Episode 452 - Stars of "Citizen Kane"

Summary

Stars on Suspense (Old Time Radio)

Episode 452 – Stars of “Citizen Kane”
Host: Mean Streets Podcasts
Date: May 22, 2026

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Episode Overview

This week’s Stars on Suspense celebrates the legendary cast of "Citizen Kane"—often hailed as the greatest film ever made—by presenting six classic “Suspense” radio episodes starring its remarkable ensemble, including Orson Welles, Ray Collins, Joseph Cotten, George Coulouris, Agnes Moorehead, and Everett Sloane. The host interweaves film history and behind-the-scenes tidbits as listeners are treated to iconic thrillers from radio’s “Outstanding Theater of Thrills.”

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Main Theme & Purpose

• Tribute to "Citizen Kane" Cast:
  Spotlighting the stars who contributed to both the silver screen and the golden age of radio drama.
• Preserving Old Time Radio:
  Sharing suspenseful tales that have captivated audiences for decades, highlighting the crossover between Hollywood and radio.
• Exploring Hollywood History:
  Framing each play with reflections on the personal and professional connections among the Mercury Theatre ensemble and how they shaped American storytelling.

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Key Segments & Timestamps

1. Introduction/Context (00:00–07:11)
2. Ray Collins in "Marry for Murder" (07:11–37:23)
3. Orson Welles in "Lazarus Walks" (37:57–66:36)
4. Joseph Cotten in "You'll Never See Me Again" (66:36–95:33)
5. George Coulouris in "The Long Shot" (95:33–122:12)
6. Agnes Moorehead in "The Evil of Adelaide Winters" (122:12–149:29)
7. Everett Sloane in "Alibi" (149:29–171:50)
8. Closing Remarks (171:50–end)

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In-Depth Summary & Highlights

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1. Introduction: The Legacy of "Citizen Kane" and Suspense

(00:00–07:11)

• The episode opens with the host explaining the concept of suspense and its relation to the show’s title.
• Background on "Citizen Kane," its revolutionary production, and cast connections, especially with the Mercury Theatre.
• Sets up the structure of the episode: a sampler of “Suspense” plays starring the "Kane" cast.

Notable Quotes:

• Host:
  “Citizen Kane featured many of Welles’ frequent co-stars from the Broadway stage and radio, members of his Mercury Theatre company who were alongside him in ... ‘The War of the Worlds.’” (Approx. 02:50)

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2. Ray Collins in “Marry for Murder”

(07:11–37:23)

Plot Summary:

• Ray Collins plays lawyer Philip Alden, reminiscing about his involvement in a web of suspicion, wills, and attempted murder on Cape Cod.
• He observes the anxious widow Letty, her new, younger husband Mark, and growing nuclear tensions around rat poison and boating "accidents."
• The narrative twists as Letty is nearly fatally poisoned—but in an ironic reversal, Letty herself is the true murderer, revealed in the climax.

Key Moments:

• The fraught conversation about twin wills and murder mysteries foreshadows the key deception.
• Letty’s feigned illness (14:00–15:30), and her cryptic warnings:
  “Very well, then. But if I’m found dead…” (20:19)
• The ruthless dénouement as Letty monologues over Mark’s body, explaining her history of ‘accidental’ husbands
  (30:29–33:34)

Notable Quotes:

• Letty (subtly raising suspicion):
  “If I’m found dead, I hope you realize you’ll both be under suspicion.” (19:52)
• Narrator:
  “Letty Hawthorne was a charming woman. A bit fluttery…but still attractive. And rather pathetic.” (11:52)
• Letty (revealing her guilt):
  “Didn’t you ever wonder about my former husband and his tragic death?" (30:49)
• Philip Alden confronting Letty:
  “You needn’t pull a phony faint this time, Letty…I overheard you just now.” (33:41)

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3. Orson Welles in “Lazarus Walks”

(37:57–66:36)

Plot Summary:

• Dr. Robert Wensley Graham (Welles), a psychiatrist, is drawn into the case of Roger Holcomb, a man with a surreal compulsion: after being briefly dead, he is forced to reveal the truth whenever anyone lies in his presence.
• The power infects, corrodes, and ultimately destroys those around him—resulting in murder, tragic misunderstanding, and ambiguous supernatural consequences.

Key Moments:

• Holcomb confesses his psychic curse (42:58–44:40).
• Dinner scene where lies and hidden intentions unravel the family (51:55–54:13).
• The ambiguous, chilling conclusion in which Dr. Graham's own truth is forced out:
  “Yes, I killed Roger Holcomb. And he himself revealed the truth... Did it transfer itself at his death to me? Or was it conscience?” (61:17)

Notable Quotes:

• Holcomb:
  “Every time a direct lie...is uttered in my presence, I suddenly know the answer to that lie. I know the truth, and I am compelled to speak it.” (43:16)
• Dr. Graham:
  “Was it conscience? Pity that it had to end this way. It’s a fascinating case.” (61:27)

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4. Joseph Cotten in “You’ll Never See Me Again”

(66:36–95:33)

Plot Summary:

• Ed Bliss (Cotten) is suspected of his wife Janet’s disappearance after an argument. As suspicion mounts, Ed investigates a series of clues, discovering a complex plot involving murder, identity shifts, and insurance fraud.
• The story’s tension is unrelenting, as Ed races against time to save Janet before she becomes a victim herself.

Key Moments:

• The opening verbal spat that sets the mystery in motion:
  "You'll never see me again as long as you live.” (66:59)
• The tense investigation at the Aldens’:
  "That brick wall in front of the house is kind of new, too, isn't it?" (71:44)
• The realization of a sealed-off room and rescue sequence (85:00–89:34).
• The twist ending, in which the truth of the murder-for-gain scheme comes out, and Ed’s final words to Janet:
  “Just tell her I said, you’ll never see me again.” (91:09)

Notable Quotes:

• Ed:
  “She was gone… but there was something funny about her mother and that stepfather. There’s something funny about that house and about that room.” (71:58)
• Detective:
  “When you find somebody’s clothes around, you usually start looking for the body right nearby.” (74:12)

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5. George Coulouris in “The Long Shot”

(95:33–122:12)

Plot Summary:

• Raymond Kelly, desperate and broke, agrees to be a British companion for a cross-country trip with a mysterious Englishman, Hendricks.
• Along the journey, Kelly realizes his host may not be who he claims, leading to imposture, murder, and a final ironic twist: both men are con artists, and Hendricks is already dead.

Key Moments:

• Narration about the 'long shot' of crime equated to betting on horses (95:33).
• The endless, tense quiz about London details—a clever psychological sparring.
• The fatal moment as Kelly murders "Hendricks" (113:42).
• The revelation by police:
  “Hendricks was murdered all right, but you didn’t do it…Your traveling companion wasn’t even Hendricks…He wasn’t even an Englishman.” (115:34)

Notable Quotes:

• Raymond:
  “It was a long shot, but if you’ve followed the horses as long as I have, you know once in a while a long shot pays off.” (95:40)
• Police:
  “It was a long shot, Raymond, but it was a pretty good bet. Maybe that’s why both of you gambled on it.” (114:40)

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6. Agnes Moorehead in “The Evil of Adelaide Winters”

(122:12–149:29)

Plot Summary:

• Adelaide Winters (Moorehead), a psychic medium, exploits grieving war families by claiming to contact their lost loved ones for profit.
• When she targets Edward Porter, a bereaved father, her manipulation spirals into tragedy, culminating in violence and her own downfall.

Key Moments:

• The methodical targeting of war casualties’ families (123:19–124:27).
• Adelaide’s philosophical justification:
  “We bring them contact with loved ones who died on some distant battlefield…” (124:27)
• The breakdown of Porter, his growing attachment, and the disturbing escalation: “Bring him. Both of you live in my home. It’s a huge house... Since my wife died years ago…” (132:18)
• The devastating climax:
  “There’s no astral world beyond. None. It was a lie. I only wanted money and position. Believe me. Only money and position. The rest was a lie.” (144:28)

Notable Quotes:

• Adelaide:
  “I want money and happiness, and they’re the same.” (124:42)
• Robert:
  “If you’re as smart as you say you are, you ought to run.” (141:25)
• Adelaide (final, haunting reflection):
  “Six years it’s been. Just lying here. Not able to talk, to tell my side of it. But now it’s out. Now you know, you judge.” (145:47)

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7. Everett Sloane in “Alibi”

(149:29–171:50)

Plot Summary:

• Mark, an embezzler, hires a hitman to eliminate his business partner, only for his alibi plans to go spectacularly awry. Everything that could go wrong does—uncertain meeting places, missed signals, and unintended encounters lead to panic.
• The ultimate dark irony: the supposed alibi provider turns out to have accepted the same deal from the would-be victim, and Mark is betrayed by both criminal and fate.

Key Moments:

• Barney, the killer-for-hire, explaining the necessity of an airtight alibi:
  "Now, we gotta fix you up with an alibi..." (155:25)
• Mark's mounting panic with missed connections, and his attempt to engineer a 'perfect' jail alibi, only to be let go by the police, undermining his plan.
• The final standoff:
  “He’s alibiing for another customer. Your partner. Matter of fact, Hannigan.” (169:50)

Notable Quotes:

• Mark:
  “You was gonna do it to him...No, no, no…” (170:57)
• Officer:
  “You two will make a nice pair of cellmates. Amateurs.” (171:25)

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Memorable Show Moments & Atmosphere

• The host’s framing device connects each play to the magic of the Mercury Theatre and “Citizen Kane.”
• The interplay of irony, revelation, and comeuppance: almost every play has a twist ending turning guilt, suspicion, or cleverness on its head.
• Performances are filled with period detail, psychological depth, and a chilling sense of tension.

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Standout Quotes from Host and Stars

The Host:

• “It’s the stars of Citizen Kane, and we’ll kick things off with Ray Collins right after these messages.” (06:47)
• “Each of them appearing in tales well calculated to keep you in suspense.” (Final closing)

From the Plays:

• Letty (Lillian Gish, “Marry for Murder”):
  “Dead men can’t talk, can they?” (33:04)
• Holcomb (Welles, "Lazarus Walks"):
  “Men, even the most honest of men, live by lies.” (44:12)
• Ed Bliss (Cotten, “You’ll Never See Me Again”):
  “You'll never see me again as long as you live.” (67:05)
• Adelaide Winters (Moorehead):
  “I want money and happiness, and they’re the same.” (124:41)
• Barney (Sloane, "Alibi"):
  “We take care of our customers a lot. Cops won’t get to first base because you’ll be all sewed up with an airtight alibi.” (155:55)

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Conclusion

This episode delivers on its promise—a tapestry of suspense, betrayal, and psychological complexity, performed by luminous figures of stage and screen. Through these performances, the intersection of film and radio is revealed: timeless storytelling that continues to chill, fascinate, and entertain. Listeners are reminded of the enduring power of these performers and the distinctive thrills of “Suspense.”

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For further exploration, check out the host’s recommendation: "Down These Mean Streets," a radio detective podcast.

Transcript

[Narrator/Host]

Would you hand me that, please? Thank you. Now, let's see. Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense. Hello and welcome to Stars on Suspense, more Hollywood legends and radio's outstanding theater of thrills. Our stars this week come from the cast of Citizen Kane. Considered by many to be the greatest film ever made. It was a sensational movie debut for its star, co writer and director Orson Welles. Welles stars as powerful publisher Charles Foster Kane, who was based a little too much on William Randolph Hearst's for Mr. Hearst's liking. Kane expires in the opening moments of the film, but not before giving us Hollywood's most famous last word. Rosebud. And so the search is on with people combing through the details of Kane's epic life story to find out who or what was Rosebud. Now, no spoilers if you've never seen Citizen Kane, but this ranks up there with the Sixth Sense as one of the most infamously spoiled movie endings of all time. You can rent or buy the movie from your preferred retailers digitally. You can also get a very nice blu ray or 4k from the criterion Collection. Citizen Kane featured many of Wells frequent co stars from the Broadway stage and radio, members of his Mercury Theater company who were alongside him in episodes of the Shadow and on his own Mercury Theater on the Air program that show that memorably adapted the War of the Worlds. Today we'll hear Orson Welles and five of his Citizen Kane Ray Collins, who played Kane's political rival Joseph Cotton Kane's best friend George Caloris, the man who becomes the legal guardian of the young Charles Foster Kane Agnes Moorhead, the first lady of Suspense herself as Kane's mother and Everett Sloane as another friend and employee of Kane's. We'll hear Ray Collins in Mary for murder from September 9, 1943. Then it's Wells himself in Lazarus walks from October 19, 1943. Joseph Cotton stars in youn'll Never See Me Again, adapted from a story by Cornell Woolrich and originally aired on September 14, 1944. Then it's George Caloris in The Longshot from January 31, 1946 Agnes Moorhead in The Evil of Adelaide Winters from September 10, 1951 and Everett Sloane in Alibi from July 7, 1957. It's the stars of Citizen Kane and we'll Kick things off with Ray Collins right after these messages. Now it's winners time again. Yes, sir. Here are the two winners. The carousel contest for the week ending November 8th. Each of these listeners wins a gorgeous 117 jewel harman gold watch. Just for writing an interesting letter about Carrie Salt. The ladies watch goes to Mrs. A.O. nobles, Jr. Of Gainesville, Florida. Her suggestion tells you how to remove the printed dye from sugar bags or white feed bags. She suggests you dampen the bags with kerosene and sprinkle on Carrie's table salt. Then roll them up tight and let them stand overnight. Next day, just wash in soapy water and watch the dye rinse away. Sounds like a wonderful idea. And here's the winner of the man's watch. He is Mr. Sandy Riza of Cleburne, Texas. And he bases his suggestion on 30 years of experience. He says, the best thing I have ever found for smoothing rough gears and silencing their noise is the use of Kerry salt mixed with gear grease or compound. Congratulations to both of the winners. And folks, if you'd like to win one of these beautiful watches, listen for the easy rules later in this program. Meanwhile, remember, there's a fine carry salt for every farm and home use. There's deep penetrating carries table salt, carries meat curing salt, carries mineral supplement salt and many others. Always look for the black bag box or cotton with a bright red band. 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. Let's turn back the clock about 24 hours and drop in on Mr. And Mrs. Johnson. They're just returning from a football game. Well, here we are. Home at last. And boy, am I hungry.

[Various Characters]

So am I. Let's start thinking about some food. Big juicy hamburgers maybe.

[Narrator/Host]

Say, that's for me. With plenty of catsup. Uh huh.

[Various Characters]

Del Monte catsup.

[Narrator/Host]

It has such marvelous flavor. And Mrs. Johnson really knows her catsup. Del Monte Catsup. The zestiest, liveliest catsup that ever pleased a man. Now that football season is in full swing, you'll find Del Monte catsup a bigger help than ever when planning lunches before the game or supper afterwards.

[Various Characters]

It's a smart hostess who serves hearty food and lots of it. With plenty of Del Monte catsup. Handy to add bright, rich spice tomato flavor.

[Narrator/Host]

Yes, that marvelous tomato flavor you find in Del Monte Catsup. The only catsup made with pineapple vinegar. That superlative vinegar that coaxes out all the best in tomato flavor. Remember, for real zip and zest, it's Del Monte Catsup every time. Next time you go shopping, look for Del Monte catsup.

[Various Characters]

You'll like its quality and you'll like its thrifty price.

[Narrator/Host]

And now a tale well calculated to keep you in suspense. Suspense. This is the man in Black here again to introduce Columbia's program Suspense. Tonight, in one of her rare radio appearances, we bring you a star who has occupied a unique place in the affections of moviegoers ever since the screen first became of age. Ms. Lillian Gish. Appearing with Ms. Gish are two distinguished players. Mr. Ray Collins of the Metro Goldwyn Mare Fold whose current release is Thousands cheer. And Mr. Bramble Fletcher, who has ornamented many a stage in film success. There are only three players in Marry for Murder, which is tonight's tale of suspense. Only three characters in this story whose beginning and end are shrouded in a dense down east fog. A story of slow terror and swift death planned by a brilliant murderer. And so were the performances of Lillian Gish as Lettie Hawthorne, a frightened, neurotic creature who seemed destined to be a perfect victim. Of Bramwell Fletcher as Mark Taylor, so handsome and attentive. And of Ray Collins as the lawyer Philip Alden, who relates these events to us. We again hope to keep you in suspend. I used to love the sound of foghorns. On the bay. Especially at night when I sat before the fire. Let their lonely wail weave a contrast between my snug comfort and the gray immensity outside. But I've lost my taste for them now. Lost it. On the night I heard them moan a dirge of death. It was hard enough to lose a friend, but to lose one as I lost Letty Hawthorne is the kind of blow you never quite forget. I remember the first time I met her. It had fogged up all of a sudden, as it does here on the Cape. But Ann Wentworth held her Sunday night supper as usual. Letty was the only stranger there, a newcomer to the Cape. I looked at her and thought she'd be an attractive woman if she only didn't flutter so much. She was a trim, pretty woman of about my own age, which is 40.

[Various Characters]

You're Philip Alden, a lawyer, aren't you? Oh, what a pleasure to meet so many nice people. There go those foghorns again.

[Narrator/Host]

Yes.

[Various Characters]

Does one really get used to them in time? Well, I. I love the Cape, but I can hardly bear that sound so. So depressing, isn't it? So morbid.

[Narrator/Host]

Well, to your first question. Yes, I'm all in. An attorney. As for the foghorns, well, if you stay with us for a few years, you won't be able to live without them, Mrs. Hawthorne. It is Mrs. Hawthorne, isn't it? Anne never gets around to introducing people. It's her only fault.

[Various Characters]

Oh, I never stand on ceremony. That's my fault, if you consider it one. Besides, I knew you at once, you see. And you knew me. Don't you think that's a promising beginning?

[Narrator/Host]

I never thought of it that way.

[Various Characters]

Oh, dear me. There it goes again. It makes me think of ghosts walking over my grave. How can you bear it?

[Narrator/Host]

They do serve a very important.

[Various Characters]

I suppose they do, but they give me the shutters.

[Narrator/Host]

As a matter of fact, I find them comforting.

[Various Characters]

I made Jane Hart promise to stay with me tonight. If the fog doesn't lift, I daren't be alone. You see, I'm still a bit nervous. I've been ill, you know, and the doctor prescribed complete rest and quiet. That's why I came up here.

[Narrator/Host]

Well, you'll find what you're looking for here, I'm sure.

[Various Characters]

Oh, do you think so? I do hope I will. My nerves are simply shattered. Mr. Hawthorne's death, you see. Such a tragedy.

[Narrator/Host]

I'm terribly sorry.

[Various Characters]

You see, it happened so suddenly. I can't quite believe.

