115:45)
• The dentist-office sting and classic Suspense reveal (121:04–122:38)

[Key Timestamps]

• 97:50: Opening—atomic test secrecy
• 105:10: Interview with Dr. Singer
• 121:04–122:38: Espionage exposed

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Notable Quotes - Attributed & Timestamped

• “You can’t possibly understand the complete futility you feel when your talent is suddenly turned off like a water spout.”
  —Kirk Douglas as Philip Martin, 09:51

• “I was about to be reborn and literary immortality was at my fingertips.”
  —Kirk Douglas as Philip Martin, 15:17

• “Never trust a dame, Clark. Any dame.”
  —Augie Pershing, 61:51

• “Strange, isn’t it, that this should happen to me? Me, a fire inspector. That’s funny. Give me the matches, Marie.”
  —Frederic March as Harry Jordan, 87:57

• “It keeps the trust and faith alive in all of us. And that’s the biggest thing we have—trust in each other and faith.”
  —Agent Whiteside, 123:41

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Tone & Style

• Crackling, noir dialogue (especially “Muddy Track”)
• Intense personal introspection and confessional monologue (“Markham’s Death,” “The Night Reveals”)
• Psychological tension, with a focus on paranoia, suspicion, and the thin line between genius and madness

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Useful for New Listeners

• This episode is a masterclass in Suspense-style radio drama, highlighting performances by major screen stars before their Cold War confrontation in Seven Days in May.
• The recurring motif: morality, trust, and the often-poisoned fruits of ambition and paranoia.
• Each play stands alone, yet together they echo the film’s anxieties about power, betrayal, and the cost of secrets.

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Conclusion

[126:50–End]

• The host thanks listeners, teases more Hollywood legends in future episodes, and invites ratings, reviews, and support.
• “Good night until next week, when I’ll be back with more Hollywood legends, each of them appearing in tales well calculated to keep you in suspense.” (Host, 127:29)

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Recommended for:
Fans of classic noir, Cold War thrillers, psychological drama, or anyone seeking a prime introduction to Hollywood legends in the theater of radio suspense.

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End of Summary

Transcript

[Narrator/Host]

Would you hand me that, please? Thank you. Now, let's see. Survey.

[Philip Martin (Kirk Douglas's character)]

Survive.

[Narrator/Host]

Susanna. Suspect. Ah, here we are.

[Announcer/Radio Host]

Suspense.

[Narrator/Host]

Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure.

[Dr. Sellgrove]

State of anxious expectation or waiting for

[Narrator/Host]

information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know.

[Narrator/Announcer]

Suspense.

[Podcast Host]

Hello, and welcome to Stars on Suspense with more Hollywood legends in radio's outstanding theater of thrills. All this month, I've been sharing some of my favorite movies and their stars appearing in episodes of Suspense. For this final installment in April, I've picked Seven Days in May, John Frankenheimer's 1964 Cold War political thriller about a planned military military coup against the president and the small group of men that stands in the way of a warmongering general's bid for power. I feel like it gets overlooked in Frankenheimer's filmography, which is fair considering it comes in the midst of a hot streak for the director in the 60s. It was preceded by the Manchurian Candidate and followed by the Train and Seconds. So if you haven't seen Seven Days in May and you're a fan of any of those other films, I recommend you check it out. It's got a Rod Serling screenplay and a great cast, including Kirk Douglas, Burt Lancaster, Ava Gardner, Edmund o', Brien, Martin Balsam and Frederic March. You can rent or buy Seven Days in May digitally through your preferred retailers. You can also find it on Blu Ray through the Warner Archive. Today we'll hear three of the film's Messrs. Douglas o' Brien and March in episodes of Suspense, Douglas in the story of Markham's death from October 2, 1947, O' Brien in Muddy Track from November 11, 1948, and March in an adaptation of Cornell Woolrich's story the night reveals, from May 26, 1949. Now, unfortunately, we don't have a radio adaptation of Seven Days in May, as its release came after the end of the golden age of radio drama. But I've thrown in a bonus suspense episode about Cold War tensions and atomic secrets, as nuclear disarmament is a key plot point in the film. From from June 28, 1951, it's the case for Dr. Singer. But first, we'll hear three of the stars of Seven Days in May. And we'll begin with Kirk Douglas right after these messages.

[Commercial Announcer]

There's a common phrase that's being kicked around in your house and mine more and more every day, and that is high cost of living. Sound familiar? I bet it does. I'm sure you've heard Mother and Dad mention it more often than once, and you will undoubtedly hear it many more times as the days go by. Now, just in case you're hazy on exactly what it means, let me give you a rough idea. It means that the cost of your clothes and food has gone up to a point where the family budget has become somewhat strained. Well, that's one of those things. And you can't be expected to increase the family income. But there are some things you can do to help. For instance, take better care of your clothes when you come home from school. Change into old clothes before you go out to play. Take care of your health because doctors and medicines are expensive. Eat well, but don't waste. Take your full share, but eat all you take. Try not to ask Mother and Dad to buy you things you don't actually need. Make the best of the most of what you've got. Try to be more than usually careful of your school equipment, such as paper, pencils and so forth. Make them last and go as far as you possibly can. Remember that all members of a family must pull together at a time like this. So do your share. Why has Hollywood star Merle Oberon switched to new improved green shampoo? Because compared to dulling soap shampoos, this wonderful new dream reveals up to 33% more sheen. Follow Merle's secret. For shining hair, it's new green for Hollywood sheen.

[Anne Fleming]

Improved green for Hollywood Sheen. Sheen. Your hair can have that Hollywood sheen the very first time you use New dream.

[Narrator/Host]

Get wonderful new Green Shampoo.

[Commercial Announcer]

This is the cold season. What do medical authorities say about the common cold? Doctors tell us there's no known drug which will cure a cold. There are effective medications for treating complications accompanying or following a cold. If you've been taking sensible precautions and still have one cold after another, it best to see your doctor. And here's another important health tip. When you have a cold and need a laxative, that's the time to rely on gentle Ex Lax. Pleasant tasting chocolated Ex Lax helps you toward your normal regularity. Gently overnight. Ex Lax gets along with any cold remedies you may be taking. And Ex Lax works where nature wants in the lower tract, not the stomach. Taken at bedtime, Ex Lax won't disturb sleep. Gives you the closest thing to natural action. The next morning you're well on your way towards your normal regularity without upset or discomfort. So when you have a cold and need a laxative, take XLax, the laxative you can use with complete confidence. Ex Lax helps you towards your normal regularity. Gently overnight Ex Lax do you like

[Narrator/Host]

rich delicious chocolate flavored malteds?

[Announcer/Radio Host]

Well, you can make a malted just like that right in your own kitchen

[Commercial Announcer]

with craft chocolate flavored malted milk. Just make a tasty paste of craft chocolate flavored malted milk and a little

[Narrator/Host]

milk in the bottom of a big glass. Fill the glass with chilled milk, stir

[Announcer/Radio Host]

it once more and there. A craft malted is mighty nourishing too because it's filled with all the food values in milk.

[Narrator/Host]

Get a jar of craft chocolate flavored

[Announcer/Radio Host]

malted milk from your grocer and enjoy

[Commercial Announcer]

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[Narrator/Host]

And now a tale well calculated to keep you in suspense.

[Narrator/Announcer]

Suspense. Tonight's suspense brings you Mr. Kirk Douglas as star. But first, a brief message from your announcer.

[Philip Martin (Kirk Douglas's character)]

In America's finest hotels and restaurants, wherever,

[Narrator/Host]

hospitality is the last word in luxury.

[Philip Martin (Kirk Douglas's character)]

The first name in wines is C

[Narrator/Host]

R E S T A B L A N C A Cresta Blanca Cresta Blanca when you proudly pour Cresta Blanca California Burgundy or Sauterne, you pay guests the most gracious compliment possible.

[Autolite Announcer]

For Cresta Blanca wines from the finest

[Narrator/Host]

of the vines distinguish America's finest tables.

[Philip Martin (Kirk Douglas's character)]

That's why when you serve Cresta Blanca

[Autolite Announcer]

wines, you and your friends enjoy the best.

[Philip Martin (Kirk Douglas's character)]

Shenley's Cresta Blanca Wine Company, Livermore, California.

[Announcer/Radio Host]

And now Shenley brings you radio's outstanding theater of thrills, suspense presented by Roma Wines. That's R O M A Roma Wines of Fresno, California. Tonight, starring Mr. Kirk Douglas in the

[Narrator/Announcer]

story of Markham's death, a suspense play produced, edited and directed for Shenley by William Spear.

[Philip Martin (Kirk Douglas's character)]

You say Phil Martin's run dry?

[Narrator/Announcer]

Well, I didn't make it up. My wife got it for man hasn't

[Narrator/Host]

written a word in six weeks. Yes, and I got it from Peterson, his publisher. They've dropped him from their spring list. Well, bye. Bye.

[Philip Martin (Kirk Douglas's character)]

Deed of American Mystery Writers.

[Narrator/Host]

I'm glad to see him go. Phil Martin. I thought that guy'd right from the grave.

[Harry Clark (Edmund O'Brien's character)]

I don't understand it.

[Narrator/Announcer]

I guess it happens to the best of us. Hope he saved his money, but I suspect he hasn't.

[Narrator/Host]

Phil Martin run dry.

[Harry Clark (Edmund O'Brien's character)]

I don't get it.

[Narrator/Host]

I don't get it.

[Philip Martin (Kirk Douglas's character)]

No, I didn't get it either. Unless you border on that fringe of abnormality which marks you as a writer. You can't. I can't possibly understand the complete futility you feel when your talent is suddenly turned off like a water spout. I spent as much time staring at the blank paper in my typewriter as I ordinarily spent in writing an entire novel. Oh, Anne could sympathize with me because she loved me, but I didn't need Anne's stupid sympathy.

[Anne Fleming]

Phil. Phil, darling, I'm sure it's only temporary.

[Philip Martin (Kirk Douglas's character)]

Temporary? Anne, I can't even write a decent 10 word telegram. Well, it's no use, Anne. I'm afraid I'm through.

[Anne Fleming]

Oh, no, you can't be. Not anyone as great as you. Phil. Maybe you've done too much, darling. Maybe a rest. Why don't you rest for a few months?

[Philip Martin (Kirk Douglas's character)]

I've been resting.

[Anne Fleming]

Well, I mean get away.

[Philip Martin (Kirk Douglas's character)]

Yes, that's my last chance, dear. I'm going to do just that. I'm going abroad.

[Anne Fleming]

Abroad? Oh, honey, when are we going?

[Philip Martin (Kirk Douglas's character)]

We aren't going. I am.

[Anne Fleming]

Hi. You're Philly. Is this a way of letting. I mean you.

[Philip Martin (Kirk Douglas's character)]

Oh, don't worry, dear. I'm not running out on you. I'll just be gone for a few months.

[Anne Fleming]

Oh. Oh, well, just a few months.

[Philip Martin (Kirk Douglas's character)]

Yes. Alone. Anne, I told you when I first met you, I'm a complex person. I'm difficult to understand.

[Anne Fleming]

Yes, yes, dear, I know that. But I thought I understood you.

[Philip Martin (Kirk Douglas's character)]

Well, you can't. Nobody can.

[Anne Fleming]

But I love you, Phil.

[Philip Martin (Kirk Douglas's character)]

And I love you, Anne. But that doesn't change matters. I'm going to England for a few months by myself. You don't have a thing to worry about. You keep your apartment and wait for me. The rent's paid through the first of the year. I'll be back before that. Ann Fleming was the beautiful. Not Overly intelligent type of girl I've associated with since my divorce. Her only family was a half brother, a petty hoodlum whose habit of always wearing gloves won him the imposing nickname of Kid Gloves. That hadn't helped when he ran his car into a storefront, killing two people just a block from where he'd held up a tavern. Kid Gloves had gone to jail three months before I met Ann to serve 40 years for manslaughter and robbery. A very corny plot, the whole thing. Including Ann. As I roamed around London, I thought maybe a visit in this. This city of great mystery tradition would be my answer. And it was the second day. While wandering around aimlessly in the bombed out and still unrepaired section of Bloomsbury, I stumbled onto my last inspiration quite by accident. Oh, say, when was all this hit?

[Anne Fleming]

Oh, right at the start of the war, sir.

[Philip Martin (Kirk Douglas's character)]

Oh, then this isn't V bomb damage. Lord no. D, his mega thick yelled out across the street. We had it the first time Jerry come over. I'd almost say it was the first house to be hit in the war. Oh, well, did it take only one bomb to level it like that? Well, how many do you think it takes? They clean it up a bit now. Old house?

[Autolite Announcer]

That, too.

[Philip Martin (Kirk Douglas's character)]

Built back in 1750.

[Narrator/Announcer]

Really?

[Dr. Sellgrove]

Yeah.

[Philip Martin (Kirk Douglas's character)]

Pretty well known. Lots of Yanks made their digs there before the war. That is, a Yankee rider stayed there once when he was in here. What was his name, Ducky?

[Anne Fleming]

Oh, E.P. rowe. No, Poe. Poe. That's it.

[Narrator/Announcer]

Poe.

[Philip Martin (Kirk Douglas's character)]

Say, you don't mean Edgar Allan Poe, do you?

[Anne Fleming]

That's him. That's him.

[Agent Whiteside]

What?

[Philip Martin (Kirk Douglas's character)]

Edgar Allan Poe once stayed in that house.

[Anne Fleming]

That's right. American writer. Acquaintance of yours?

[Philip Martin (Kirk Douglas's character)]

Well, hardly a contemporary.

[Anne Fleming]

What?

[Philip Martin (Kirk Douglas's character)]

Oh, nothing.

[Anne Fleming]

My little Halbert was playing in the rubble there Tuesday last and dug out a box of junk. Maybe some of it was Mr. Poe's. Like to see it?

[Philip Martin (Kirk Douglas's character)]

Why, yes, certainly. Well, it's vaguely possible. I looked through the battered steel box. The woman provided me with a cup of tea as I spread the contents out in front of me. It was thrilling somehow, to think that these dusty things perhaps had once belonged to the who had invented the detective story more than a hundred years ago. As she went out and I replaced the trinkets, I snagged the faded, musty gray satin lining of the box and accidentally tore it trying to get it back together. I only ripped it further. I put my hand under the lining to straighten it and something fell out. It was a waterproof packet containing three yellowed sheets of paper written in In a small fine hand at the bottom of the third page was the name Edgar Allan Poe. I slipped the packet into my pocket and returned the box.

[Anne Fleming]

Oh. Find anything?

[Philip Martin (Kirk Douglas's character)]

No. Just as you said, a lot of worthless trinkets. Oh, by the way, I. I ripped the lining as I was putting everything back.

[Anne Fleming]

Oh, that's all right.

[Philip Martin (Kirk Douglas's character)]

Oh, no. I'd like to give you something for your trouble and my clumsy damage.

[Harry Clark (Edmund O'Brien's character)]

Here.

[Philip Martin (Kirk Douglas's character)]

And thank you so much.

[Anne Fleming]

Five quid. Oh, I say five quid, but the old thing probably ain't worth a thripping a bit.

[Philip Martin (Kirk Douglas's character)]

Well, your time, your trouble and your courtesy are though. Thank you very much.

[Anne Fleming]

But. Five quid. Oh, I say.

