Episode 453 - Stars of "It's a Mad, Mad, Mad, Mad World"

Summary

Stars on Suspense (Old Time Radio)

Episode 453 – Stars of “It’s a Mad, Mad, Mad, Mad World”
Aired: May 28, 2026
Host: Mean Streets Podcasts

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Episode Overview

This episode highlights six legendary Hollywood stars—each with a role in the classic film "It's a Mad, Mad, Mad, Mad World"—in their suspenseful performances for the iconic radio program "Suspense." Listeners are treated to a curated selection of episodes, showcasing not only the stars' dramatic range outside their well-known comedic personas but also classic stories of intrigue and psychological tension.

The featured stars and their respective episodes are:

• Phil Silvers – “The Swift Rise of Eddie Albright”
• Mickey Rooney – “The Lie”
• Milton Berle – “Rave Notice”
• Jack Benny – “Plan X”
• Ethel Merman – “Never Follow a Banjo Act”
• Jim Backus – “See How He Runs”

The host provides brief context about the sprawling 1963 comedy film, acknowledging its divisiveness but celebrating its remarkable cast, and then introduces each radio drama. The episode explores both the versatility of these performers and the enduring chills of classic radio suspense.

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Key Discussion Points & Notable Insights

Introduction to "It's a Mad, Mad, Mad, Mad World"

• The film is described as a “gargantuan comedy epic, a movie over three hours long, with a cast ranging from Spencer Tracy to the Three Stooges.”
• “Few. The movie is an acquired taste, to be sure. Personally, I think there’s a lot to like about it. But I also completely understand when people come away from the very long movie worn out and not finding it particularly funny.” (Host, 01:12)
• The ensemble cast is celebrated for including Phil Silvers, Buddy Hackett, Mickey Rooney, Ethel Merman, Milton Berle, Jack Benny, and others in a wild hunt for hidden treasure.

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[14:00] PHIL SILVERS – “The Swift Rise of Eddie Albright” (Apr 3, 1947)

Highlights

• Silvers plays Eddie, an elevator operator longing for upward mobility and respect, resorting to a small lie to impress his love interest, Millie.
• The plot spirals as Eddie is unwittingly embroiled with a gangster and a corpse-in-the-carpet scheme, culminating in a classic “wrong man” scenario.
• The story is told in Silvers’ signature fast-talking, self-deprecating comic tone, yet turns darkly suspenseful.
• Notable Quote:

  “Well, that's the way it is with me all day long, see. I got my ups and downs—like they say. But I like it that way, see, because I'm not going to be doing this forever…” (Phil Silvers as Eddie, 14:52)

• [22:00] Eddie’s mistaken bravado leads to dangerous entanglements, but quick thinking and a bit of luck save the day.
• Themes: the folly of pretense, the unpredictability of fate, and the unexpected opportunity for redemption.

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[46:00] MICKEY ROONEY – “The Lie” (Apr 28, 1949)

Highlights

• Rooney embodies Martin Delavan, a young man expelled from college who discovers his stepmother’s corpse and impulsively confesses to murder—only to realize he did so to protect someone else.
• The episode is a psychological chess game, centering on personal guilt, self-loathing, and the chase for truth amid murky family dynamics.
• Notable Quote:

  “If ever a man deserved a break, it’s my dad. If ever a man deserved a decent, loving wife like my real mother, ever a man deserved the kind of son fathers dream about instead of the mutt, the rat I was turning out to be…” (Mickey Rooney as Martin, 47:59)

• [54:00] The narrative shifts from confession to courtroom drama, eventually unraveling the true criminal through phone evidence and deductive reasoning.
• Themes: false confessions, father-son bonds, and fighting the system for exoneration.

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[1:25:00] MILTON BERLE – “Rave Notice” (Oct 12, 1950)

Highlights

• Berle delivers an intense, layered performance as a struggling actor, Sam, derailed by rejection and obsessed with his perceived injustice.
• The director tells Sam he’s being replaced; in a fit of madness and humiliation, Sam snaps and commits an act of violence.
• The remainder is a chilling exploration of sanity and performance, with Berle’s character plotting to feign insanity to escape punishment.
• Memorable Moment:

  “If we could prove you were insane all along…But I’m not.” (Berle as Sam, 1:37:25)

• [1:41:00] Sam’s mental unraveling is depicted through harrowing monologues about acting, murder, and guilt.
• Notable for its meta-commentary on theater and identity—Berle’s comic timing gives way to psychological horror.

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[2:10:00] JACK BENNY – “Plan X” (Feb 2, 1953)

Highlights

• Benny takes on a futuristic, satirical sci-fi story set on Mars—he’s Zeno, a mild-mannered Martian selected by the Grand Council to implement “Plan X” against visiting Earthlings.
• The episode playfully subverts Benny’s famed persona, placing him in a deadpan bureaucratic role amid a looming planetary crisis.
• Notable Quote:

  “Zeno, the Grand Council has other important matters of state.” (Council, 2:11:00)

• [2:25:00] The Martian “children” are revealed as the real initiators of the plan—they use a maturity ray to neutralize the Earth invaders.
• Satirical elements mock both Cold War diplomacy and sci-fi conventions, with Benny’s comedic understatement giving the suspense story a unique flavor.

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[2:52:00] ETHEL MERMAN – “Never Follow a Banjo Act” (Feb 1, 1954)

Highlights

• Merman stars as Rosie Jones, a seasoned nightclub singer paired with an emotionally unstable teen crooner, Terry Dane.
• The plot plays on backstage rivalries, unrequited affection, and predatory industry managers; tension escalates as Terry’s infatuation with Rosie becomes deadly.
• Merman’s Broadway pipes are on full display during performance scenes, while the dialogue turns chilling when the knife-wielding Terry invades her dressing room.
• Notable Exchange:

  “He was in my bedroom just now with a knife this long, suggesting that I should maybe flip every time he opens his mouth. I tell you, he scared the living daylights out of me. This is serious.” (Merman as Rosie, 3:04:17)

• The climactic breakdown and the catchphrase—“Never follow a banjo act with a banjo act”—underscore the lethal mix of showbiz bravado and mental illness.

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[3:36:00] JIM BACKUS – “See How He Runs” (Apr 19, 1959)

Highlights

• Backus stars as Poppy, a blind newsstand operator with a slippery past, who finds himself hunted after being suspected of “fingered” a big mob boss for murder.
• The story is a cat-and-mouse game as Poppy, desperate, abducts a neighborhood boy to help him “see” as they try to escape the enforcers who want him dead.
• Memorable Line:

  “People just as soon cheat me as anybody else. Being blind don't make me an exception.” (Backus as Poppy, 3:37:41)

• The tension builds through the streets and into a derelict warehouse, as Poppy’s luck and improvisation are pushed to their limit—culminating in an ambiguous and darkly poetic ending.
• Explores themes of vulnerability, deception, and the cost of survival for those perceived as the weak or marginalized.

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Memorable Quotes (With Timestamps)

• Phil Silvers:
  “Well, that’s the way it is with me all day long, see. I got my ups and downs—like they say. But I like it that way, see, because I’m not going to be doing this forever…” (14:52)
• Mickey Rooney:
  “If ever a man deserved a break, it’s my dad… instead of the mutt, the rat I was turning out to be.” (47:59)
• Milton Berle:
  “If we could prove you were insane all along…But I’m not.” (1:37:25)
• Jack Benny:
  “Zeno, the Grand Council has other important matters of state.” (2:11:00)
• Ethel Merman:
  “He was in my bedroom just now with a knife this long, suggesting that I should maybe flip every time he opens his mouth. I tell you, he scared the living daylights out of me. This is serious.” (3:04:17)
• Jim Backus:
  “People just as soon cheat me as anybody else. Being blind don’t make me an exception.” (3:37:41)

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Notable Moments

• [23:50] In “The Swift Rise of Eddie Albright,” the grisly twist—a body wrapped inside a carpet in the elevator—stuns listeners with a sudden eruption of darkness from a light comic setup.
• [1:50:00] In “Rave Notice,” Milton Berle’s manic breakdown—laughter turning to tears as Sam rehearses his insanity plea—is a riveting display of radio acting.
• [2:42:00] In “Plan X,” Jack Benny’s understated humor infuses the science fiction misadventure, flipping between spoof and suspense.
• [3:13:00] Ethel Merman’s confrontation with both manager and killer highlights Old Hollywood’s casual danger behind the glitz.
• [3:48:00] In “See How He Runs,” the haunting ending leaves the fate of both Poppy and the men who pursue him ambiguous—a true “Suspense” touch.

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Concluding Themes

• The episode is a loving tribute to the adaptability of classic screen comedians and performers—Silvers, Rooney, Berle, Benny, Merman, and Backus—as they transition from comedy or Broadway fame to dark, intricate radio drama.
• The “Suspense” series proves to be a unique showcase for Hollywood stars, challenging both their range and their listeners’ expectations.
• The selected episodes interlace humor, pathos, melodrama, and genuine suspense, reinforcing the timeless appeal of old time radio.