[Narrator/Host]

Can I get you some of Ann's Cider cup. That's one of our Sunday night features.

[Various Characters]

Oh, thank you. That would be so nice. It's such a comfort to have a man take care of one again. You make me feel so. Is so protected. I know. We're going to be great friends, aren't we?

[Narrator/Host]

I can tell you, I worried a bit for a while after that first party. Letty Hawthorne was a charming woman. A bit fluttery, as I said, but still attractive. And rather pathetic. I was afraid she was setting her cap for me. You see, I'm a crusty old bachelor. But even my friends were beginning to wonder. So it was with mingled relief and regret that I learned one day that Letty Hawthorne had transferred her attentions to another newcomer to the Cape. Mark Taylor. He was eight or 10 years younger than she. A handsome fellow, but somewhat dissolute looking. I didn't like him. I may as well admit that from the start. But short of marrying her myself, there wasn't much I could do anyway. They seemed happy enough at first. One day after the wedding, Letty called me on a matter of business. I went down there after sundown. The three of us sat out on the beach in front of her cottage.

[Various Characters]

I'm so glad you were able to come, Philip. You see, Mark and I were counting on you.

[Narrator/Host]

Always glad to oblige you, Letty. As a matter of fact, Alden, we want you to attend to a legal matter for us.

[Various Characters]

Yes, yes, Philip. Mark wants to make a will. I told him I don't like wills. There's something so. What's so unhealthy about them? But Mark simply insists upon it.

[Narrator/Host]

Very sensible, I'm sure.

[Various Characters]

Oh, you men. You're all alive.

[Narrator/Host]

It needn't be a very elaborate affair, Alden. Just a simple document stating that I leave all my property to Letty.

[Various Characters]

Well, if he does that, Philip, I want you to make out a will for me, too, leaving everything I have to Mark.

[Narrator/Host]

But, Letty, that's.

[Various Characters]

There's no need. No iron tooth.

[Narrator/Host]

Well, Alden here is going to think I married you for your money.

[Various Characters]

Money? Why, I really don't know anything at all about my affairs. Really, I don't. Frank. Mr. Hawthorne always used to say. Leslie, I really think you know less about business than a child. I left the management of his estate entirely to his secretary.

[Narrator/Host]

Well, just some simple document that makes my intention clear. You know the form, Alden. And of course, if Letty insisted.

[Various Characters]

But I do will have twin wills. It doesn't sound so frightening that way.

[Narrator/Host]

The way Letty talks About wills. You can tell she has a secret vice, can't you?

[Various Characters]

A secret vice?

[Narrator/Host]

My wife's a murder mystery fan, Alden. I didn't find out until it was too late. Mark, you silly when you say that. Taylor, smile. I'm a detective fan myself. It's a busman's holiday, of course, but I always read the latest whodunits. If my father hadn't insisted that I follow in his footsteps, I. I'd have been a detective instead of a lawyer.

[Various Characters]

Really? How interesting. Tell us, Philip, do you ever get any cases like the ones we read about?

[Narrator/Host]

Well, if you want my opinion, the chief difference between fact and fiction is that the author of a novel wants you to see the pattern. And the author of a murder tries to hide it. Well, what do you mean by that? Well, take your case, for example. You and Letty are making out your wills. I heard her say that she wanted to leave her money to you, but how do I know the idea just sprang into her head of its own accord? How do I know that you didn't plant it there?

[Various Characters]

Plant it?

[Narrator/Host]

What do you mean? Why? What possible reason could I have? Well, as things stand now, there's no reason for me to ask if you planted the idea in her head. But if Letty were found dead.

[Various Characters]

Dead? Oh, Philip, how dreadful. How can you even think such thoughts? Mark, darling, how terrible for you. Philip, you're to apologize this minute.

[Narrator/Host]

Philip was just trying to explain.

[Various Characters]

Well, I won't have him talking about such horrible things.

[Narrator/Host]

Of course, I didn't mean you to. I was just using you as an example.

[Various Characters]

Well, I didn't mean to be rude, Philip, but, well, you know my nerves. And it's getting dark. Oh, the bay is beautiful at night, of course, but I've always been afraid of the water.

[Narrator/Host]

That's why I've had such a time persuading her to come out for a sail. The Artemis has been tied up all summer, waiting.

[Various Characters]

It's just silly, I know. And I will go with you, Mark. But let's do wait for a calm day.

[Narrator/Host]

You know, Letty's idea of a sail is to sit becalmed half a mile offshore. My wife has perfect confidence in me, you see.

[Various Characters]

Oh, Margaret, isn't that. You're making fun of me, aren't you? Of course I trust you completely. But I'm not very athletic.

[Narrator/Host]

You're missing one of the treats of the Cape if you don't sail.

[Various Characters]

But I shall. Of course I shall. And soon. And what's more, I'm going to get Mark to teach me to handle the Ottoman.

[Narrator/Host]

Well, I'll be looking forward to seeing your sails on the bay then.

[Various Characters]

Oh, Mark. A storm.

[Narrator/Host]

I better be getting home before it breaks.

[Various Characters]

Are you sure you'll be all right? I'm simply terrified asunder. Wouldn't you rather stop with us?

[Narrator/Host]

Oh, I can make it to town. Stop by tomorrow, won't you, Alden? Or as soon as you have those favors.

[Various Characters]

Right now. You won't be nervous after our talk of wills and. And murders. But of course you won't. I'm such a coward myself that I can never understand how other people can be so brave.

[Narrator/Host]

You know, Philip, Letty's helplessness is one of her chief charms. Sometimes I suspect she exaggerates it just to make me feel important.

[Various Characters]

Mark, you mustn't. Giving all my secrets away.

[Narrator/Host]

Well, don't worry about me or the wills, Letty. Someday you will frighten yourself to death. There was little enough for me to go by, but gradually I found myself worrying about Letty and Mark. They didn't seem to be hitting it off. Oh, on the surface everything was smooth. But I was haunted by a premonition of what I didn't know. It was only a nameless dread of something. Some undercurrent of feeling. Letty's nerves were getting no better. In fact, she seemed more tense, more frightened than ever. Yet she was making an effort to meet Mark halfway. Many times I saw them out sailing. Only when Letty returned after a day on the water, she seemed pinched and white, while Mark appeared to be glowing with vitality. Letty grew paler and more distracted. I realized suddenly that she was a middle aged woman. One day in town, I met them in the general store. They'd been quarreling.

[Various Characters]

But I tell you, Mark, you're just imagining it. I hate to have that stuff around, as you very well know. You read all kinds of stories about. Well, about the way it gets mixed up in food.

[Narrator/Host]

Oh, nonsense.

[Various Characters]

Well, I'm sure there aren't any rats around the boathouse. I'd know if there were. I'm simply terrified of them. But I. Well, I can't bear thinking of having poison around. Why be worried all the time?

[Narrator/Host]

Oh, Letty, for heaven's sake, stop being childish. I didn't put traps around because you didn't want them. Now that I'm trying to get rid of them in another way, you make a scene. I don't see why we have to go into a three act tragedy just because I want to buy some rat poison. Hello. Hello, you two. Oh, hello, Alden.

[Various Characters]

Why, Philip, how nice to see you. Mark and I were just doing a little shopping.

[Narrator/Host]

Philip, will you do me a favor? Will you please reason with Letty and try to get some sense into her head? Say, wait a minute. This sounds serious.

[Various Characters]

Well, it isn't really. But, Philip, you know my nerves and. And the way things upset me. And Mark just doesn't understand. Oh, I know I'm just a silly woman, but the doctor says I have to be humored. And now Mark is so unreasonable. And it's such a little thing.

[Narrator/Host]

Of course it's a little thing. And that's why I can't understand your attitude. Now, look here, Philip. The boathouse is infested with rats. Wouldn't you say the obvious course of action would be to get rid of them? Why, of course.

[Various Characters]

But poison. Rat poison. Oh, Philip, don't you see how horrible it is? I mean, accidents do happen. I've always hated to have anything like that around, just in case.

[Narrator/Host]

I've heard of children eating this stuff by accident. But you two people can take care of yourselves. Frankly, Letty, I think you're making a fuss over nothing. Yes. Yes, that's right, Philip. That's just what I told her.

[Various Characters]

Well, very well, then. But if I'm found dead, I hope you realize you'll both be under suspicion.

[Narrator/Host]

Seemed a foolish quarrel at the time. Yet when I left them, I kept hearing Letty's voice.

[Various Characters]

Very well, then. But if I'm found dead. Very well, then. But if I'm found dead.

[Narrator/Host]

Very well, then.

[Various Characters]

But if I'm found dead.

[Narrator/Host]

Suddenly a monstrous idea occurred to me. I wondered if Letty had been trying to warn me. And then the horrible suspicion broke. All the trifling things began to add up. Letty's nervousness, her fear of sailing with Mark. Her terror of having the port poison in the house. But why? Why should she be afraid of Mark? What motive had he? And then I knew I had helped to give him the motive when I drew up Letty's will. Yet my whole case was founded on thin air, figment of a nervous imagination. I had to be sure. I had to keep an eye on them. I found myself making excuses. Excuses to drop by at their cottage. Where is it, Letty? Who's there?

[Various Characters]

It's Philip.

[Narrator/Host]

Oh, Philip. Well, well, well. Hello. You're almost getting to be a member of the family. Well, I just thought I'd ask you to help me eat the first bluefish of the season. There's too much here for an old bachelor like me.

[Various Characters]

Why, Philip Alden, if you aren't the most thoughtful person. How perfectly sweet of you. Of course you'll stay to dinner. We'll have a real feast.

[Narrator/Host]

Yes, yes, you might as well stay as long as you're here. Thank you. If you're sure I won't be intruding.

[Various Characters]

Intruding? Why, of course not. And you can help me get the dinner ready.

[Narrator/Host]

Well, I'd be glad to. But won't I be in Anna's way? Anna's gone. Gone? Why, I thought you were well satisfied with her.

[Various Characters]

And so we were, Philip. But Anna didn't seem to be satisfied with us. In fact, they've all gone.

[Narrator/Host]

All?

[Various Characters]

Yes, Anna and Elsie and Otto, the handyman. They just walked out and left us.

[Narrator/Host]

Well, for heaven's sake. Since the ship and engine place opened on the Heights, nobody can keep a servant. Can't blame them myself.

[Various Characters]

I wonder. I don't believe Anna'd take a job at the shipping engine anyhow. It does seem strange they all went at once, doesn't it?

[Narrator/Host]

Letty, I do wish you'd stay. Stop dramatizing everything. Ship and engine just opened. The call went out for help. I don't see any mystery in the servants answering. In fact, it's their patriotic duty. And it's our patriotic duty to get along without them.

[Various Characters]

But it's so lonely here, especially at night.

[Narrator/Host]

Now, Letty, you're not living here by yourself, you know.

[Various Characters]

No, of course not. But all the same, we are isolated, just the two of us. And you know how tricky my nerves are. I. I always feel so much better if the servants are around. After all, if anything were to happen. And anything might happen.

[Narrator/Host]

Letty, this isn't getting us any closer to our dinner.

[Various Characters]

Oh, of course. Now, you boys wear these aprons. Oh, Philip, since it's your fish, you may have the honor of cooking it.

[Narrator/Host]

All right, you asked for it. It'll be your funeral.

[Various Characters]

And now, Philip. Oh, Mark, you hold the berries for the dessert. I'll do the vegetables and set the table.

[Narrator/Host]

Well, for a seasoned bachelor, this dinner is a rare treat, Letty.

[Various Characters]

Oh, I'm so glad you enjoyed it, Philip. I don't deserve the. That bluefish was simply delicious. How did you manage to catch it all by yourself? I always think men are so wonderful.

[Narrator/Host]

I'd be glad to take you both the next time I go fishing. It's good fun. Fresh air would be good for you, Letty.

[Various Characters]

Oh, no, I couldn't. Well, I'm still just a wee bit nervous about the water, though. I Tried terribly hard, haven't I, Mark?

[Narrator/Host]

Yes.

[Various Characters]

Yes, I've been good about the sailing. And, you know, I'm learning to manage the Artemis all by myself. Aren't I, Mark? I don't write my name in the wake anymore, do I?

[Narrator/Host]

Yes. Letty's a real hand at the tiller. She'll be a better sailor than I am soon. You see, you'd have seen her take the Artemis into harbor the other day. You did all right. Yes, she came through that channel with a breeze against her. I wanted to take it over, afraid she'd run into the mud flats. But no, she coaxed it all the way. And we came in under sail.

[Various Characters]

Yes, and I wanted to do it all by myself, even though I was terrified.

[Narrator/Host]

But for you, why, that's really a splendid accomplishment. I've been negotiating with Harper for years, but I confess that I have trouble every now and then.

[Various Characters]

Well, since nobody wants any more berries, I guess it's time to do the dishes. Now I'll show you what a good hand I am as a dishwasher.

[Narrator/Host]

Wait a minute, wait a minute. That's my job here.

[Various Characters]

No, I'll clear, clean and wash. You two can dry. And you can dry.

[Narrator/Host]

Betty, what is it? Well, you shouldn't have tried to carry that tray.

[Various Characters]

No, it's not that.

[Narrator/Host]

Why, Letty, what's happened to you? You look ghastly.

[Various Characters]

I'm. I'm afraid I. Something I ate.

[Narrator/Host]

You better lie down. Oh, I'll carry her upstairs. Get a doctor, will you?

[Various Characters]

I'm afraid, Mark. I'm afraid I've been poisoned.

[Narrator/Host]

But great heavens, Philip, I. I just can't believe it. Arsenic poisoning. Do you think Dr. Potter knows what he's talking about? I'm sure he does. Of course, we can't be sure till the tests are made. But I don't see. I don't understand. It's not very hard to understand. Letty ate arsenic. How or where she got it, we don't know, but it's not difficult to guess. But we all ate the same meal. You and I and she. Why, good Lord, Flick, do you think we are poisoned, too? I feel perfectly all right. You appear to be comfortable. I think we'd feel it by now. But then how on earth? Let's be perfectly logical about it. We. We all ate the bluefish. Yes, I prepared it. We all had potatoes and string beans. Letty cooked those. Yes. Yes. Then we all ate strawberries. You prepared them? Why, now, the fish and the vegetables were all served in large platters, and each one of us helped ourselves. Therefore, if any poison were in the food, we'd all be sick. But the strawberries, Mark. See here, Alden, Are you suggesting. Wait a minute. Wait a minute. We're just following this through logically. The strawberries were put on the table in separate dishes. The poison could have been slipped into Letty's plate in the kitchen. Alden, you have no right to accuse me of this. Why? You're fixing up a case against me. I'm doing nothing of the sort. In any event, I think you might worry less about your own skin and more about Letty. Thanks. I think I can take care of my own wife. Nevertheless, I suggest you get someone to help you. I'm perfectly well able to nurse her myself. If I were you, I'd have someone else as well. I'll send Mrs. Halstead over from town. She's an experienced practical nurse. What I've always appreciated about you, Philip, is the way you mind your own business. I'll be going now. Mrs. Halstead will be along as soon as I can get her. When the doctor's analysis came, it was arsenic poisoning, all right. There were traces of arsenic and a sugar on Letty's dish. Letty was recovering. The dose wasn't large enough to kill her. Mrs. Halstead was installed as nurse and housekeeper. Just then, business called me to New York, where I found myself worrying about Letty. I. I couldn't get her out of my mind.

[Various Characters]

Very well, then. But if I'm found dead.

[Narrator/Host]

I was bothered by a few loose ends and Letty's problem. The sort of questions that would occur to a little legal mind. So I decided to spend an evening in the reference room of the law library, among the files, where I found out enough about Mark and Letty Taylor to send me racing back to the Cape. I knew I had to hurry if I was to prevent a devilish murder. It was one of those dull, gray afternoons when I arrived at the station. Fog was so thick over the bay that it seemed to cloud the whole town. Cold fear gripped me. Letty and Mark, I learned, had left at dawn for a weekend's sail. I could picture them, murderer and victim, shrouded in the gray veils of the fog, drifting, waiting while the foghorns cawed. A hoarse warning of murder. So I was too late. The trap was sprung. With my newly gained insight into the affairs of Letty and Mark, I could have averted the tragedy. But I was too late. Or. Or was I? If only they hadn't really left for that sale. I took the chance. Feeling my way along the Cape road, I reached the Taylor cottage. Nobody was there. Then I. I heard noises in the boathouse. I crept down the slope and listened. To.

[Various Characters]

Oh, Mark, you fool. Philip Alden will be sure you plan to murder me for my money. I saw the suspicion dawn in his mind that day we made out our twin wills. I saw it grow when I was seen in the general store. And you brought the rat poison. And that night when I was taken ill, he was sure. Do you hear me? Sure. You wanted to take. Teach me to sail. The Artemis. Thought I was afraid of the water. Well, Mark Taylor, when your body drifts to shore, Philip Alden will swear that only an accident prevented you from murdering me. What fools you men are, aren't you? Aren't you? Why? Wouldn't you like to ask? Answer me, Mark. Don't you wish you could talk to me again? To your helpless little nephew? But you can't, can you? Dead men can't talk, can they? But they say that in the instant of dying, a man can understand many things. Did you understand, Mark? But how could you? You are really a stupid man, Mark. Didn't you ever wonder about my former husband and his tragic death? Didn't you ever want to know about Frank Hawthorne? He did, at the very end. He wondered about his predecessor, George Martin. Strange how both died in a yachting accident, isn't it? Frank died off the coast of. Of California. And George was drowned in the Gulf of Mexico. And now you, Mark. Your body will be found someplace along the cape here, I suppose. Oh, what bad luck I've had with my husband. But how thoughtful all of you were to leave me your property. Too bad I'm such an extravagant widow, isn't it? For I do run through money. I wasn't lying about that, dear. I wish I could. I wish you could help me get your body to the Artemis. If only you hadn't insisted on turning back when the fog rose. I could have killed you so much more neatly. A sudden gust of wind rising while I was at the wheel. And the Artemis jibes and the boom catches you and off you go to the bottom of the sea. But now I've got to lug you back on board and pitch you overboard somewhere. This was really inconsiderate, Mark, to make me kill you in the boathouse. Here.

[Narrator/Host]

You won't have to drag the body aboard. Letty.

[Various Characters]

Oh, Philip, I'm so glad you've come.

[Narrator/Host]

Are you, Letty?

[Various Characters]

Something dreadful's happened to Mark. I'm. I'm so Upset? I hardly know how to tell you. Oh, Philip, I think I.

[Narrator/Host]

You needn't pull a phony faint this time, Letty. I fell for it before. When you made me think that Mark had poisoned you. That is almost.

[Various Characters]

What? What do you mean, Philip?