[Philip Martin (Kirk Douglas's character)]

£5 for an original Edgar Allan Poe manuscript. It was a short story written by Poe during his brief stay in England many years before his rise and subsequent fall. As I read and re read the manuscript, I realized that it was an experiment in a completely new mystery technique. Here, in effect, was what Poulte had never discovered in his thesis on the existence of only 32 basic dramatic situations. Suddenly I realized I was the only one who knew this story and that I could put it to better use than as a museum piece. Why, here Indeed was the 33rd situation. Why, in my hands it could blossom forth as a novel, a film, a radio play. I was about to be reborn and literary immortality was at my fingertips. I began writing in London and all the way back home. It took me six months to complete my work. And then with everything finished, I burned the original Poe composition and sent the novel off to the publisher. Then I called Ann.

[Anne Fleming]

Will it be a big success, darling?

[Philip Martin (Kirk Douglas's character)]

Big success? Well, I've never been as competent of anything in my life.

[Anne Fleming]

Oh, that's wonderful. They said you were through.

[Philip Martin (Kirk Douglas's character)]

I told you a rest was all I needed. A change of scenery.

[Anne Fleming]

I'm proud of you, Phil. I'm so proud.

[Philip Martin (Kirk Douglas's character)]

I'm glad.

[Anne Fleming]

Maybe now you. Now, Phil, maybe you'll differently about things.

[Philip Martin (Kirk Douglas's character)]

I'm so glad.

[Anne Fleming]

You aren't even listening to me.

[Philip Martin (Kirk Douglas's character)]

Oh. Oh, I'm sorry, dear. Oh, look, look, Anne, I am going to be pretty busy for the next few weeks now. I won't be able to see you very often.

[Anne Fleming]

Oh, I should think you'd have time now that.

[Philip Martin (Kirk Douglas's character)]

Well, I haven't. But we'll see.

[Anne Fleming]

They have a date tonight.

[Philip Martin (Kirk Douglas's character)]

Well, I'm going to the mystery writers banquet tonight and tomorrow. Well, well, okay. But I'll come over for you at 8 o'. Clock. And for once will you try to be ready on time. Every year on the anniversary of Edgar Allan Poe's birth. The Mystery Writers of America hold a banquet similar to the Academy Award.

[Narrator/Announcer]

Banquet.

[Philip Martin (Kirk Douglas's character)]

Instead of awarding Oscars, they give Edgar's for the outstanding works of the year. All of a sudden, everybody was looking at me.

[Narrator/Host]

Now I have a special Edgar to give. This special award goes to the first writer to discover a new and startling different approach to the mystery story since the death of our patron saint, the great Edgar Allan Poe himself, Philip Martin. For your novel Markham's Death.

[Philip Martin (Kirk Douglas's character)]

Yes. A special Edgar for an idea plagiarized from Edgar Allan Poe. The end had justified the means and I knew that the original manuscript was now only ashes. I was the only one who had ever seen it. I was completely happy and enjoying my victory after the banquet, in the quiet of my own home.

[Dr. Sellgrove]

Mr. Martin?

[Philip Martin (Kirk Douglas's character)]

Yes, speaking.

[Dr. Sellgrove]

This is Dr. Sellgrove.

[Philip Martin (Kirk Douglas's character)]

Dr. Sellgrove?

[Narrator/Announcer]

Yes.

[Dr. Sellgrove]

I'm head of the Academy of American Letters. I want to congratulate you, Mr. Martin. I was at the banquet tonight.

[Philip Martin (Kirk Douglas's character)]

Oh, well, thank you, sir.

[Dr. Sellgrove]

Well, yes indeed. I've been collecting data on Edward Allan Poe all my life. Your work was in the finest traditions of Poe.

[Philip Martin (Kirk Douglas's character)]

Well, that is the supreme compliment, Doctor.

[Dr. Sellgrove]

Mr. Martin, what did you find behind the lining in that steel box in London?

[Philip Martin (Kirk Douglas's character)]

What?

[Dr. Sellgrove]

It was you, wasn't it?

[Philip Martin (Kirk Douglas's character)]

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

[Dr. Sellgrove]

Yes, in the truest Poe tradition. So much so that I have reason to believe your idea was once Poe's.

[Philip Martin (Kirk Douglas's character)]

Now look, doctor, I. I hope you haven't spread this misinformation around. Why, you're wrong, of course. But even the faintest suggestion could do me irreparable harm.

[Dr. Sellgrove]

If you mean, have I been discreet, sir, I have until now.

[Philip Martin (Kirk Douglas's character)]

Well, look, how do you want me to disprove this ridiculous accusation?

[Dr. Sellgrove]

I'm at the Academy every day. I'll be there tomorrow night until 9:30. The doors close at 8. But I'll wait for you.

[Philip Martin (Kirk Douglas's character)]

That will be fine, doctor. I'll be there around nine. And as I set the receiver back on the hook, I wondered just how much he actually knew and what I would have to do to silence him.

[Narrator/Announcer]

For suspense, Roma Wines are bringing you Mr. Kirk Douglas in the story of Markham's death. Roma Wines presentation tonight in radio's outstanding theater Thrills. Suspense.

[Announcer/Radio Host]

Suspense. Radio's Outstanding Theater of Thrills is presented by Roma Wines. That's R O M a Roma Wines from the world's greatest reserves of fine wines. Now that autumn is here, you'll be spending more evenings at home reading, listening to the radio or entertaining friends. Now, here's an easy, delightful way to make the most of these pleasant hours. Simply serve delicious Roma California wines such as glorious Roma Sherry with its nut like taste. Ruby red Roma port or mellow Roma muscatel. Yes, you'll find that Roma wines really help an evening along. That's because Roma wines taste better. They have a full, rich body and fragrant bouquet you can find only in a fine wine. Tomorrow, give your family and friends a real surprise. Treat them to better tasting Roma wines. That's R O M a Roma wines. America's largest selling wines.

[Narrator/Announcer]

And now, Roma wines. Bring back to our Hollywood soundstage. Kirk Douglas as Philip Martin in the story of Markham's death. A play well calculated to keep you in suspense.

[Philip Martin (Kirk Douglas's character)]

The hands of the clock on the wall seem drugged. They move so slowly that day. My appointment with Dr. Sellgrove was for 9pm I was to be at Ann's at 8. I figured about 20 minutes would wipe that slate clean.

[Anne Fleming]

Hello Honey, I'll be ready in a minute.

[Philip Martin (Kirk Douglas's character)]

I said I'd be here at 8.

[Anne Fleming]

Oh dear, it isn't 8 already, is it?

[Philip Martin (Kirk Douglas's character)]

Yes, it's after 8.

[Anne Fleming]

I thought it was only about 7:30. I'll hurry.

[Philip Martin (Kirk Douglas's character)]

Well, there's no reason.

[Anne Fleming]

Are we going out?

[Philip Martin (Kirk Douglas's character)]

No, Anne, we're not going out. As a matter of fact, we. We're never going out again.

[Narrator/Announcer]

What?

[Philip Martin (Kirk Douglas's character)]

I'm sorry, Anne. This is the last time we'll see each other.

[Anne Fleming]

But I, I, Phil, I, I, I've. I've told everyone.

[Philip Martin (Kirk Douglas's character)]

What have you told everyone?

[Anne Fleming]

That we were going to be married.

[Philip Martin (Kirk Douglas's character)]

What? You shouldn't have. Did I ever say I'd marry you? No. I was married once and it doesn't work for me.

[Anne Fleming]

This would be different.

[Philip Martin (Kirk Douglas's character)]

Oh, would it? I don't think so. You see, Anne, you're taking up too much of my time.

[Anne Fleming]

But I wouldn't get in the way. Phil, you know that.

[Philip Martin (Kirk Douglas's character)]

You're also taking up too much of my thoughts. I probably hit that bad slump a few months ago because of you. Oh, it wasn't your fault. It was mine for not realizing it.

[Anne Fleming]

Phil, you really mean to.

[Philip Martin (Kirk Douglas's character)]

Now look.

[Anne Fleming]

What about me? What about me? What am I going to do?

[Philip Martin (Kirk Douglas's character)]

You'll get over it. Here, this should help.

[Anne Fleming]

What's that?

[Narrator/Announcer]

Take it.

[Philip Martin (Kirk Douglas's character)]

Just what you like. A roll of nice clean new fifty dollar bills. Feel better now?

[Anne Fleming]

You think you can buy everything with money, don't you? Well, you can't. And stop drumming with that letter opener.

[Philip Martin (Kirk Douglas's character)]

Sorry, I didn't realize. Well, that takes care of everything, doesn't it? We're still friends.

[Anne Fleming]

No. No. We'll never be friends. Bill Martin, you're rotten. You're rotten and you're conceited. You're everything I've ever. I hate you.

[Philip Martin (Kirk Douglas's character)]

I said. I don't like scenes.

[Harry Clark (Edmund O'Brien's character)]

Goodbye.

[Philip Martin (Kirk Douglas's character)]

A.

[Anne Fleming]

Get out of here. Get out.

[Philip Martin (Kirk Douglas's character)]

As I left her apartment, I to look at my watch. It was 8:30. I noticed a man fade back into the darkness of a doorway. But outside of the fact that he looked vaguely familiar, I thought nothing more of it. I felt as though a weight had been lifted from my shoulders. At least from one shoulder. And I was on my way to lift the weight from the other one. The Academy of American Letters was just a short distance from Ann's apartment.

[Dr. Sellgrove]

Mr. Martin?

[Narrator/Host]

Yes.

[Philip Martin (Kirk Douglas's character)]

I take it you're Dr. Sellgrove.

[Anne Fleming]

That's right.

[Dr. Sellgrove]

Sit down, Mr. Marvin.

[Philip Martin (Kirk Douglas's character)]

I'll stand, thank you. You were at the banquet last night. I remember seeing you.

[Dr. Sellgrove]

And when I saw you I knew my search was over. You fit the description, just like the missing piece in a jigsaw puzzle. I knew you were the man Mrs. Carruthers described.

[Philip Martin (Kirk Douglas's character)]

Who is Mrs. Carruthers?

[Dr. Sellgrove]

The woman who gave you the steel box. The box which must have contained the Edgar Allan Poe manuscript you so skillfully rewrote.

[Philip Martin (Kirk Douglas's character)]

Preposterous.

[Dr. Sellgrove]

You deny that you were in London?

[Philip Martin (Kirk Douglas's character)]

No.

[Dr. Sellgrove]

Or that you found the examined it? Well, no, but Mr. Martin, a poverty stricken woman like Mrs. Carruthers couldn't forget a man who gave her five pounds. She could forget seeing him slip a packet into his pocket. That is until someone came along and gave her ten pound to refresh her memory.

[Philip Martin (Kirk Douglas's character)]

For ten pounds he probably dreamed up the whole story. Look, you say you know something of Poe. Then you know that the time he spent in London was long before his prominence as an author.

[Narrator/Announcer]

Why?

[Philip Martin (Kirk Douglas's character)]

For all we know, he didn't write a line during entire stay there.

[Dr. Sellgrove]

Mr. Martin, I've devoted my life to gathering information about Edgar Allan Poe. It's my hobby as well as my job. I've been looking for one missing manuscript

[Philip Martin (Kirk Douglas's character)]

for a long time.

[Dr. Sellgrove]

A manuscript whose existence I learned of

[Narrator/Host]

by quite by chance.

[Philip Martin (Kirk Douglas's character)]

What are you talking about?

[Dr. Sellgrove]

This letter which Edgar Allan Poe wrote to a cousin in Boston during his London visit. Fine piece, isn't it?

[Philip Martin (Kirk Douglas's character)]

Well, what about it?

[Dr. Sellgrove]

Let me read it to you. He says my new theory for a tale of murder is a form of induction as opposed to deduction. I refer to it as Markham ism after the title character. My first draft manuscript is stored behind a satin curtain built of steel to age and mellow until such a time As I may produce it without being turned mad.

[Philip Martin (Kirk Douglas's character)]

I see.

[Dr. Sellgrove]

Dear me. You were overconfident, Martin. Calling your novel Markham's Death. Not only didn't you change the process, you didn't even alter the name.

[Philip Martin (Kirk Douglas's character)]

And if I should admit to all this, what would be your price?

[Dr. Sellgrove]

Now, Mr. Martin, money is of no consequence. I am a student, a collector of American letters. All I want from you is the manuscript.

[Philip Martin (Kirk Douglas's character)]

Impossible.

[Dr. Sellgrove]

In return for my everlasting silence, possessing the manuscript is payment enough. I have no desire to ruin you. Unless, of course, it should become necessary for me to do so.

[Philip Martin (Kirk Douglas's character)]

How would I know you wouldn't show it?

[Dr. Sellgrove]

Certain you don't question my word.

[Philip Martin (Kirk Douglas's character)]

The manuscript has been destroyed.

[Narrator/Host]

Don't expect me to believe that.

[Philip Martin (Kirk Douglas's character)]

It's the truth. I burned it.

[Dr. Sellgrove]

Well, if you want to be difficult, I won't agree with you, Mr. Martin. Pity you won't cooperate. I'll just put this letter back in the safe and then tomorrow we'll see.

[Philip Martin (Kirk Douglas's character)]

Panic fled with the return of cold logic. Dr. Sellgrove was unquestionably dead. I had to act quickly because speed was essential. I knew that from what I myself had often written. I took the letter and pocketed to be burned later in the privacy of my own home. There would be no suspicious ashes for the police to sift. The bookend was the only thing I touched. I carefully filled the wash basin with hot water and dropped the bookend into it, smearing and obliterating any fingerprint. Now I had to work backwards. The average murderer establishes his alibi first, but in my case I had to establish it behind me and cover my time. Most people are careless about exact times and can be off many minutes especially. Have you ever looked at your watch then? Had someone asked you the time only to find that you had to look again? Yes, Anne would work as my alibi. I couldn't confide in her, but she was careless about time. But what of the man I'd seen in her hall at 8:30? Suddenly I knew it was Ann's brother, Kid Gloves Fleming. Now that I thought about it, I knew I recognized him from his pictures. He'd obviously escaped from prison and had gone to Ann for help. Yes, Ann would be more than happy to say I'd been with her until a quarter to nine. Unobserved, I hurried back to her apartment house in front of the building. I hailed a passing taxi and entered at precisely 9 5.

[Narrator/Announcer]

Where to, mister?

[Philip Martin (Kirk Douglas's character)]

The Milford Club on 59th. Not many taxis in this neighborhood, are there? Were you waiting long? 10 or 15 minutes. I I wanted to be at the club by nine. Oh, it's almost that now.

[Narrator/Host]

Is that all?

[Narrator/Announcer]

I thought it was later. Oh, well, I'll get you there fast.

[Philip Martin (Kirk Douglas's character)]

Oh, that's all right. There's no hurry.

[Narrator/Host]

Oh, good evening, Mr. Martin.

[Philip Martin (Kirk Douglas's character)]

Oh, good evening, Henry. Well, not many coats being checked tonight, are there?

[Dr. Sellgrove]

No, sir, but look at all those hats.

[Narrator/Host]

Let me see. Hmm.

[Philip Martin (Kirk Douglas's character)]

Seems as though I've misplaced my watch. Have you the time, Henry?

[Narrator/Announcer]

Why, sure.

[Narrator/Host]

It's 20 minutes after 9.

[Philip Martin (Kirk Douglas's character)]

Oh, thanks. I seem to be losing everything tonight.

[Autolite Announcer]

Oh.

[Narrator/Host]

What's wrong?

[Philip Martin (Kirk Douglas's character)]

Well, I've dropped my notebook. Oh, I must have dropped it in that taxi.

[Narrator/Announcer]

Was it important?