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Further Listening

Listeners are encouraged to explore the host’s companion podcast “Down These Mean Streets,” dedicated to Old Time Radio detectives, for more from Hollywood legends.

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For a trip through the shadows and stage lights of Hollywood’s golden age—this episode of Stars on Suspense delivers a “mad, mad, mad, mad” master class in radio thrills.

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Note: All timestamps are approximate and provided for reference within the episode’s chronological sequence.

Transcript

[A]

Would you hand me that, please? Thank you. Now, let's see. Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense. Hello, and welcome to Stars on Suspense with more Hollywood legends and radio's outstanding theater of thrills. Our stars this week were all part of the cast of It's a Mad, Mad, Mad, Mad World. It was Stanley Kramer's gargantuan comedy epic, a movie over three hours long, with a cast ranging from Spencer Tracy to the Three Stooges. The movie follows an assortment of oddballs, including Milton Burrell, Buddy Hackett, Mickey Rooney, Ethel Merman and Phil Silvers. Crammed into different planes and cars, they race against each other to find $350,000 hidden by Jimmy Durante, who leaves a dying clue that the money is under a big W. Along the way, the hunters encounter the likes of Jack Benny, Jonathan Winters and Peter Falk, just to name a few. Few. The movie is an acquired taste, to be sure. Personally, I think there's a lot to like about it. But I also completely understand when people come away from the very long movie worn out and not finding it particularly funny. You can rent or buy It's a Mad, Mad, Mad, Mad World digitally through your preferred retailers. As of this recording, it's streaming for free on Prime Video. You can also find it on Blu Ray, including a two disc set from the Criterion Collection. Today we'll hear six of the film's many stars in tales well calculated to keep you in suspense. Up first is Phil Silver's and the Swift Rise of Eddie Albright from April 3, 1947. Then it's Mickey Rooney in the Lie from April 28, 1949. We'll hear Milton, Brad Burrell in Rave Notice, a personal favorite, from October 12, 1950, and Jack Benny in Plan X from February 2, 1953. Finally, Ethel Merman stars in Never Follow, a banjo act from February 1, 1954. And Jim Backus stars in See how he runs from April 19, 1959. It's a mad, mad, mad, mad podcast and we're kicking things off with Phil Silvers right after these messages. 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. So am I. Let's start thinking about some food. Big juicy hamburgers maybe? Say, that's for me with plenty of catsup. Uh huh. Del Monte Catsup. It has such marvelous flavor. And Mrs. Johnson really knows her catsup. Del Monte Catsup, the zestiest, liveliest catsup that ever pleased a man. 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Yes, Roma Wines taste better because only Roma selects from the world's greatest wine reserves for your pleasure. And now, Roma Wines. R O M a Roma Wines present suspense. Tonight, Roma Wines bring you Mr. Phil Silvers in the Swift Rise of Eddie Albright, a suspense play produced, edited and directed for Roma Wines by William Spear. Suspense Radio's outstanding theater of thrills is presented for your enjoyment by Roma Wines. That's R O M a Roma Wines, those better tasting California wines enjoyed by more Americans than any other wine. For friendly entertaining, for delightful dining. Yes, right now a glassful would be very pleasant as Roma Wines bring you filled silvers in a remarkable tale of suspense. Up car, please. Good morning, Mr. Griffin. Good morning. Get back in the car, please. Well, good morning, Ms. Wainwright. Hello, Eddie. Take it away, Eddie. That's all, please. Watch the doors, please. Well, that's the way it is with me all day long, see. I got my ups and downs like they say. But I like it that way, see, because I'm not going to be doing this forever. I'm not even going to be doing it very much longer at all. Because I got a job as an assistant to Mr. Garvey, the building manager. The way I handle my car and my customers, I'm going to be a cinch to get it. In fact, I am so much a cinched, I have told Millie that that's what I am already. Millie is the manicurist at the elite barbershop down on Lix. And three, four times a week on my off hour, I jump out of my uniform and into my street clothes and go down there and get a manicure. I sort of got Millie staked out, see. And that's where I am on this day when all has happened. Down there getting a manicure for Millie. You got real nice hands though, Mr. Albright. Real swan gay. Well, you see, for a man of my position. And I will also say that you don't really have to have them cared for quite so often. Oh, that. I mean, I wouldn't tell that to everyone, but some of my customers. I like to give my very best professional advice, you know. Well, maybe I just let your hand Relax, Mr. Albright. Yeah, well, maybe I know that. Maybe I got my reason. Mr. Albright, I can't imagine what kind of reasons you'd. Look, with a guy like me, nobody has to stand ceremonies, see? For instance, all my friends call me eddie. Really? Sure, Mr. Garvey and everybody. Just like I call you Millie. That's all right, isn't it? Oh, well, sure, but. But me calling a customer. But, Willie, it makes a difference, you know. Is that all I am? Just another custom? You must hold your hand still, Mr. Albright. Yeah, sure. For what? I mean, just because I hold a slightly higher position than somebody else. That don't make any difference to me. That's my idea of democracy. Everybody is just as good as anybody else. Of course, unless you're a millionaire or something. Oh, well, what's so special about a millionaire? I got a customer that's a millionaire. And his hands aren't nearly as swan gay as yours. Well, what I mean is, I'm not quite in that class yet. But I wish you would call me Eddie. Well, you know, I was thinking about you once or twice. I mean, you. You're quite young to be holding the position of assistant manager of a big building like the Dunbar building. Well, I started at the bottom, of course, but there's little tricks in getting to the top, just like in everything else. Gee, I wished I knew some. Well, take me, for instance. You know how I got where I am? Remembering names and faces, that's all. Yes, sir. When I was just merely an elevator operator. Remembering names? You mean a little thing like that can get you a little thing like that? Listen, how do you suppose Jim Farley got where he is today? Where is he? I don't know where he is right now, but that's how he got to be postmaster general. Just remembering names and faces. Just one little thing, that's all. Well, I don't know. He must have had some kind of other abilities. I mean, he must have been a bug on stamps or something. Oh, Kevin, look at that cuticle. Well, maybe one, two little things, but that was the main thing. Now, take me, for instance. Oh, I'm sorry, Eddie, but you gotta keep your hands still. You. That's okay, Millie, forget it. But I was just trying to show you something in the paper. See this picture? Yeah. Frankie the Nose Medicine. Former New York gangster, escaped from Atlanta six months ago. Believed to be in city. Oh, sure, I saw that this morning. Yeah, so did I. And when I saw it, I said to myself, eddie, you, Eddie Albright, you've seen this guy somewhere before. And just like that, I remembered. Oh, well, I bet I could remember an ugly mug like that. Yeah, but suppose you only seen him three, four times. Then it was two, three years ago. And he was always with a whole lot of other people. Eddie, you mean you know Frankie Maddox? No, but I took him up in my car. That was when I was just an elevator operator. I took him up three, four times. There's a rich guy named Ellinger, lives in a penthouse on top of our building. And I took him up there. And that was two, three years ago. But right away, I remembered. Recalled the fate. Oh, I guess that is pretty good, all right. Sure, that's the kind of thing that got me where I am. Yeah, well, some people are lucky, I guess. Well, I don't know. But some people that are lucky like to share their luck with other people. Ever stop to think about that? Well, I'm quite sure I don't know what you mean. Well, take you and me, for example. What? Maybe we could be lucky together. I mean, maybe you and me could go out to dinner and the theater some night. Really? Oh, gee, that'd be awful. Night. Well, how about tonight? Tonight? Well, I don't know. I. Well, I guess I could make it tonight okay. Now, where do I need. Well, well, well. So this is where you spend all your time. Oh, hello, Alex. Millie, I just remembered something important. I got to go. Yeah, but, Eddie, I haven't finished. What's your hurry? You might at least introduce the little lady to your boss. Then you must be Mr. Garvey. I'm sure I'm pleased to meet you, Mr. Garvey. Say, what's this guy been telling you? I really don't see what's so funny. All I know is that Mr. Albright here is Mr. Garvey's personal assistant in the Dunbar building. Is that what he told. Look, Alex, can I just. Oh, Eddie, I'm ashamed. How could you do such a thing to such a cute little lady? Eddie Albright, you're gonna sit there and let this man talk to me? He better sit there because I am his boss. I'm cheap starter on the Dunbar elevators, and little Eddie here is operator number 23, Eddie. And when I say go, he goes. And when I say stay, he stays. Millie. No. Look, Millie, I gotta go. Finished. Your hand, Mr. Albright. Oh, Millie, let's not be bitter. Well, goodbye. Well, you can imagine how that made me feel. I felt lower than the third basement. And what made it worse, it was all true, what I told Millie. All except a little part about being Mr. Garvey's assistant. But I did remember faces. I was going to get to the top. I was there already, practically. But all I could think of was how I could get even with that starter, that Alex Henderson, without having him fire me. And pretty soon he came back, and I just didn't