[Narrator/Host]

That was a little too smart, Letty. That poison scene. Because when I left you, I wondered about two things. Why anyone should be foolish enough to attempt that type of murder before an audience. And why, having attempted it, he should fail to make the dose large enough.

[Various Characters]

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

[Narrator/Host]

I think you do. You see, while I was in New York. I took the trouble to look up a few matters that were bothering me.

[Various Characters]

Me.

[Narrator/Host]

And I found the newspaper clippings of your two previous. Shall we say, accidents.

[Various Characters]

Oh, Philip isn't at dress.

[Narrator/Host]

Still pretending. You're a clever woman, Letty. But I overheard you just now.

[Various Characters]

You'll never prove anything.

[Narrator/Host]

I think I will. You see, I found the motive, too. It was marry for money, marry for murder, wasn't it? I wouldn't try to run away, Letty. I brought a gun. You're coming with me to the police station. Station? Don't wonder that you hate the sound of foghorns, Lety Taylor. You've spoiled them for me, too. And so closes Marry for Murder. Starring Lillian Gish. With Ray Collins and Bramwell Fletcher. Tonight's tale of suspense. This is your narrator, the man in black. Who conveys to you Columbia's invitation. To spend this half hour in suspense with us again next week, same time, when Virginia Bruce and John Loder. Will start in the Dorothy B. Hughes suspense throw thriller, the Cross Eyed Bear. The producer of these broadcasts is William Speer, who, with Ted Bliss, the director. Bernard Herman and Lucien Marowick, conductor and composer. And Walker T. Field, the author, collaborated on tonight's suspense. This is cbs, the Columbia Broadcasting System. Sa.

[Various Characters]

Sam.

[Narrator/Host]

For you men and women in the armed forces of the United Nations. We present one of America's top spine tinglers. A radio rebroadcast of a program dedicated to the mysterious, the unusual. And sometimes the supernatural. A program of suspense. This is the truth. Do you understand? The truth. It must be the truth. It has to be. I, Robert Wensley Graham, a doctor and psychiatrist by profession. Do hereby of my own free will and volition. Albeit with deepest regret. Make the following full and complete statement. Relative to that all but unbelievable series of events. Which has brought such disaster and misfortune to my house. Particularly to my poor wife, Isabel. It had its beginning, properly speaking, some two months ago, to be exact. On the evening of July 25th. We were in the drawing room. Isabelle at the piano, practicing, as she said, her Aunt Jane and I on the opposite sides of the room.

[Various Characters]

Isabel, what's the matter? I don't know. I can't seem to keep my mind on anything anymore. Even my music. Nurse. Nerves.

[Narrator/Host]

Isabel.

[Various Characters]

Yes, Robert?

[Narrator/Host]

I don't wish to distress you, but it's going on for quite a little while now. It's not getting any better.

[Various Characters]

I know. Let's not discuss it, shall we?

[Narrator/Host]

You should let me prescribe treatment for you.

[Various Characters]

I could prescribe something for her.

[Narrator/Host]

She'll do remarkable things now with just the common old drugs under proper control.

[Various Characters]

Drugs? It's not drugs that she needs. It's to get out of this house for a while. It's to get back to the concert stage where she belongs. It's worth. Aunt Jane, please. I'm sorry. I don't believe in beating around the bush. You're an artist. You've got talent. There's no sense in your trying to subordinate yourself to somebody else. Aunt Jane, that's enough. I'm not subordinating myself to anyone.

[Narrator/Host]

Really, Aunt Jane, you mustn't interfere.

[Various Characters]

You know Robert doesn't want me to go back on the stage.

[Narrator/Host]

Darling, it isn't that I don't want you to go back. I'm proud of you. You know that. It's only because I think. Because I know that going back to a professional career and your present mental condition would be terribly harmful.

[Various Characters]

I know, Robert. I know. You're right.

[Narrator/Host]

Oh. After all, I'm a doctor. It's my business to know these things. I get it. Probably the hospital. Hello? Hello. Yes? It's Dr. Graham. Oh, yes? Who? When would you like to see me? All right, fine. No, no trouble at all. Well, I'll be expecting you. Goodbye, Isabelle. Good heaven. Who do you suppose that was?

[Various Characters]

Who?

[Narrator/Host]

Roger Holcomb. Do you remember the case?

[Various Characters]

Roger Holcomb. I remember it.

[Narrator/Host]

Of course you do. The fellow was brought back from the dead, as the newspapers put it, about a year ago.

[Various Characters]

Oh, yeah.

[Narrator/Host]

He really was dead for four full minutes as far as medical science was concerned. Then Bates brought him around. It was nine days wonder at the time.

[Various Characters]

Well, what does he want to see you about?

[Narrator/Host]

I don't know. Something to do with his experience. Obviously, he was in a terribly agitated state. Poor fellow. Been walking up and down front of the house for an hour, trying to get up courage to ring the bell. Finally phoned from the corner drugstore.

[Various Characters]

Why the Poor man. Why in the world should he do that?

[Narrator/Host]

Anxiety neurosis. They hounded him, you know, in the most shocking way. Got out of the hospital. Preachers and spiritualists, movie agents. Just plain fakers. People trying to find out if he remembered anything of the four minutes he's supposed to be dead. People just trying to exploit him. Oh, must be hokum now. Take him into the office. Doctor Graham? Yes. You're Roger Holcomb? Yes. Come in. Pleasure to meet you, Mr. Holcomb. Yes, sir. You come this way, please, to my office. I just sit down anywhere. Lie down on the couch if you like. Tired? I am tired. Tired. Give me your hand, please. For heaven's sake. There's nothing wrong with my pulse. If that's all you think it is, I'll go. Why did you come to me, Mr. Hogan? You know my history. Yes, most medical men do. Up until your disappearance. Most medical men do all right. Then they tell me I'm crazy. Do you think you are, Mr. Hogan? I see. You're like all the rest. Let go of me, please. Just a minute, Mr. Holcomb. You came to me for advice, treatment. I suggest you tell me your story. Well, I always told you, you specialize strange cases, things that other men can't explain. And that's true in a way. You know what happened when I got out of the hospital? Followed me, questioned me, hounded me day and night, trying to find out if I remembered anything I'd experienced, anything beyond the grave. Yes, I remember that well. Then you remember that. My answer was always the same. I remembered nothing, but I knew nothing. Well, I was wrong. Oh? What did you experience during those four minutes? I don't know, but it must have been something. Something I don't even dare to think about. How do you know this? Well, it happened the first time on a boat trip which I'd taken to recover my health. I found myself chatting with a woman who was seated at my table in the dining saloon. She found occasion, as such women often will, to mention her age. She said, after all, I'm not yet 40. And then it happened. What happened? Well, from somewhere came crashing into my mind a certain knowledge of the exact day and year of that woman's birthday, and with it, a compulsion to speak out. A compulsion which I could no more have resisted than I could have resisted breathing. I said, madam, you were born in May, weren't you? May 30th. She looked at me in utter astonishment. We'd never even seen each other before in our lives, and said, yes. And Then I added the date. The year, 1900. See, she was well over 40. She'd lied to me. Innocent enough thing. But I had known the truth. And I've been forced to speak, and I have been ever since. This phenomenon has occurred often, more times than I can remember. Every time a direct lie, no matter how trivial, is uttered in my presence, I suddenly know the answer to that lie. I know the truth, and I'm compelled to speak it. This condition has existed only since your. Since my. Four minutes beyond the grave here. Right. It's as though in that brief time I glimpsed eternity. If I'd seen, reveal all truth of all the ages. I can never tell you how horrible that seems. I found that men, even the most honest of men, live by lies. Tell me you have a family, friends who are understanding. Oh, for heaven's sake, doctor. Don't you understand what this has done to me? Yes, I had a family and friends. A girl I was gonna marry. Today, I'm. I'm an outcast, pariah. I'm shunned, feared. I. I'm hated. Dead. Hated. Mr. Holcomb. Mr. Holcomb. I believe that this condition is very real to you. Causes you very real anguish. I want to help you. Do you think you can? I'm confident that I can. Suppose you could arrange to stay with me here at my home for a matter of weeks or months, if necessary. Well, I'll do anything, anything in the world to be a normal man again, but. But what? Dr. Graham, I. I can see that you still don't believe Morton. Now, I beg of you. You don't know the terrible responsibility I'd be to you. I'd be like a spy, like some inexorable prosecutor from another world. Let me worry about that, all right. Is there anyone else in your household who might object? Oh, no. There's only my wife and her aunt. Have your own quarters. Be quite comfortable, I assure you. I'm sure I'd be. It's a lovely house that I've seen of it. Yes, I'm rather lucky. I'm interested in research, primarily. Not much money in that, you know. But a couple of years ago, I came into quite a nice inheritance. House went with it. What is it? What's the matter? The inheritance was not yours. It was your wife's. The house is your wife's. You were penniless. That's true. I don't know why. I lied to you. Cried, I suppose. I'm sorry. I told you I couldn't help it. I'll go now, please, Mr. Hogan. My fault. It's a small matter. But you see, now that I. I want to help you. Do you believe me now? I believe, Mr. Holcomb, either that you are far more ill than I realized or that in months come you and I must venture into a realm never before explored by mortal man. Was utterly fantastic. Yet it was true. I checked the facts again and again. He could not possibly have known, and yet he knew. Could you imagine what this meant to a man of science? If I could fathom the depths of Roger Holcomb's mind, I could make a contribution to the body of scientific knowledge absolutely without parallel in modern times. I'd be more famous than Pastura Ehrlich. There remained the problem of Isabel. I was aware of the danger, of course. I was acutely aware of the peculiarly delicate balance of her mind at that time. The fact that the presence of a man like Roger Holcomb might be seriously detrimental to my rather well conceived plan for Isabel. I believed I could control the situation. I determined to proceed. Actually, Holcomb's presence made itself felt almost immediately. The first incident came after.

[Various Characters]

Isabel, please stop that playing and listen to me. Aunt Jane, you know Robert has said I mustn't talk about it, that it's bad for me. I don't care what Robert says. But he's my doctor and my husband, and I'm not sure that he should be either. Aunt Jane, I don't know much about psychiatry, but I do know that making trouble between a husband and a wife. I'm not making anything that isn't there already and you know it. Good heavens, girl, look at yourself. Look what's happened to you since your marriage. I've been sick. He's made you sick. That's ridiculous. Maybe it's just that he's afraid of losing you. Maybe he's even afraid of losing your money. But I'm absolutely convinced that whether he's meant to or not, he's made you believe there's something the matter with you that isn't. Aunt Jane, I simply forbid you to talk this way. And now he brings this. This psychopath into the house. And don't bring Roger into it. He's Robert's boy patient. It's Robert's work and it's none of our business. What about your own work? It doesn't matter. Doesn't matter? Jane, you simply don't understand. Robert is my husband. I trust him and I love him. Nothing can ever come between us. I'd destroy anything. I'd kill Anyone who tried. Isabel. Isabelle, do something before it's too late. Do what? Get away. Leave him. Divorce him. Anything.

[Narrator/Host]

I hope we're not interrupting something.

[Various Characters]

Of course not, Alvin. Hello, Roger.

[Narrator/Host]

Hello, Isabel.

[Various Characters]

Mr. Good afternoon. How are you feeling, Roger?

[Narrator/Host]

Quite better. Or safer? I think it would be better if we didn't discuss our states of mind, Isabel.

[Various Characters]

Oh, of course. I'm sorry. Well, would you like me to play something for you? You know, I think I'm beginning to get the feel of it again. Really, I do.

[Narrator/Host]

You're sure we haven't interrupted some conversation?

[Various Characters]

Of course not. We were just discussing how helpful you've been in getting Isabel back to her work again. Roger.

[Narrator/Host]

No. No, you are not. You were telling Isabel to divorce her husband. Isabelle, I'm sorry.

[Various Characters]

I'm sorry. Roger. Come back.

[Narrator/Host]

Isabel, is that true?

[Various Characters]

You brought him in here deliberately?

[Narrator/Host]

Is that true?

[Various Characters]

It doesn't matter. I suppose you've known how I felt for a long time.

[Narrator/Host]

I'm afraid I have, Robert.

[Various Characters]

It was also silly. She didn't mean it. It was just.

[Narrator/Host]

I did mean it.

[Various Characters]

But I did mean it. I'm sorry, Isabel, but I've been under this roof too long as it is, coaching. You're not leaving us?

[Narrator/Host]

It's best, Isabel. Yes. Yes, I think it's unquestionably best. Best that you go at once. She left us. Of course. I'd always believed that Jane exercised an unfortunate influence over Isabel. I did not dream it had reached such a point as this. Yet this incident gave me my first insight into the relationship which was destined to develop between Isabel, Roger and myself. The first and most obvious result was that within a matter of weeks, Isabelle was to lose every friend she had. We became further estranged as each day passed. It was difficult to speak of even the most casual things with this strangely terrifying specter of truth always at our elbow. The situation reached its inevitable climax the evening that Leopold Szerinsky, the famous conductor of the Los Angeles Symphony, was to call on Isabel with a view to resumption of her professional career under his auspices. I gave a great deal of thought to that evening. Had to be handled with a great.

[Various Characters]

Robert, you will help me, won't you?

[Narrator/Host]

Of course I will, darling.

[Various Characters]

I don't know whether you realize how important it is to me. I have nothing but the music now. I've been working so hard. Playing sometimes half the night while you were sleep.

[Narrator/Host]

I've heard you.

[Various Characters]

Sometimes it seems that the piano's all that's helping me to keep my sanity.

[Narrator/Host]

My darling. I want you to let me Prescribe something for you. Time we face this thing. You're trouble.

[Various Characters]

I mean, Robert. Does he have to have dinner with us tonight, Roger?

[Narrator/Host]

Isabel, you know how I stand on that. Oh, yes, but just even once, Isabel. Keep him in his room like a spoiled child when we have guests, Isabelle. It might undo everything I've accomplished in weeks.

[Various Characters]

Of course, you're right, Roger.

[Narrator/Host]

Come in. Robert, I. I was wondering if I mightn't be excused just a night. You're having dinner with us, Roger. Must I? You know you must, Roger. And you know why.

[Various Characters]

Why, Roger? Don't you want to meet the great Leopold Sirinsky? He's really a wonderful person.

[Narrator/Host]

Yes, indeed. I would, very much.

[Various Characters]

You know, I made my debut with him in 1934. I did a concert with him every year until my.

[Narrator/Host]

Until I. Isabel was very talented, you know.

[Various Characters]

I was. I am. Oh, Roger. I'm going to play with him again. He wants me to open the season in November. Can you imagine what that means to me?

[Narrator/Host]

I'm so glad, Isabel.

[Various Characters]

And Robert has finally given his consent. Haven't you, dear?

[Narrator/Host]

I'm sorry. What was it you said, Isabel?

[Various Characters]

I said you'd given your consent to my playing with Sirinsky.

[Narrator/Host]

Why, Isabel, you. You know I don't want you to think that I'd ever stand in your way.

[Various Characters]

I know, dear. Roger, I. I'll do the Emperor concerto, and you will come to hear me. You do want to, don't you, Roger?

[Narrator/Host]

Please, Isabel, don't ask things of me that can't.

[Various Characters]

What's the matter? What's the matter with both of you? You act as though you thought I wouldn't be able to appear. As though the whole idea were hopeless or something.

[Narrator/Host]

Isabel, please.

[Various Characters]

I am going to play. I'll be better than I ever was. You know I will, don't you? Don't you?

[Narrator/Host]

Yes, of course. Isabelle. You play wonderfully. Roger. No, Robert. You're very certain that Isabelle will be prevented from ever playing again? By death.

[Various Characters]

Death.

[Narrator/Host]

Oh, Isabel, forgive me.

[Various Characters]

Forgive me, please. By death. No. Oh, no. Please, Roger. It's not true. Tell me it isn't. Roger. Answer me. Answer me. Roger, do you hear me? Answer me. Answer me.

[Narrator/Host]

When Sirinsky arrived, I told him it'd be quite impossible for Isabel to leave her room. The concert was canceled. And indeed, to my knowledge, she's never touched the piano since then. Day. By now, to even the most casual observer, it must appear only natural that Isabel had every motive for a desperate, almost paranoid hatred of Roger Holcomb. This much was clear to me. The Rest? Not yet. But one thing from any point of view was certain. I had to keep Roger and Isabella apart. Perhaps what I feared was indeed inevitable. I honestly did not think it so at the time. As a precautionary measure, however, I prescribed. Grabbed a drug for Isabel, which she at last consented to take. I gave her her own supply. She administered it to herself as I had directed.

[Various Characters]

Roger. Roger.

[Narrator/Host]

Yes?

[Various Characters]

It's Isabel.

[Narrator/Host]

What do you want?

[Various Characters]

Let me in. See? Please. It's terribly important.

[Narrator/Host]

Robert said.

[Various Characters]

I know, but he said it would be all right this time you so. Yes. Yes, please.

[Narrator/Host]

Now, what do you want?

[Various Characters]

I want to talk to you, that's all.

[Narrator/Host]

What about? It's so important.

[Various Characters]

Roger, why don't you ever leave your room anymore?

[Narrator/Host]

Can't you guess?

[Various Characters]

Do you think I hate you, Isabelle?

[Narrator/Host]

I don't know what to think anymore.

[Various Characters]

You do, don't you?

[Narrator/Host]

I warned him. I. I told him it would happen. Now I'm going mad up here thinking of the anguish I've caused you.

[Various Characters]

But, Roger, I. Don't. You must believe me.

[Narrator/Host]

I know what it's been like for you having me here.

[Various Characters]

Roger. You see, for the first time in my life, I think my husband is wrong about something.

[Narrator/Host]

Wrong?

[Various Characters]

Yes. Don't you see? He's been worried about both of us. And so this distrust has blown up between us.

[Narrator/Host]

Well, I don't distrust you, Isabella. You've been more wonderful to me.

[Various Characters]

But you're afraid of me, and that amounts to the same thing. It's bad for the both of us. It's hurting both of us.

[Narrator/Host]

I've often felt I wanted to talk to you. To beg your pardon.

[Various Characters]

Oh, you don't have to do that. We're both sick. But I think if we saw each other sometimes, if we talked the whole thing out, it would help us both.

[Narrator/Host]

Well, does Robert think so too?

[Various Characters]

No.

[Narrator/Host]

Then he didn't tell you it was all right to see me?

[Various Characters]

No. I lied to you.

[Narrator/Host]

Why?

[Various Characters]

I lied to you.

[Narrator/Host]

You lied to me and it didn't happen. Isabel, don't you see? I am getting well.

[Various Characters]

It didn't happen. I know. I don't think it does happen anymore. Except with Robert, it's possible.