[Philip Martin (Kirk Douglas's character)]

Well, just to me. I had some personal notes in there. Oh, look. I wonder, Henry, if you'd call the cab company for me and ask if it's turned in.

[Narrator/Host]

Sure. Thanks.

[Philip Martin (Kirk Douglas's character)]

My name and address are engraved in the COVID As a matter of fact, I even recall the name of the driver. It struck me as unusual. It was Alonzo P. Alonzo.

[Narrator/Announcer]

I'll take care of it for you.

[Philip Martin (Kirk Douglas's character)]

Thanks. Oh, and you might add that I'll post a $25 reward. Then I went down to see Lieutenant John Kirkland of Homicide. We'd been classmates, and I'd spent many an evening at headquarters discussing our favorite subject, crime.

[Narrator/Host]

Well, well, well. Hello.

[Philip Martin (Kirk Douglas's character)]

Hello, Phil. How are you, Johnny? Anything on the docket?

[Narrator/Host]

Oh, just routine.

[Philip Martin (Kirk Douglas's character)]

Mind if I sit in? I want to get my mind off Anne.

[Narrator/Host]

Anne? Well, what's the matter?

[Philip Martin (Kirk Douglas's character)]

Oh, you know, Johnny, the usual. I. I wrote finny to our little romance, and, well, she wasn't too happy about it.

[Narrator/Host]

Still a dog with the women, eh, kid? Oh, say. Say, this is a coincidence. Remember that wild kid brother of Anne?

[Philip Martin (Kirk Douglas's character)]

His kid brother? Oh. Oh, you mean the one they call kid gloves. Well, I remember reading about him. Why?

[Narrator/Host]

Well, he broke out of jail late this afternoon.

[Narrator/Announcer]

Uh.

[Philip Martin (Kirk Douglas's character)]

Oh, say, Anne will certainly be worried.

[Narrator/Host]

Well, she won't have to worry anymore. What? Yeah, they caught him down at the railroad station trying to get out of town.

[Philip Martin (Kirk Douglas's character)]

What, are they bringing him in?

[Narrator/Host]

Yeah, stiff. Oh, yeah. The poor fool decided to shoot it out. And he picked a crack shot like o' Malley to draw on. Oh.

[Philip Martin (Kirk Douglas's character)]

Well, is o' Malley all right?

[Narrator/Host]

Oh, sure. O' Malley's always all right. But the kid's dead. This is going to be tough on Anne. Even though they didn't get along, he's still their brother.

[Philip Martin (Kirk Douglas's character)]

She'll get over it. I guess it's better this way.

[Narrator/Host]

That's a funny thing, though. He was still wearing those kid gloves. And he had a roll of new fifty dollar bills that would choke a horse.

[Philip Martin (Kirk Douglas's character)]

Now I understood. Ann's brother had visited her just after I left and she'd given him the money. Well, I was completely relaxed now. The only person who could possibly spoil my perfect story was dead.

[Narrator/Host]

Oh, pardon me, Phil, please.

[Philip Martin (Kirk Douglas's character)]

Sure.

[Narrator/Host]

Hello, this is Kirkland speaking. Oh, when I see

[Narrator/Announcer]

who.

[Philip Martin (Kirk Douglas's character)]

Philip Martin. Huh?

[Narrator/Host]

Why, why, he's right here. I said he's right here.

[Philip Martin (Kirk Douglas's character)]

Oh, is it for me?

[Narrator/Host]

Just a second, Phil, please. Yeah, okay, let me know. I'll send him right out.

[Philip Martin (Kirk Douglas's character)]

Hey, what's up, Johnny? I thought that call was for me.

[Narrator/Host]

No, no, it. It wasn't for you, Phil. It was about you.

[Philip Martin (Kirk Douglas's character)]

About me?

[Augie Pershing]

Yeah.

[Narrator/Host]

Where were you this evening?

[Philip Martin (Kirk Douglas's character)]

I told you. I had dinner, went over to see Ann and then met you.

[Narrator/Host]

Well, weren't you anyplace else? Are you sure?

[Philip Martin (Kirk Douglas's character)]

Of course I'm sure. Say, Johnny, what is this, the third degree? Do you remember what time you left Anne's? Why? Well, I must have left about a quarter of nine. Yes, I'm sure of that. It was just about nine when I caught my cat. Was anyone with you at Anne's? No, we were alone.

[Narrator/Host]

Couldn't you be mistaken? Couldn't you have been someplace else? Maybe at 8:15 or 8:30?

[Autolite Announcer]

No.

[Philip Martin (Kirk Douglas's character)]

Why, Phil?

[Narrator/Host]

Why do you play right into my hands?

[Philip Martin (Kirk Douglas's character)]

Why do you make it impossible for me to help you? What are you talking about?

[Harry Clark (Edmund O'Brien's character)]

Murder, Phil.

[Narrator/Host]

I'm. I'm arresting you for murder.

[Philip Martin (Kirk Douglas's character)]

In a few hours I'm going to be executed for the murder of Dr. Sellgrove. But the police don't know that yet. You see, although I'm innocent of the crime I'm scheduled to die for, I'm powerless to save myself. Yes, I backed out of my own crime successfully, only I set myself squarely in the middle of a worse one. The only way I can save myself is by telling that I was busy killing Dr. Sellgrove at the time I'm supposed to have killed Ann Fleming. I know that Anne was killed by her brother, but there's no way of proving it. The letter opener he plunged into her chest still had my fingerprints slightly smeared by his kid gloves. Robbery was ruled out because nothing was disturbed. Snooping neighbors had heard Ann and me quarrel and had heard her scream around a quarter of nine. They suspected that I had hit her and nothing more. But it placed the time exactly. Exactly as I had placed myself in her company during that time. Well, I see where they dug up another original hitherto unknown manuscript by Edgar Allan Poe in somebody's closet in Fordham, New York. It's all about a man who builds such a perfect alibi for himself that he gets executed for the wrong murder. Well, I'm glad they only found it today after I had already written the above confession. Otherwise they'd say I'd been plagiarizing Poe again.

[Narrator/Announcer]

Suspense.

[Announcer/Radio Host]

The story of Markham's death. Starring Kirk Douglas. Presented by Roma Wines. That's R O M a Roma wines. America's largest selling wines. Yes, Roma wines are America's largest selling wines. And this is Truman Bradley to tell you the reason. It's because Roma wines taste better. You see, Roma gathers and presses only the choicest California grapes. Then, with age old skills and unmatched winemaking resources, Roma Master Ventnors guide this grape treasure unhurriedly to peak taste richness. These fine Roma wines are laid aside with mellow Roma wines of years before to await later selection for your enjoyment from the world's greatest reserves of fine wines. This weekend, enjoy the better taste of nut like Roma sherry, fruity Roma port or fragrant Roma toque. And always remember to ask for Roma. That's R o m a Roma wines enjoyed by more Americans than any other wines.

[Narrator/Announcer]

Kirk Douglas may soon be seen in the Hal Wallace production, I Walk Alone. Tonight's suspense play was written by Bob Platt. Next Thursday, same time, you will hear Richard Ney as star of suspense produced and directed by William Speer for the Roma Wine Company of Fresno, California. In the coming weeks, suspense will present such stars as Louis Jourdan, June Havoc, Denis O o', Keefe, Marsha Hunt and others. Make it a point to listen each Thursday to suspense radio's outstanding theater of thrills. This is cbs, the Columbia Broadcasting System.

[Autolite Announcer]

In just a moment, Autolite presents Suspense with Edmund o' Brien and Ann Blythe.

[Narrator/Host]

Say hello.

[Autolite Announcer]

Hello, Hap. Let me see now. Auto light electrical parts are original factory parts. When your car's electrical system needs attention, play safe. Get Autolite Original Factory Parts the choice of car manufacturers. Gosh, I wish I could get a super simple slogan to sell all owners of auto light equipped cars on how important it is to replace worn parts on their generator, starting motor or distributor, or for that matter, their complete coil and voltage regulator with Autolight Original factory Parts. You see, Hap me hearty. Here's the point. Whenever your car needs attention, whenever you need replacement parts, the smartest, safest thing you can do is drive down to your nearest Autolite service station or the dealer who sells your make of car and ask for autolite original parts and service.

[Narrator/Host]

Well, naturally, Arno. Let's hear some more about it later. Here's suspense.

[M]

Suspense. Autolyte and its 60,000 dealers and service stations bring you radio's outstanding theater of thrills. Starting tonight, Mr. Edmund O' Brien and Ms. Anne Blythe in Anton Lueder's production of Muddy Track. A tale well calculated to keep you in suspense.

[Harry Clark (Edmund O'Brien's character)]

They say to me, don't be bitter, Harry. I'm not bitter. They say, forget it, Harry. That I can't do. I'll never be able to forget it.

[Narrator/Host]

Or her.

[Harry Clark (Edmund O'Brien's character)]

How did it happen? Well, like practically every important thing that ever happens to anybody, it just happened. I was in the bar, see?

[Anne Fleming]

Got a match? I said, got a match?

[Harry Clark (Edmund O'Brien's character)]

Who, me?

[Anne Fleming]

What's the matter? Girl shy or just match shy?

[Harry Clark (Edmund O'Brien's character)]

I thought you were talking to the bartender. Here you are.

[Anne Fleming]

Well, I'm glad we got that straightened out. What are you drinking?

[Harry Clark (Edmund O'Brien's character)]

Coke.

[Anne Fleming]

At this hour?

[Harry Clark (Edmund O'Brien's character)]

Clear me up on something, angel face. Are we trying to get acquainted with each other?

[Anne Fleming]

You're cute.

[Harry Clark (Edmund O'Brien's character)]

I'm broke, Flat busted. Go pick yourself another target.

[Anne Fleming]

Have a drink on me.

[Harry Clark (Edmund O'Brien's character)]

I only take a round when I can buy one back.

[Anne Fleming]

I'm not trading, I'm buying.

[Harry Clark (Edmund O'Brien's character)]

You could have fooled me.

[Anne Fleming]

I repeat, you're cute. Eddie, give my friend a bourbon. What's the matter? Been playing the nags?

[Harry Clark (Edmund O'Brien's character)]

Oh, you read minds too, huh?

[Anne Fleming]

Simple tracks. Open. That's a good suit you got on. And you've been nursing that Coke for 20 minutes. Besides your racing form showing, that's pretty good.

[Harry Clark (Edmund O'Brien's character)]

How's my future look?

[Anne Fleming]

Depends. What do you do for a living?

[Augie Pershing]

I'm glad you waited for me, Brandy. Auggie, I like you to wait for me. When you don't wait, it makes me unhappy.

[Harry Clark (Edmund O'Brien's character)]

Now, there was a guy I wouldn't want to see unhappy. He was friendly, all right, but he was overdoing it. Everything about him was too set, too sharp. Clothes, manicure. Even his eyes. Like two blue marbles.

[Anne Fleming]

But, Auggie, you said you wouldn't be here till 10.

[Augie Pershing]

So who's this guy?

[Harry Clark (Edmund O'Brien's character)]

Her name's Clark. Harry Clark.

[Augie Pershing]

Brandi, go potter your nose.

[Anne Fleming]

I. Okay, Augie, you don't have to get in an uproar. Always getting sore.

[Augie Pershing]

What were you talking to Brandy about?

[Harry Clark (Edmund O'Brien's character)]

No kidding. Is that her name?

[Augie Pershing]

What were you talking about?

[Harry Clark (Edmund O'Brien's character)]

Believe it or not, a job.

[Augie Pershing]

Oh, so you're looking for a job. Where you from?

[Harry Clark (Edmund O'Brien's character)]

Out of town.

[Augie Pershing]

Tell me, you particular, what you do?

[Narrator/Host]

Why?

[Harry Clark (Edmund O'Brien's character)]

What's the job?

[Augie Pershing]

Answering the phone.

[Harry Clark (Edmund O'Brien's character)]

That can't pay much.

[Augie Pershing]

5% of the take.

[Narrator/Host]

What take?

[Augie Pershing]

I'm Augie Persian. I run the books in this town. And I've got a new setup for you if you want it.

[Harry Clark (Edmund O'Brien's character)]

Ah, a bookie, huh? It's a new one for me. Well, I don't know if. Say, why would you want to give me a job?

[Augie Pershing]

You want the job or don't you?

[Harry Clark (Edmund O'Brien's character)]

Well, since you put it that way, Pershing, we're in business.

[Augie Pershing]

Eddie, a couple more drinks. What are you drinking? Bourbon.

[Harry Clark (Edmund O'Brien's character)]

On second thought, I think I'll switch to brandy.

[Augie Pershing]

Not a good idea, Brandy. Lovers die young.

[Harry Clark (Edmund O'Brien's character)]

I'll take that chance.

[Augie Pershing]

You've got a lot of nerve, ain't you?

[Harry Clark (Edmund O'Brien's character)]

And that's all I've got. I'm flat broke. How do you feel about advances?

[Augie Pershing]

I don't mind them at all so long as you keep them in cash.

[Harry Clark (Edmund O'Brien's character)]

I should have walked out then. It was too easy. But I couldn't kick too much. I had 25 of Persian's bucks in my pockets. That guaranteed he'd pick me up in the morning. Like he said, He was punctual. At 10:30am sharp, a big black sedan pulled up in front of my rooming house. Pershing was all smiles as we drove across town to a small apartment house. He took me up to the third floor to apartment 3B, opened the door and handed me the key.

[Augie Pershing]

Well, this is where you work. Here's the scratch sheets and there's the phone.

[Harry Clark (Edmund O'Brien's character)]

Nice place. By the way, who's Eleanor Grayson? Why? Well, that's the name over the bell.

[Augie Pershing]

Oh, she lives in this apartment.

[Harry Clark (Edmund O'Brien's character)]

She know you're using the place?

[Augie Pershing]

You just answered the phone.

[Harry Clark (Edmund O'Brien's character)]

Yeah, but suppose you came in.

[Augie Pershing]

Look, you get here at 11 and pull out at 4. She'll never see you. That's the way I want it all the time. Understand?

[Harry Clark (Edmund O'Brien's character)]

But how do I.

[Augie Pershing]

She thinks Branda uses the apartment.

[Narrator/Host]

Does she?

[Augie Pershing]

You're too nosy and you talk too much.

[Harry Clark (Edmund O'Brien's character)]

Is that advice?

[Augie Pershing]

Yeah, let's call it that. The boys have passed a word around about the new phone. You ought to be getting action pretty quick. Write up all the bet you take. I'll call you up from time to time with the results.

[Narrator/Host]

So long.

[Harry Clark (Edmund O'Brien's character)]

It was one of those small apartments with a pull down bed. But it was kind of nice. The sun came in at the windows of the living room. I had it in mind to explore the kitchen for a cup of coffee. But Pershing was right. The word had got around.

[Anne Fleming]

Hello, this is J.K. give me five,

[Narrator/Announcer]

win five show on oatmeal and the third at pimlico.

[Harry Clark (Edmund O'Brien's character)]

Five win, five show. Oatmeal. Okay, J.K. by the way, how's the track there? Let's see. Pimlico. Raining, but still fast.

[Narrator/Host]

Okay, thanks.