speak to him. I didn't even look at him. But I could see him grinning all over that ugly puss of his every time he looks at me. And then I see him looking serious and going over to talk to some guys that just came in that I recognize that claim, closed it. And then they separate and sort of hang around the lobby trying to look as though they aren't there. And I figure I'll bide my time to get to that Alex. So pretty soon, I mosey over to where he is. Well, well, well, if it isn't Mr. Albright. Okay, okay, you had your fun. What are all the dicks doing in the lobby? Well, now, I wouldn't tell everyone, but, of course, an important man like you. Aw, lay off, can't you? What's going on? They had a tip Frankie Maddox was heading for this building. Frankie Maddox? Yeah. Friend of yours? Well, I know what he looks like. I took him up to the penthouse three, four times. Two. Three years ago. I never. Yeah? Who was with him? General MacArthur. Now, look, I'm not kidding. I'd remember him any place. Well, why don't you just go over and speak to the lieutenant over there? Okay, I will. Get back on your car. Get back on your. Well, well, well. Look who's coming in the door. Our girlfriend. Our girlfriend? Oh, listen, Alex, I can take just. How do you do, Miss O'? Malley? Oh, I'm quite well, thank you, Mr. Henderson. Hello, Millie. I wonder if you could have one of your boys take me up to the penthouse. We got a call at the shop a little while ago from Mr. Ellinger. He wanted to manicure us. Sent up? Why, sure, Miss O'. Malley. The last car there. Thank you very kindly, Mr. Henderson. Eddie, take the young lady up to the penthouse right away. Look sharp, Millie. The penthouse, please. Now, listen, Millie, I can explain all that I said, and I do not wish to engage in any unnecessary conversation with the help, Mr. Albright. Oh, Millie, that guy's jealous, that's all. He knows when that job comes up, I'm a cinch fit. And he won't stand a chance, huh? He's just trying to get the knife for me, that's all. And that job is coming up, and I'm going to get it any day now. You'll see. Oh, Millie, give me a break. You said yourself it didn't matter even if a guy was a millionaire. I am a very democratic person, Mr. Albright. I have no objection at all to a man being an elevator operator whatsoever. But I do object to his being a big phony. I believe this is my floor. Good day, Mr. Albright. Millie. Hold it, bud. Huh? You heard him. Hold it. I'm sorry, but you gentlemen can't bring that carpet down. This car you'll have to take. Take the freight out of it. Get it. Now, listen. Get in there. All right, easy now. Okay, stand up. Stand it up in that corner. Well, of course, if you gentlemen insist. Okay, that'll do it. Our policy is to give prompt and courteous service to all the occupants of this building, however. But it's against regulation. Not down. Yes, sir. But it's against regulations to carry furniture in the passenger card. And a big carpet like that. What about a big carpet like that? Well, it's furniture. Well, what do you know? Sonny boy here thinks this is furniture. Well, it ain't furniture. You see, sonny boy. Well, the regulations are specific. Yes, sir. What floor, sir? The basement. Yes, sir. Which basement? You ain't trying to be funny, are you, sonny boy? No, sir, but we have three basements in this building. We all got stairs up to the street. Yeah, they have stairs, but it is. Take us to the flight when you come to. Yes, sir, but the building regulation. Yes, sir. Well, like I say, we believe in giving prompt and courteous service. So I wasn't gonna argue with anybody, particularly anybody as big and tough as these two guys. Look, they wanted to take a carpet to the basement. There was no skin off my knees. It was a big carpet, all right. It was rolled up, and they had it standing in the corner between them. And I glanced at it just casual like. And then I saw something that made my skin come up in goosebumps all over. Sticking out of the bottom of that carpet was a pair of feet. Hey, those guys had a dead body in that carp. More suspense. Roma Wines are bringing you Phil Silvers in the swift rise of Eddie Albright. Roma Wines presentation tonight in radio's outstanding theater of thrills. Suspense. Between the acts of suspense. This is Truman Bradley for Roma Wines. Make your Easter Sunday a day of gracious hospitality with America's favorite wine. That's Roma wine. R O M a Roma, enjoyed by more Americans than any other wine. Your guests will enjoy glorious golden amber Roma California Sherry. And to bring out the full goodness of that ham or turkey dinner, serve Roma California Burgundy or Slaughter. Whichever Roma wine you serve, you enjoy an important difference. A superiority in fuller bouquet, richer body and better taste. That's because Roma selects California's choicest grapes. Then Roma master vintners with America's finest winemaking resources guide this grape treasure unhurriedly to tempting taste perfection. Later, with Roma wines of years before. These choice treasures await selection from the world's greatest wine reserves for your pleasure. So tomorrow, your best buy in good taste insist on Roma wine. R O M a Roma, the greatest name in wine. And now, Roma wines bring back to our Hollywood sound stage Phil Silvers in the Swift rise of Eddie Albright. A tale well calculated to keep you in suspense. Well, when I saw those two tough guys had a body rolled up in that carpet, I just stood there at the controls of my car and tried to keep my knees from knocking until we got down to the first basement. This the basement? Huh? I'd say. Is this the basement? Oh. Oh, yes, sir. Okay. All right, let's lift it. Easy. Can I help you? Okay. Okay, set it down. All right, sonny boy. You can beat it. Yes, sir. And listen, bud. Yes, sir? If I was you, I'd forget I ever seen this carpet. Understand? Yes, sir. What carpet? My next car, please. Well, where you been, big shot? Oh. Oh, I had to take a tenor down to the. To the. To the basement. The basement? Yeah. Somebody from the penthouse wanted. Wanted to see the super about something. Oh, I see. I thought you was gonna stick around and help the cops catch Maddox when he shows up. Okay, Alex, you think I'm kidding, but I do know what he looks like. Yeah, with his mug all over the paper Shore. You. You and a million other people. I mean, what he looks like. For. Instance, I remember he's a medium sized, small guy about my size. Whoa, a shrimp. All right, but you wait. If that guy comes into this building, I'll spot him and I'll. All right, everybody, please. That's the lieutenant. It must be Maddox. Maddox. Now, there's no danger, folks. No danger. We're just trying to locate somebody. Say, I gotta go. You stay here. I just remembered A party up on the 15th floor. You stay. Let's see, I figured the cops had everything under control about this Maddox and there was no use of my button in until they need me. And so I'm sort of getting my breath and going past 9th floor before I noticed the little guy in the car with me. A nice looking little guy. And he speaks to me real friendly. What's all the excitement down there? Oh, well, they think some gangster named Maddox is loose in the building somewhere. Do they? Yeah. Maybe it was a good idea we started up and we did, huh? Oh, I don't know. Don't worry me none. What floor? The. The penthouse, please. Oh, you're looking for Mr. Ellinger. That's right. My girl's up there with him right now. Your girl? Yeah, she's a manicurist. Mr. Ellinger sent for her a little while ago for a manicure. Oh, well, here's your flaw. I'll say, wait a minute. Before you open those doors, I got a little proposition to make to you. Proposition? Yeah, you see, Mr. Ellinger's an old pal of mine. He's a great guy for gags. I haven't seen him for quite a while. I want to pull one on him, see? Oh, well, yeah, but I want to borrow your uniform. If we just swap coats. That's enough. It'll only take a minute. The whole thing. Oh, I'm sorry. I couldn't do anything like that. The regulation. Sure, sure, I know what this help. Oh, no, I couldn't. You see if a hundred bucks. Sure, with me and Ellinger it's anything for a gag. And like I say, it'll only take a minute. Well, I don't know, but a hundred bucks. Oh, here. Go on, take it. Now give me your coat. Here's mine. Well, you sure it'll only take a minute? That's right. Okay. See ya. Okay, now let's go. You better come with me though, so you can get your coat back and go right on down. Yeah, sure. I'll prop the car doors open. I'm sorry. Millie. Eddie Albright. For heaven's sake. Now what? Oh, is she. Oh, that's my. That's Millie that I told you about. Where's Ellinger? Well, I'm sure I don't know. And I've been waiting quite a while. And if I have to wait much longer. You sure he's not home? Well, I should be. Now, if I have to wait much longer, I'm simply going to have to charge him the full rate anyway. And if you're a friend of his. I wish you. Yeah, sure, sure, I'll fix it for you. We'll come in and wait. As for you, Mr. Albright, of course it's no bigger than mine. If you want to throw away your job and your whole career, I got my reason. Come on. Well, yeah, but you said it would only take a minute. Come on, come on. There's another hundred in it for you when you get your coat back. A hundred dollars? See, I told you. Your boyfriend and I are just pulling a little gag, miss. Boyfriend? Are you implicating that this. Well, I must say, someone has given you the wrong kind of an oppression entirely. Yeah, okay. But you two could do quite a lot with a couple of hundred bucks, could you? Suppose you wait here in the front row, miss. We'll go on inside. But don't tell Mr. Ellinger we're here. We want to surprise you. Yes, sir, of course, at $200. Listen, I can't wait long, you know. Yeah, sure, I know. In here. Let's go out on the balcony. Ah, it's nice up here. Yeah, I always wanted a penthouse, you know, with them looking all over for this Maddox, whatever his name is. They won't miss you for a while. Yeah, there's that boy. I just wish I could lay my hands on that guy. Who, Maddox? Yeah. Boy, if I could just capture him single handed or something. What's