[Narrator/Host]

What makes you think I don't know?

[Various Characters]

Something about the way he acts, the way he is.

[Narrator/Host]

Oh, but, Isabel, he is curing me. Then perhaps you shouldn't have come to.

[Various Characters]

No, no. Don't you understand? We must see each other. We must talk.

[Narrator/Host]

Now, listen, Isabel. Robert, something's happened that I must tell you. Completely overwrought. Oh, but Robert, if I must insist. Isabelle, why did you do this?

[Various Characters]

I'm sorry. I was.

[Narrator/Host]

Sedative, right away. Isabel, get the bottle from your room.

[Various Characters]

Mine?

[Narrator/Host]

Yes, yes. Please hurry.

[Various Characters]

All right.

[Narrator/Host]

Robert, she lied to me. Yes, yes, I know, but. Roger, I must absolutely forbid you to talk now. You must trust me.

[Various Characters]

All right.

[Narrator/Host]

But later I want to have a long talk. Of course we shall.

[Various Characters]

Here it is. I brought my hypodermic too.

[Narrator/Host]

I'm glad you did. The other one's mislaid Summer. Will you give it to him, please?

[Various Characters]

I.

[Narrator/Host]

Yes? I'm sorry, but this has upset me rather badly. My hands are shaking.

[Various Characters]

Robert.

[Narrator/Host]

I'm terribly sorry, madam. I'll give him the hypodermic. The upper arm. That's right. Thank you. Leave us now, please, Isabella. All right. How are you feeling now, Roger? Well, I'm fine, Robert. I think I'm better than I've been in months. I know you're better. That's why I was so upset to see you. But why? Robert? Can't tell you all my reasons now. But you must trust me and believe in me. Oh, I do. But only that I'm afraid for your health. Roger. No. You're afraid of murder. What? Murder? Roger, listen to me. Roger. Murder? Roger, what are you talking about? Roger. Roger. It was clear to me now. I knew I must take immediate action. I knew that the most terrible consequences might result if Isabel were alone with Roger, even for a moment. But he knew that. He'd said so. There was no other explanation. I thought it through most carefully. And yet no plans are perfect. No man is infallible. Isabelle, what are you doing?

[Various Characters]

Nothing.

[Narrator/Host]

Don't lie to me, Isabel.

[Various Characters]

I'm not.

[Narrator/Host]

You are coming from Roger's room.

[Various Characters]

No. No, I swear I won't.

[Narrator/Host]

Isabel, don't you understand that you're sick? I've insisted on these things for your own good and his.

[Various Characters]

All right. I was going to talk to him, but I hadn't.

[Narrator/Host]

Oh, Isabel, why do you try to tell me that?

[Various Characters]

But it's true, Robert. Really true.

[Narrator/Host]

Is it? Roger. Roger, what's the matter? Look, Robert.

[Various Characters]

No, it couldn't be.

[Narrator/Host]

It is. He's dead.

[Various Characters]

Dead?

[Narrator/Host]

Hypodermic. By his side. The drug. Your drug. Your hypodermic.

[Various Characters]

But it's only a status here.

[Narrator/Host]

In large enough quantity, it's fatal. You knew that.

[Various Characters]

Oh, Robert, don't listen to me.

[Narrator/Host]

Isabel. Why? Why? I warned you.

[Various Characters]

Robert, look at me. It's Isabelle. It's your wife.

[Narrator/Host]

You can't.

[Various Characters]

Oh, no. Where are you going? Come back.

[Narrator/Host]

I'm Going to call the police. It was perhaps the most terrible decision a man ever had to make. Even though it did come not as a shock to me. Even from my point of view as a scientist. It was terrible enough. Yet it had to be done. And I had done it. I did not speak to her as we waited, and she made no further attempt to appeal to me. She seemed utterly stupefied. Perhaps as a result of the drugs she'd herself been taking. Perhaps because she suddenly realized she was hopelessly trapped. Police arrived. I told the story with as little emotions. Their fingerprints, all right, on both the bottles. Those would be my wife's, of course. They both belong to it. Is that true, Mrs. Graham?

[Various Characters]

Yes.

[Narrator/Host]

Dr. Graham. Do I understand, then, that you are formally charging your wife with the murder of Roger Holcomb? Well, you could hardly expect me to do that, could you? I'm simply telling you the facts. But you said she hated Holcomb and you knew it. My wife has been mentally ill for some time, and many people can testify to that. You plead insanity? Of course. Dr. Graham, I can't tell you how sorry I am. But the things you have told me add up to only one thing. Yourself, obviously. Recognize. Yes. Your wife, Isabel Graham, murdered Roger Holcomb. What did you say? I said your wife, Isabel Graham, murdered Roger Holcomb. No, I murdered him. What? I tried to make it appear that Isabelle had done it, and I succeeded. But I killed. No. Plans are perfect. No man is infallible. Yes, I killed Roger Holcomb. And he himself revealed the truth. I'd planned to dispose of Isabel for many months. I'd never loved her. I'd loved only science. I wanted her money, and Holcomb found it out. That was the risk I ran. That any chance lie in his presence, either by Isabel or myself, bring out the truth. And it did. He had no alternative, once he discovered that, but to kill him. Easy enough to throw the blame on Isabel. I had not counted on that terrible compulsion for the truth. That strange affliction of Roger Hul. Its power over me. Did it transfer itself at his death to me? Or was it conscience? Pity that it had to end this way. It's a fascinating case. And so closes Lazarus Walks, starring Orson Welles. Tonight's tale of the Spencer Sam. This rebroadcast is a presentation of the Armed Forces radio Service. Now roma wines present. Suspense. Tonight you'll never see me again. Starring Joseph Cotton. Suspense is presented for your enjoyment by Roma Wines. That's R O M a Roma Wines, those excellent California wines that can Add so much pleasantness to the way you live, to your happiness. And entertaining guests to your enjoyment of everyday meals. Yes, right now, a glassful would be very pleasant. As Roma wines bring you suspense. This is the man in black here for the Roma Wine Company of Fresno, California, who tonight, from Hollywood, bring you a star, Mr. Joseph Cotton. And so, with Cornell Woolrich, story of marriage and murder called you'll never see me again. And with the performance of Mr. Cotton as an American husband named Ed Bliss, we again hope to keep you in suspense. So you're walking out on me.

[Various Characters]

What does it look like to you?

[Narrator/Host]

Like you're walking out on me. Got everything you need?

[Various Characters]

At least I'm glad you're showing your true colors. I'd rather have found it out now than later.

[Narrator/Host]

Didn't take you long, did it, baby? If you're looking for your coat, it's in here.

[Various Characters]

Thanks.

[Narrator/Host]

Need any money?

[Various Characters]

I don't need anything from you. Including your wedding ring. There. You know what you can do with it?

[Narrator/Host]

Sure. Hock it. Well, pick a nice, quiet hotel.

[Various Characters]

I don't have to pick a hotel.

[Narrator/Host]

I know. Orphan. And when you get good and sick of it, come on back and maybe I'll still be here.

[Various Characters]

You will still be here. You'll never see me again as long as you live.

[Narrator/Host]

You'll never see me again as long as you live. You'll never see me again as long as you live, she said. If I'd known then what I know now, I guess that that wouldn't have sounded so funny. All right. Maybe I'm not the easiest guy in the world to get along with. But it's perfectly natural for a couple to have at least one good fight after they've been married nearly three months. And I just wasn't going to be the first one to say uncle, that's all. Still, you don't wait around forever when your wife walks out on you. Even if you are playing hard to get. So the third evening I put in a call. I knew all along she'd head for a mother's place. And anyway, she practically told me where she was going when she left.

[Various Characters]

Hello?

[Narrator/Host]

Oh, hello. Is this Mrs. Alden? Yes. Oh, this is Ed, Janet's husband.

[Various Characters]

Oh. Oh, yes. How is Janet?

[Narrator/Host]

Isn't she there with you?

[Various Characters]

With me? Why, no. Isn't she with you?

[Narrator/Host]

No. That was all I needed to hear. Grabbed my hat and headed for the bus station. That was the only way she could have possibly gone to her mother's place at that time of night. By bus. First I wanted to find out if there was anybody who could positively identify her as having left. The guy at the ticket office wasn't very bright. To West Hampton. Yeah. Well, seems like I remember somebody like that. It would have been Monday night, just about this time. West Hampton, Monday night? Yeah. Well, maybe. Couldn't be sure, though. Never mind. Give me a ticket. Where to? Where do you think? West Hampton. She was blonde, blue eyes, good looking. Sure, sure, I remember. Hey, where'd you get off? I. I think it was West Hampton.

[Various Characters]

We're close for the night.

[Narrator/Host]

Mr. Thumbs are all locked. Just what? I just wanted some information. Information, huh? Can you tell me where the Alden's live? Alden? Oh, yeah. They're those new people. Yeah. Well, you go up the crossroad there and then turn to your left. Go on down the hill. It's the 1, 2, 3. Let me see. No. Fourth driveway on your right. Did anyone ask you how to get there last Monday night? Oh, we're closed Monday. Thanks. The fourth driveway on your right.

[Various Characters]

Oh.

[Narrator/Host]

Come on, come on, come on.

[Various Characters]

Must be somebody lost his way. Yes?

[Narrator/Host]

I'm Ed Bliss, Janet's husband.

[Various Characters]

Oh. Oh. Oh, yes. Come in, Ed. I've been looking forward so much to meeting you. I wish it could have been under different circumstances, though.

[Narrator/Host]

Yeah.

[Various Characters]

Haven't you heard anything yet? I can't understand it. It's not like her to do a thing like that. Oh, Ed, I. Pardon me. I. I want you to meet Mr. And Mrs. Farley. We were just playing a little bridge.

[Narrator/Host]

How do you do? How do you do?

[Various Characters]

And this is my husband, Joe Alden. Guess that makes him your step father in law, doesn't it? Joe, this is Ed Bliss.

[Narrator/Host]

How do you. Nice to meet you, Ed.

[Various Characters]

Well, I guess we better be going.

[Narrator/Host]

Yes, I guess we have.

[Various Characters]

I do hope that your wife. I mean.

[Narrator/Host]

Well, I wouldn't worry about that. Oh, you heard about it, did you?

[Various Characters]

Well, Ed, you see, they dropped in a little while after you phoned and we thought.

[Narrator/Host]

Oh, that's all right.

[Various Characters]

Well, thanks for asking us over. Come again real soon.

[Narrator/Host]

He will. I hope you will.

[Various Characters]

Good night.

[Narrator/Host]

Good night. Good night, all.

[Various Characters]

Good night. Oh, Ed, I hope you didn't mind about them.

[Narrator/Host]

It's all right. Okay.

[Various Characters]

Well, come on into the living room then and tell us about it.

[Narrator/Host]

Not much to tell you that you don't know, is there?

[Various Characters]

No. No, I suppose not.

[Narrator/Host]

Sit down. Thanks.

[Various Characters]

Can't I get you something to eat?

[Narrator/Host]

No, no, no, thanks.

[Various Characters]

Oh, some coffee?

[Narrator/Host]

I think I'll pass up the refresh this time.

[Various Characters]

Well, I know how you must feel.

[Narrator/Host]

Yeah, I guess you do.

[Various Characters]

But I. I still can't. I just can't.

[Narrator/Host]

You've painted this room lately, haven't you? Yeah. What about it? Nothing. Just looks a little funny, that's all. You think so? Yeah. That brick wall in front of the house is kind of new, too, isn't it? You know I'm a bricklayer by trade, don't you? Well, now that you've mentioned it, I. Joe, how can you talk about. You better go on upstairs, Lauren. She's taking it pretty hard. Yeah. You seem to be bearing up all right, though. You haven't lost any sleep over it yet yourself, have you? I'm not her husband. This isn't getting us anywhere. How was that, Laura? I guess she's going to bed. Oh, well, I guess I better be getting down to get that last bus. How about staying overnight? No, thanks. Suit yourself. Wait a minute. I'll put the porch light on. I'd see all right. That's better. By the way, what happened? What do you mean, what happened? I suppose you and Janet had a row. What's that got to do with anything? I hear you got kind of a temper. Where you're a little too quick with the flat of your hand, that's all. This for the benefit of the neighbors? Might be. Have you notified the police yet? No, and I don't like the way you ask questions. Okay. Okay. Want me to walk down to the bus with you? It's pretty dark. Maybe that's why I'd rather walk down alone. Now, wait a minute, Ed. I think maybe you got. All right, all right. Maybe I have. Say goodnight to Mrs. Alden for me. Yeah. Let us hear from you. Don't worry. You'll hear from me, all right. Still plenty dark when I got back to town, but I took the shortcut at the corner just the same. A path across the vacant lot. Between the lot and my house there's a hedge. I was just going through it when I stopped cold. There was a light on in my house, only it wasn't a regular light. It was the beam of a flashlight moving past the living room window. That could only mean one thing. Cops. Of course, it was Joe Alden that tipped them off. I just waited. And then I heard the front door open and close. I saw two men standing outside and one of them went up the street. Pretty soon I heard a car drive off. The other man was just a shadow. Now, standing by a tree in front of the house. You could see he was expecting me to Come from the other direction. I stepped through the hedge and went over to him. Would you be looking for anybody in particular? I might be. Who are you? Ed Bliss. Who are you? Detective Stillman, Bureau of Missing Persons. How did you know anyone was looking for you? Oh, I'm just bright that way. Yeah, well, they like bright boys down at headquarters. Come on, let's go. Tonight for suspense, Roma wines are bringing you a star. Mr. Joseph Cotton, whom you've heard in the first act of tonight's tale of suspense. In many foreign countries where discerning tastes have found Roma wines, they are an expensive luxury, imported and treasured for aroma. Wines are in every sense fine wines from the choicest vineyard country of California. They are products of age old wine making skill, aided by modern quality controls and tests that assure unvarying excellence of taste and character. Yet Roma wines cost you mere pennies a glassful. Such enjoyable flavor and constant quality, such low cost, such high wine value have made Roma by far America's largest selling wines enjoyed by millions with meals when entertaining anytime, try Roma wine yourself tomorrow at dinner, no matter what you're serving. Place on the table, a cool bottle of ruby red hearty Roma, California Burgundy. See how much new zest it adds to food, how it makes a real occasion of even the simplest meal. To enjoy this extra mealtime pleasure, just ask your dealer for R O M a Roma wine made in California for enjoyment throughout the world. And now it is with pleasure that we bring back to our soundstage Mr. Joseph Cotton, who in the person of Ed Bliss, resumes the story called you'll Never See Me Again. Tonight's study in suspense. She stood there in the shadows, watching my face. Detective Stillman of the Bureau of Missing Persons. I've been expecting this to happen sooner or later. But now that it had, I was stunned for a moment. He said it again. Come on, bright boy. They're expecting us at headquarters. Now wait a minute. I want to talk to you. I'm in a jam. Oh, you're telling me. Not the way you think. Would you come inside with me? I've been inside. What kind of a furnace do you have in your cellar, Bliss? An oil burner. The kind that turns on automatic with an electric cut in? That's right. Why is there a fuse blown? How did you know there was a fuse blown? Was that why you were searching my house with a flashlight? Or was it because you didn't have a warrant? Oh, you really are a bright boy, aren't you? Well, come on, come on. Now listen, listen. I don't want to have any arguments. I want help and I want it bad. Will you give me a break? What kind of a break? This is no place to talk. Will you come inside? Okay, okay. But you'd better talk fast and good. Don't worry. Fuse box is right down here. Flash your light up here. Always keep a couple of fuses on top of it. Yeah. There we are. Let's go in the front room. After you. Okay. Now. Now what do you want to talk about? Don't you understand? She's my wife. I'm scared. Then why did you run out? Why didn't you tell the police? Because at first I thought it was just, you know, one of those things. And anyway, I. I knew where she'd gone. Back to her mother's. How did you know that? Because I went down there after her. Because all kinds of people saw her go. Bus drivers, ticket sellers. Only when I. I got there, she wasn't there. How much life insurance did you carry on her, bliss? 25,000. That's quite a lot for a $75 a week architect, isn't it? Oh, her mother paid for it. A wedding present, for heaven's sake. What do you think I did, buried her in the cellar or something? No, no, we know you didn't do that. We? Look. Oh, cut it out. Cut it out, will you? I. I love her. We've only been married three months. Well, what do you want me to do? Give me a break. You take me down to headquarters now. It may be hours. Oh, it'll be hours, all right. In the meantime, if there's still a chance, there's got to be. She's somewhere and she's in danger. I know it. Yeah? How? I tell you, I followed her down to her mother's place in West Hampton. There's a guy at the station who remembers selling her a ticket. The bus driver remembers her getting off there. And then she just disappeared. Then what? I went down to her mother's house. They hadn't seen her. But there's something funny about it. There's something funny about her mother and that stepfather. There's something funny about that house and about that room. What room? That living room of theirs. Listen, you've got to let me help you find her. You've got to go down there to West Hampton with me. Because I've got a hunch somehow that I'm the only one who can find her. All right, Bliss. All right. I don't know why, but I believe you. If you do, you'll go? Yeah. And I. I shouldn't believe you either because. What. What was your wife wearing when she ran out on you Monday night? What was she wearing? Yes, yes, you must remember what she was wearing. Well, she was wearing a gray flannel suit, a skirt and jacket. You know, a pink silk shirtwaist, patent leather high heeled shoes and those crazy little hats. Any baggage? Yeah, a little tan suitcase. You're sure of that? Sure. Well, that's why I shouldn't be leasing you. Why not? Because when you find somebody's clothes around, you usually start looking for the body right nearby. Well, what do you mean? They weren't burnt up because that fuse had blown. But we found every one of those things in the furnace down in your cellar about 20 minutes. And he said that I knew there wasn't much time, but he was going up to West Hampton with me anyway. That was the main thing. Of course, first he had to route out the bus driver, the ticket seller, and check my story with them just to be sure I wasn't trying to pull a fast one. But that was all right. I'd expected that. And we climbed into into the police car and headed out to West Hampton. He believed me now. All right. That car couldn't have been pushed any harder if I'd been driving it myself. Still, it's getting daylight and we got there. Park the car a little ways down the road and walk toward the house. See what I mean, Bert? Take that brick wall, for instance. Oh, what about it? What's new? What did he build that for? It's not tall enough to hide the road. It's not even tall enough to keep a dog out. Why did he build it? Well, maybe he built it to keep it in practice. Come on, come on, let's go in. It's awfully quiet. Well, why not? They're probably in bed, where I'd be if I hadn't let you talk me into. Listen, Bert, you don't think I'm here. Ain't I? Go on, ring the bell. No answer. Keep trying. Shades are all down. I don't think there any. Come on, let's try the back door. Shades are down on this side of the house too. Look, look. The garage is empty. Yeah. Well, I guess our birds have flew the coop. All right, Bert, I don't like this. Come on, we'll try this back door anyway. Uh. Oh, it's locked. Here, here, here. Here's an axe. I'd like to try my keys first. There, that's got it. This the way to the front of the House? I guess so. I've never been back here. Yeah, this is it. Here's the front hole. There. There it is. What? That room. The living room I was telling you about. Well, what about it? Snap on the lights. All right. I still say, what about it? I don't know, but. But don't you get something. Something funny about it? Oh, what? Well, the lights or something about that fresh paint, the. The rug. There's something, though. I know there's something. Oh, come on. Come on, we're wasting time. There's something screwy about the whole joint. You. We went over the place from top to bottom. I wanted to get back to that room, and time was awful important, but Brett Stillman wanted to look into everything which was only right and natural. And then we ran into something. That was just about the last thing I expected. What's. What's this door here? I don't know. I thought we'd covered everything on the ground floor before. It's locked. Yeah, it must be some sort of back door. Bedroom. Dog gone at the keys. Won't fit this one, honey. Only room in the house that was locked. Well, maybe we've got what we're looking for. Give me that ax. But don't you see? If. If she was here and they've gone, they must have taken her. Well, who's she? This is Alden. Your wife's mother? Yeah. Where's your daughter?