[Harry Clark (Edmund O'Brien's character)]

I was in business. I still had the coffee on my mind. But I had something else on my mind, too. The picture of a girl smiling at me alongside the telephone. It was good to have company, even if it was only a picture frame, because I was beginning to develop a queer, creepy feeling. And again I thought maybe I ought to get out. But they kept me too busy. It was almost one o' clock and I still hadn't had that cup of coffee. The phone kept ringing and the girl in the picture kept smiling. I felt kind of cold all of a sudden. Maybe because I hadn't eaten all day. I headed for the kitchen, thinking there'd be some eggs at least, maybe some bacon. It was one of those swinging doors to the kitchen. I pushed it open. She was lying at the end of the kitchen near the sink, all lumped up, her blond hair matted with blood. I grabbed the stove to keep my legs from buckling. I was glad I hadn't eaten, but I turned her over just the same. It was brandy. She was dead. So that's why Augie Pershing hired me. And I'd call him a sucker.

[M]

For suspense. Autolyte is bringing you Edmund o' Brien and Anne Blythe in radio's outstanding theater of thrills. Suspense.

[Narrator/Host]

Is it really as important as Autolyte says to replace worn out electrical parts in my car with original factory parts?

[Philip Martin (Kirk Douglas's character)]

Important? Why?

[Autolite Announcer]

By Cornelius. The Autolyte people are the world's largest independent manufacturers of original factory parts for automobiles. More than 10 million cars are equipped with Autolite parts. Think of it. Generators, distributors, coils, starting motors, spark plugs, batteries, and a whole host of other automotive parts are made by Autolite. And every one of those parts is precision designed by Autolight engineers who know cars better than old Dobbin knows his oats.

[Philip Martin (Kirk Douglas's character)]

Sure do.

[Autolite Announcer]

By Cornelius. Your car will take to original factory parts like ducks take to water. And listen to this. Hap that Autolite service.

[Narrator/Host]

Authorized factory service too?

[Autolite Announcer]

Yes. Authorized factory service too.

[Harry Clark (Edmund O'Brien's character)]

Hap.

[Autolite Announcer]

Why, those skilled Auto Light servicemen are factory trained to pamper, pet, putter and pry till they get pinpoint perfection from every electrical unit in your car. Let me tell you, that combination of Autolite original factory parts plus Auto Light authorized factory service is unbeatable, unmatchable, unaccelerated.

[Narrator/Host]

Tut, tut, Harlow. It's time to become suspensible and now,

[M]

Autolight brings back to a Hollywood soundstage. Mr. Edmund O' Brien as Harry and Ms. Anne Blythe as Eleanor in Muddy Track, a tale well calculated to keep you in suspense.

[Harry Clark (Edmund O'Brien's character)]

Brandy looked a whole lot different than she had last night. Her mascara had mixed with tears and her face was bruised. Somebody had given her the backhand treatment. It had all the earmarks of a fine Persian hand. But the thing that had put her out of circulation was a blow on the back of her head. So Auggie Pershing had fitted me out for a murder rap. That's why he was so anxious to hire a guy he didn't know anything about.

[Philip Martin (Kirk Douglas's character)]

The doorbell.

[Harry Clark (Edmund O'Brien's character)]

What could that be? I looked around. I was three floors up. No fire escape, no back door. All I could do was hope they'd go away. Too late.

[Anne Fleming]

Oh.

[Narrator/Host]

Oh.

[Anne Fleming]

I didn't think anybody was here.

[Harry Clark (Edmund O'Brien's character)]

What do you want?

[Anne Fleming]

Well, this is the day I clean up and change the lid.

[Dr. Sellgrove]

Not now.

[Harry Clark (Edmund O'Brien's character)]

You can let it go until tomorrow.

[Anne Fleming]

But I don't usually come here tomorrow.

[Harry Clark (Edmund O'Brien's character)]

I said let it go.

[Anne Fleming]

Hi. Who are you?

[Harry Clark (Edmund O'Brien's character)]

Never mind. Never mind. Here's a. Here's a dollar for your trouble.

[Anne Fleming]

Oh, thank you, but I don't think I should take it.

[Harry Clark (Edmund O'Brien's character)]

Make it next week. I had to force myself to wait there till I could be sure she'd gone away to clean another apartment. Finally, I let myself out carefully. It was good to get out on the street again. People, kids. And somewhere somebody laughed. If I hurried, I had a fair chance of getting out of town. I could keep out of Persian's way. I walked all the way to my rooming house when the thought hit me. Stop me cold.

[Narrator/Host]

Fingerprints.

[Harry Clark (Edmund O'Brien's character)]

I'd left them all over the place. I started back on the double. Ran all three flights up to the apartment, opened the door with a key. Persian had given me fingerprints. I had to get rid of them all. I picked up the phone, wiped it clean the kitchen. I tried to keep my eyes away from her, but I couldn't help it. She looked so pitiful there on the floor. And then I noticed something clutched in her hand.

[Narrator/Host]

A pasteboard.

[Harry Clark (Edmund O'Brien's character)]

I carefully forced her hand open. It was a pawn ticket. I put it in my pocket and started to get up.

[Narrator/Host]

It was the girl in the picture.

[Harry Clark (Edmund O'Brien's character)]

She was leaning against the kitchen door, her face white with shock.

[Anne Fleming]

Yes, she did.

[Harry Clark (Edmund O'Brien's character)]

Yes.

[Anne Fleming]

Who are you? What are you doing here?

[Harry Clark (Edmund O'Brien's character)]

How did you get in this apartment?

[Anne Fleming]

I live here.

[Harry Clark (Edmund O'Brien's character)]

Oh. And you're Eleanor Grayson?

[Anne Fleming]

Yes. Who are you?

[Harry Clark (Edmund O'Brien's character)]

I'll ask the questions. Come on. I'm a Detective, let's get out of here. I herded her out of the apartment. She thought I was taking her down to the station. But I steered her into a chop suey joint. I ordered some tea for her. She looked like she was gonna faint. She drank it. Feel better?

[Anne Fleming]

Oh, yes. Yes, thank you. I'm sorry to be such a bother.

[Harry Clark (Edmund O'Brien's character)]

I guess it was quite a shock.

[Anne Fleming]

No. No, not really.

[Harry Clark (Edmund O'Brien's character)]

What do you mean?

[Anne Fleming]

Brandy was a strange girl. Always getting into trouble. Always getting mixed up with the wrong sort of men.

[Harry Clark (Edmund O'Brien's character)]

You've known her long?

[Anne Fleming]

All my life. We're from the same town. Came here together. Shared the apartment for a while. She worked on the elevator next to mine in the Broadway building. But she hated it. And then one day, a photographer rode in her car. And the next day she was a model. That's when she took the name of Brandy. Her real name is Evangeline. She had the face of a madonna,

[Harry Clark (Edmund O'Brien's character)]

but I know I met her. Looked like uptown, talked like downtown.

[Anne Fleming]

That must be.

[Narrator/Host]

Yeah.

[Harry Clark (Edmund O'Brien's character)]

Now, take it easy. Take it easy. Now, tell me, what was she doing in your apartment today?

[Anne Fleming]

She paid half the rent. Well, she said she needed to use the phone for modeling appointments. But I never really believed that I needed the money. I shouldn't have let her know. I'll get into trouble. She was killed in my apartment. Now they'll blame it onto me.

[Augie Pershing]

Look.

[Harry Clark (Edmund O'Brien's character)]

Look, why don't you go away and stay with a friend? You're in no shape to go back there.

[Anne Fleming]

You're very understanding. For a policeman.

[Harry Clark (Edmund O'Brien's character)]

You'd be surprised about us policemen.

[Anne Fleming]

You'll help me?

[Harry Clark (Edmund O'Brien's character)]

Well, I'll do what I can.

[Anne Fleming]

You promise?

[Harry Clark (Edmund O'Brien's character)]

Yeah, sure, sure. Don't bank on it too much, but everything I can. It was a lousy trick. A lid or like. That poor kid. She'd be all right. And I needed time. That siren meant that the chase had started. It was my skin I had to worry about. I put her on a streetcar and I headed in the opposite direction. On another one, I had to transfer twice to reach the spot I was bound for. The safest way to get out of town. About an hour later, in a diner on the outskirts of town, I found my boy.

[Narrator/Host]

Yeah, I'll give you a ride, Mike. But I ain't highballing out till midnight and I can't pick you up here. Insurance spotters around. Know where Fremont turns into Kelso by 101? Yeah.

[Harry Clark (Edmund O'Brien's character)]

Yeah, I'll find it.

[Narrator/Host]

Well, look, be there by the signal a little after 12. I'll pick you up.

[Harry Clark (Edmund O'Brien's character)]

I went back to my rooming house to get my stuff. My rent was paid. I wouldn't have to see anybody. I'd sure be glad to get out of this town.

[Narrator/Host]

You made me lose a bet, Clark.

[Harry Clark (Edmund O'Brien's character)]

He was a fat man and he was holding a cigar. He put the cigar in his mouth and I was conscious of dimples. Three of them. One in his chin, one in each cheek. I had never seen him before. Yeah, I bet you wouldn't be fool enough to come back here. What do you want? I'm the contender type. I hardly ever want nothing, but Auggie does. Augie. Persian. He wants to see you bad. I didn't say anything. I didn't have any words to argue with a gun. He pressed against me as we went down the stairs. There was a car about halfway down the block. A big black. I knew that once I got into that car the chances were I wouldn't climb out again. So I made it run for it, ducked into an alley.

[Autolite Announcer]

Don't be a sucker, clerk.

[Harry Clark (Edmund O'Brien's character)]

I hid behind a bulge of a chimney. As he came around, I let him have it right in the stomach. He went down like a paper sack filled with water. He just sat there and grinned, holding onto his belly, sucking in air like an asthmatic. I ran to the office, other end of the alley, and rolled my first seven. When I hit a bus sign advertising beds at half a buck a throw. This would be my hideout until 11:30, when I'd catch my truck ride. I hit the pillow, shut my eyes. When I woke up, sun was coming through the dirty windows. There were two old men talking close by.

[Augie Pershing]

No, sir. You don't catch me leaving town with that dragnet the cops got spread.

[Harry Clark (Edmund O'Brien's character)]

What time is it?

[Augie Pershing]

About seven o'.

[Harry Clark (Edmund O'Brien's character)]

Clock. Seven o' clock in the morning?

[Augie Pershing]

Well, that ain't the moon shining out there.

[Harry Clark (Edmund O'Brien's character)]

I'd lost my chance to get out of town. But what was worse, Dragnet, he said. I had to find out. I dashed out onto the street to buy a paper. And then I discovered it. I was clean. Somebody in the flop house had rolled me. I didn't have a penny. And the newsboy hollering his head off about mysterious man sort and models killing. I couldn't afford to float around town with no dough. I couldn't afford the trouble. Chance of ending up in a police lineup. And I certainly couldn't afford to let Persian get his hooks into me. There was only one other person I knew. I had to risk seeing her. I made my way to the center of town. I went through an arcade into the Broadway Building and watched the elevators. She was running the second one from the right. I went up to the top floor on one of the others and got off and waited. When her car registered near the top and nobody was in the hall I pressed the button to signal.

[Anne Fleming]

Down. Please.

[Harry Clark (Edmund O'Brien's character)]

I've got to talk to you.

[Anne Fleming]

You're not a detective. You didn't fool me for long.

[Harry Clark (Edmund O'Brien's character)]

I know. I'm sorry about that.

[Anne Fleming]

But did you kill her?

[Harry Clark (Edmund O'Brien's character)]

Why would I want to kill her? I. I just met her last night in a bar.

[Anne Fleming]

But you were in the apartment leaning over.

[Harry Clark (Edmund O'Brien's character)]

I know. I know it looks bad, but you gotta believe me.

[Anne Fleming]

That's the starter signal. I have to go.

[Harry Clark (Edmund O'Brien's character)]

Please. Wait. Wait. I haven't got anybody to turn to but you.

[Anne Fleming]

They're looking for you.

[Harry Clark (Edmund O'Brien's character)]

I know.

[Anne Fleming]

The cleaning woman told. I wouldn't want you to think that I. I'll lose my job.

[Narrator/Host]

Please.

[Harry Clark (Edmund O'Brien's character)]

Please.

[Anne Fleming]

Have been in the building all day. You'll get caught here.

[Narrator/Host]

You gotta believe me.

[Harry Clark (Edmund O'Brien's character)]

I. I didn't kill Brandi.

[Anne Fleming]

I've got to go. Please. They'll catch you.

[Philip Martin (Kirk Douglas's character)]

Look.

[Harry Clark (Edmund O'Brien's character)]

Look, I'm broke. I haven't got a nickel. You. You gotta help me. I gotta talk to you.

[Anne Fleming]

Here's a dollar. I'll try to get you more later. I get off work at 6. Meet me at the Chinese restaurant where you took me yesterday.

[Harry Clark (Edmund O'Brien's character)]

Okay. Thanks. The buck was crumpled in my fist till I got out of the building. Then I stuck it in my pocket and discovered a little piece of paper and got there first. It was the. The ticket I'd taken out of Brandy's hand when I found her in the kitchen of the apartment. Might be nothing. It might be something I had to find out.

[Augie Pershing]

Hey, bud.

[Narrator/Host]

Are you talking to me?

[Philip Martin (Kirk Douglas's character)]

Yeah.

[Harry Clark (Edmund O'Brien's character)]

Can you tell me where the Acme Pawn Shop is?

[Philip Martin (Kirk Douglas's character)]

Sure.

[Narrator/Host]

Right down the block there.

[Harry Clark (Edmund O'Brien's character)]

Oh, thanks.

[Philip Martin (Kirk Douglas's character)]

Hey, mister.

[Narrator/Host]

Not that way.

[Agent Whiteside]

The other way.

[Anne Fleming]

The other way.

[Harry Clark (Edmund O'Brien's character)]

I knew which way I was because in front of that pawn shop I'd seen a long, black car. And sitting behind the wheel was Augie Persia. I spent the next two hours in a movie, but I don't know what the picture was about. That porn ticket kept bothering me. And Eleanor. Was she really on my side? Could I depend on her? I decided to go to the Chinese restaurant, all right. But I wouldn't go in. I'd wait a few doors down the street. If she was on the level, she'd come alone. Here I am.

[Anne Fleming]

What? You said the restaurant.

[Harry Clark (Edmund O'Brien's character)]

Hi. Are you hungry?

[Anne Fleming]

No.

[Harry Clark (Edmund O'Brien's character)]

Let's walk.

[Anne Fleming]

It won't be safe to Walk. They're looking for you.

[Harry Clark (Edmund O'Brien's character)]

Oh, come on. We can't stand here.

[Anne Fleming]

Well, there's. There's the park across the street. It'll be dark soon.

[Harry Clark (Edmund O'Brien's character)]

All right.

[Anne Fleming]

You look tired.

[Harry Clark (Edmund O'Brien's character)]

I am. I'm dead.

[Anne Fleming]

Here's a bench. Why don't we sit down?

[Harry Clark (Edmund O'Brien's character)]

Okay. No, no.

[Narrator/Host]

Maybe.

[Harry Clark (Edmund O'Brien's character)]

Maybe it isn't such a good idea.

[Anne Fleming]

Why not?

[Harry Clark (Edmund O'Brien's character)]

Well, parks are full of cops snooping around. Maybe we'd better go, huh?

[Anne Fleming]

No, no. Let's stay here. Sit down. Oh, it's nice here. Quiet. No elevators. No noise. No people.

[Harry Clark (Edmund O'Brien's character)]

Poor kid. I forgot. Isn't easy for you either, is it?

[Anne Fleming]

I'm worried about you. What are you going to do?

[Harry Clark (Edmund O'Brien's character)]

I don't know. I don't know. If I only had something to go on. Wait a minute. There is something. I almost forgot it.