the matter? You got something against the guy? Oh, no, no, Mr. Mason. No, Mr. Mason, I got nothing against him. But I gotta do something pretty quick. Fooling around with guys like this Maddox could be a little unhealthy, though, couldn't it? Yeah, there's that. But, well, you see, Mr. Mason, I gotta do something for Millie. I don't know. She seems like a nice kid. She doesn't seem like the kind I'd expect any crazy grandstand plays from a guy. Oh, she wouldn't, Mr. Mason. Millie's the top. She's aces. But you see, well, I already made one and it flopped. It was a terrible flop. Oh, showing off for a dame, huh? Like a little kid. Yeah, I guess so, Mr. Mason. I guess I made an awful fool out of myself, but, well, now I gotta do something to make up for it. Listen, Eddie, a dame that's any good, she doesn't expect anything special of a guy. If she does, lay off because she's poisoned. Take my word for it. I know. Maybe I wouldn't be where I am today if I hadn't tried to show off for a dame just like you. I was a punk kid. I didn't know any better. Gee, Mr. Mason, I wouldn't say where you are today is so bad. Being able to pass out hundred dollar bills like you do. Yeah, well, you get older, you see things a little different sometimes. How'd you come to louse it up with her? Well, you see, it began by me telling about this job that I got as assistant to Mr. Garvey, the building manager, only I don't have it yet. And then Alex, he's the starter, he tips her off. And then I'm trying to explain to her when I bring her up here, only I don't get a chance because these two mugs get in my car with a what? Two mugs. The two that come from the penthouse here. I guess they're waiting for Mr. Ellinger and they got a big rolled up carpet and they want to go down to the basement. And I told them the regulations, but, gee, maybe I shouldn't be saying this after what they told me. What did they tell you? Well, about the carpet. They said carpet. So that's it? Well, I guess it's okay to tell you, Mr. Mason, but I was scared. Well, there was a body in that carpet. Gosh, you don't suppose that's why, Mr. Allen. Listen, Eddie, you stay right here, see? But, Mr. Mason, my coat. I'll be back in two minutes, kid. Then you'll be all set. The basement, huh? Yeah, but, mister. Wait, wait, Mr. Mason, you stay here. You want your coat back? Oh, well, mister. All right. I see your new found friend has left you holding the bag. Oh, Millie, I don't know. Everything has gone wrong today. Well, you can't say that your friends, or those who were your friends didn't give you fair warning. You mean you're still my friend? I didn't say that. Just hope that Mr. Alex Henderson is your friend when you try to explain to him what happened to your uniform. Coach. Alex Henderson? Listen, Millie, you don't see anything in that guy, do you? Well, he's just a common star, is a very high type gentleman and not a big phony. Him? Why, he's no worse. And at least he is not ashamed of his position. He is, too. And seeing that he is your superior, well, it won't be for long. I can tell you that right now. All right, Maddox. Right. Reach. What? Don't try to stall, Max. Get him up. They got guns, Maddock. Hey, listen, I'm not mad. What do you think? You're kidding. We know you've been having a doctor Change your face the last six months and then you think you're gonna walk right in here and knock off ellinger for that 50 grand he took you for. But you're a little late. You know why? Listen, fellas, you got it wrong. Don't you remember? I'll tell you why. Because we got tipped off and we got Ellen's here out of here in a carpet. How do you like that? No, he is gonna get it, you medic. How do you know? Hey, look, my girl, she fainted and she's in luck. Any last words, Maddox? Wait, listen, I'm not Maddox. I'm the elevator boy. I never thought I'd see you crawl, Maddox. Don't you remember? I took you down with the carpet to the basement. Go ahead. I'm getting a big boot out of this. Hey, wait a minute. Maybe he's got something. Come over here, you. Yes, sir. Why, I think it is the elevator punk. That's me, sir. That's right, the elevator punk. That's me. Shut up. What do you think? I don't know. What happened to your uniform, punk? Well, there was a man. He was in my car. All right, turn around and get it, Maddox. What happened those next few minutes, I'll never know. I was down on the floor until the shooting stopped. And then it was awful still. And I opened one eye and looked around and made Mr. Mason. Only he was Maddox. I recognized him. And the two mugs were lying on the floor and they weren't moving either. And then I saw Millie lying there, too. And I rushed over to her and I took her in my arms and she opened her eyes so I knew she was all right. I rushed back to Mr. Maddox to see if I can help him, on account of he was nice to me, whatever he was. But he was dead all right, I guess. And I took the gun out of his hand. And then all of a sudden, the room was full of people. Cops and Alex henderson and even Mr. Garvey. And they were all crowding around me and everybody was saying something different. It's Maddox all right, chief. He's got identification. What happened here? Is that the missing operator? Henderson? That's right, Mr. Garvey. Who's the girl? My officer. He's got a gun in his hand. Give me that, son. Yes, sir. Well, say, son, you must have been mixed up in this little party yourself, huh? Where'd you get the gun? Well, Lieutenant, it's Maddox gun, isn't it? That's right, chief. That's what must have happened. Maddox gunned the two hoods. And then the kid jumped him. Yeah, well, that took a lot of courage, son. Is that what happened? Well, sir. Go ahead, Eddie. Speak up. Don't be afraid. Oh, no, Mr. Garvey, I'm not afraid. I'm perfect. Just tell us what happened, son. Well, what happened? Yes, sir, that's what happened, all right. What you said. Mr. Maddox made me come in here and change clothes with him. And then those two came in and Maddox shot them. And then? Well, I just sort of overpowered him and the gun went off and he was killed. I know guys on the force wouldn't have dared do that. Eddie. Did she see it? I fainted. Well, say, young man, you certainly are to be congratulated. Thanks. Mr. Garvey. Yes, sir. You're the type of man we need on the Dunbar building staff. Which reminds me, there's a position as my personal assistant coming open. I think you could fill it. Come and talk to me about it in the morning. Oh, yes, sir, Mr. Garvey. Oh, Eddie. Hey, chief, look. Maddox. He's alive. So he is. Yes, he can talk. He can talk. How about it, Maddox? Is that what happened? What happened? The kid here says you gunned the other two and he overpowered you and you got it in the struggle for the gun. Is that what happened? The kid there overpowered me. Oh, yeah, I assume he. Yeah, the kid just overpowered me. He's gone. Gosh. The reason I told this. Well, Lily and I got married when I got the job of Mr. Garvey. And, well, something pretty important is going to happen pretty soon. And, well, I got to think of what Mr. Maddox said and. And I told Millie the whole thing because I didn't want to have a kid who could ever say his old man was a big phony. Hello, Eddie. I mean, good morning, Mr. Albright. Alex. Car three, sir. Take Mr. Albright right up. Oh, thank you, Alex. I've been watching your work doing right grand. Now just look alive. Well, shall we go? Up, up. Quickly, boy. Up. The spend presented by Roma Wines R O M A Roma, America's favorite wine. This is Truman Bradley bringing back to our microphone the star of tonight's suspense play, Phil Silvers. Well, Phil, as a screen comedian, your usual job is to keep people in stitches rather than in suspense. Tell me, how did you like the change tonight, Truman? Believe me, it's a lot easier to make people scared than it is to make them smile. Well, would a top flight comedian like yourself object to a tip on how to make folks smile? Hey, the last Time I got a good tip was when a guy mistook me for a waiter. But go on ahead. Old Silver's needs a little polish, my judge. That's a good one. Polish. Did you get it? Well, Phil, if you want to see smiles of satisfaction on the faces of your friends, just serve them Roma wine. To help you, here's a hamper of Roma wines with the compliments of Roma, the greatest name in wine. Say, I'll take that tip and the Roma wine with thanks, Truman. Among the fine Roma wines in your hamper fill, you'll find a bottle of Roma California Burgundy. Roma Burgundy is good anytime and a special favorite at Easter. Millions prefer Roma Burgundy as the perfect flavor mate with a traditional Easter ham, turkey or roast. Yes, red, robust Roma Burgundy, with its full fragrant bouquet and tempting taste. Brings out all the rich, natural flavor of red meat. Adds friendliness, good taste and distinction to any meal. Roma Burgundy. It is true, man. And, Phil, in all Roma wines you enjoy an important difference. An extra goodness in fuller bouquet, richer body and better taste. Yes, Roma wines taste better because Roma selects the better tasting wines from the world's greatest reserves. That's why more Americans enjoy Roma than any other wine. Well, that's good enough for me, Truman. And may I add a credit. Phil Silver's is currently being seen in his living room. Thank you. You've been devoted. Tonight's suspense play was written by Roy Grandy and Robert Richards. Next Thursday, same time, you will hear Mr. Kirk Douglas as star of suspense. Produced and directed by William Spear for the Roma Wine Company off Fresno, California. In the coming weeks, suspense will present such stars as Ava Gardner, David Niven, Lloyd Nolan, Lynn Barry and others. Make it a point to listen each Thursday to suspend radio's outstanding theater of thrills. Stay tuned for the thrilling adventures of the FBI in peace and war, which follows immediately over most of these stations. This is cbs, the Columbia Broadcasting System. Now Auto light and its 60,000 dealers and service stations present Suspense. Tonight, Autolight brings you Mickey Rooney in the Lie, a suspense play produced and directed by Anton M. Lieder. Friends, get in step. Get a rep for pep. Get auto light