[Various Characters]

Oh, please, please.

[Narrator/Host]

Come on. Come on. Where is she?

[Various Characters]

I don't know.

[Narrator/Host]

Was she here?

[Various Characters]

Yes.

[Narrator/Host]

Yes, but where is she now?

[Various Characters]

I don't know.

[Narrator/Host]

Did she leave with your husband?

[Various Characters]

No.

[Narrator/Host]

Why didn't you tell me she was here the other night?

[Various Characters]

Joe told me not to. She was here, but the next morning,

[Narrator/Host]

Joe told me she'd left.

[Various Characters]

And this morning he left.

[Narrator/Host]

Look, what did you lock yourself up in here for?

[Various Characters]

I knew when Joe left that something.

[Narrator/Host]

Something terrible.

[Various Characters]

And when you came, I was frightened. I did.

[Narrator/Host]

Come on, Ed. Where to? Don't you get it? For some reason, the stepfather's put the snatch on her. We've got to put a call through the headquarters. Get the highway patrols to watch for them. What about her? Oh, she comes along.

[Various Characters]

Oh, please.

[Narrator/Host]

Come on. Come on. Yes. There's something wrong about this. You bet your life. Oh, no. I mean, why would he. Why would he do it? What motive would he have? You let me worry about the motive. You worry about your wife. Got some connection with what's wrong about that room, whatever it is. Will you forget about this room? We've got to get. I want to look just once more. I know there's something. Listen. Listen. Do you want your wife back or don't you? There's no. Bert. Bert. I've got it. I've got what? It's lopsided. Don't you see? It's not on the square. Are you crazy? Oh, no. I'm an architect. Look. The lights on in the middle of the ceiling. The windows aren't in the middle of the wall. So what? The design on the rug is wrong. It's cut off too close to that wall. Bert. What? That wall. That's why the room has just been repainted. That's why he built that brick wall in front of the house. I don't get it. One wall of this room is a dummy built out in front of the real one. That's why the room looks lopsided. That's why he built the brick fence. To get bricks without arousing suspicion. Which wall? That. And Bert, it must be hollow. Give me that. You don't think that. Janet. Bert. Bert, give it to me. Let me get back. You Hear me, Burt. Mrs. Alden. It's Janet. Answer me. Answer me. Mrs. Alden couldn't have done it.

[Various Characters]

Oh,

[Narrator/Host]

Ed. Yeah. Ed, didn't you say your. Your wife was young? 23. Well, then you can look. This is an older woman. Oh, do you. Do you know her? No. Well, there's your motive here. But who could it be? I don't know. She must know the mother. She can't even talk. Ed, you'd know if. If she was the mother, of course. No, I wouldn't. I never saw Janet smother until I came here to the house Monday night. Mrs. Alden. Mrs. Alden. Answer me.

[Various Characters]

I'm not Mrs. Alden. That's Mrs. Alden.

[Narrator/Host]

Just a question of time now, whether we'd get back there in time to stop it. It all fit together now. And what Brett didn't know, he got out of the woman on the way back. Did you know Joe Alden before?

[Various Characters]

No, not before I came to their house in Eastport to take care of her. I'm a nurse, and Joe and I. Well, we.

[Narrator/Host]

Who got the idea to kill her, you or Joe?

[Various Characters]

He did when he saw me giving her a sedative once. She was pretty sick.

[Narrator/Host]

Oh, Premeditated, huh? Why did he do it? Money, of course.

[Various Characters]

She kept a lot of bonds around the house. That's what Joe wanted.

[Narrator/Host]

Is that why you moved from Eastport to West Hampton?

[Various Characters]

Yes. Nobody knew us in West Hampton. We moved in at night. They Thought there was only two of us. They thought I was the real Mrs. Alden.

[Narrator/Host]

When did he do it?

[Various Characters]

About a week after we got there, one night. By morning, she was where you found her.

[Narrator/Host]

We were doing better than 80 most of the way, but I still didn't think we'd make it. Naturally, Bert was afraid to put the local cops around the house for fear Alden would spot them first and take Janet away and do it somewhere else. If he hadn't done it already. Because Bert Fillman had to picture coal. Now, Janet had come to the West Hampton house and found her mother was missing before Alden had been able to make his getaway. So Alden had been made to kill Janet, too. Burt knew where he was taking her because of the clothes and the furnace. My house. That was a tip off that Alden was going to try to plant it on me. The only break I had. At least I knew where to look, if I could get there in time. Time? The outskirts of town. We picked up a police escort, but Brett made them lay off. When it got near the house, we drove up the side street and parked a little ways off. We walked up to the house. There was a car in front of it. Is that Oden's car?

[Various Characters]

Yes.

[Narrator/Host]

All right. You're coming in with us, lady. But the first sound out of you and I'll shoot. And I mean that.

[Various Characters]

I know.

[Narrator/Host]

Got your keys, Ed? Yeah. Quiet now. Yeah. Look. There's a light. That's the door to the cellar. Come on. Listen. Listen. He's digging. The light's gone out. He must have heard us. Put on your flashlight. Let's go. There he is. It's where you. Hey. What'd you do that for? Killed my wife, didn't he? Switch on the light. Maybe it isn't too late yet. There she is. She's dead. Yes. Yeah. Chloroform. You smell it? Get that cloth off her face. Too late. Can't you see? Yeah. Yeah, I'm afraid. What are you doing carrying a gun? I got a permit. Anyway, what's the use of asking questions like this now when.

[Various Characters]

Look.

[Narrator/Host]

Look.

[Various Characters]

She's moving.

[Narrator/Host]

What? Yes, she's alive. Here. Here, give me a hand. Ed, help me.

[Various Characters]

Ed.

[Narrator/Host]

Where you going, Ed? Put up your hands, Ed. Okay. Okay. Then up. Come on back down here. All right. Take it easy. I'm coming, Ed.

[Various Characters]

You could at least have done it yourself instead of hiring murderers.

[Narrator/Host]

What did you do it for? The money? What do you think? For fun? Go ahead, talk. Anything to make you happy would have been perfect. If Alden had killed her when he first got her in the cellar like I told him to, maybe he had a sneaking idea I was going to double cross him. He was stalling until the last minute. I don't know. Anyway, won't do him much good where he is. What did you have on him, Ed? The mother? His wife. I'd been up there before, alone. I knew he'd killed his wife because I'd seen a picture Janet had of a real mother. And I spotted the room right away. I told Alan I'd split the money with him if he did it. And if he didn't? Mm. Go on. Well, I knew I could pick a fight with Janet. I knew she'd run up to her mother's. Then I went up there to make. Make it look good. After I left, Alden was to call the cops like he did you. Take me down here to headquarters. And while you were giving me the old third degree, Alden was supposed to plant the body in the cellar. That way I was in the clear. Because you'd know I couldn't have done it while I was down here talking to you. And you'd know she hadn't been there before because you'd looked. That's why I planted the clothes and the furnace, remember? So you would look smart. I had an alibi, and nobody had a thing on Alden unless I squawked. And he had it at that chance. Looked pretty good there for a while, didn't it? Yeah. Yeah. Well, your wife's outside. Do you want to say anything to her? Hmm? Yeah. Just tell her I said, you'll never see me again. And so closes you'll never see me again. Starring Joseph Cotton Tonight's study in suspense. Suspense is produced and directed by William Speer. To every woman listening tonight, I want to say a special word about making every dinner or supper you serve taste better. I want to urge you to start serving Roma wine with your meals. It's simple, the cost is very, very little, and it works magic in making food more enjoyable. You can serve Roma wine with any meal or any time in any kind of glass you wish. Serve it chilled. Try different kinds of Roma wine until you find those you enjoy most of all. Try hearty red Roma California Burgundy or the delicately delicious Roma California Sauterne. The cost is only pennies a glass, but you'll find even a pickup supper tastes like a banquet. Get Roma Wines today. If your dealer is temporarily out of them, please try again soon. Just ask for R O M A Roma Wines. America's largest selling wines made in California for enjoyment throughout the world. Joseph Cotton appeared through the courtesy of David O. Selznick and is currently being seen in the Selznick production since you went away. Next Thursday, same time, you will hear Ms. Merle Oberon as star of the. Presented by Roma Wines R O M A made in California for enjoyment throughout the world. This is cbs, the Columbia Broadcasting System. Suspense. To George Caloris as star of the Long Shot, a suspense play produced, edited and directed by William Spear. The one thing that puzzles me, Raymond, is how in the world a man of your intelligence could expect to get away with it. Oh, you haven't heard the whole story. Yeah. Well, come on. Let's have it. You got your book, mister?

[Various Characters]

Yes, sir.

[Narrator/Host]

Okay, Raymond. Okay. Start from the beginning. You know, of course, there's anything you say. Oh, what difference does it make if you found the body? Nothing I can say now is going to matter one way or another. Well, yes, I admit it was a long shot. But if you followed the horses as long as I have, you know that once in a while a long shot pays off. When it does, it pays plenty. Just like this one would have if it hadn't been for a smart Nevada cop. Nevada cop? Oh, I don't understand. Let him talk. Let him talk. Okay. Go on, Raymond. Thanks. Seems a year, but I guess it's only 10 days since I was sitting in the Astor lobby in New York. I'd had a terrible run of luck at the tracks. Started out the season with $2,000 and ended up with 28 cents. I was desperate. Hey, give me one. Give me one. There you are, mister. Thank you. Paper. Get your. I don't know why, but I found myself absentmindedly looking through the classified section. All of a sudden, a small black square in the Help Wanted column seemed to come up and hit me right in the eye. Englishman will pay $150 in expenses to fellow countrymen, preferably Londoner, in return for services as driver and traveling companion on automobile trip to San Francisco. There was a phone number and an address on 76th Street. Come in. Oh, excuse me a moment, old chap. I'm on the phone. Hello. You say you're from Devonshire. Yes, I understand. Tell me, have you spent much time in London? Well, frankly, I'd much prefer a Londoner. Towns are sort of fetish with me, you understand? Yes, I'd probably bore you to death. However, if nothing else turns up, I'll. I'll call you. Right, Earl. Oh, step inside, please. Thank you. You've Come about the advertisement, I presume? Yes. Oh, have a chair. Thanks. You know, I couldn't help overhearing your conversation. Yes. Been plagued all day. Not a prospect in the lot. Now, what about you? Well, my name's Kelly. Raymond. Born in London in Vigo lane, just off St. James's Square, August 18, 1902. I know the town like the inside of my hat. Really? You're not making this up? Oh, no, no, of course not. How long did you live there? 30 years. Vigo Lane. I'm not sure I know it. Oh, well, I suppose Vigo street is the proper name. It turns right off Sackville and runs a few squares before it crosses Regent Street.

[Various Characters]

Oh, yes, yes, yes, of course.

[Narrator/Host]

I place it now. Well, Raymond, you seem to be a bit of all right. Tell me, why would you like to drive with me to San Francisco? Are you at all interested in horse racing? Sorry? Oh, boy. My name is Hendricks. Walker Hendricks. No, I can't say that I am. Particularly been to Epsom Downs on a few occasions. I see. Well, I've become rather fond of it. I might even say financially dependent on it in recent years. And with Bay Meadows opening shortly. Bay Meadows? All chat. That's a track near San Francisco. Oh, yes, I see. Perhaps you wondered about my advertisement. Well, it was a bit unusual, yes. Well, fact is, I'm extremely depressed with Americans, frankly. Never would have come here if it hadn't been for urgent business in San Francisco. Naturally, I couldn't bear the prospect of making the trip alone. And I hope to find a fellow Britisher in the same predicament. Oh, excuse me a moment, old chap. Hello. Oh. Oh. Oh, yes. Well, I'm frightfully sorry, but I've just engaged a man. I didn't tell him why I had to leave town, of course. There was the small matter of a few bad checks and a cell waiting for me in the city jail if I ran into the wrong people. And thank heaven, with all his eccentricity, he knew when to stop asking questions. Yes. Yes, I was sitting pretty. The only thing I was afraid of was death from sheer boredom. Because from the moment we started out, all he could talk about was London. Have you spent much time in Soho, Raymond? Well, I never lived there. That's what you mean. Oh, no, no. I mean the restaurants and so on. Have you visited them? Well, let me see. There's the. The Moroccan. No, no, no. What was it? The Algerian Cafe in Dean Street. Oh, quite right. The Algerian in Dean Street. Isn't that the place where they sell the wonderful coffee in the little brown packages. Yes, yes, I'm sure There's a big French woman there that we used to call madame. Oh, quite. I recall her now. You remember the sign on the wall behind. Behind the counter? Let me see. Something about anyone caught gambling or playing for money will be kicked into the gutter and not picked up again. Oh, yes. Dashed amusing, wasn't it? Matter of fact, I remember her clearly now. Yes, I saw her there only a short time ago. Oh, it seems to me she died, didn't she? Was that a fact? Oh, you probably met her daughter. Oh, slow down a bit, will you? Oh, there's a sign. Cleveland, 12 miles. Oh, well, we'll spend the night there, actually. Oh, good idea. Let's see. Oh, yes, we were talking about Soho. Yes, we were talking about Soho. And we continued to talk about it the rest of the way to Cleveland and most of the night in the hotel room. I began to think the man doubted my authenticity and was trying to trip me up. On the way to Chicago the next day we covered Whitechapel, Fleet Street, Bloomsbury and Mayfair. He still hadn't stuck me, but I was beginning to feel like a well thumbed Baedeker's guide. By the time we reached Chicago. We just finished settling down in our hotel room. I've seen that remarkable man in Covent Garden, Raymond. Yes, a lot of remarkable men in Covent Garden, of course. But I mean the one who does that wonderful balancing act. Oh, yes, yes, Jim The Porter balances 20 vegetable baskets on his head in the middle of traffic at high noon. It's quite a sight path, Mr. Hendricks. I wonder if I might have a small advance on my salary. Well, I suppose so.

[Various Characters]

Yeah.

[Narrator/Host]

It is still rather early and I thought I might look over the windy city. Of course, Raymond. Oh, here, let me open my valise. Gosh, this infernal lock is always acting up. Ah, there we are. Plenty be enough? Oh, fine, thanks. Say, I believe I'll join you. Stretch the legs a bit, eh? I could see that he was good for a couple more hours of London, but there was no getting out of it. Around the corner from the hotel was a place where I was reasonably sure of running into some of the racing crowd I'd met during the Arlington season. I lost no time getting there. Had a club sandwich, and at Mr. Hendricks request, I was expounding scholastically on the difference between Chicago and London. Bacon when.

[Various Characters]

Kelly.

[Narrator/Host]

Tommy. Hey, good to see you, Kelly. I thought you were in my arms. Leaving in a couple of days. How about coming along? Oh, well, I'm on my way to San Francisco. This is Mr. Hendricks. Tommy DeWitt. How are you? How do you do? Hey, you can't walk out on me like this. Kelly, I got a deal for you. No. Yeah.

[Various Characters]

Oh, sure.

[Narrator/Host]

You'll excuse us, Mr. Hendricks? Oh, oh, rather. Of course, yes, yes. Let's go. Right. What was your name? Of that I'll get right to the point. We bought us some jockeys, huh? It's coming up next week at Hylia. 500 will get you 10 grand on a parlay. But it's got to be 500 now. Look at you. Sure of it? I never failed you yet, have I? No. I've got to drive that stick to San Francisco. What if you just walked out? Well, I suppose I could, yes. But the 500. Has he got any money? Wait a minute. That's the lease, huh? Homie, you sure this can't lose?

[Various Characters]

I'm positive.