[Anne Fleming]

What?

[Harry Clark (Edmund O'Brien's character)]

A pawn ticket.

[Anne Fleming]

Pawn ticket?

[Autolite Announcer]

Yeah.

[Harry Clark (Edmund O'Brien's character)]

I found it in Brandy's hand.

[Anne Fleming]

Let me see it.

[Harry Clark (Edmund O'Brien's character)]

I got it right here.

[Anne Fleming]

Kiss me.

[Harry Clark (Edmund O'Brien's character)]

Huh?

[Anne Fleming]

There's a policeman. He's coming this way. Hurry up and kiss me.

[Harry Clark (Edmund O'Brien's character)]

I held her in a clinch until the cop's footsteps disappeared past us, every nerve tight as a stretched tendon. And then suddenly, the tightness was gone. And there was something else in its place. It had started out as just a prop kiss, just a guy and a gal on a park bench. But that wasn't what it turned into. Eleanor.

[Anne Fleming]

Oh, Harry.

[Harry Clark (Edmund O'Brien's character)]

I didn't notice it before. You're beautiful, Harry. All day I've been running and running. Just now, 30 seconds ago, I. I started to slow up.

[Anne Fleming]

I know. There isn't much time. Harry, please let me see the pawn ticket.

[Harry Clark (Edmund O'Brien's character)]

Sure, honey. Got it right here.

[Anne Fleming]

What's the matter?

[Narrator/Host]

That car down there.

[Anne Fleming]

Where?

[Harry Clark (Edmund O'Brien's character)]

Big black sedan. Look. See? Just stopped without lights. Pershing's car.

[Anne Fleming]

Pershing?

[Harry Clark (Edmund O'Brien's character)]

Yeah. But how did he know where I was?

[Anne Fleming]

Harry. Harry. Give me the pawn ticket.

[Harry Clark (Edmund O'Brien's character)]

We've got to get away from here.

[Narrator/Host]

Eleanor.

[Philip Martin (Kirk Douglas's character)]

Come on.

[Anne Fleming]

No, wait.

[Harry Clark (Edmund O'Brien's character)]

Come on. Don't be silly.

[Philip Martin (Kirk Douglas's character)]

Come on.

[Harry Clark (Edmund O'Brien's character)]

Hurry.

[Anne Fleming]

Stop. Stop.

[Harry Clark (Edmund O'Brien's character)]

What are you doing with that gun?

[Anne Fleming]

Never mind. Just hand over the pawn ticket.

[Harry Clark (Edmund O'Brien's character)]

Why are you so anxious to have it? What's this all about?

[Anne Fleming]

Don't ask questions. Just give me the ticket.

[Harry Clark (Edmund O'Brien's character)]

All right, Eleanor, put down the gun. I'll give it to you.

[Anne Fleming]

No tricks now.

[Harry Clark (Edmund O'Brien's character)]

Oh, of course not. No tricks.

[Augie Pershing]

Don't move, Clark. This is a gun. I got too. See if she's dead, Dimples.

[Harry Clark (Edmund O'Brien's character)]

Okay, Augie.

[Philip Martin (Kirk Douglas's character)]

We.

[Harry Clark (Edmund O'Brien's character)]

We were fighting for the gun. It went off. I. I don't understand much.

[Augie Pershing]

Don't ever trust a dame, Clark. Any dame Eleanor told us you'd be here. In the Chinese restaurant or the park. She called me.

[Narrator/Announcer]

What?

[Narrator/Host]

She called you? She ain't dead, Augie, but she ain't gonna live very long.

[Augie Pershing]

Looks like crime doesn't pay, Eleanor.

[Narrator/Host]

Huh?

[Anne Fleming]

Don't kill him, Persian.

[Narrator/Host]

Me kill Harry?

[Augie Pershing]

Oh, no, Eleanor. You were the target for tonight.

[Anne Fleming]

Me?

[Narrator/Host]

Yeah.

[Augie Pershing]

But you saved me the trouble.

[Harry Clark (Edmund O'Brien's character)]

Persian York crazy. You. You're crazy.

[Augie Pershing]

No, you are, Clark, for trusting her. Why don't you tell him, Eleanor? Tell him why you killed Brandy. How you'd been hacking her clothes, her jewelry. How she finally caught up with you.

[Anne Fleming]

I didn't mean to kill her. She found a porn ticket, threatened to have me arrested. She slapped me. And we. We had a fight. She fell and hit her head on the sink. I didn't know what to do. Ran away.

[Augie Pershing]

And just then, a perfect fall guy turned up. Friend Harry here.

[Harry Clark (Edmund O'Brien's character)]

That's why she needed this pawn ticket.

[Augie Pershing]

What pawn ticket?

[Harry Clark (Edmund O'Brien's character)]

This one.

[Augie Pershing]

Well, this ties it all up. She had to have this. Even if I had fallen for her double cross and rubbed you out, this ticket would still point to her.

[Anne Fleming]

Harry.

[Narrator/Host]

What?

[Harry Clark (Edmund O'Brien's character)]

Eleanor, Tell me.

[Anne Fleming]

I. I didn't want to. If only we'd met before. I.

[Augie Pershing]

Well, that apartment is now available for new tenants.

[Narrator/Host]

We better beat it, Augie.

[Philip Martin (Kirk Douglas's character)]

Hey.

[Augie Pershing]

Yeah. Come on, Harry. You know, I tried to catch up to you all day to give you protection.

[Harry Clark (Edmund O'Brien's character)]

Oh, shut up.

[Augie Pershing]

Yeah, I know, kid. I know. I had a girl, too.

[Narrator/Host]

Leave me alone.

[Augie Pershing]

Now, look, kid.

[Harry Clark (Edmund O'Brien's character)]

Leave me alone, I said.

[Narrator/Host]

Shut up.

[Narrator/Announcer]

Shut up.

[M]

Thank you, Edmund O' Brien and Anne Blyth, for a splendid performance. Mr. O' Brien and Ms. Blythe will be back in just a moment.

[Harry Clark (Edmund O'Brien's character)]

Hello?

[Narrator/Host]

Where in the world do you get all those autolyte adjectives you throw around?

[Autolite Announcer]

Ah, those aren't adjectives. Those are facts. And the fact is, I, old Harlow A for Autolite Wilcox, would give a mountain of money for a meaty, memorable motto to remind America's millions of owners of Autolight equipped cars to accept no substitute for Auto Light parts. For there is no substitute for Autolite parts. So, friends, if you want really reliable electrical parts and service, drive down to your nearest Autolite service station or the dealer who sells your make of car and ask for Autolite original factory parts and service. Tell him I sent. You'll be taken care of extra pronto.

[Narrator/Host]

Oh, no.

[Narrator/Announcer]

Listen.

[Anne Fleming]

Auto Light. You will find Auto Light service stations listed in your classified telephone directory under automotive electrical equipment. And remember, your Auto Light electrical system is the lifeline of your car.

[Autolite Announcer]

Right, friends? And here's something else to remember. Auto light means spark plugs.

[Narrator/Host]

Ignition. Engineered spark plugs.

[Autolite Announcer]

Auto light means batteries, stay full batteries. Autolyte means ignition systems.

[Narrator/Host]

The lifeline of your car.

[M]

And now, here again is Mr. Edmund O'. Brien.

[Harry Clark (Edmund O'Brien's character)]

I'd like to say for Ann Blythe and myself. That it's been a pleasure to appear on Suspense Tonight.

[Anne Fleming]

That's right, Eddie. And next week we'll be listening to one of the most famous of all suspense shows. Agnes Moorhead in Sorry, Wrong Number. And that is really tops in Suspense.

[Autolite Announcer]

And Blythe appeared through the courtesy of Universal International. And can now be seen in Mr. Peabody and the Mermaid, released by Universal International. Edmund O' Brien may soon be seen in Warner Bros. Technicolor production Fighter Squadron. Tonight's suspense play was written by Bob Shelley and and Buckley Angel. With music composed by Lucian Morowek and conducted by Lud Gluskin. The entire production was under the direction of Anton M. Leiter. In the coming weeks, Suspense will present such stars as Ronald Coleman, Rosalind Russell, James Cagney, Margaret o', Brien, Claude Raines and Peter Laurie. Make it a point to listen each Thursday to Suspense Radio's outstanding theater of thrills. And next Thursday, same time, hear Agnes Moorhead in Sorry, Wrong Number.

[Anne Fleming]

This is the Autolite Suspense Show. On this Armistice Day, Autolite is proud to join all America in a salute to the United States Marine Corps on its 173rd anniversary. Good night. Switch to autolight.

[Autolite Announcer]

This is CBS, the Columbia Broadcasting System.

[Anne Fleming]

Sam.

[Autolite Announcer]

Now, AutoLight and its 60,000 dealers and service stations present suspend.

[M]

Tonight, Autolight brings you Frederick March in the Night reveals a suspense play produced and directed by Anton M. Leiter.

[Autolite Announcer]

Friends, for that Memorial Day trip, install an Autolite Stay Full Battery in your car and relax. An Autolite Stay Full battery needs water only three times a year in normal car use.

[Narrator/Host]

Yes, siri, only three times a year.

[Philip Martin (Kirk Douglas's character)]

Why?

[Autolite Announcer]

It makes a camel look like a drinking fountain.

[Narrator/Host]

And in addition, an Autolite Stay Full battery has extra plates for extra power.

[Autolite Announcer]

Protected by fiberglass insulation for stronger life and longer life. In recent tests conducted according to the life cycle standards of the Society of Automotive Engineers. Autolite Stay full batteries gave 70% longer average life than batteries without all these features. With an Autolite Stay Full Battery, you need to add water only three times a year in normal car use.

[Narrator/Host]

So remember, you're right with Autolite.

[M]

And now, Autolite presents Frederick March. In a tale well calculated to keep you in suspend.

[Narrator/Host]

I should have known before that something was wrong. Gentlemen, you should have known by your eyes. It was a queer look. And staring at me one minute and avoiding me the next. Well, I came home late one Monday night and they were asleep. My son, Johnny. My wife here, Marie. I lay in bed, reviewing my day's work. I'm an investigator for the Herkimer Fire Insurance Company. And while thinking about the fire on Second Avenue, I fell asleep. And suddenly I. I was sitting bolt upright, wide awake, with a strange feeling of being alone in the room. I looked toward Marie's bed. It was too dark to see. I called Marie. Marie got up, walked to her bed. Quilt was bunched up. I pulled the covers down. The bed was empty. In the bathroom? No, she wasn't there. Not in Johnny's room either. Johnny was alone. Marie wasn't in the apartment. I put on the light. I looked at my watch. It was 2 in the morning. I got dressed and I walked out. Rang for the elevator. It was nothing, of course. Nothing important. But my heart kept hammering away. Morning, Mr. Jordan.

[Autolite Announcer]

Kind of late for you.

[Narrator/Host]

Yeah. Yeah. Good morning, Steve. Did you see my wife get on? Oh, yes, Mr. Jordan. About half an hour ago, I'd say. Oh, yeah, yeah, of course. See which way she went? Yeah, she went towards 3rd Avenue. Said she was going to the. You went to the drugstore, I guess.

[Harry Clark (Edmund O'Brien's character)]

That's right.

[Narrator/Host]

Is one over on 96th street open all night? Thanks. Thanks, Steve. Ah.

[Harry Clark (Edmund O'Brien's character)]

That was it.

[Narrator/Host]

She. She went to the drugstore. I was worried over nothing at all, but I. I didn't know what to do quite. I. I didn't want to follow her, but the elevator boy was watching me. So I strolled easily along towards Third. I stood on the deserted dark corner. I looked up and down the street. Then I saw her coming. She was walking toward me briskly.

[Anne Fleming]

Harry, what are you doing here?

[Narrator/Host]

I got up and saw you were gone.

[Anne Fleming]

Couldn't sleep. I had a dreadful headache. So I decided to go down for some aspirin.

[Narrator/Host]

Yes, of course. A drugstore on 96th Street. Yeah, but you're coming from 97th Street.

[Anne Fleming]

Oh, I took a little walk. Thought some fresh air would do me some good.

[Narrator/Host]

Yeah, it's a nice night.

[Anne Fleming]

I've only been gone about 10 minutes.

[Narrator/Host]

Steve says you're gone about a half hour.

[Anne Fleming]

Was only 10 minutes. What time is it now?

[Narrator/Host]

2:35.

[Anne Fleming]

I've been out for almost 15 minutes.

[Narrator/Host]

Oh, it's more than that.

[Anne Fleming]

It was about 15 minutes. No, more than that.

[Narrator/Host]

Yeah. Yeah, I guess so. Everything seemed all right, but still I felt something was wrong. We got into our apartment and we both went to bed. Just lay there. We didn't say anything.

[Anne Fleming]

Listen. A fire.

[Narrator/Host]

A fire not far over east. A couple of blocks by the river. I'd say that's my district Fire.

[Anne Fleming]

Well, what.

[Narrator/Host]

Hello? Hello, Harry. Sorry to wake in the middle of the night. There's a bad one over near you between second and third. Maybe a total loss. Between second and third, Mr. Pound? An apartment building.

[Harry Clark (Edmund O'Brien's character)]

Yeah.

[Narrator/Host]

98th Street. 340 East 98th. I called you because I'd like you to go there direct first thing in the morning instead of coming to the office. Okay. I'll meet you there. Okay, Mr. Pomer.

[Narrator/Announcer]

Good night.

[Anne Fleming]

A fire on 98th Street.

[Narrator/Host]

Yeah. Yeah. I couldn't see Marie in the dark, but I knew. I knew she was staring at me. I was very tired. Good night, Marie.

[Anne Fleming]

Good night, Harry.

[M]

For suspense, Autolite is bringing you Mr. Frederick March in radio's outstanding theater of thrills. Suspend.

[Autolite Announcer]

Hi Hap. Say this week I've been helping my brother in law get the car ready for Memorial Day.

[Narrator/Host]

For a whole week.

[Autolite Announcer]

No, no. While he was pushing her up the driveway, I just told him no need to wear yourself to a frazzle. Just get new auto light stay full battery needs water only three times a year normal car use. Why an auto light stay full battery has more liquid reserve than a camel with water on the knee.

[Philip Martin (Kirk Douglas's character)]

Sure, sure.

[Autolite Announcer]

Yes siri. I told him, forget those holiday worries. Just remember the extra liquid reserve in an Autolite stay full battery means less danger from evaporation. For real performance. Just install an auto light stay full battery needs water only three times a year in normal car use.

[Narrator/Host]

In all that time he was breaking his back pushing the car up.

[Autolite Announcer]

About that time he straightened up and gave me a dirty look. How was I to know he'd excited his sacroiliac again? And anyway he shouldn't have anything but an auto light stay full battery in his car for long trouble free operation.

[Narrator/Host]

Did he tell you then he'd buy an Autolite staple battery?

[Autolite Announcer]

He sure did. But emphatically Fine, fine.

[Narrator/Host]

And now let's get back to suspense.

[M]

And now Autolyte brings back to our Hollywood soundstage. Frederick March as Harry in the night reveals a tale well calculated to keep you in suspense.

[Narrator/Host]

Well, the next morning I went over to 98th street to inspect the remains of number three four zero. And to see if there was evidence of anything suspicious about the origin of the fire. Mr. Parmater was there. There it is. Got it. Guess we'll be paying off on this one. All right. Completely burned out. Anyone hurt? A few, but no one did. Lucky they just installed the new fire escape. Just the walls left. That fire must have been quite a sight in the height of its glory. Yeah. Yeah, quite a sight. Say, those walls look pretty bad. Might collapse almost any time. Yeah, the building will have to be erased. That fire did a good job. Oh, there's the commissioner. Hello. Parma Deer.