resistor spark plugs and do it now. Replace those narrow gap spark plugs with wide gap auto light resistor spark plugs. Your engine will idle smoother, give you better performance on leaner gas mixtures. Actually save gas. That's right. Actually save gas. Because those wide gap auto light resistor spark plugs give you better performance on leaner gas mixtures. Auto Light regular type spark plugs have Long been stuck standard factory equipment on many leading makes of cars and trucks. And now six. That's right. Six of these leading makes of cars and trucks have switched to new Autolite resistor type spark plugs for factory installation on their new 1949 models. The new Autolite resistor spark plugs are the spark plugs of today and the future. Remember, you're right with Autolight. And now Autolight presents Mickey Rooney in a tale well calculated to keep you in suspense. You got the gate. You got the gate. You got the gate. You got the gate. You got the gate. You got the gate. You got the gate. You got the gate. You got the gate. I'll shut up. I've been kicked out of better colleges. So, son, why don't you leave that bottle alone? I know it's none of my business. Are you my father? Of course not. I'm only trying. Well, then don't call me son. And you're right. It's none of your business. Why, you fresh pup. If I were your father, I'd be ashamed to admit it. I watched where you got on. It's in the middle of the semester. Bounced out on your ear, weren't you? I know your type. Taking everything you can get from the old man and not giving anything back. Only grief and gray hair. Ah, shut up. Mansfield. Mansfield, next station. Stop. Mansfield. Put away that bottle, kid. You're home. Manil. The old Hometown Depot again. Didn't look friendly. Nobody was going to look friendly. A whole term's tuition fee shot for the third time. Well, dad would try to cover up what he felt, but she wouldn't. Not glad I could hear already in my imagination. Oh, so you're home again. Guess you found out it was all a waste of time. They couldn't teach you anything at college. Maybe they ought to change things. Maybe they ought to learn from you. But make them pay, Marty dear. Make them pay. Maybe we get back some of the money you've wasted. What do you think you are? A rich man's son? I knew you from the day I married your father. And I expect to see the day when I have to send you cartons of cigarettes up to the pen. Well, I was going to hear it again. No way of stopping that mouth to break the ice. I called home from the station, busy. Five minutes later I called again. Busy. So I waited. And five minutes later I called again. Talking, talking. That's all she ever had under a peroxide. Talk, talk with a cheap crowd of hers. It wasn't my dad on the telephone. He was in Baltimore working. Well, I grabbed a bus and went home. Glad. Hey, Glad, it's me. Hey, Glad, it's your loving stepson. Look at that. Didn't even bother to hang up the telephone. What a woman. Hello? What's that? Hello? Who is? Was a man it would be with her. Heard my voice, thought it was dad, and hung up. Dad had come home early today. Plenty of signs. There was the paper he always picked up in Baltimore, cigarette stuff. And I knew it was his. It was that awful Turkish brand. He'd been smoking since before I was born. No one else could stand. Yeah, he came home early. They must have gone out. I wandered into her bedroom. No reason, just wandered. You know what I saw? She was curled up on the bed. Yes, Glad. Curled up on the bed, sort of cuddling there. No makeup, hair all gooed up with that bleached stuff of hers. And she was dead. But dead. Somebody had broken her neck. If ever a man deserved a break, it's my dad. If ever a man deserved a decent, loving wife like my real mother, ever a man deserved the kind of son fathers dream about instead of the mutt, the rat I was turning out to be. Well, I didn't have much time for philosophizing. I got rid of the newspaper cigarette butt. I mussed my hair, tore my clothes. Picked up her dead hand with those purple cat like fingernails. And I scratched it across my face. Ow. You think she was alive the way those nails dug in. And then I went to the phone. Police headquarters. Hello, this is Martin delavan calling from 22 Beech Street South. Yeah, I think you better send somebody around to pick me up. I just murdered my stepmother. For suspense. Autolight is bringing you Mickey Rooney in radio's outstanding theater of thrills. Suspense. Hey, hono. Say, that's quite a stack of letters you got, app. That's my fan mail. Laudatory letters. Pans of praise. You mean people like you? Of course they like me because I tell them to replace old narrow gap spark plugs with wide gap auto light resistor spark plugs. And naturally, they like auto light resistor spark plugs once they try them. Here's one for Mr. W.E. schmitz of Houston, Texas, who writes. Gentlemen, I recently switched to auto light resistor spark plugs for my 1942 car. I've been trying other brands for years, but when I switched to auto light, I can truthfully say I've never seen such an improvement in my 43 years in the automobile business simply by changing plugs. Well, from an Automobile man. From the sort of man who'd know that switching to auto light resistor spark plugs means smoother idling, better performance on leaner gas mixtures. An actual saving of gas and auto light resistor spark plugs cut down spark plug interference with radio and television reception. All right, Harlow. But let's not interfere with the reception of suspense. And now, Autolyte brings back to our Hollywood soundstage. Mickey Rooney as Martin Delavan in the lie. A tale well calculated to keep you in suspense. Now, don't get cocky with me, young fella. And just remember that you put yourself in a jam that always turns out to be pretty rugged. Let's have the story again. Look, I. I've told it to you twice. Let's have it again. You don't have to play McTavish of Scotland Yard. You don't have to find the killer. I told you I did it. But you make it sound so exciting. Let's have it again. Okay. Okay. Beginning where you were expelled from college this morning for drinking. They always expel me for drinking. You took the early afternoon train at State Junction. Got out here about six and telephoned from the station. Take it from there. The line was busy. I took a bus from the station. I came in without making any noise. Just didn't happen to make any. From the hall out there, I hear this. This. I heard my stepmother talking on the phone. To a man? Yes. How'd you know it was a man? I could tell. Smart boy. What was she saying? She. She said enough. I'd like to find out what makes enough. Well, what makes enough? The point when you put your hands around somebody's neck and start to squeeze. She was two timing. Your father, huh? All right, Go on. I guess I lost my hit. I remember grabbing her by the neck just as she heard me and turned around. And I remember her fingernails coming up toward my eyes and digging into my face. Would you say she did a good job on me? Yeah. Look at these scratches. You did a better one on her. Well, this is about checks with what you said before. Good for me. You don't change anything. I want you to take me downtown and book me. No hurry. I want you to reenact this for us before a motion picture. Camera. Movies. That'll be fun. Say, what's the matter? You don't look happy. Would it have pleased you more if you'd had to beat it out of me with a rubber hose? Maybe. Maybe it would. Endicott. Right here, Lieutenant. In the kitchen. Now. Break out your camera. Somebody burned a newspaper in the kitchen stove. The ashes are still warm. And which paper? Can you make it out? No, no, no. The ashes are all stirred up. Did you burn a newspaper, kid? Yes. Why? Well, after I killed her, I got kind of a chill, and I thought I'd start a fire. And then you changed your mind. That's right. So you just waited for it to burn out, and you just stirred up the ashes, huh? Listen, if people were always rational, they wouldn't commit murders. Psychologists, too, huh? Okay, set up the first shot from the hallway. Endicott. As he comes in. Check. Where's your father, Delavan? Where can we reach him? I don't want him pulled into this. Leave him alone. Don't start jabbering at him, making things worse than they are. Hold your blood pressure, Bob. It happens that you killed his wife. Now, where do we reach him? He's in Baltimore. Henry Delavan, Company, Import and export. Commutes every day. Yeah, yeah, but he. But he wouldn't be at his office now. It's long past closing time. All right with you? You like your old man, huh? Aye, I guess. He passes, that's all. We haven't seen much of each other since he married that. Since he got married again. I get expelled from different colleges, and he bawls me out, and I write him for checks, and he sends them. Mm. Okay, let's make our try for the Oscar, shall we? You just go through the motion, starting at the door exactly as it happened. Without my makeup, Lieutenant. Very funny. Except there's a dead woman in the bedroom. You better change your attitude, kid. Who's this? It's my father. Please take it easy with him. Dad. Dad, what's going on in my house? Marty, what are you doing here this time of year? Let me break into him my way. You shut up. Where's Glad? Where's your mother? What are all the police doing around here? Marty, speak up. All right, I'll give it to you straight. She's dead. What? What do you mean? You know what dead means. She's dead. I. I killed her. No. No, Marty, don't say that. It isn't true. You. Why, you don't know how I killed her. How would you know anything about it? You were in Baltimore. You were in Baltimore, weren't you? Gentlemen, please. I'm Lieutenant Steele. Lieutenant, don't listen to my boy. He couldn't have possibly. Don't try to tell anybody what I couldn't have done. You know, I always wanted to get killer anyway. You weren't here you were in Baltimore until now at your office. I wasn't in my office, Dad. I didn't feel very well long about noon. I quit for the day. May I see my wife, please? In the bedroom. And what did you do for the rest of the day, Mr. Delavan? You don't have