[Narrator/Host]

Listen, listen. All you have to do is watch that booth where Hendrix is and phone me at the hotel if he leaves. I'll call you in about five minutes and tell you where to meet me. I'd remembered about that wallet full of bills in Hendrix valise back at the hotel. It was easy to slip out the back of the place, leaving Tommy watching him from the small window in the door to the back room. In two minutes I was back in our room at the hotel. There it was just like we'd left it. And to make things even easier, he'd forgotten to lock it. There was $680 in $20 bills in the wallet and a sheaf of legal looking documents in the portfolio next to it. Glanced at them idly as I pocketed the money. On top was a letter to Hendricks from a law firm in San Francisco. And although this was no place to be caught reading other people's mail, I began reading was dated two months ago, October 18, 19, 1934. Addressed to Hendricks in Bedford Park, London. Wish to thank you for the patience and cooperation you have shown in the matter of your uncle's estate. Realize our position, of course. Since you are completely unknown personally to either relatives or legal counsel in the United States, it has been necessary to establish proof of your right to the estate entirely by documentary evidence. Happy to state that such proof is now thoroughly established. Ask that you present yourself with documents requested in our previous letter at our San Francisco offices and trust that final disposition of the estate will be accomplished without further difficulty. Signed Martin Kelsey, Attorney at Law. I put the papers back in. The police grabbed my luggage and started to Leave? But I didn't leave. I stopped with my hand on the doorknob, and all of a sudden, my mind started going a mile a minute. Birth certificate, affidavits from friends, notarized. Statement from the department of records, Chief of letters, evaluation of estate. Oh, my heart began to pound. Yes, this was a long shot. I knew it as I stood there looking down at those papers, checking them care carefully. But it paid off. A hundred thousand dollars. Everything. Every affidavit and statement was a guarantee that their bearer was Walker Hendricks. And to tie it up tighter, one of the letters said pictures wouldn't be necessary. Just a passport. Yes, it was a long shot, but did you ever see odds like that, boys? Maybe you're right, boys. Oh, I don't know. Maybe I lost my reason. There in the hotel room with a hundred thousand dollars under my nose, trying to think a million things through at the same time, trying to calm down and see it clearly. When I knew Hendricks was liable to walk in any minute anyway, I put the papers and the $680 back in the valise and put the copy of McBowty's, your London and mine on top. Then I called Tommy Dewitt at the horse's neck, Told him the Hylia deal was off. There wasn't any money in the room. We left Chicago the next morning, right on schedule. Omaha expires. Expect we'd better stay there tonight, eh? Oh, you were saying? You know the George Inn, Raymond? Yes. You know, it's not in London proper. It's in south, on the other side of the river. Oh, yes, I'm. What would you give for some of their jugged hair or their bubbling squeak? It's a rare old in the George. I couldn't see a leak anywhere. All I had to do was pick the right time and place. He looked 45, but according to the birth certificate, he was only a year older than I. And you can't tell how old a man looks by the way he writes a letter. Yes. I thought of the handwriting tool, made traces of the signatures on the letters and practiced on them every. Every minute I was alone. The cock in Fleet Street. Ever been there, Raymond? Ever been to the. What? The. Yes. Yes. Oh, yes. In Fleet Street. I used to go there with a friend of mine, a reporter on the Times. It seems there was a waitress there that he was quite fond of, much to the dismay of his parents. Ah, here we are, right on schedule. Salt Lake City, three miles. Jove. I'll be glad for a wash. That plain country is Appalling. Nice to have some trees for a change. Yes. Not a bad spot at that. Matter of fact, I have an aunt here, you know. Huh? An aunt? Yes. Why? How long since you have seen her? Oh, I've never seen her. Don't intend to. She's a sister of my mother's, a Marguerite Stoddard. Thoroughly Americanized, I understand, and probably a crashing boar. But really, old man, aren't you going to look up your dear old aunt now that you're right here in Salt Lake? No. Definitely not. Definitely not. I managed to get away from Hendrix right after dinner and told him I had a friend to look up. Yes. Here was a way of telling about that payoff ahead of time. A laboratory test right here in Salt Lake City with nothing to lose if it didn't work out.

[Various Characters]

How do you do?

[Narrator/Host]

How do you do? Are you Mrs. Margaret Stoddard?

[Various Characters]

Yes.

[Narrator/Host]

I'm Walker Hendricks.

[Various Characters]

Oh, I. I can't believe it.

[Narrator/Host]

May I come in?

[Various Characters]

Yes, of course. I'm a little. You must excuse me.

[Narrator/Host]

I understand, Aunt Margaret. I was so hoping it would be you. I found your address in the phone book, you know.

[Various Characters]

Please make yourself comfortable. I'll fix some tea.

[Narrator/Host]

Oh, no. I just finished dinner.

[Various Characters]

Please let me. I'll only be a minute. And somehow I can talk much better over a cup of tea.

[Narrator/Host]

Very well. I give in.

[Various Characters]

You're a pleasant surprise, Walker.

[Narrator/Host]

Thanks.

[Various Characters]

I'd expected you'd be a little more like me.

[Narrator/Host]

Like. Like what?

[Various Characters]

Oh, perhaps I'd better not mention it.

[Narrator/Host]

Oh, please do. You know, I think it's time we talk these things over.

[Various Characters]

You'll never know how much your Uncle Gerald regretted what he did.

[Narrator/Host]

Oh, you mean the will?

[Various Characters]

Of course. Not long before that. Cecily never told you, I suppose?

[Narrator/Host]

No. Oh, no. She never told me.

[Various Characters]

Your mother was so hurt. It's no wonder. If they could only have understood each other better. But she and your Uncle Gerald were as two peas in a pod, Walker. Neither would give in an inch.

[Narrator/Host]

You know, Aunt, she never mentioned her family.

[Various Characters]

No, I suppose she wouldn't. After all, she loved your father, and Gerald hated him.

[Narrator/Host]

And so she. She left.

[Various Characters]

Yes, of course. You naturally don't know all these things.

[Narrator/Host]

No, no, naturally.

[Various Characters]

I know Gerald would be the last to admit it, but I'm sure the will was his stubborn way of giving in to her.

[Narrator/Host]

Well, perhaps.

[Various Characters]

I'm sure of it. And since I've met you, Walker, I'm happier than ever it worked out this way. Now that there's nothing any of us can do for your poor mother and father. But I was going to fix tea, wasn't I? You just make yourself comfortable. I'll be right back.

[Narrator/Host]

If there ever was any doubt in my mind, it disappeared then and there. I even tried to catch myself up. And she never suspected a thing. They knew absolutely nothing of Cecily Hendricks from the time she left home until Gerald died, leaving her the hundred grand. At that point, they made a pretty thorough search. Found both she and her husband had died in England, and their son Walker was the only heir. I could have told her I was born in the Tower of London. And you would have believed me. Yeah, that was it. Yes, and now I even had an identity witness to back me up. It's 521 miles from Salt Lake to Reno, But I convinced Hendrix we could make it before stopping. I had a special reason. We had to hit the desolate section of middle Nevada about midnight. I as usual, from the time I stepped on the starter that morning, he was off on another tour of London. You know, for all the years I've lived in London, I've never visited Billingsgate. Oh, you must have passed it. It's right next to the bridge. Oh, you've been there? You know, there's hardly a spot in London where I haven't been. If you like fish, you'd be interested. Otherwise, I wouldn't recommend it, really. Oh, fascinating district around there. Though, when you get right down to it. Killing a man's a pretty tough job, Even when it's as perfect as this was going to be. So for once, I was so thankful for London. It gave us something to talk about. And there was so much on my mind that I might have given myself away in silence. So I prattled on like a phonograph. Yes, I used to go down there as a boy to watch the Dutch yield boats put in and out of the harbor. I never heard of a Dutch eel boat. Well, I expect most Londoners haven't. You know, amazing thing about that town, it seems that the greenest tourist knows more about it than the Londoners themselves. I'd say you've done rather well. But, you know, I, I I've been on my own since I was 14. Now, take yourself, for example. Ten to one you've never been in Petticoat Lane. Perfectly marvelous place. Regular oriental bazaar right in the heart of the city. That a fact? Japs, Chinese, Malayans. Everybody shouting at once and selling something different. That's rather near Hangman's dock, isn't it? Yes. Catch that sign, will you? Oh, very well, slow down a bit. Wendover Oasis. Well? Oh, yes. Elko, three miles. By the way, Raymond, don't you think it might be wiser to spend the night here? I thought we decided. Well, yes, I know, but I've been thinking it's rather a long go to Reno. Well, you can doze in the car. Yes, but why? We've got lots of dime. Look, here's what we'll do. Make Reno tonight and take a little extra jaunt around Lake Tahoe tomorrow. We won't lose a bit of time, and I'll promise you that it'll take your breath away. How's that? Well, we'll have a quick bite in Elko and move right on. It's only a few hours. Oh, very well. Although, frankly, Raymond, I'm enjoying this reminiscing so much, I hate to cut the trip short. Oh, good. Well, that's decided then, eh? Left of the about 8 midnight, we were somewhere between Winnemacca and Reno, passing through some barren hills. I knew the time had come and my hands began to shake so much that I had to grab the wheel with both of them. I felt beneath the cushion for the wrench, and it was still there. Finally, I held my breath and pulled over on the shoulder.

[Various Characters]

Who?

[Narrator/Host]

Oh, I say. Oh. What were you stopping for? Look. Look over there against that cliff. Where? Oh, all over. He never knew what hit him. I turned out the lights of the car and pulled the body out on the right hand side. We hadn't passed the car for hours, so I wasn't worried much about being seen. He was heavy, pretty heavy, but I managed to carry him over my shoulder as I walked off into the brush. There was a small cave on one side of the ravine. I shoved the body in, rolled a large rock over the opening, started a small landslide which completely covered the hole. Nobody could possibly find it. Clouds came back across the moon again, and I got a bit off in my direction between. I ended up on the highway at the top of a rise some distance ahead of the car. I just about reached the car when I saw something that made my stomach feel as if it was full of ice water. For there behind my car was another one with a seal on the door. The seal of the Nevada State Police. There was nobody in the car. The officer must have been wandering around looking for the driver of my car. I lifted the hood of the engine and knocked the battery cable off one of the terminals. And then I waited for a year there in the silence. Then I almost cried out in relief. The Officer appeared from the other side of the highway. Hey there. What's the trouble? I don't know, Officer. You just went dead on me. Having a look up the road when you arrived. Yeah, we usually check on stalled cars on this stretch. You say she went dead on you? Yes. The lights went out. The motor just died. The lights went out, huh? You been under the hood? I wouldn't do much good, I'm afraid. I'm pretty green at that sort of thing. Now, let's have a look. Fine. Yeah. All right. Get the flashlight on your battery. Cable's jar loose, brother. Got a wrench? Yes. Yeah, right handy, huh? All right. There you are. Say, try her now. You know, that looked pretty simple. Yeah, it was. Thanks. Thanks ever so much. That's okay. Let's see. Your name's Hendrix, huh? Check the registration. You're a long way from home, brother. That's right. Yes. Well, thanks. Thanks a lot, you. You're welcome, brother. Good night. I was sure he knew nothing. Too sure, I guess. I had the passport fake here in San Francisco. Complete with picture and a perfect imitation of an English visa. I was all set. Yet when the time came, I began to waver again. I wasn't sure about that cop. What if he sent someone back the next day to look around? Battery cables just don't jar loose by themselves. For three days I sat in my hotel room here thinking. I bought Nevada papers from an out of town newspaper stand on Market Street. No mention of the murder. Nothing. Nothing. That's why you were smart. You'd never have got me if anything had leaked out of the papers about finding that body. Well, anyway, when I couldn't stand it any longer, I flipped a coin. Heads, I'd do it, tails I wouldn't. I came up heads. Well, you know the rest. Naturally, I denied it until you sprang it on me that the body had been found. And then I knew it was no use. Well, why don't you say something? Still think I couldn't carry it off, Kelson? Well, don't just sit there with a blank look on your faces. Say something. Well, Raymond, we were holding you for the murder of Walker Hendricks. But appears we were wrong. What? What's the matter with all of you? Oh, it was a long shot, Raymond, but it was a pretty good bet. Maybe that's why both of you gambled on it. What do you mean, both of you? You and whoever you bumped off in Nevada with. Whoever I. Hendricks is dead. I know he's dead. Oh, Hendricks was murdered all right. But you didn't do it. What? You see, he beat you to it, Raymond. Who beat who? Your traveling companion. He wasn't Hendrix. He wasn't even an Englishman. That's why he was pumping you so much about London. He was. What do actors call it? Getting up in his park. What are you talking about? I thought you found Hendrik's body in Nevada. Oh, brother. Hendrix never was in Nevada. Poor guy never left New York. The New York police turned up the real Hendrix in the east river the day after you left town, chauffeuring for the guy who killed him. Sam, This is the armed forces radio service. Sam, You are about to hear a story based on actual events. To protect the innocent, names and places have been changed. Autolite and its 966000 dealers bring you Ms. Agnes Moorhead in a story taken from life. Tonight's presentation of South Spence. Tonight, Autolyte presents the Evil of Adelaide Winters. A story about the awful results of a Woman's Greed. Starring Ms. Agnes Moorhead. Well, there's Stanley Smart, the brainy boss of our bustling baseball club. What's the matter, Stan? Battery trouble? Yeah. Hollow. I forgot to fill my battery with water and it's dead as a cellar dweller's pennant chances. Well, why not farm it out in favor of an auto Light Stay Full battery. The battery that needs water only three times a year in normal car use. Lots on the ball, eh? Hallo. Ah, it sure has, Stan. Because the famous Autolite Stay Full has over three times the liquid reserve of batteries without stay full features. And that advantage alone helps overcome one of the greatest causes of battery failure. Sounds like just what I need. Hollow. Why, Stan, the Autolite Stay Full is tops in dependable starting power and gives longer life as proved by tests conducted according to accepted life cycle standards. Lead me to it, Hollow. Just call Western Union by number and ask for operator 25. She'll quickly and without obligation tell you the name and address of your nearest Autolite battery dealer who handles the famous Autolite Stay Full of the battery that needs water only three times a year in normal car use. And remember, from bumper to tail light, you're always right with Auto light. And now, with the evil of Adelaide Winters and the performance of Ms. Agnes Moorhead, autolight hopes once again to keep you in suspense.

[Various Characters]

I am grateful for any chance to take tell my story to explain my position in the entire horrible affair. Since the doctors finally removed the bullet from the base of my skull, I'm able to speak. For over six years my body has been paralyzed and I have had to Remain silent. But now I can speak. You weigh it. You weigh all the facts about whether I did Edward Porter more harm than good. The war years had made the work of astral communicators, mediums. They'd made our work important and necessary. We believe it's as necessary as life itself to believe in life after death. Especially during a war when people's loved ones are dying. It's important. Mediums bring courage to despair. Did you get all the newspapers?

[Narrator/Host]

Yeah, Adelaide, I got them all.

[Various Characters]

Read me the list.

[Narrator/Host]

Now for the week of July 8, the War Department announces the following members of the army listed as dead. PFC Thomas.

[Various Characters]

Just those missing in action. Robert, please.

[Narrator/Host]

Oh, Adelaide, I. I still don't like it.

[Various Characters]

It doesn't make much difference if you like it.

[Narrator/Host]

Now, look, I taught you everything about this medium racket.

[Various Characters]

Oh, yes. You taught about tin horns blowing and faces painted with phosphorescent coloring. You taught me a series of Halloween tricks, carnival mumbo jumbo. I made it pay, Robert. I made it a science.

[Narrator/Host]

You took them from me.

[Various Characters]

I didn't need them. I have insight. You don't. I know about people's superstition and desperation. I can read people's weaknesses. Did you teach me those things? You. You don't know anything. Not even your own weakness. You're a terrible weakness. You need me, Robert. I don't need you. I did once, but not now. Not anymore. Go ahead. Go ahead. Walk out. Walk out the front door.

[Narrator/Host]

Please don't talk like that, Adelaide. You know I'd never leave you.

[Various Characters]

Of course I do, but.

[Narrator/Host]

Look, haven't we made enough? All the people we've taken so far helped, Robert.

[Various Characters]

That's why you've never been a successful medium. We haven't taken or used anyone we've helped them.

[Narrator/Host]

Rich old dowagers who are on their last legs anyway. People with nothing but time and dough to waste.

[Various Characters]

People who've lost their loved ones, the bereaved and despair. We give them hope. The widows and weeping mothers. We bring them contact with their loved ones who've died on some distant battlefield.

[Narrator/Host]

I don't know. I wish I understood you. I wish I knew what you wanted.

[Various Characters]

I want money and happiness, and they're the same.

[Narrator/Host]

But we've got money.

[Various Characters]

Not enough. Read me the list of those missing in action, Robert. And their addresses and their Phone numbers, please.

[Narrator/Host]

PFC Timothy Aldington, 927 North King Avenue, Cutler 9.

[Various Characters]

It's not a good neighborhood.

[Narrator/Host]

Oh, Adelaide. Would it be simpler to just contact the relatives of the men who are Killed? Wouldn't it be easy to work them?

[Various Characters]

No. I told you, no. With a man missing in action, who's to say my information about how or if he died is right or wrong? Who? Not even the War Department. Not even the men who are supposed to know. Continue, Robert.

[Narrator/Host]

Staff Sergeant Abe Feynman, 826 East 32nd Street.

[Various Characters]

A very poor district. People are poor.

[Narrator/Host]

I see. Corporal John Porter, 1438 Williamsburg Road. Hammer 47.

[Various Characters]

Call that one. Robert. Use that phone. I'll listen in on this one.

[Narrator/Host]

All right. Hello? Is this Mr. Porter? Yes. Corporal John Porter's father. I'm his father. What is it? This is the War Department. You found him. I'd almost given up hope, but you found my son alive. Your son is dead, Mr. Porter.

[Various Characters]

Well, all right. You can say what you like, but mostly. And I've pieced the reports together. Mostly. Missing in action means the worst kind of death in a war.

[Narrator/Host]

Old people.

[Various Characters]

Officials argued with me. They say that missing in action only means missing. Yes, but for how long? Edward Porter. That was his name, Edward. The father. He didn't know. And even though he was skeptical when I telephoned him, he came to my office skeptically. But in desperation. Don't you see? He came to my office with the hope he'd find his dead son.

[Narrator/Host]

I usually never come to these things.

[Various Characters]

You don't believe in them, Mr. Porter?

[Narrator/Host]

I don't know. I knew once. I don't know now.

[Various Characters]

Well, it's difficult to know anything for certain in moments like this.

[Narrator/Host]

I've been a realist all my life. So have I. I'm a successful businessman. I've always dealt with facts. Facts and figures.

[Various Characters]

Well, this is real, Mr. Porter.

[Narrator/Host]

Maybe. I mean, I don't know.

[Various Characters]

What you really mean is you. You hope so. You hope it so true. You hope it's real.

[Narrator/Host]

Yes. Yes, that's it. I hope it's real that it's not a racket.

[Various Characters]

Rackets are only out for money. Well, I will want money, Mr. Porter. I must live too. But I only want your money if I've helped you. Do you understand? Only if I've made the life of the astral world, the life beyond this one. Only if I've made it bring happiness to you.

[Narrator/Host]

You're a good woman, Mrs. Winters. A good woman.

[Various Characters]

We shall start, Mr. Porter, with the lights on. With all things visible to you. We shall start. What could Edward Porter turn to his friends? They all had their own problems. The same kind or different. But problems could he turn to his work didn't mean Anything anymore. Or his money. He had only gathered it for his son. His only son. His only child. And that child was dead. Only I could help. And we tried for seven days to make contact with his son. Seven days devoted exclusively to Edward Porter. I hear. I. I hear the faint sounds of guns firing. Yes, it's very distant. Very distant. I can't quite. Yes, there's a face. I. I cannot. I cannot see the face. A voice. Yes, It's a voice.

[Narrator/Host]

It was terrible, the way I die. Who? Who is it? Is it John? John, is it you?

[Various Characters]

A voice? You speak? We're friends.

[Narrator/Host]

I was afraid of dying. But now, here. Now it is beautiful. Dying is hard.

[Various Characters]

But death is beautiful.

[Narrator/Host]

Please. Please. Who? John. I am John.

[Various Characters]

It is John.

[Narrator/Host]

Father. Thank heaven. Father, I must leave. Do not lose me. No, John. Stay. Please stay. Do not lose me. Do not lose me. John. Dear son. My son. Mrs. Winters.