[Agent Whiteside]

Jordan.

[Narrator/Host]

All right, Mr. Morrell. Know anything about the fire commissioner? No, no, not a thing. Well, now that you're here, we'll take a look. No, I wouldn't go in there, Jordan. I can take care of myself. Maybe you'd better not go inside.

[Announcer/Radio Host]

Don't worry about me.

[Narrator/Host]

I. I know fires as well as anyone. You stay outside, Mr. Palmer.

[Narrator/Announcer]

I'm.

[Narrator/Host]

I'm going in. I went gingerly into the blackened, ruined hallway. Ashes and debris up to my ankles, until I reached the remains of the. Underneath were several baby carriages, just twisted pieces of metal. A burned fragment of something fell nearby. Come on back, Jordan. I'm all right. I poked around near the carriages, sifting through the fine, clean ashes. Something caught my eye, a blob of yellow metal. I picked it up and then I worked my way out. She's burned through and she. Yeah, yeah, cleaned through. Nothing left of it. Did you find anything? No, nothing much. Fire started in the hallway, all right. It worked its way up. Cellars untouched. What's that in your hand? Oh. Oh, that's just a piece of metal I found. Yeah. What do you think, commissioner? Probably one of those gadgets they have on baby carriages. I guess you're right. It isn't anything. But it was something. I had run my fingernail across this glob of metal. It looked like gold. I would examine it in detail later at home.

[Anne Fleming]

Hello, Daddy.

[Narrator/Host]

Well, how are you, Johnny?

[Anne Fleming]

Mama says I was bad today. Harry, you're home early.

[Narrator/Host]

Yeah, I got through sooner than I expected. I.

[Anne Fleming]

What is it, Harry?

[Narrator/Host]

Your locket. You're not wearing it. You've never had it off before.

[Anne Fleming]

My locket? Well, I. Don't you remember. Daddy, can I go over and see Davey Taylor for a minute?

[Narrator/Host]

Yeah, yeah, Johnny, go ahead.

[Anne Fleming]

All right. Gee, Daddy. Well, you shouldn't have done that. I didn't want him to go. He hasn't had his dinner.

[Narrator/Host]

Never mind, Johnny.

[Harry Clark (Edmund O'Brien's character)]

What.

[Narrator/Host]

What'd you say happened to the locket?

[Anne Fleming]

Well, I gave it to you.

[Augie Pershing]

To me?

[Anne Fleming]

Well, I put it in your pocket to have it fixed. The catch was loose.

[Narrator/Host]

I don't remember.

[Anne Fleming]

I put it in your pocket, Harry. I forgot to mention it to you. I Wanted you to take it to the jeweler's and get the catch fixed. I just put it in your coat pocket while you were shaving.

[Narrator/Host]

When?

[Anne Fleming]

Yesterday? Yes, yesterday morning.

[Narrator/Host]

Well, it should be in my pocket now. I wore this suit yesterday too. Nothing in my pockets. Marie?

[Anne Fleming]

Well.

[Narrator/Host]

Marie.

[Anne Fleming]

Yes, Harry?

[Narrator/Host]

Is anything wrong with you?

[Anne Fleming]

I'm perfectly all right. Not a thing wrong with you.

[Narrator/Host]

You look worried, as if you'd got something on your mind.

[Anne Fleming]

It's nothing. I've just been having a headache.

[Narrator/Host]

Maybe you ought to see a doctor.

[Anne Fleming]

No. Really doesn't amount to much.

[Narrator/Host]

Well, I think I'll take another look for the locket. Which suit did you say you put it in?

[Anne Fleming]

Your blue suit, I think. Or maybe it was the gray, though

[Narrator/Host]

I. I couldn't make it out. What had she done with the locket? Had she pawned it?

[Harry Clark (Edmund O'Brien's character)]

She given it away.

[Narrator/Host]

Then I remembered something. I went in the bathroom, locked the door. I looked at this shapeless little glob of yellow metal. I rubbed the blackened spots away until all of it was gleaming. I took a nail file out of the medicine chest and began to file it. I kept filing until I had enlarged the crack to the full length of the piece of gold. And I slipped the nail file inside and pried. Pried it open. Tiny fragments of glass. And then. Then I saw a piece of scorched paper. It was a photograph. It was a picture of my son Johnny. This glob of metal was my wife's locket. I put the. The locket and the picture in my pocket and walked out. All through dinner and afterwards, I watched her. She seemed very uneasy. Finally, I went over to my pipe rack where I kept several books of matches in a jar. There weren't any there now. I knew she was watching me. Watching me closely. I looked behind the rack. There wasn't a match around. What the devil happened to all my matches?

[Anne Fleming]

I have a match here. Let me light it for you.

[Narrator/Host]

Did you take the matches out of the jar, Marie?

[Anne Fleming]

Well, I.

[Narrator/Host]

Did you?

[Anne Fleming]

Yes. I needed them in the kitchen. Shall I light your pipe for you?

[Narrator/Host]

No, I'll light it myself. I picked a match out of the booklet. It was a clean white match with a green head. I struck it against the side. The match spluttered up into a yellow flame fringed on the bottom with blue. Marie stared at it until I felt the sharp bite of the flame on my thumb.

[Anne Fleming]

Oh, burn yourself.

[Narrator/Host]

No, it's all right.

[Anne Fleming]

Would. Would you like a nice hot cup of tea, Harry?

[Narrator/Host]

No, dear, I don't think so. I watched her. Her hand casually brushed along the table from. And picked up the matches. Marie, leave the matches on the table.

[Anne Fleming]

I need them. I'm rather short of matches. The pilot isn't working.

[Narrator/Host]

Is this the only book of matches in the house?

[Anne Fleming]

I have to get some tomorrow. Where, where are you going, Harry?

[Narrator/Host]

Just get a drink of water.

[Anne Fleming]

No, no, I'll get it for you.

[Narrator/Host]

Never mind, Marie. I'll get it myself. I went into the kitchen. There was a paper bag alongside the gas range. Matches all thrown in helter skelter. Books of matches and safety matches all mixed together. I walked back and sat down in my chair. You've been. You've been having headaches lately.

[Anne Fleming]

I. I'm just tired. That's nothing serious.

[Narrator/Host]

I'd like to go away for a few days. Take a vacation. I'll get a maid to take care of Johnny and me. It'll do you a lot of good.

[Anne Fleming]

No, no, I don't need a vacation. There's nothing wrong with me. But Harry, there is. There's nothing the matter.

[Narrator/Host]

You were about to say something else.

[Anne Fleming]

I. I've got to go into Johnny's room and see that he's covered. He always throws the covers off.

[Narrator/Host]

I sat there looking after her. And then I glanced about the room. There was the pack of matches lying open on the. I closed the COVID And then I noticed her purse lying nearby. It was bulging. Harry, what's the matter?

[Anne Fleming]

My, My purse?

[Narrator/Host]

Yes, yes, your purse. Here. Look. Full of matches. A dozen books of them. And these newspaper clippings.

[Anne Fleming]

Give it back to me.

[Narrator/Host]

Why are you saving these clippings? Why do you carry all these matches with you?

[Anne Fleming]

Well, I, I, I bought the matches in the store. A dozen for 5 cents.

[Narrator/Host]

These newspaper clippings. Fire on 112th street causes severe damage. And all these others. Why are you saving these clippings, Marie?

[Anne Fleming]

There's nothing wrong in that. I'm interested in your work. I intend to keep a file on fires. It'll help you in your work.

[Narrator/Host]

That's very considerate, Marie.

[Anne Fleming]

Oh, Harry, you're so good. Why should this have to happen to us?

[Narrator/Host]

About midnight I went to bed. Marie didn't follow me. I lay in the semi darkness, wide awake, trying to think what I should do. Couldn't collect my thoughts. Every time I closed my eyes, I could see the flame of that match. Yellow and blue, crawling along the matchstick.

[Anne Fleming]

Drink this, Harry. It'll help you sleep.

[Narrator/Host]

What is it?

[Anne Fleming]

It's Coco. It's very good for you.

[Narrator/Host]

I'm not the one that's having trouble falling asleep.

[Anne Fleming]

We both couldn't sleep last night. I'm taking some of this myself as soon as I go to bed.

[Narrator/Host]

All right. Leave it on a nightstand.

[Anne Fleming]

Well, be sure to drink it while it's hot.

[Narrator/Host]

Yes, Marie, I will.

[Anne Fleming]

Good night, darling.

[Narrator/Host]

Good night, Marie. Coco. And then suddenly I knew. I looked around quickly for something to pour it in. There was a radiator pan. It was empty. I poured the cup of liquid into it. Then I lay back and waited. I waited for her next move. About an hour later, I heard the door open softly and Marie tiptoed toward my bed.

[Anne Fleming]

Harry? Harry, are you sleep.

[Narrator/Host]

I didn't answer, but breathed evenly. She hovered over me for a moment and she tiptoed out carefully closing the door behind her. I jumped out of bed and hurried into my clothes. Quickly. I poured the cocoa from the pan into a bottle, put it in my pocket, and I grabbed my coat and I followed her. I rang for the elevator. She had only a few minutes headway. I'd catch up to her easily, and then we'd have a show down. Steve looked at me with controlled amazement. Hello, Steve. Hello, Mr. Jordan. My wife went down a moment ago, didn't she? Yes.

[Philip Martin (Kirk Douglas's character)]

Mr. Jordan just took her down.

[Narrator/Host]

She went toward 3rd Avenue, didn't she?

[Harry Clark (Edmund O'Brien's character)]

I. I think so. She sort of stopped for a minute

[Philip Martin (Kirk Douglas's character)]

and then turned towards Third.

[Narrator/Host]

I had to get back the elevator because you were ringing. When I reached the corner, I looked up and down Third Avenue. Then I saw her. She was walking north. I crossed to the other side of the street and followed her, keeping at a distance. At 98th street, she turned east. Down the middle of the block was the remains of last night's fire. She stopped in front of the gutted building for a long time. Just stood there looking at it. And she walked inside. I waited a few seconds and then followed her.

[Philip Martin (Kirk Douglas's character)]

Marie.

[Anne Fleming]

Who's there?

[Narrator/Host]

It's me, Harry.

[Anne Fleming]

Harry, why did you get.

[Narrator/Host]

Come along, Marie. We'd better get out of here. The police. I took her hand. Without a word, she came along. We walked home in complete silence. We both knew. When we came to our apartment house, I stopped and rang for the elevator. In the light of the hallway, I could see her face, my wife's face. Ashy gray. Her eyes brightened and painful. You run upstairs, Marie, and I'll. I'll be along a minute.

[Anne Fleming]

Harry, where are you going?

[Narrator/Host]

I'll be right back.

[Anne Fleming]

Please, Harry, don't. Don't do anything.

[Narrator/Host]

You run along.

[Anne Fleming]

Marie, you're not going to.

[Narrator/Host]

No, I'm Only going to the drugstore. Get something. I'll be back in a few minutes. I came home a half hour later. She was waiting for me.

[Anne Fleming]

Did. Did you do it, Harry? Please. Please, Harry, tell me. I've got to know.

[Narrator/Host]

I had the cocoa you gave me analyzed.

[Anne Fleming]

Oh, I'm sorry. I had to do it. Don't you see? I couldn't help it?

[Narrator/Host]

Very easy for the druggist. Especially when I told him what I thought was in it. That stuff that makes you sleep through an earthquake.

[Anne Fleming]

Please try to understand, Harry. You must understand.

[Narrator/Host]

Is the kid asleep?

[Anne Fleming]

Johnny's all right.

[Narrator/Host]

I was sorry for Marie. She looked so haggard and worn. It wasn't her fault. I was sorry for myself. My head was roaring. I wasn't feeling too well. I kept seeing sparks in front of my eyes. I closed my eyes for a moment.

[Anne Fleming]

Let's go to bed, Harry.

[Narrator/Host]

Marie. Look, we can do something. Let's burn up every match. Every match in the house. We'll never bring another match in.

[Anne Fleming]

No. No, Harry, we can't do that.

[Narrator/Host]

You don't want to?

[Anne Fleming]

No. No. Not now, Harry.

[Narrator/Host]

Strange, isn't it, that this should happen to me? Me, a fire inspector. That's funny. Give me the matches, Marie. All the matches.

[Anne Fleming]

No, I can't do that. I won't. Please. Please don't. Please don't take them. I'll do anything you want. Anything.

[Narrator/Host]

Where did you hide them? Tell me, where are they?

[Anne Fleming]

Inside the range, behind the paper bags.

[Narrator/Host]

I dropped her hand. She sank to the floor in a huddle, weeping. Then I went into the kitchen and got all the matches.

[Anne Fleming]

Please, Harry, don't burn them up. Harry, look.

[Narrator/Host]

Look up. See? I'll light each book of matches one at a time until they've all gone up in smoke. The yellow flame licked its way down the matches. The COVID caught fire and blackened. I watched her look at the flame with dazed eyes.

[Anne Fleming]

Listen. Listen, Harry, you hear?

[Narrator/Host]

Just someone in the hall.

[Anne Fleming]

There's more than someone. Something's happened. Something has happened.

[Narrator/Host]

I'll take a look.

[Anne Fleming]

The house is on fire.

[Agent Whiteside]

Yeah.

[Narrator/Host]

Marie, wake up. Johnny.

[Anne Fleming]

Johnny.

[Narrator/Host]

Johnny. You'll have to hurry. The flames are coming up the stairs. There's an upward draft.

[Anne Fleming]

What's the matter, Mother? The house is on fire. We've got to get out.

[Narrator/Host]

It's too late to go down. We'll have to go up through the.

[Anne Fleming]

Look, I hurt my leg.

[Narrator/Host]

Come along. Come along, Johnny.

[Anne Fleming]

Mother. Wait for Mother.

[Narrator/Host]

She'll come along.

[Anne Fleming]

No. No. I want to wait for Mother. It's all right, Johnny. Go along with Daddy. I'll. I'll follow you. No, I won't go. I won't go without you.

[Narrator/Host]

Hold on to my armory.

[Anne Fleming]

Come on.

[Harry Clark (Edmund O'Brien's character)]

Give me your hand.

[Narrator/Host]

Johnny. Don't be scared. The fire won't hurt you. It won't hurt you at all. You're safe with me. We made our way upstairs very slowly because of Marie's sprained ankle. Finally, we got to the roof. There was some firemen on the next roof. About 10ft separated the two buildings. Don't get panicky. We'll get you off safely.

[Anne Fleming]

Are we gonna have to jump across, Daddy? Mother won't be able to jump her foot. It's all right, Johnny. Don't be scared.

[Narrator/Host]

I'm putting a board across between the two roofs. We'll just walk across. All right, now, one at a time,

[Anne Fleming]

tie the rope around you and come across.

[Philip Martin (Kirk Douglas's character)]

Johnny.

[Narrator/Host]

Johnny, you go first. Here. Don't be afraid. There. Rope will hold you in case you slip.

[Anne Fleming]

Mother, you gotta go first. I'll go right after you, Johnny. You promise?

[Narrator/Host]

Go ahead, Johnny. Mother will follow you. And don't turn around. I keep walking.

[Anne Fleming]

All right, the kid's safe now. You, lady, be careful.

[Narrator/Host]

The board.

[Anne Fleming]

Hey, the board slipped off. Hurry, one of you guys, and get another board.