to answer that, dad. You don't have to say anything. I've signed a full confession, Dad. I went to a Turkish bath and I stayed there for several hours. And we can check that easily enough. Of course, I'm sorry to say that my son is right, Lieutenant. I wasn't here. When you commit a crime, it's as though someone snapped a switch and the sun went out. Now you live in shadow. You wear faded blue denims with your number on them. You're surrounded by so much iron, doors and bars and the bed you sleep on. You weigh every word before you say it because it might make the difference between living and dying. Most of the time, you're angling to live. By the time I was through, I made sure I would die. You did a bad thing. Why did you do it? The important thing is that I did it. That's what we gotta keep remembering. Now, don't let me down. You haven't said anything, have you? About what? About you. Well, what's there to say? What's there to. Oh. Oh, I get it. I get it. Swell, swell. We'll keep it that way. Oh, I suppose I ought to be able to understand what you're trying to say, Marty, but I can't. I'm so confused. They keep hammering away at me, trying to break down my story where I was. Well, that Turkish bath routine wasn't very bright. They can check on that, dad. They did. There's no question about that, Marty. I was there. When? All that afternoon, from 2 until 5. Who says you were there besides yourself? The clerk, the attendants, the rubbers. They all know me, Marty. I've been going there every Wednesday for months. This couldn't be true. Everything else about the whole nightmare could happen. It was happening, but not this. He had killed her. He must have killed her. I'd hung a perfect frame on myself because he did it. What's the matter, Son? Dad, how would that These Baltimore paper get into our house before you came home? Why, it's delivered to me. I buy one in the morning to read it on the way in. And the one that's delivered, I read in the evening at home. It's that simple. And I suppose you're gonna tell me that Since I've been away, Gladys learned how to smoke those Turkish blowtorches. No, but. Well, you know how chain smokers are, son. They're bound to run out of their own brand sometime. And they'll smoke anything they can get their hands on. Anything they can it. Oh, sure. Anyone could figure that out. But why talk about newspapers and cigarettes? Marty, we have only five minutes together. Don't talk about anything. What a chump I've been. What a SAP. Oh, dad. Dad, you. You don't know. I know only one thing, Marty. That you didn't do it. How do you know that? Well, who would have known better? What does that mean? Why, you're my boy. Oh, you've been wild. But that was because you were so hurt when I remarried. When she turned out to be what she was. Oh, you don't have to keep reminding me of that, son. Oh, I'm sorry, dad. I'm sorry. Anyway, I know my boy Marty, and you didn't kill her. Makes no difference, dad. They got an airtight case against me. I'm gonna fry just as crisp as though I did it. I never thought for more than a second that you killed a Monty. The way you kept jabbering. You were in Baltimore. I was here. You were in Baltimore like a needle stuck in a reckon. Oh, what can we do now, Lieutenant? Do? It's out of my hands. You go to trial. Trial? For what? You say you know I didn't kill him. Listen, kid, you framed yourself too well. You didn't leave a shred of evidence that points to the real killer. You had a motive. You cleaned up every trace of someone else. And now that someone else is laughing up his sleeve. But wait a minute. They can't convict me and execute me for a crime I didn't commit. Take it easy, Ken. Take it easy? You mean take the rap? You mean you'd like me to sit with my hands folded like a good little boy and let him shave? My skull slid open my pants leg because somebody else broke her neck. Well, have you got a real idea who that somebody could be? How would I know? You think I ran around with her friends? I never saw one of them, but I'll bet she had a little black book that was so full it was spilling over. Son, I told you, this thing is out of my hands according to police routine. But we're talking about a life. Don't you understand? My life. And I'm trying to tell you that you're talking to the wrong man. See, the DA, kid, he's the Only one who can help you. Every word of my confession was a. Was a deliberate lie, sir. A lie. See, I dictated it and I reenacted the whole thing before the camera because I. I thought I was protecting someone else, see? The real murderer. No, no. But. But I thought so at the time. What was this? Somebody's name? I'd rather not tell you that. Why not, if he's innocent? Because I don't want him dragged through the mud. I. Here's the report you've been waiting for, sir. Oh, thanks. Indicate. Yes, sir. Now, look, Delafin, I'm too busy to play games. This report establishes beyond doubt that it was your skin and blood under her fingernails. That clinches it for me. But wait a minute. I'll see you at the trial, and I guess you know how it'll come out. So calloused was this killer, so conscienceless that not only did he freely admit his guilt, he willingly reenacted the whole ghastly thing before the police department's cameras. You've seen. Far from showing remorse for his crime, he gloried in it. You know the evidence. His fingerprints, his blood under her nails. I ask that you return a verdict that will make mandatory the extreme penalty death for Martin Delavan. I. I'm gonna die. Dad. Dad, find a way out for me, will you? I don't know where you turn, Marty. I'd give my life to save you. Would you, dad? Would you? Sometimes, you know, people just use that expression. I sometimes wonder if they really would do a thing like that. Isn't that what you did for me? It's such a shame, Marty, that this should happen to us because of her. The only good thing she ever did was to bring us together again. By dying. Then you knew all about her For a long time. But I kept hoping. Well, maybe she didn't appreciate you, dad, but. But I do. You're not so bad yourself, dad. Yes, it's probably too late, but one part of my story was true. She had been talking to somebody. What? The receiver was off the hook and there was still a party on the other end. Who was it? That I don't know. I picked up the receiver and I said, hello. I heard a funny kind of gasp and then a click. But, dad, don't you see? It means somebody's ear was in on that murder. We've got a witness. Somebody who knows I didn't do it. He and the guy who murdered her. All right, time's up, kid. Can't we have just another five minutes? We got Rules Here, mister. I'm just the right guy to be worried about rules. Shove off, will you? Come on. Now wait a minute. Shove off, will you? Dad, did you try everything? Try everything. Take your hands off him. Listen, just cause you're gonna die, don't give you any special privileges. Everybody leave me. Go. Hey, Joe. Dad, come on. Come on. Dad, help me. Come here, Marty. Tell me what to do. Help me, dad. Marty, tell me how to help. Steal steel, Dr. Steele. Lieutenant Steel. Tell him. Tell him about the Pokemon. Tell him. We've got a witness. Dad. Remember, it's a matter of time. I haven't got much time. Now look, Ms. Jane, a boy's life depends on this. And we haven't got much time either. Anything I can do to help? Fine. Now let's. It was around six in the evening when Marty Delavan got off the train and tried to call home. Uh huh. He got a busy signal. Let's give ourselves a break and say it was the same party who was on the line when he came home. Could you trace that call? I can try, Lieutenant. A call that long would have plenty of overtime on it. Well, stretch it out a little. Kind of narrow down the field. Say five minutes before he called. Another 10 before he gave up. Another 10 to get out to the house on the bus. And then coming in, looking around, finding the receiver off the hook, say, say 45 minutes. Oh, my gosh. Matter, I just happened to think, what if Mrs. Delavan put in that call? You'd have a record of it, but the charge would be on her bill. That wouldn't show the name of the person she was calling. Those are the breaks. I'll see what I can do. Hello? Hello, Lieutenant. Oh. What'd you find? Well, that call was placed by Mrs. Delavan to a Mr. William J. Simmons. Sure. What? You see, Mrs. Delavan always complained about her bills. She never stopped saying we were cheating her. Well, we had to put a monitor on her telephone and make a record of every number she called. Fine, fine. But what was that name? Beginning at half past five on the evening of November 3, Mrs. Delavan talked for 39 minutes to a subscriber named William J. Simmons, 798 Shore Ave. Now look, Da, that kid isn't any of the things you called him in the courtroom. I know, and I couldn't stand by and see him fry for a murder he didn't commit. Steel, you're a fine detective, but a little too much of an optimist. Now, this weasel you brought in here his stupid is only as good as the amount of proof you can attach to it. Look, I'm no weasel. I didn't want to get mixed up with this because I got a wife and kids, see? You know what it means if your wife finds out you've been playing around? Tell it into the dictograph, huh? How do I start with your name? William J. Simmons. 