[Various Characters]

Ah, well, we've reached him. Mr. Porter, we've reached your son.

[Narrator/Host]

Thank you, Mrs. Winters. Thank you. Thank you. Thank you.

[Various Characters]

Some say I should have known. Some say I made him ill. That the shock. Well, that it affected him. But I say it would have happened anyway because he had nothing to hold on to. Nothing. I gave him something. You may disagree with the astral science. You may that you're right. But who else did Edward Porter any good when his son was killed in combat? Who else brought him any comfort for that horrible, horrible thing I did? Only I. Maybe that's why he would sit for extra hours waiting. Not just for a seance. For me. I had brought him happiness.

[Narrator/Host]

Misses winder.

[Various Characters]

Come in. Come in. Mr. Porter. Oh, I've helped so many people today. So many. But that's my dedication. Anyone who needs help, maybe too many. Why did you say that? Why too many? How could I possibly help too many?

[Narrator/Host]

Never mind. Let's begin.

[Various Characters]

You're acting unusual today, Mr. Porter. Is something wrong? I mean, is there a new problem I can help you with?

[Narrator/Host]

I said begin. No. Talk. Begin.

[Various Characters]

Well, now, see here, Mr. Porter. I offer my services. I give freely of my services to help others. But after all, that doesn't give license to you or anyone else. Well, even you. I mean, considering the amount of sessions we've had. I know, but it doesn't even give you a right to talk like that. Did you hear me, Mr. Porter? Mr. Porter.

[Narrator/Host]

I can't stand your spending so much time with others. It's my work, Mrs. Willis. I want all your time.

[Various Characters]

That's quite impossible and quite expensive.

[Narrator/Host]

I can afford it. I must be with my Son More.

[Various Characters]

We'd be pestered all day long by other clients. Mr. Porter, they'd keep coming here.

[Narrator/Host]

I know, I realize.

[Various Characters]

And McBain, my assistant. He's always been with me.

[Narrator/Host]

Bring him. Both of you live in my home. It's a huge house. Since my wife died years ago. But you know all that. Since she died. And I know my son.

[Various Characters]

I know.

[Narrator/Host]

I need your help. You can bring my son to me. You must.

[Various Characters]

You must. I. I would be failing mankind if I didn't. I would be failing my duty. Of course, Edward. Of course.

[Narrator/Host]

Auto Light is bringing you Ms. Agnes Moorhead with Joseph Kearns and Herb Butterfield in the Evil of Adelaide Winters. Tonight's production in radio's Outstanding Theater Thrills Suspense. Well, that's the old ball game. Congratulations, Stan. Never could have managed it without that picture. Hollow. You mean Ace McDougall? No, my new Auto Light staple. That's the power pitcher for perfect starts. What a battery. Oh, you visited your Autolite battery dealer, eh, Stan? Yes, sir. And I found his name by calling Western Union and asking for operator 25. Well, you're set now because the Autolite stay full, needs water only three times a year in normal car use, and what's more, it gives longer life, as proved by tests conducted according to accepted life cycle standards. You can't beat that winning combination. No, sir. Hollow. Right you are. So, friends, see your nearest Autolyte battery dealer soon. To quickly learn his address, call Western Union by number and ask for operator 25 without obligation. She will tell you where you can buy an Autolite Stay full the Battery. That proves you're always right with Autolight. And now, Autolight brings back to our Hollywood soundstage. Ms. Agnes Moorhead in Elliot Lewis's production of the Evil of Adelaide Winters. A dramatic report, well calculated to keep you in suspense.

[Various Characters]

Why should I think there was anything wrong in moving into Edward Porter's huge home? It was a beautiful new home for his son. But now his son was dead in the war and I was bringing his son back to him. Making Edward Porter think the life his son had gone to was really a better life. A fuller life, a happier life. Maybe that should have been my warning. Maybe I should have known. But the money was so wonderful. The house was so beautiful. The money in house for a dead man's voice once a day. Only Robert McBain warned against it.

[Narrator/Host]

I just picked up the mail. There's a letter for you.

[Various Characters]

Me? A letter for me? Here.

[Narrator/Host]

War Department.

[Various Characters]

You opened it? You opened my mail.

[Narrator/Host]

It's addressed to Porter, but It's for you.

[Various Characters]

What was it? What did it say?

[Narrator/Host]

Read it yourself. Seems the government doesn't like mediums posing as the War Department.

[Various Characters]

Who could have told them about me?

[Narrator/Host]

They don't mention any names, but they

[Various Characters]

say mediums have been contacting the. The parents of war casualties. I've done that. They must be me.

[Narrator/Host]

Well, what difference does it make? We've taken Porter for. Enough.

[Various Characters]

You shut up.

[Narrator/Host]

I'm warning you, Adelaide. I can see it. You can't. I can see his eyes. When. When you walk past him. It's time to lay off, to get out. Oh, no.

[Various Characters]

Oh, no, Robert. You would like that? You'd like me to run, to leave all this? Well, I won't. Because I'm going to marry Edward Porter.

[Narrator/Host]

Ma. Oh, you can't. You wouldn't. Adelaide, I've worked for you. I've loved you. I've. I've hung around because I loved you.

[Various Characters]

And you can still hang around. Robert.

[Narrator/Host]

No. No, not now. Not now. I won't.

[Various Characters]

Getting brave again, Robert. This is a comfortable life. Just being a dead man's voice. Going to throw it over for love? I'm not marrying for love. Why should you throw all this away for love?

[Narrator/Host]

Did he ask you to marry him?

[Various Characters]

Speak up, Robert. I can't hear you.

[Narrator/Host]

I said, did he ask you to marry him?

[Various Characters]

No. But he will.

[Narrator/Host]

Oh, you're awfully sure of yourself. About everything.

[Various Characters]

Of course he'll ask me, because he must hold onto me. I'm the only person who can bring his son to him every day. Like a clock. Like a stopwatch. Like a pistol shot.

[Narrator/Host]

Something's wrong with him. I'm warning you.

[Various Characters]

Yes, I can bring his son to him like a stopwatch. Robert, Even now I say no one, no one could have foreseen the events. I'm sure of that. As sure as I am that no one would have acted any differently than I did. As little by little, I became the most important thing. The only thing in Edward Porter's life. The only thing beside a voice he worshipped. Yes, worshiped. Could any woman refuse such adoration, such love?

[Narrator/Host]

John sounded happy, Adelaide.

[Various Characters]

What? What, Edward?

[Narrator/Host]

I said he sounded happy. Happier than I've ever heard him.

[Various Characters]

Yes, they are happy. In that other world.

[Narrator/Host]

How wonderful to feel happy again. To feel hopeful.

[Various Characters]

To share your life with someone.

[Narrator/Host]

Yes, to share it with you.

[Various Characters]

Edward.

[Narrator/Host]

John didn't say much today. That isn't like him. He's always talkative. I wonder if I've been saying the right things to him.

[Various Characters]

Adelaide, you speak of him as if he's like us, isn't he? Well, of course. We're all one spirit. Of course he's like us. But we have a life on this world to live before. The other one. We have so much to live for.

[Narrator/Host]

Can it compare to the other world beyond the grave?

[Various Characters]

Why, no. But we must wait our time. We cannot ignore this life. We are in it. We must live as best we can.

[Narrator/Host]

I don't know if I ever could without John. This was built for my son.

[Various Characters]

But you haven't lost him. Through me you regain John.

[Narrator/Host]

That's why all this is yours, at least.

[Various Characters]

Well, I'm only a kind of employee.

[Narrator/Host]

Don't say that, Daw.

[Various Characters]

I'm paid a salary.

[Narrator/Host]

You're not an employee.

[Various Characters]

Am I?

[Narrator/Host]

More like a member of the semi. Like.

[Various Characters]

But not actually. There's a great difference between like and actually.

[Narrator/Host]

You're the family. You and John and I.

[Various Characters]

You and I. John is a spirit now.

[Narrator/Host]

You and John and I. One family. One unit again.

[Various Characters]

I'm not your wife. You speak like I'm your wife. I'm not Edward. Not at all.

[Narrator/Host]

You will be my wife. My dear, my wonderful wife.

[Various Characters]

Edward. Kind, sweet Edward. My husband. Edward.

[Narrator/Host]

I sense something odd here now, with us.

[Various Characters]

No, Edward. No, darling.

[Narrator/Host]

Like we were with John for the first time. As if we were with John.

[Various Characters]

No, Edward, it's not that.

[Narrator/Host]

Wanted us to share our happiness with him, like he wanted us to be with him.

[Various Characters]

I was terrified. I'd never seen it before. A reaction like his. Well, once, a woman, she just disappeared one day. She'd lost her husband and two children. An automobile accident. And I calmed her down in seances. Talking to her dead family, making them seem real. Then one day, she just disappeared and left a note. She said she was going to join them.

[Narrator/Host]

He. He's sick. He's dangerous.

[Various Characters]

Adelaide, you're trying to intimidate me.

[Narrator/Host]

He doesn't know what's real or not.

[Various Characters]

You're jealous again.

[Narrator/Host]

I'm trying to tell you how dangerous it is.

[Various Characters]

How dangerous?

[Narrator/Host]

Robert, I. I don't know exactly.

[Various Characters]

Will he turn me over to the police?

[Narrator/Host]

There's more. Something more.

[Various Characters]

Will he demand his money back? The money he's paid me?

[Narrator/Host]

Oh, I. I don't know.

[Various Characters]

The money means he's losing his reason.

[Narrator/Host]

His what?

[Various Characters]

What How? Don't generalize. Be specific.

[Narrator/Host]

If you're as smart as you say you are, you ought to run.

[Various Characters]

Not until I have all of this.

[Narrator/Host]

You can walk out that front door now with me.

[Various Characters]

I have to stay and get what I've Worked for. It's mine.

[Narrator/Host]

You're scared I won't leave.

[Various Characters]

Not for anything. Not until I'm married to him.

[Narrator/Host]

You're really frightened. You're just putting on an axe.

[Various Characters]

Nothing can make me leave. Nothing. Nothing. Nothing.

[Narrator/Host]

You know I'm right. Please. Please, Adelaide.

[Various Characters]

You know you're a coward. You're a coward, Adelaide. Coward. I should have listened to Robert's warning. I should have. But how could I take the advice of a man I didn't respect? How I couldn't even accept Robert's advice when Edward Porter cancelled the seances for one entire day. Even though he was with me every minute of those 24 hours. Even when he sat in a chair in my room while I slept, not speaking, just watching. Always watching. Even then I couldn't admit Robert was right. I had to be right. I had always been right. Even though I barely slept. I was afraid to sleep. So terribly afraid. Even though then I couldn't admit Robert was right, that Edward Porter was past my control.

[Narrator/Host]

Adelaide. Adelaide.

[Various Characters]

I'm not asleep, Edward.

[Narrator/Host]

I thought you were. I've been watching you for hours.

[Various Characters]

And I've been watching you too, Edward. I couldn't sleep. So very strange, have I? Like you didn't trust me.

[Narrator/Host]

Oh, but I do. I do, my dear. My dear Adelaide. I trust you more than I've ever trusted any human being I've known.

[Various Characters]

What's wrong? What's bothering you?

[Narrator/Host]

How much does this mean to you?

[Various Characters]

Our marriage, this house? Nothing without you, Edward.

[Narrator/Host]

And my money.

[Various Characters]

Only something to share with you.

[Narrator/Host]

Nothing more.

[Various Characters]

Nothing. You're my life.

[Narrator/Host]

And you're mine. You and John. Both of you.

[Various Characters]

Why do you keep saying that? What about John? John is dead, Edward. He's waiting. But he's not with us. Not really.

[Narrator/Host]

What does John mean to you?

[Various Characters]

A son. Your son and mine.

[Narrator/Host]

You love him as I love him.

[Various Characters]

I told you that.

[Narrator/Host]

Edward, why do we have to wait?

[Various Characters]

Edward, I don't understand.

[Narrator/Host]

Why must we keep him waiting?

[Various Characters]

You can't be serious.

[Narrator/Host]

You said this world, this material world, meant nothing without me.

[Various Characters]

No, Edward. No. This is our world. This is the one we live in.

[Narrator/Host]

What is there to wait for? This is a place of evil and sin and corruption. You said so. You've shown me that.

[Various Characters]

Edward. Edward, that gun. Put it away.

[Narrator/Host]

You've shown me the beautiful world that lies beyond the.

[Various Characters]

It was exaggerated. I mean, understand and upset. Things get distorted.

[Narrator/Host]

We.

[Various Characters]

We see what we want to. Don't you understand? It's not perfect. Beyond. It isn't.

[Narrator/Host]

Don't say that. You Taught me faith. Don't lose faith now. Don't be afraid of leaving this world.

[Various Characters]

It's the only world, the only one. There's no astral world beyond. None. It was a lie. I only wanted money and position. Believe me. Only money and position. And the rest was a lie.

[Narrator/Host]

John's voice. A lie. John's voice. My own son's voice. I know his voice. In a crowd, in eternity. I know his voice.

[Various Characters]

I'll show you.

[Narrator/Host]

I'll show you.

[Various Characters]

It was a lie. Robert McBane. He's in his room. Come on. Come to his room.

[Narrator/Host]

Edward, come back here. Edward.

[Various Characters]

It's a lie. It's a lie, Robert. And he'll tell you there's no life beyond. He'll tell. Robert. Tell him that. He'll. Robert. Robert, where are you? Oh, no.

[Narrator/Host]

Oh, no.

[Various Characters]

The coward. The coward. He left. It was a lie. It was a lie. There's no life beyond. There's no life beyond.

[Narrator/Host]

Don't be afraid. Stop.

[Various Characters]

Edwards. Stop. Stop. Stop. You're insane,

[Narrator/Host]

John.

[Various Characters]

Six years it's been. Just lying here. Not able to talk, to tell my side of it. But now it's out. Now you know, you judge. You judge whether I did harm Sam.

[Narrator/Host]

Suspense. Presented by Auto Light. Tonight's star, Miss Agnes Moorhead. And here she is again, first lady of suspense, Ms. Moorehead.

[Various Characters]

Thank you, Harlow. First lady of Suspense is a title I'll always cherish.

[Narrator/Host]

Agnes, I believe this was your 20th appearance as Star of Suspense.

[Various Characters]

I guess you're right, Harlow. Write with Auto Light. You see, I've been here so often, I can do the commercials. But seriously, I thoroughly enjoy suspense. And I'm looking forward to the next time.

[Narrator/Host]

Well, it'll be soon, Agnes, because you're an important part of the big Autolite family. A friendly family extending from coast to coast. In 28 plants, Autolite makes over 400 products for cars, trucks, planes and boats. Complete electrical systems used as original factory equipment on many leading makes of our finest cars, trucks and tractors. Autolyte batteries, including the famous Autolite. Stay full of ignition. Engineered Autolite standard and resistor type spark plugs. All backed by constant Autolite research and precision built to assure top performance. So remember, from bumper to tail light, you're always right with Autolight. Next week on Suspense, our star will be Mr. Charles Lawton. In another story based on actual events concerning a man historically famous as the most notorious poisoner who ever lived. A dramatic report we call Neal Cream, doctor of Poison. In weeks to come, we shall also present Mr. Tony Curtis and Ms. Jean Crane. All on suspense. Suspense is produced and directed by Elliot Lewis. With music composed by Lucian Marlick and conducted by Lud Gluskin. The evil of Adelaide Winters was written for suspense by Arthur Ross. In tonight's story, Herb Butterfield was heard as Porter. And Joseph Kearns as McBain. Agnes Moorhead may be seen in the fall tour of the first drama quartet presentation. Of the dream sequence of man and Superman. And remember, next week on suspense. Mr. Charles Lawton. In another story based on actual events. A dramatic report. We call Neil Cream, doctor of Poison.

[Various Characters]

Phone Western Union by number and ask for operator 25. There is no charge for this service.

[Narrator/Host]

Switch to auto light.

[Various Characters]

Good night.

[Narrator/Host]

This is the cbs radio network, Suspense. And the producer of radio's outstanding theater of thrills. The master of mystery and adventure, William N. Robeson. Murder's tricky stuff to fool around with. Like nitroglycerin, H bombs and a woman's heart. You have to know how to handle it. And when an amateur dabbles in the murder market. Well, as they used to say in ancient Rome, caveat emptor, let the buyer beware. Listen. Listen then to what happened to such an innocent as Everett Sloane stars in Alibi. Which begins in exactly one minute. In the great legends of America. There was always room for the fairer sex. Now, I don't know if you'd call Stack a dollar the fairer sex. Or if she'd be what you might call a pin up girl. But she sure impressed many men along the Mississippi during the early riverboat days. She had two diamond teeth with gold fillings. And when she opened her mouth with a sunburst smile. Didn't they glitter? She feared nothing and nobody. Her motto was come clean or come dirty and get cleaned. She could put a knot on a bully's head so big he wouldn't know whether the knot was on him or he was the knot. She had a full bosom, wore an eight gallon Stetson, Smoked cheroots. She ruled the levy with her big fist. And her boyfriend claimed he liked her cause she whooped him so good. Yes, that was the gal called Stack of Dollars. Folklore belongs to every nation's legendary past. And I guess we are Americans, have our share of some tall ones. And now, Mr. Everett Sloan in Alibi. A tale well calculated to keep you in suspense. There was nothing to it, really. Once I'd made up my mind. That was the heart of the part. Making up my mind. Not that Hannegan would be any great loss to anybody, including himself. But after all, you don't often go shopping for somebody to bump off your business partner. Never mind how I found the address. It was a grimy storefront between a press while you wait tailor and a fly Blown fruit store. Dusty cigarette stand up posters littered the window. Inside there was a stock of tobacco and candy that wouldn't have tempted a 5 year old. Not much danger of customers disturbing you here. A pair of sharp eyes under a green eye shade were looking at me. Yeah, I. I want to see Barney. Oh, I. I phoned him. He. He gave me this address back there. Thanks. Come in. Are. Are you Barney? So? Well, I. I phoned you yesterday. My name is. Never mind. You wanted a job, is that it? Well, yes. Short job or all the way? Short job. You just want to scare the guy, break his arm or rough him up. No, no, this has to be all the way. You see, he's my business partner. And the big chill is a thousand bucks in advance. A thousand? But I heard. What you heard don't count, mister. Well, I've got 500 here. I'll be able to get the rest easily enough as soon as. As soon as you get your mitts in the till, huh? No, it's. It's not that way at all. It's just that Hannigan, he put the money in the business and. And he watches it like a hawk. He. He'd slap me in jail in a wink if I probably is ready to slap you in jail already? No. How did you know? Not hard to guess. Well, as soon as he checks the books. First of the month. Only Hannigan ain't gonna be arrested the first of the month, is he? That's right. If you get busy and scare up to the rest of the grand, that is. But there's no time. Tomorrow is the first, so. Oh, no, please, Barney, you've got to trust me. I'll pay you on my word of honor. On your what? Oh, well, you know what I mean. I swear it, Barney. Well, I ought to have my head examined. Oh, thanks. Thank you. I'll take the five on account. Yeah, sure. Here, I'll. I'll get you the rest tomorrow. Okay. How about the subject? Where do we find him? Well, I don't want anything around the office, you understand? He lives in the Gatesworth. Gatesworth, huh? Better if we could catch him outside. Oh, well, he lives by the clock every night at 9. Never later than 9. 15. He goes to the drugstore across the street for a hot malted milk. Helps put him to sleep. Fine. We can do a car job. What's he look like? I've got a. Got a picture here. Good. I'll take it now. You'll destroy that later. I don't think you appreciate it, mister, the favor I'm doing you. This is the first time I ever worked a job without the green screen stuff in my hands. All of it.