[Narrator/Host]

Coming up.

[Anne Fleming]

Mother, I want my rope.

[Narrator/Host]

Your mother's gonna be all right.

[Anne Fleming]

You push the board off. Harry. I saw you do it.

[Harry Clark (Edmund O'Brien's character)]

No, I didn't, Marie. I didn't.

[Narrator/Host]

All right, mister, just tie the rope around her.

[Anne Fleming]

Now, don't be afraid, lady, and don't look down. All right. Ready? I'm ready.

[Narrator/Host]

Okay, boys,

[Anne Fleming]

She's all right. Now you, mister.

[Narrator/Host]

All right.

[Anne Fleming]

That's right. Tie the rope around you.

[Narrator/Host]

All set? Okay. On the ground. We stood there, the three of us, watching the fire. Great flames shot out, stabbing at the sky. The top of the roof was burning out. A red flame crawled along, searching out the inflammable spots. And the wind was helping. All this time, Marie was shaking. Shaking violently, but not with cold. I pitied her. And then she threw up her hands and shrieked.

[Anne Fleming]

Kids. I can't stand it. We can't go on this way. Police.

[Dr. Sellgrove]

Police.

[Anne Fleming]

Come here.

[Augie Pershing]

Don't do it.

[Narrator/Host]

The police. You don't know what you're saying.

[Autolite Announcer]

What is it, lady?

[Narrator/Host]

Hey, you better calm down. Are you. Pay no attention.

[Anne Fleming]

Oh, no.

[Philip Martin (Kirk Douglas's character)]

No.

[Anne Fleming]

It's no use, Harry. Officer, these awful fires, they're not accidental. There's a pyromaniac, a criminal. I know who it is. You got to arrest the person. Arrest. So there won't be any more.

[Narrator/Host]

All right. Lady, what is this? Who is the pyromaniac?

[Anne Fleming]

The criminal is my husband, Harry Jordan. This man here, arrest him, Officer.

[Narrator/Host]

Well, let's. That's about all there is to the story, gentlemen. And then I was brought here. She must have sounded kind of, well, painful for you to hear it all over again, Marie.

[Anne Fleming]

No, it was all right, Harry.

[Narrator/Host]

I wonder. I got a cigarette. Could I.

[Anne Fleming]

No, I'll light it for you, Harry.

[Narrator/Host]

You don't have to worry. I won't try to keep the matches. She'd been awfully good to me, gentlemen. You'll take good care of her, won't you? She tried everything to help. Hid the matches so as to keep them from me. She even tried to give me sleeping pills so I wouldn't.

[Anne Fleming]

It's all right, Harry.

[Narrator/Host]

I'm sorry about the locket there. Must have been fallen out of my coat when I was in that building at 98th Street.

[Anne Fleming]

It's all right, Harry. You can buy me another one sometime.

[Narrator/Host]

You can't blame anybody for liking fires. It's not their fault. Fires are beautiful to watch. So bright and clean. They burn up all the filth and dirt. They're magnificent to watch, especially the big ones. The way the flames roar and crackle. Lighting up everything around you.

[Harry Clark (Edmund O'Brien's character)]

The beautiful fire.

[Narrator/Host]

The beautiful fire.

[M]

Thank you, Frederick March, for assistance. Splendid performance, Jay Harlow.

[Narrator/Host]

You and your brother in law still friends?

[Autolite Announcer]

Why, of course we're friends, Hap. We have so much in common, both of us. Think an Autolite stay full battery is wonderful. Why, it needs water only three times a year. Normal car use. And he appreciates the fact that Autolite stay full batteries are made by Autolight, the makers of over 400 products for cars, trucks, airplanes, boats. In 28 auto light plants from coast to coast.

[Narrator/Host]

Yes, siree. And Autolight also makes complete electrical systems for many makes of America's finest cars.

[Autolite Announcer]

Batteries, spark plugs, generators, starting motors, coils, distributors. All engineered to fit together perfectly. Work together perfectly. Because they're a perfect team.

[Narrator/Host]

The lifeline of your car.

[Autolite Announcer]

So folks don't accept electrical parts that are supposed to be as good. Remember, you're always right with Autolight.

[M]

And now, here again is Mr. Frederick March.

[Narrator/Host]

It's been a real pleasure appearing on screen suspense tonight. Working with this fine cast. Especially Jeanette Nolan, who played Marie. And I'm looking forward with great interest to listening next week when radio's outstanding theater of thrills brings you Joan Crawford in the 10 years. Another gripping study in suspense.

[Autolite Announcer]

Frederick March is soon to be seen with his wife, Florence Eldridge in the new film Christopher Columbus. Tonight's suspense play was adapted by Sigmund Miller. From the story by Cornell Woolridge. With music composed by Lucien Morowic and conducted by Leith Stevens. The entire production was under the direction of Anton M. Leiter. Next Thursday, same time, hear Joan Crawford. In the 10 years

[Anne Fleming]

you can buy Autolite Stafold batteries, Autolite Resistor spark plugs. Auto Light electrical parts. At your neighborhood Autolite dealers. Switch to Autolite. Good night.

[Autolite Announcer]

This is cbs, the Columbia Broadcasting System.

[Narrator/Announcer]

You are about to hear a story suggested by actual events. So that no innocent person shall suffer. Names and places have been changed.

[Autolite Announcer]

Auto light and its 96,000 dealers. Bring you a story from the front

[Narrator/Announcer]

pages of our great metropolitan newspapers. A story taken from life. Tonight's presentation of suspense. Tonight, Autolyte presents the case for Dr. Singer. A story about atomic spies in the United States today. How they operate, how they are caught. Hi, Hap. So long, Harlow. So long.

[Autolite Announcer]

You haven't even said hello yet.

[Narrator/Announcer]

This is our last show till fall, isn't it? The jury is Hap. And that means we won't have a

[Autolite Announcer]

chance to talk about that great Autolite Stay Full battery.

[Narrator/Announcer]

The battery that needs water only three times a year in normal car use. Until after our vacation. Harlow. If folks don't know by now. That the Autolite Stay Full battery is tops in dependability, convenience and long life, then I give up. No need to give up, Hap. Because the Autolite Stay Full is famous from coast to coast. Car owners everywhere know it has over three times. The liquid reserve of batteries Without Stay Full features. And needs water only three times a year in normal car use. My neighbor bought one just the other day. Car owners know, too, that fiberglass retaining mats. Protect every positive plate. To prevent shedding and flaking. And give the Auto Light Stay Full longer life. As proved by tests conducted according to accepted life cycle standards. That's mighty important news for every car owner, Harlow. It sure is, Hap. So, friends, take a tip from me.

[Autolite Announcer]

And see your neighborhood Autolite battery dealer soon.

[Narrator/Announcer]

Ask him for an Autolite Stay Full.

[Autolite Announcer]

The battery that needs water only three

[Narrator/Announcer]

times a year in normal car use. You'll be sure of the best because you're always right with Autolite. And now with the case for Dr. Singer. Autolite hopes once again to keep you in suspense. Minus 30. Minus 25.

[M]

Wednesday, May 15, 1951.

[Narrator/Announcer]

Minus 20. Early morning.

[M]

Six men.

[Narrator/Announcer]

Watch and wait. Minus 15. Minus 10. Minus five. Zero. Congratulations, gentlemen. I suggest we have some coffee.

[Agent Whiteside]

May 16, 1951. Confidential to Major General Carl Busher, Atomic Energy Commission. From Professor Leland R. Young regarding thermonuclear H23. At 6:30am May 15, H23 was successfully

[Narrator/Announcer]

detonated without the use of U235.

[Agent Whiteside]

Enclosed here with technical data compiled after explosion.

[Narrator/Announcer]

Complete destruction up to 10 miles. The most powerful weapon yet discovered.

[M]

Complete destruction up to 10 miles. And set off without the use of the a bomb. Thermonuclear H23 is top secret. This is the story, not certainly, of the development of H23, but of the

[Narrator/Announcer]

fact that it still remains top secret.

[Agent Whiteside]

January 3, 1951. Confidential. To Headquarters, Military Intelligence, Washington, D.C. from American Embassy, Switzerland. This morning a man was shot as he entered the building. Before he lost consciousness, he identified identified himself as Dr. Rudolph Elman. He was taken to the hospital where his condition has been reported critical.

[Narrator/Announcer]

Nurse.

[Anne Fleming]

Yes?

[Narrator/Announcer]

I am Colonel Mishikov. I wish to see Mr. Farnsworth, the American consul.

[Anne Fleming]

Oh, just one moment, doctor.

[Philip Martin (Kirk Douglas's character)]

Yes, this is.

[Narrator/Announcer]

I am Colonel Mishikov. I wish to see Mr. Farnsworth. Well, he's. You have a man here who has identified himself as Dr. Rudolph Elman? Yes, we have. His real name is Woroshin. He's an escaped convict and I have orders from my government to take him into custody. Dr. Elman? No, he's not a doctor. His name is Voroshin. He is an escape. And whoever he is, he's dying. Now, Doctor, I am here representing my country. I have authority. Colonel Mishikov, you have no authority in this hospital. If you wish to see the patient, I would suggest you obtain permission from the chief of staff. I see. Now, if you will excuse me. Doctor. Yes? I presume Mr. Farnsworth obtained permission. He did. Good day, Colonel. Nurse.

[Anne Fleming]

Yes, Doctor.

[Narrator/Announcer]

Thermo nuclear weapons. I discovered the plan a week ago. Mr. Farnsworth?

[Agent Whiteside]

Yes.

[Narrator/Announcer]

Colonel Mishakov.

[Harry Clark (Edmund O'Brien's character)]

Oh, no.

[Narrator/Announcer]

He's here. I just spoke to him in the hall. I sent him to the staff chief for permission. Did he know I was here? Yes, Doctor. Adrenaline. Doctor is dead.

[Agent Whiteside]

2 Headquarters, Military Intelligence, Washington, D.C. from Henry W. Farnsworth, American Embassy, Switzerland. Dr. Rudolph Elman died here at 5:50pm this day. Obtained statement of great importance. If deceased is really Elman. Soviet government claims he is Alexander Voroshin, escaped convict and citizen of USSR Please advise.

[Narrator/Announcer]

Yes? Dr. Singer? Yes. This is Professor Young. Would you please come up for security? Certainly. Well, George, I've got these rundowns on the pile. Wonderful, wonderful. I gotta go up to security. I'll go over them with you as soon as I'm finished. Still going to play poker tonight? Wouldn't miss it. I'll give you a buzz when I'm through. All right. Come in, Doctor.

[Agent Whiteside]

Dr. Singer, this is Mr. Whiteside and General Bushard.

[Narrator/Announcer]

I know the general. How are you, sir? Just fine, Doctor. Mr. Whiteside.

[Agent Whiteside]

How do you do? How do you do, Doctor?

[Narrator/Announcer]

Sit down, George. Thank you. Mr. Whiteside is from the FBI.

[Agent Whiteside]

Oh. Did you know a Dr. Elman? Rudolph Elman? Yes, very well.

[Narrator/Announcer]

I studied under him in Germany.

[Agent Whiteside]

Here's a picture. Is this the man you knew?

[Narrator/Announcer]

Yes. Much thinner. But this is Dr. Ellman. We taught at the same university. He's dead.

[Agent Whiteside]

When did he die? During the war. This man died four days ago.

[Narrator/Announcer]

And this is not Dr. Ellman. He was killed by the Nazis trying to escape from Germany.

[Agent Whiteside]

This man was shot in front of the American Embassy in Switzerland. We've known for some time that Dr. Ellman was a prisoner in Siberia working on thermonuclear weapons.

[Narrator/Announcer]

How are your experiments coming, Doctor? I'm afraid that's confidential, General. Even to you. Ellman knew just about how far you'd progress. That's impossible.

[Agent Whiteside]

This is a portion of his testimony recorded just before he died. It was sent to us by Farnsworth of the American Embassy in Switzerland.

[Narrator/Announcer]

Sure this man was Ellman. Ellman was a brilliant physicist, was he not, doctor? Extremely brilliant. If information concerning your work here was smuggled out, he would be capable of understanding it. Ellman would not only be capable, but extremely useful. General, are you suggesting that someone on my staff.

[Agent Whiteside]

I suggest you read Ellman's statement concerning your work here on thermonuclear weapons.

[Narrator/Announcer]

Good grief. Professor Young. I've read it, George. But this shows knowledge of our progress as late as a month ago. Is it accurate? Extremely lacking in a few details.

[Agent Whiteside]

Ellman was dying.

[Narrator/Announcer]

Extremely accurate. What does this mean, sir?

[Agent Whiteside]

It means that someone working on H23 is acting as a spy.

[Narrator/Announcer]

But who? Myself, Professor Young and four others are the only ones who could possibly have access to this kind of information.

[Agent Whiteside]

Ellman knew that you were close to what he calls in his statement the most powerful weapon of our times. His exact code quote. The one weapon that might mean the difference between peace or total destruction. He escaped to let us know that someone is passing on this information.

[Narrator/Announcer]

Do you know who it is? No.

[Agent Whiteside]

Professor Young said the same thing you did. It has to be one of six men. Professor Young, yourself, Doctor, Dr. Mitchell, Dr. Evans, and your assistants, Mr. Bromwell or Mr. Collings.

[Narrator/Announcer]

Can't believe it. These men Are all trusted?

[Agent Whiteside]

So was Klaus Fuchs completely trusted?

[Narrator/Announcer]

Seems impossible. We have to find him. If you don't know who he is, don't you think it a little dangerous to confide in me? After all, I might be the one.

[Agent Whiteside]

He might be. But that's all been discussed. If we're going to find this man, someone, one of the five men working on your experiment, has to help. We can't send in an outsider. Our man would get suspicious.

[Narrator/Announcer]

Professor Young had to be notified. He's in charge of this plant.

[Agent Whiteside]

But we still need one of the men actually working on the project. Professor Young's only been supervising.

[Narrator/Announcer]

We picked you.

[Anne Fleming]

Why?

[Narrator/Announcer]

Past record. My colleagues have records equally as trustworthy.

[Agent Whiteside]

We know all the records, Doctor.

[Narrator/Announcer]

And I know these men I work with, Mr. Whiteside.

[Agent Whiteside]

Then perhaps you'll be able to find out which one is a traitor.

[Narrator/Announcer]

I don't know. I repeat, what if I'm the traitor?

[Agent Whiteside]

Then I don't think you'd be foolish enough to continue sending information. And if the information doesn't continue to leave the country? We've accomplished two things. We've kept the project a secret, and we've found out that our man is onto us.

[Narrator/Announcer]

Yes. Yes, I suppose that's right. If they steal H23 from us. Well, Officer, anything else?

[Agent Whiteside]

I think we've covered everything. Come on, George.

[Narrator/Announcer]

I'll buy us a drink.

[Agent Whiteside]

Nothing else for me at the moment, is it, General?

[Narrator/Announcer]

No. Nice to see you again, Dr. Singer. Thank you, General. Oh, I imagine I'll see you again, Mr. Whiteside.

[Agent Whiteside]

I imagine so, Doctor.

[Narrator/Announcer]

Yes, of course. What do you think, Whiteside?

[Agent Whiteside]

About Singer? Yeah, I'm interested in him, General. It might help if we get to know a bit more about him.

[Narrator/Announcer]

He's the man.

[Agent Whiteside]

I don't know. That's what we've got to find out.