798 Shore Avenue. Okay. You were acquainted with Mrs. Gladys Delavan? Yes. You were in love with her? Well, in a way. Tell us what you heard over the telephone. At six o' clock on the evening she was murdered. While we were talking. Just talking, see? About. About how we felt. Suddenly I hear this guy's voice on the phone. Somewhere off in her house. He yells, where were you yesterday? We had a date, didn't we? Then he comes closer, still yelling. What did he say? Oh, all kinds of stuff. Names, things like that. Then she begins to scream. Don't, Steve. Don't. You're hurting me. Steve. I can tell. He's got her by the neck. He's choking her. I can tell he's choking her. Come on, kid. On your feet. Is it. Is it time? Time for what? You know. I don't know anything. You want it in the warden's office? Come on. What's up? Search me. Hey, that's pretty good. I'm the guard, you're the prisoner. But I say you search me. Do you know who's with the warden? Well, that local Dick Steele, McTavish of Scotland Yard, a couple of other guys and your old man. My father. My father. What? What do they want with my father? Search me. Hey, I said it again. We ought to hold you for obstructing justice, young fellow. But I suppose you and your father have suffered enough. So it was somebody else. Somebody else all the time. Your description of the murdered lady was very accurate. She got around. Who? Who is he? How'd you find him? Well, that's a pretty terrific story, Marty. You see, we traced the guy who was on the phone. And he heard Mrs. Delavan holler the name Steve. Now, a detective has to be smart. He's got to be a psychologist, a science bug. An incredible kind of a guy who can take the name Steve and pick a murderer out of 140 million people. So how did I do it? Well, how? I opened her little black address book. Remember? You tipped me off to that and looked for a guy named Steve. And there he was. Steve Barton. So I picked him up. McDavish of Scotland Yard. And this Time with a real confession. How do you feel now, son? Oh, I don't know. I've done so much thinking about what it means to die that I'm not sure which world I'm standing in. Now, tell me, kid, what was the name of that newspaper you burned? And who did smoke that cigarette? That is all this on the level? On the level, Martin? Well, just to keep it on the level, gentlemen, it was the Baltimore Star, the paper my dad always reads. And the cigarette was his favorite brand. Maybe you understand Now. Come on, dad. Take me home. Thank you, Mickey Rooney, for a splendid performance. It was fun to do. Say, Hollow, I've heard great things about some new award suspenses. Why, yes, Mickey. The Alfred P. Sloan Award for the outstanding radio program in 1948 promoting highway safety. Was awarded to CBS and Autolite last week. Well, say, wasn't that the Jimmy Cagney suspense show of last December? Right, Mickey. And coincidentally enough, last week the National Safety Council announced a similar award to Autolite for the same program and for their promotion of safety on the highways. Wow, that's great going. And it reminds me, haven't I often heard an announcement on this show? Let's see, how does it go? Oh, yeah, I know. Drive carefully. The life you save may be your own. That's right, Mickey. Yes, Autolight is proud to lend support to the promotion of highway safety. They're proud, too, of the more than 400 products for cars, trucks, airplanes and boats that are made in 28 autolite plants from coast to coast. And Autolite also makes complete electrical systems for many makes of America's finest cars. Batteries, spark plugs, generators, starting motors, coils, distributors. All engineered to fit together perfectly, work together perfectly because they're a perfect team. So, folks, don't accept electrical parts that are supposed to be as good. Ask for and insist on Autolite original factory parts at your neighborhood service station, car dealer, garage or repair shop. Remember, you're always right with Autolite. Now again, here is Mickey Rooney. It's been a real pleasure to be here. And I'll be listening next week when radio's Outstanding Theater of Thrills presents Bob Hope in Death Has a Shadow, another gripping study in suspense. Mickey Rooney appeared by arrangement with Metro Goldwyn Mayer. Producers of the Technicolor picture Little Women. Starring June Allison, Peter Lawford, Margaret o' Brien and Elizabeth Taylor. Tonight's suspense play was based on a story by William Irish and adapted by Herb Meadow. Music was composed by Lucian Morowake and conducted by Lud Gluskin. The entire production Was under the direction of Anton M. Leeder. In the coming weeks, suspense will present such things. Stars as James Stewart, Claire Trevor, Frederick March and many others. Make it a point to listen each Thursday to suspense radio's outstanding theater of thrills. And next Thursday, same time, hear Bob Hope in Death has a Shadow. You can buy Autolite resistor spark plugs, Auto Light Stay Full Batteries, Autolite electrical parts at your neighborhood Autolight dealers. Switch to Autolight. Good night. This is cbs, the Columbia Broadcasting System. Autolite and its 96,000 dealers present suspense. Tonight, Auto Light brings you Rave Notice, a suspense play starring Mr. Milton Burl. Ring out, you hymn of hate. Ring out. Send word that all who listen. No, no, no, no, no, no, no. Now what? You're supposed to be an actor, not a foghorn. Yes, sir. By what standards do you consider yourself to be an actor? You're persecuting me. I persecute nobody. A man cannot play a role. He's replaced. Replaced? There goes that persecution talk again. Replace me and I'll kill you. Witnesses. He's threatening me. Then don't talk of replacement. I'm not kidding, Norman. Replace me and I'll kill you. In just a moment, Mr. Milton Berle in the first act of rave notice. Wilcox. Ah. Say, Wilcox, I hear you're a campaign manager. You bet, Senator. And my candidates are cinched to win. What's his name? You're kidding, aren't you, Senator? He's the famous Autolite Stay Full Battery. My candidate is so well known that every valiant voter vaunts his valor and veracity. What's his platform? Why, the famous Autolite staple battery needs water only three times a year in normal car use, Senator. And he's running on a platform to give longer life. 70% longer life, in fact, as proved by tests conducted according to the Society of Automotive Engineers Minimum life cycle standards. And that's really an endorsement? Is your candidate prepared for a long cycle in office? Wilco. He sure is, Senator. Because every positive flag plate of the Autolite Stay Full Battery is protected with a fiberglass retaining mat to help reduce flaking and shedding. So, friends, join the crowd voting for the Autolite Stay Full Battery. The battery that needs water only three times a year in normal car use. See your neighborhood Autolite battery dealer. Remember, you're always right with Autolite. And now with Rave Notice and the performance of Mr. Milton Berle, Autolite hopes one once again to keep you in suspense. Look, when I'm walking across Times Square like this, I'm just an ordinary man. Plain Unnoticeable. I watch the crowd. You wouldn't even notice me. It's as though I were. Invisible. Yeah, like that. Invisible. But wait. Come here. Come with me through this door, through here and into the darkness. Now I breathe deeply of the thick, dark air, and I become taller. My eyes drink in the gloomy shadows, become lustrous bird like noble. Here in this temple of the passions, I throw off my cloak of invisibility, and I reveal myself, my true self. For this is the theater, and I, I am an actor. Down there, beyond the empty seats, lit by the single bare bulb, are my fellow actors. And we're all here to make a play. Friend Norman. Seated alone in the third row is our director. This is the fifth day of the rehearsal. Still rather rough, stiffish and so forth. But it's not a bad little play. And you know Norman. Norman will manage somehow to spoil it. Norman will misdirect actors and lose values. And I've known Norman for years from the group theater. We were in the group together. Oh, no. No, no, no, no. But, Norman, why not? Because I'm the director and I say no. No. Very well. Try again. I wish somebody would tell me what it's all about. Life, I mean. I wish somebody would give me the word adequate. Thank you, Norman. Oh. Oh, hello there. How are we coming over here? I want to talk to you. Sure, Norman, sure. What is it? This is. Well, believe me, Sam, the most difficult thing I've ever had to say. Speak out, Norman. You know me well. I've had to turn over the bell ringer to Luther. The bell ringer? What do you mean, Norman? That's my part. The bell ringer. What do you mean, to lose her? Don't make it difficult for me, Sam. Difficult? I'm not making it difficult. Not at all. The bell ringer roll is mine, Norman. That's all. There's no difficulty involved. Please. You joke. No, it's not as if I hadn't warned. Tell me what's wrong. Tell me where I've stepped off. What irritates you? What doesn't fit? And I'll fix it. I'll fix it. That's my role, Norman. I carry the whole cast with that role. Don't shout, Sam. You're making a fool of yourself. A fool? Norman, why are you doing this to me? Because you're not right for it. Not right? Yes. Wait. You fat pig. What do you know? Now? Easy. What do you know? What do you know about acting? Easy. There. Easy, I say. Easy. Fat. Fat belly, fat head, fat face. That's enough. You know nothing. I know you. I know actors. You're no actor. You stink. I'll kill you for saying that. I'll kill you. Witnesses. He's threatening me again. Yes. Listen good, Norman. I'm going to kill you. I'm going to kill you. You see, you can't even deliver that line. You stink. Yes, sir? I want to buy a gun. Yes, sir? What sort of a gun did you wish to buy? One that will shoot through fat, sir. Pardon me. I'm sorry. I was thinking. What have you got? Why, pistols, rifles, shotguns? Well, I. I don't know exactly. What was it you wish to use the gun for? I want to kill a rat. A.22 would be about your best bet. Here's a nice little item. Looks pretty small. This is an awfully big rat. Fat rat. I think a shotgun. A.410. Yeah. Yeah. You think that'll do it? Oh, mister, that gun will, I guarantee. I use a gun like that myself. Single barrel, light, handy. Truly beautiful weapon. Bullets. You got bullets or shells? Shells are used in this weapon. Now, there are all kinds, depending on what weight shot you want to use. You choose it. I want one. One box. No, one bullet. One. Yeah. This rat. I'm not gonna miss. It's time Now. He'll come out of that rat, far door of the entrance. And he'll walk this way because he's going to go into Sardis for a drink. I slide it out from under my coat and I smile and I say, goodbye, Norman. Pull the trigger. Heart or belly? Heart or belly? Belly. Yes. In the belly is cultivated paunch fatted with actors. Hearts. Yes. Belly. Am I invisible now? I mustn't be noticed until the moment. Perhaps standing a little too tall. Sag. That's