[Various Characters]

Oh.

[Narrator/Host]

Oh, I appreciate it. Honestly, I. And I sure hope I don't have no trouble with you. Oh, no, no, no. You can count on me. That's good. I hate trouble. Now we gotta fix you up with an alibi. Me? Sure, you. Who are the cops gonna think of first when your partner gets the blast? Oh, don't worry. We take care of our customers a lot. Won't get the first base because you'll be all sewed up with an airtight alibi. Well, I. I thought I'd just take a trip out of town. Where to? What for? Who are you gonna see? Why, you skip it. That's the first thing they all think of. Well, I never thought. That's the trouble with you amateurs. You never think. Well, if I. I just stayed home with my wife. No, and we can't have your visit than friends either. You'd blow the deal before you said three words. Oh, I don't think I. Look, you're paying me to do your thinking, mister. We got our own skins to look out for too. Now, what business did you say you were in? Tea and coffee. Wholesale. Ever stopped for a drink on your way home? Yeah, sometimes. All right, tell you what we'll do. You know the Pelican? Yeah. Be the Pelican. That's somebody will meet you. You stick with him and you'll be in the clear. Yeah, but who? I'm thinking of a guy I can trust. Name? Alan. He's got a couple of restaurants you can be selling them coffee catch. Well, if you think it's necessary. Here, mister. Here's your five bills back. Oh, what do you mean? Get yourself another boy. Oh, no. Now, wait a minute. You can't back out on me now. If Hannigan gets a look at those books, I'll do anything you say. The pelican at 6, Mr. Allen. Well, that's better. Now, you just follow orders and everything's gonna work out just dandy. I walked out of Barney's with a feeling of elation. As for Hannigan, I feel felt no qualms about ending his miserable existence. He was old, withered. A man who had never in his selfish life done anything to help or comfort another. I had taken him into the business when I needed money. He had plenty of that. But I saw mighty little of it. No, I wasn't at all sorry I'd gone to Barney. Of course, Bonnie'd been a little too pessimistic about this alibi business. No reason I couldn't handle it myself. Why, I could go into the Pelican right now and more likely than not run into somebody I knew. But when I got there, there was something different about it. The neon signs weren't lighted and there was a notice nailed to the door closed for volume violation.

[Various Characters]

Yeah.

[Narrator/Host]

How about that mark? What? Padlocked. And I got a thirst. Oh, hello, Lee. Well, the Pelican isn't the only place in town. Let's drop around to Mordes. No, I. I'm afraid I can't le. Ah, nonsense. You look like you could use a drink. Anyway, I haven't seen you for a month of Sundays and I'm not going to let you get away before I buy you a piece of booze. There isn't much you can do with a persistent pal. Nothing much without making him suspicious. So I went along. Anyway, I still had plenty of time. Sure, Barney made it sound hard, building himself up. Sitting at Moriarty's with Lee, I had to laugh to myself at how easy it was. Why, I could take this fellow here, casual business acquaintance, invite him to dinner, spend the evening with him, and I'd have my alibi. The shock of finding the Pelican closed wore off. The pleasant, inconsequential chit chat over the smooth martinis was soothing. And then I was jolted. I can't see how you stand it, Mark. Tied to a skin flint like Hannigan, just because you need his capital. And if it was me, I'd be tempted to put bump the old coot off. What happened, man? Oh, here, let me get my handkerchief. Oh, no, it's. It's not your fault. I. I've got to go. I just remembered. Appointment. What on earth? It possessed me to talk about how Barney was right, dead right. I couldn't trust myself to face an evening with anybody I knew I'd give myself away. Sure. I looked at my watch. It was 6:30 and I was supposed to meet Barney's man at 6. I hurried back to the Pelican. It was still dark, of course, and there wasn't anyone waiting around who looked like he might be waiting for me. So I. I waited and waited. And I got more and more frightened. Something had slipped. I didn't have any alibi going for me. Then I realized I couldn't go through with it. A prison term for embezzlement was one thing, but the chair for murder? I had to get in touch with Barney. There was another bar across the street, the Green Parrot. They'd have a phone. They did, but the booth was occupied. A blousy blonde, her boyfriend stood by the door, weeding slightly.

[Various Characters]

She don't answer.

[Narrator/Host]

Well, keep ringing it, Dolly. Keep ringing it.

[Various Characters]

I am ringing.

[Narrator/Host]

Well, we gotta get a girl for Lefty Kelly's. Good old Lefty out of the cold.

[Various Characters]

Wait a minute.

[Narrator/Host]

I got an idea.

[Various Characters]

I'll call Helen. She's on, honey. Let's love it.

[Narrator/Host]

Call her.

[Various Characters]

Just a minute. I got a number right here someplace.

[Narrator/Host]

Look, miss, could I place a call, if you don't mind? It's important.

[Various Characters]

Well, you got a nerve. We was here first.

[Narrator/Host]

Well, it's important or I wouldn't ask.

[Various Characters]

I'll find another phone, but this is

[Narrator/Host]

the only one around here. Please come up here, sport. Honey, let him have a letter. All right.

[Various Characters]

Make it snappy, will you?

[Narrator/Host]

Yes. Yes, I will. Thanks. Thanks ever so much. I see. Hello? Hello, is this Bonnie? No, Bonnie ain't here. Well, can you tell me where I can reach him? Got no idea. Well, when do you expect him back? He ought to be around sometime. Well, how soon? I don't know. He don't tell me nothing. But I've got to reach him right now. Can you get a message to him? I could try. What's on your mind? Tell him. Tell him this is the party he sent to the Pelican at six o'. Clock. Yeah. Yeah. Well? Well, the Pelican's padlocked. I've been waiting outside, but the other party didn't show up, the one I was supposed to meet. Where you at now? I'm across the street. The Green Parrot. Look, have Barney call me, will you? Say, you got a hardly swing on. Just a minute, please. Listen, the number is. Is Grant 4937. Give some guys at least they want. I'll be through in a second. Have you got that, Grant 4937? Yeah, I got it. I'll tell him when he comes, brother. Okay. Okay, I'm finished. Thanks very much. About time. Okay, honey. Now watch that. I took a seat at the bar where I could keep one eye on the padlock door of the Pelican across the street and the other on the phone booth. And then I started sweating it out. I didn't need the silly cuckoo clock over the bar to tell Me, the passing of the minutes. Until suddenly I came to myself, seven o', clock, and that confounded couple was still at the phone booth.

[Various Characters]

I never saw anything like it. Helen, Marie, Janet, Ethel, Doris.

[Narrator/Host]

Can't all have dates. Try another one.

[Various Characters]

Oh, here. Here's a girl. Luffy will be crazy about it.

[Narrator/Host]

Look, miss, before you make that call. Oh, it's nosy. Listen, I'm waiting for a very important call. Won't you please stay off the line for a few minutes? No, no, but this is vital. It's a matter of life and death.

[Various Characters]

Ooh, how dramatic.

[Narrator/Host]

No, I mean it. Who writes your material? Bud? Ah, go ahead. Golly, go ahead. Don't pay the attention to this schmo. We got your lefty fixed, not missing. And please, you. You got to get off that phone. Now, listen, Boston fun spun. But you watch out how you talk to my girls. I don't care.

[Various Characters]

I.

[Narrator/Host]

You don't care How? Well, you listen to me. No, you listen to me, tough guy. Hey, Dolly, help me. It couldn't have lasted very long, but by the time they pulled the drunk off of me, somebody had yelled copper. And there was a big policeman filling the door. Okay, okay, okay. Now, what gives here? Officer, he did it. No, I didn't. No, please, Officer. All right, break it up. Now, back, folks. Now, which one started this? No, I didn't. I. I didn't do anything. That's enough. I better take the both of you. No, but, Officer, I. Please, wait a minute.

[Various Characters]

That.

[Narrator/Host]

That's my call. That's the call I've been waiting for. Come along, will you? Don't give me any trouble. No, no, but I must answer that phone. I. I've got to come along quietly or want to sample the end of this night stick. No, but you can't do this. Oh, I can't, can I? Please. What do you think of this? Now move, both of you. Hey, look at that. What? Handcuffs. No. Oh, brother. You pack a pretty good punch. Might as well be pretty good. Boys.

[Various Characters]

Harry, they're taking you away.

[Narrator/Host]

Ah, don't you worry, honey. Don't worry. You'll be off the ball. No, please. Let me ask you. So that fall. I said move. In just a moment. We continue with suspense. This is Johnny Baker with communism on the spot. In the ancient world, the top authorities on myths were the Greeks. In our time, the Communists have that distinction. One of the top myths they've been circulating is that the Communist Party is a workers party. Some of its members, no doubt answer that description. But these have always been Sort of window dressing, actually. The party is a political machine made up overwhelmingly of state officials, the military and industrial leaders. The workers in the Soviet Union, like everyone else, take their orders from above, from the bosses of the Communist Party, which isn't a workers party at all, but is a regimented bureaucracy whose members have only one interest, themselves. And now. We continue with the second act of Alibi, starring Mr. Everett Sloane. A tale which well calculated to keep you in suspense. The phone kept ringing in my ears. The phone with Barney on the other end. Barney and salvation. And here I was in the squad car speeding toward the police station, handcuffed to a stupid truck. Oh, was a good fight a while to last. There wasn't a fella. Now, listen, I tell you the truth, I'm just as happy to get away from that pig. I figured I'd PA her off on Lefty and get me another girl. Shut up, will you? No, no, don't be like that. Don't be like that. You worried about the little woman, maybe? No. Come to think of it, the only time my old lady ever believed me, when I stayed out all night, I was in jail. She could check up on that wonderful alibi. Jail alibi? Oh, the very best. Take it for me? Yes, of course. What a fool I was. I didn't. Sure, it wasn't the most delightful way to spend the night in the drunk tank, but there'd be no question. It was perfect. Barney could go ahead and kill Hannigan now, and I could relax. The police car slowed down and pulled up to the curb. Only it wasn't the police station. It was a downtown corner by a cab stand. All right, you two, get out. Get out? Yeah. You two promise to quit acting like a couple of college kids? You can hop into a cab and go home. Officer, you're an officer and a gentleman. Yeah, yeah. I don't see any reason why the city should put you up for the night. There, your cuffs are off. Now, go on, go straight home, you hear? Ah, sure, pal. Sure. Now. But, officer. Now what? Well, I want to go to jail. Oh, don't be a chop, chum. You what? I. I want to go to jail. Why? Well, I. I can't exactly say. You better exactly say. I'm giving you a break. Yes, I. I know. Only. Only what? Only just don't turn me loose, okay, buddy? I won't. All right. You get going. Oh, yes, sir. So long, chump. I never heard the like wanting to go to jail. Yeah, Sounds funny, I guess. Sure does. Sergeant will be interested in it and the lieutenant. They want to ask you a lot of questions, mister. Good Lord, that hadn't occurred to me. Of course they'd ask questions. Questions I couldn't answer. Beginning with the first fateful one. Why did I want to be in jail when my partner was being assassinated? I stiffened with panic, silent with shock. And then the police car swung into a side street which had just been watered down. It went into a skid. The officer tried to pull out, but he couldn't. And it crashed into a pole, throwing both of us clear. He was out cold. And I. I seemed to be all in one piece. I had to get away from there now. I had to get to Barney and call off the killing. Too many people would ask much too many questions. I lammed out of there fast and ran three blocks until I found a drugstore with a phone. Yeah? Is Barney there? No, he ain't. Oh, I thought he was. Well, he ain't. Listen, I called before. I left a message for Barney. You remember? Yeah, I give it to him. Well, then he has been calling me. Where from? Now, how should I know? He don't tell me where he goes, but I listen. I give Barney the number. What more do you want? I guess nothing. I was you, I'd stick by that phone. Barney don't like creeps that waste his time. Thanks. Think nothing of it. Well, that was that. I had to get back to the Green Parrot, dangerous as that was, and wait for Barney's call. I had less than an hour to make that connection. Hey. Hey, wait a minute. You. Yes, ain't you? The guy caused a commotion here. Sure you are. Hey, what are you doing back here? Look, bartender, the officer let me go. He realized it wasn't my fault. All I wanted was to answer the phone. I'm sorry. They don't want no troublemakers in there. No, but. But if you'll just listen, I. I wasn't making any trouble. It's an important call. I had to get to the phone. Sure, sure. Look, you're breaking my heart. Come on. How do you get out? Do I throw you out? No, you.

[Various Characters]

You.

[Narrator/Host]

You can't. There. That's it. That's Barney. Wait a minute. I didn't see you. Hold on. No, you're not to keep me away. Now, you let me go get that phone. Hello? Bonnie. Bonnie. Hey, where you been keeping yourself anyway? Never mind that now. Barney Allen, the. The man you told me to be, he never came. What do I do? Barney? Yeah, I know there was a little change in plan, but don't you worry. Hey. Okay. Get away from that fool. No. What's going on there? It's nothing. Listen, Barney, that's not the point. I, I want to call it off. Call it off? Yes. You, you could keep the money. I, I can't go through with it. You can't go through it? No. That's a laugh. Well, tell me what to do, Barney. Tell me what to do. Suck me, will you? Will I get you out of that boot? Please, Just one more second. Say what? Yes. Skip it. Skip it. But hurry. I've only got a second. What am I doing? Come to Ninth and Blossom. Somebody will meet you on the corner. Ninth and Blossom. I got it. Thanks, Barney. All right, bartender, I'm going. Oh, sir, you're going. And don't come back. It's guys like you give a place a bad name. I hit the sidewalk with a jar that shook my spine. And the. And then a. A pair of solicitous hands helped me to my feet. It was Harry the drunk I'd been handcuffed to. Aw, gee, pal, you shouldn't have tried to go back in there. I, I, I told you that barkeeper was tough. Yeah. Yeah, thanks. Hey, did you see Dalia there? My girl? No, no, I didn't. I had my own problems. It's a difference who wants it. Oh, look, I'll tell you what, pal. You and me, we'll get a couple of guys. Look, I've got an appointment. Now, let go of my arm, will you? Hey, taxi. Taxi. Hey, how'd you get away from the cops? Ninth and Blossom, driver. Hurry. Oh, yeah, I got a date. Hell, or maybe she's got a friend. No, don't get in here, please, will you? Go ahead, driver, Go ahead, go ahead. Look, please, it's not that kind of a date. You'll have to get out. Don't you try to ditch your old pal Harry Allen, will you? You've got to get out. Did you say Alan? Why, sure. That's me. Harry Allen. Why didn't, didn't you tell me? Well, you never asked me, Alan, and I was trying to get rid of you friends to the big affair, that's us. And I thought Barney bungled the whole deal. And here you've been hanging on to me like a leech. I might have known he'd handle listen his own way. Say, don't you think we ought to be someplace where more people can see us, huh? For. Well, it's, it's nearly 9 o' clock the time I need the alibi. When When Barney is killing my partner. Alibi kill. You were Alan. You said so. Wow. Yeah. You're in the restaurant. This day is me. You're not in the restaurant business. Barney didn't send you. I don't know Barney. I don't know what you're talking about. But. Hey, wait a minute. Maybe I do know what you're talking about. So that's why you wanted to go to jail. Please stop. Wait a minute. Wait a minute. Wait a minute. Let me. Come on back here. I got away from that fast. It was five minutes to nine and ninth, and Blossom was still a block away. I forced my pounding hard until I thought it would burst. You sure took your time getting there. Barney, I. I didn't know you were going to meet me. Inside, off the street. Sure, Barney. Sure. Oh, I thought I. I'd never make it. Barney, what happened? Where was Alan? Don't worry. Everything's taken care of. But I. I don't understand you. Amateurs never do. Wait a minute. What kind of a place is this garage? Go to the head of the class. But what kind of an alibi could I have here with you? Where's Alan, the man I was supposed to meet him? He's busy. Busy? I told you there's a change in the plan. He's alibi. And for another customer. Your partner. Matter of fact, Hannigan. Say, you're real smart tonight, ain't you? You see, I got to thinking. I never worked on credit. Why should I start now? Why take a chance on the mixture of five bills? So I just put it up to Hannigan. You what? Sure, you saw the point right off. Handed up the whole grand right on the line. Cash money. Cash for what? Yes. Well, what's that gun for? What do you think? Oh, no, no. Anakin wouldn't do that. Not to me. Why not? You was gonna do it to him. No, no, no, no, no. That's him, officer. He's the guy. All right, Barney, hold out your hands. You won't get out of this one. Oh, officer, you saved my life. You saw. You heard what he was going to do. We heard everything, buddy. Everything. You two will make a nice pair of cellmates. Amateurs. Suspense. In which Mr. Everett Sloane starred in Alibi, written by Lawrence Goldman. Listen. Listen again next week when we return with another tale well calculated to keep you in suspense. Supporting Mr. Sloan in Alibi were Ted De Courcia, Eddie Marr, Sandra Gould, Peter Leeds, Jeff. Jack Moyles and Jack Cruchen. Suspense. Suspense has been brought to you through the worldwide facilities of the United States Armed Forces Radio and Television Service. We just heard the stars of Citizen Kane, Ray Collins, Orson Welles, Joseph Cotton, George Caloris, Agnes Moorhead, and Everett Sloane. That will do it for this week's show. Thanks so much for joining me. I'll be back next week with more old time radio things thrillers. In the meantime, you can check out down these Mean Streets, my Radio Detective Podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can rate and review the show in Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com Meansts OTR I'll be back next week with more Hollywood legends. Each of them appear hearing entails well calculated to keep you in suspense. Ladies and gentlemen, the chief hope of our enemies is to divide the United States along racial and religious lines and thereby conquer us. Let's not spread prejudice. A divided America is a weak America. Through our behavior, we encourage the respect of our children and make them better neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.