[Narrator/Announcer]

Autolite is bringing you the case for Dr. Singer. Tonight's production in radio's outstanding theater of thrills, Suspense. Say, Harlow, what are you gonna do on your vacation? Why, Hap, as an advocate of the Autolite stay full battery. The battery that needs water only three times a year in normal car use. I'm going to advise all car owners to adopt that adept, adaptable and amazing actuator of abundant and dependable. Starts always in their pitching, eh, Harlow? You said it, Hap. And it's all because the Autolite stay full. Offers greater convenience and longer life. Greater convenience? Sure, Hap. Because the Autolite stay full has over three times the liquid reserve of batteries without stay full features. That's why it needs water only three times a year in normal car use. Longer life too, Arnold. Right you are, Hap. Because life ensuring fiberglass retaining mats protect every positive plate to prevent shedding and flaking and give the Autolite stay full longer life as proven by tests conducted according to accepted life cycle standards. Well, I'll see you next August, Harlow. So long, Hap and friends. Before you start your vacation, see your Autolite battery dealer. He's the expert on battery advice and service. Ask him for an Autolite stay, full battery. And remember, you're always right with Autolite. And now Autolite returns you to our Hollywood soundstage and Elliot Lewis's production of the case for Dr. Singer. A tale well calculated to keep you in suspense.

[Agent Whiteside]

Confidential from Special Agent Whiteside to Division 33, Federal Bureau of Investigation, Washington, D.C. talked with Dr. Singer and he has agreed to proceed as planned. Advise Charlie. Hi, Charlie.

[Narrator/Announcer]

Hey, Penny. Sit down. Have a beer.

[Agent Whiteside]

Thanks. Been waiting long?

[Narrator/Announcer]

About five minutes. How's Margie?

[Agent Whiteside]

Okay. Had the flu. One of the kids got it. Now, don't you know I gotta get it sooner or later.

[Narrator/Announcer]

I had it. It's miserable. How's business?

[Agent Whiteside]

We got us 3 tons of whitefish yesterday. With the price.

[Narrator/Host]

What do you have, boys?

[Narrator/Announcer]

Benny?

[Agent Whiteside]

Beer? Just beer.

[Narrator/Announcer]

Two beers. All right.

[Agent Whiteside]

Fish been running just great. Day before yesterday, we rolled in with over four tons. How's your business?

[Narrator/Announcer]

Fine. Got two men on all of them apartments bug 24 hour stakeout, that. What about Singer?

[Agent Whiteside]

So far, nothing. He works right with him? Maybe. I don't know.

[Narrator/Announcer]

Checking I've done so far, they all look pretty clean.

[Agent Whiteside]

Sure. Boy, we want smart. If it is Singer, smart as they come, I give you a report. Hold it.

[Narrator/Announcer]

Two beers, 50 cents.

[Agent Whiteside]

Well, cheers.

[Narrator/Announcer]

Yeah, Good luck. I hope your next catch is the biggest yet.

[Agent Whiteside]

Confidential. To Major General Carl Busher, Atomic Energy Commission, Washington, from Professor Leland R. Young regarding thermonuclear H23. Dr. Singer has informed me that H23 experiments are proceeding on schedule. With luck, completion should be possible within the month. Singer has nothing else to report in regard to our previous discussion.

[Narrator/Announcer]

Evans and. Just a minute. Here. Here's a chart on the fishing yield. Certainly checks. 21 trillion calories.

[Narrator/Host]

Oh, we're close.

[Narrator/Announcer]

Now. Eliminate the carbon. How's Bramwell doing? Well, he's tired. You look tired, Singer.

[Agent Whiteside]

A little.

[Harry Clark (Edmund O'Brien's character)]

Something wrong?

[Narrator/Announcer]

No, no, no, no. I. I want to see how Bromwell's doing. Don't forget poker tonight. No, I won't. Bromwell.

[Announcer/Radio Host]

Yeah.

[Narrator/Announcer]

Oh, hello, Singer. And still too late. How low 3,600,000.

[Narrator/Host]

I've got to go back.

[Narrator/Announcer]

I have HO4 as high as 19 million. What was the reaction time? Well, it's pretty close to 100,000. Very close. I think we should talk it over. Evans just finished his fission yield. 21 trillion. Yes, I am holding things up, huh? You've got the hardest job. Mitchell and Collings are down at the reactor pile. Let's get them and talk.

[Agent Whiteside]

Yes.

[Narrator/Announcer]

Benny? Yeah, Charlie, I got something I'd like you to hear.

[Agent Whiteside]

All right.

[Narrator/Announcer]

I'll see you at the office in an. I'll raise him. Look out, Singer. You know, I don't think he has them. I don't know. He's had them all night. Oh, excuse me, Colin. No, it's all right. What you boys have to do is put up some money to find out. All right, I'll just call. Brother, I admire your courage, my friend. I haven't want to handle the last two hours. I'll just let you be the hero. Let's see him. Full house. Aces and trades. What did I tell you? I know he had traded your pot. Well, here.

[Anne Fleming]

My opener.

[Narrator/Announcer]

Heavens, you are without a doubt the luckiest. Played poker for another hour and went home. Nothing unusual.

[Agent Whiteside]

A cigarette?

[Narrator/Host]

Yeah,

[Narrator/Announcer]

thanks. Still no lead. Boy, I tell you, if it is

[Agent Whiteside]

Singer, he's real careful.

[Narrator/Announcer]

Yeah. Something new?

[Agent Whiteside]

Got word from the other side today. Counterintelligence. Our boys say the Russians haven't had any message on the progress of the bomb for a couple of weeks now. They're worried.

[Narrator/Announcer]

They're worried? If we only had one lead.

[Agent Whiteside]

We will have the minute they finish their experiment. Someone's going to have to make his contact then.

[Narrator/Announcer]

If it's Singer or any of those men, we'll get him. I'm even having their mothers in law watched. 92,000, 238 plus neutron. 92,239 plus gamma radiation. 92,239 decays to 93. Neptunium 239 plus beta electron. 23 minutes. Check. 93. Neptunium 239 decays to 94. 4,000, 939. Heavens.

[Commercial Announcer]

Come here.

[Agent Whiteside]

Mitchell.

[Narrator/Announcer]

Hollings. What is it?

[Narrator/Host]

I've got it. I. I think I've got it.

[Narrator/Announcer]

Carbon is completely isolated.

[Philip Martin (Kirk Douglas's character)]

Well, look.

[Narrator/Announcer]

Look for yourself. Hmm? Oh, yes, yes. Let me see. Yes.

[Narrator/Host]

Here.

[Philip Martin (Kirk Douglas's character)]

Collins.

[Narrator/Announcer]

Mm. Well, this is it. Congratulations, Brahma.

[Narrator/Host]

Congratulations.

[Narrator/Announcer]

Well, gentlemen, H23 is no longer theory. We can now begin to assemble the first one.

[Agent Whiteside]

Confidential 2. Major General Carl B. Bush or atomic Energy Commission, Washington. From Special Agent Whiteside, Federal Bureau of Investigation, regarding conclusion of H23 experiments. Counterintelligence has informed us that the Russians are in possession of the news of the same. They have not yet obtained details.

[Narrator/Announcer]

How could it get out?

[Harry Clark (Edmund O'Brien's character)]

How?

[Agent Whiteside]

I don't know, General. Charlie here's had him watched every second. I. I don't know.

[Narrator/Announcer]

I know what they did better than they do, every one of them. They're clean. Let's stop kidding ourselves. Somebody's not clean.

[Agent Whiteside]

The experiment was licked four days ago. Professor Young says they're working now to assemble the bomb.

[Narrator/Announcer]

Then what do we do? Send the details by courier to the Russians? We might as well.

[Agent Whiteside]

We still have some time.

[Narrator/Announcer]

What about Singer?

[Agent Whiteside]

I don't know. Charlie.

[Narrator/Announcer]

Yeah?

[Agent Whiteside]

Got those reports?

[Narrator/Announcer]

Yeah.

[Agent Whiteside]

Let's go through them again, General. These are a survey of the movements of every man on that experiment. We'll pick up with a report starting four days ago. Go ahead, Charles.

[Narrator/Announcer]

Okay. Professor Young, March 15th, 8:30am Escorted to lab, no contacts. 12 noon. In company with Singer, Bromwell and Evans. Went to lunch. No contacts. Wait a minute. What about the waiter?

[Agent Whiteside]

He's clear. We've already checked that.

[Narrator/Announcer]

All right, go on. 1:00pm Return to lab, no contacts. 5:30pm Escorted home. No contacts. 8:00pm Dr. And Mrs. Singer arrived. Stayed until 11:00pm Returned home, retired. Dr. Evans, March 15, 8:30am Escorted to lab, no contacts. 12 noon, in company with Singer, Bromwell and Young. Went to lunch, no contacts, Same waiter.

[Agent Whiteside]

General.

[Narrator/Announcer]

1pm Returned to lab, no contacts. 5:30pm Escorted home, no contacts. 7:30pm Called Dr. Singer. Asked him if he could play poker that night. Dr. Singer declined. 5:00pm Singer escorted to doctor's office for checkup. Sinus trouble. 5:30pm Escorted home. No contacts. Remained in house, rest of night. Okay, now, this is the 16th. Start with Mr. Collings. 8:30, escorted to lab, no contacts. 12 noon, lunch with Agent Dietrichen. 12:30, half hour appointments with dentist is scheduled. Cavity, 1:15. Escorted back to lab. No contact.

[Agent Whiteside]

Wait a minute.

[Harry Clark (Edmund O'Brien's character)]

Yeah?

[Agent Whiteside]

Look, it might be nothing, but it's worth a try. I want every man on that experiment examined.

[Narrator/Announcer]

What for?

[Agent Whiteside]

A complete medical general?

[Narrator/Announcer]

The works, Professor.

[Agent Whiteside]

Young, Young, Singer, Evans, Collings, all of them. And today, no explanations. Confidential. From Special Agent Whiteside to Major General Carl Busher. Examinations completed and proceeding as planned. We should know in a day or two. Anything yet?

[Harry Clark (Edmund O'Brien's character)]

Hmm?

[Narrator/Announcer]

Oh, Benny. No. No, nothing. He's alone in his office.

[Agent Whiteside]

When did you plant the mic?

[Narrator/Announcer]

Early this morning, superintendent. Let me in. It's in the cabinet. They put the phones on?

[Philip Martin (Kirk Douglas's character)]

Yeah.

[Narrator/Announcer]

Suppose he doesn't show up?

[Agent Whiteside]

Then we'll try the others.

[Narrator/Announcer]

Hold it. Mr. Collings is here, doctor. Oh. Lucky you caught me, Mr. Collings. I was going out for lunch. Certainly not. I could get him wrong to. Its bothering you little shouldn't have been neglected. Just get up in the chair. I'll have a look at. All right. Been giving me a little trouble the last week.

[Anne Fleming]

Mm.

[Narrator/Announcer]

And we should have seen to at your last visit. Hey, Brian. Bad enough. Certainly have to fill it this time. I'll just get some Novocaine. How's work? Tires. Just open your mouth as far as you can.

[Augie Pershing]

We open.

[Narrator/Announcer]

That's it.

[Dr. Sellgrove]

There.

[Narrator/Announcer]

That'll be all, Nurse. You might as well get your lunch.

[Anne Fleming]

Thank you, Doctor.

[Narrator/Announcer]

You should have really taken care of this long before now. I couldn't help it. Haven't had a moment to myself nearly three months. Thought I could let it go until work later. Numb yet? Getting them. What do you have for me? Brahmo's formula. Can you get detailed sketches on the weapon when it's finished? No, it's been too dangerous. I can't take a chance now. I want the plants. No, this is all it's too dangerous. All right. Give me what you have. $3,000. Of course. Here you are. And here you are.

[Philip Martin (Kirk Douglas's character)]

That's it.

[Agent Whiteside]

That's the man we want. Come on, Charlie. Is that the only door out of the office?

[Narrator/Announcer]

Either of those doors? The only way. Well, thank you, doctor. Take some aspirin at the close.

[Agent Whiteside]

Get the dentist.

[Narrator/Announcer]

Right.

[Agent Whiteside]

Mr. Collings.

[Narrator/Announcer]

Oh, yes.

[Agent Whiteside]

White sign. Federal Bureau of Investigation. You're under arrest.

[Narrator/Host]

I can't believe it.

[Narrator/Announcer]

Neither can I. Professor Young Collings. For $3,000, you had to work quickly, I guess.

[Agent Whiteside]

After that medical.

[Narrator/Announcer]

I hired him, trained him. He was a student of mine 10 years ago.

[Agent Whiteside]

How did it work, Mr. Whiteside? It was a chance. Professor Young Collings had paid three or four visits to that dentist complaining of several cavities. Just as Dr. Singer complained of sinusitis and Dr. Evans of recurrent insomnia. However, when we had all of you men examined by medical men attached to this experiment, we discovered Mr. Calling's teeth to be in perfect condition. Work done on a healthy mouth.

[Narrator/Announcer]

It hadn't been for Elman.

[Agent Whiteside]

Elman gave his life to tell us how much Russia knew of our thermonuclear research.

[Narrator/Announcer]

You thought it was me, didn't you?

[Agent Whiteside]

Yes, Dr. Singer. For a while.

[Narrator/Announcer]

I can't blame you. I really can't.

[Agent Whiteside]

I was wrong. I'm sorry.

[Narrator/Announcer]

Oh, that's all right. You know, in a way, I'm. I'm glad it was Collings. Oh, I don't know. It's cleaner somehow.

[Agent Whiteside]

It.

[Narrator/Announcer]

It keeps the trust and the faith alive in all of us. And that's the biggest thing we have. You know, trust in each other and faith. Well, may I go now?

[Agent Whiteside]

Yes, Doctor.

[Narrator/Announcer]

I have work to do. Suspense Presented by Autolite Harlow Wilcox speaking. Next week will mark national holidays for two great countries. On July 1, Canada commemorates the 84th anniversary of its founding as a nation. And on July 4, the United States celebrates the 175th anniversary of the Declaration of Independence. May we all recognize the importance of these two great days in our lives and make continuation of our freedoms a must for ourselves, our children, and the generations to follow. Suspense is produced and directed by Elliot Lewis, with music composed by Lucian Morowek and conducted tonight by Wilbur Hatch. The case for the Dr. Singer was written for suspense by Blake Edwards. In tonight's story, Joseph Kearns was heard as Dr. Singer, Larry Thor as Whiteside, Herb Butterfield as General Busher, and Clayton Post as Charlie. Featured in the cast were Ken Christie, Ted von Eltz, Howard McNear, Paul Freeze, Larry Dobkin, Edgar Barrier, John Stevenson, and Truda Marson. Tonight's suspense program is the last for this season. Suspense on television will continue throughout the summer, and we'll be back on the CBS Radio network the last week in August. Until then, this is Harlow Wilcox for Autolight wishing you a pleasant summer. This is cbs, the Columbia Broadcasting System.

[Podcast Host]

We just heard Kirk Douglas, Edmund o', Brien, and Frederick March, the stars of Seven Days in May. That will do it for this week's show. Thanks so much for joining me. I'll be back next week with another new episode. 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 on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meanstsotr now, good night until next week, when I'll be back with more Hollywood legends, each of them appearing in tales well calculated to keep you in

[Philip Martin (Kirk Douglas's character)]

suspense.

[Narrator/Host]

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

[Commercial Announcer]

States along racial and religious lines and thereby conquer us.

[Narrator/Announcer]

Let's not spread prejudice.

[Narrator/Host]

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.