it. Perfect. The actor plays himself as a non actor. You should see this, Norman. Now, goodbye, Norman. Saga. No. Shot. I'm shot. It hurts. Norman, you're dying. You're going to go to hell in a minute. Norman, I'm shocked. Somebody call an ambulance. Shouldn't do you any good. Norman, you're dying. You'll be dead before it gets. Oh, it. Is this how you play your death scene, Norman? You're dying. Play it. Please. Somebody call an ambulance for me. Don't let me lie here. Oh. Oh. If an actor played a death scene for you as badly as you're playing your own, Norman, do you know what you'd do? Ambulance. Help me. Ambulance. The shotgun. He did it right in the middle of 45th Street. Oh. Brought him in an Hour ago. Give you any trouble? Like a land. Hello. I thought you'd like to know. That guy, he's still kicking. Alive. He's alive? Yep. So you're not a murderer? Not yet. I brought your lawyer. What's that? I'm your lawyer. How do you do? Sit down, won't you? Thank you. They say he's still not dead. No, but he's sinking. How much longer? They didn't say. When he dies, I become a murderer. Yes. They'll electrocute me. Yes. Must have been crazy. I thought of that. What do you mean? Temporary insanity. I thought we might plead that. Well, why don't we? Because you threatened him before witnesses at least twice. Went to a store, chose a gun with great care, waited for him to appear. You did all this and then you shot him. That's right, I did. That's premeditated murder. First degree murder. So the temporary insanity thing is out? Way out. The only other thing I can think of is with the proof you were insane all along. Me, insane? But of course not. I should say not. What? Wait a minute. What would happen? I mean, if I were. Oh, they'd get the psychiatrists in, examine you, Send you off to be cured. Yeah. You seem very calm. I'm an actor. He's gone. And I sit here, seeming very calm. From time to time, the God passes, looks at me curiously. I know it's on his mind. He's saying this. It's a cold blooded murderer. I know. All my life I've studied the human beings. Memorized their gestures, tones, expressions, inflections, emotions. I've learned to probe every moment of. Of my own experience from early childhood. Searched out my every reaction, emotion. Learned to feel the parallel emotions of others. The Stanislavski method of acting. I have it. Know it. Of course. If we could prove you were insane all along. But I'm not. The insane man moves without motive, and I had a motive. I know you. I know actors. You're no actor. Ooh, I could do it again. No actor. No. No actor. No actor. I could do it again. Insane. Crazy. Nuts. I know a joke. I know a joke. A wonderful joke. I'm gonna beat Norman even in his grave. I'm gonna have myself exonerated of his murder. Yes. Freed of the charges. It's so simple, I can hear it. Not guilty by reason of insanity. To play the greatest role of my life. Play it without makeup, without lights, without script or cue. I'm going to play a part strangely foreign to my nature. I'm going to play a homicidal maniac. Autolite is bringing you Mr. Milton Burl in rave. Notice tonight's production in radio's outstanding theater thrills suspense. Wilcox. What's this? A campaign slogan for your candidate. Right. Oh, Senator, the Autolite Stay full battery is the battery that needs water only three times a year in normal car use. That's my candidate's simple sound and superior slogan. Seems pretty dry to me, Wilco. Why am I droll, dignitary? Let me tell you about my candidate's characteristics. He has fiberglass retaining mats protecting every positive plate to help reduce flaking and shedding. And Senator, everybody votes for Autolite Stay full batteries because you can't buy a better battery for your car. What's the opposition, Wilco? No opposition, Senator. Why, with a 70% longer life as proved by tests conducted according to SAE minimum life cycle standards, who would even think of opposing an Auto Light Stay full battery. He's in Wilcox. What did you say he was running for? For the wonderful dealers from coast to coast who sell Autolite sta Full batteries to the masterminded motorists who drive their cars to perfection with Autolite Stay full batteries, the battery that needs water only three times a year in normal car use. Better see your Autolite dealer and get an Autolite battery at once, Senator. Good idea, Wilcox. And remember, Senator, you're always right with Autolyte. And now, Auto Light brings back to our Hollywood soundstage, Mr. Milton Burl in Elliot Lewis production of Rave. Notice a tale well calculated. To keep you in suspense, I'm going to play a homicidal maniac. How? How? What is the most terrible thing I ever did? The thing closest to murder. I must recreate that move. Murder, killing, blood. I killed a cat once. Yeah, I was six years old. I didn't mean to kill it, but I had this stick. It was in an alley, this cat. And I poked it, just for laughs. He didn't run. That's all I wanted to do was just to make him run. Oh, he scratched me and I hit him. He hit him across the back with a stick. And he started this hollering and squalling. And oh, I thought. Oh, I thought, I'm gonna get into trouble. Stop that noise. Stop that noise. I hit him again to make him stop. And again to make him stop. And again. And there was blood, red blood on the gray cement. And struck and struck and struck out the screams. Struck out the life. Struck out the awful gaze of those great yellow eyes. Struck out the life. Struck out the spirit and the spark. I kill A murderer I am. I kill for the thrill of Silence of the Cat. I am a murderer. A murderer I am. I kill without reason. That's it. That's it. That's it. That's the character. All I need for turning it on is the memory. Those key points. Gray cement, cat's eyes. My feelings as a six year old. Oh, there will be refinements. I'll refine it. Oh, Norman, if you were only here to see the seam. You were. Oh, leave here. Dim the house lights. Raise the curtain. Now to get my audience in. What's that? Sounds like the shotgun guy. He's laughing. We better go see what's up. Hey. Hey. Hey. You. Who, who, may I ask, are you? What? Who are you? Who are you? Who are you? Oh, come on now, Mac. Calm down. I asked a civil question and I expect a civil answer. Who are you? Who are you? Who are you? He was so nice and quiet for a while there. Hey, just answer my question. That's all I ask. And that's not much reward for a hero to be asking. Now, don't you know who we are? I think he's putting on an act. Hey, don't turn your head away. We know you hear us. Nuts. Leave him be. You think he's kidding? What does it matter? Oh, that was lousy. You can do better than that, Sam. You're supposed to be a murderer. A homicidal maniac. So what's the emotion? Guilt. Guilt. You've got to be guilty. Guilty, guilty, guilty. Smear yourself with the stuff. Guilty. Bloody hands. That's you. Guilty. And you want to be punished? Yeah, punished. Punish yourself. That'll do it. But a little hurt. So what? So what? Not like it hurts when they shave your head and slit your trousers and strap you to your seat. Oh, that seat. 10,000 volts coursing through this poor player's frail body, with which I am cursed. Murderer. Guilty. Guilty. Should be punished. Should be punished. One, two, three. Curtain going up. Guilty. Guilty. There he goes again. You go. Ah, what a job. Smashed him on the grace. Smashed him. Murder. Murder. I murdered him. I am a murderer. I am a murderer. And I confess it. I confess I'm a murderer. Hey, I want to confess it. You don't have to do that. I confess to purge myself of this guilt. But you did all that when you first come in here. I am a murderer. I am guilty here. I smashed him. I smashed him. What are you getting yourself so worked up about? That guy isn't even dead yet. Not dead. He is dead. He's been dead these past 36 years. 36 years. Oh. Oh. If you won't punish me, I. Oh. Hey. Hey, what are you doing? Hey. I am. I'm guilty. And I shall be smashed as he was smashed. Your hands. You're going to bust your hand in that wall. I shall be smashed. It is written, you know, the writing in the blood that lies across the counterpane in the bed, under the pillow. When little boys are supposed to be far away and slumber. Laugh. Jo, that's the doctor. Good, good. He's getting a doctor. My hand. My hand is killing me some. It seems that something broke. Then I don't mind the bloody, scraped knuckles or even breaking the nails, but not the bones. I want to be sure I can use this darn thing when I get out of here. When. If I ever get out of here. Two cats dead. Murdered by my stick. Four cats dead. Murdered by my stick. Six cats dead. Right here, Doc. I'll open the cell. Of course I do. How long has he been doing this? Well, about 15 minutes, Doctor, since just before I sent Schultz after you. I see. All right, now, you can stop that. I don't stop. I don't stop. I. I don't look. I keep right at it. I keep in the pot. Murderer. Guilty. It hurts. But if I keep at it. If I keep at it, I'm paying a price. I am paying my way out of being electrocuted. I'm going to be freed. I can only keep it up. You aren't doing yourself real good this way, man. All right, come on. Leave me. Leave me alone. I want to pay. I am the guilty one and I want to pay the sentence. To the car. Hold him in. Come on now. Let me go. Let me get a limousine. Pay. I must pay. Steady, steady. Like a ding needle. He's pressing the syringe. It'll knock me out. I can't act. I'm unconscious. Come on. I can't act. I can't play the part. I'm guilty. I. I can. I. So quiet here. So white. Such sweet stillness and peace. Gone. The darkness of the steel and concrete. And the cell, this white ceiling. Well, they're watching me very carefully. The taller one, he's new. The other gave me the hypodermic. Yes, I. Long have I been out. Did I say anything while I was out? Perhaps if I keep still, they'll let me know. I must have been wrong. Are you awake? You say he showed definite suicidal tendencies. Suicidal immediate or simply self destructive? While he was unconscious, I listened to Him. He spoke. He seemed under the delusion that he is invisible. Invisible. That's a new one. Now, wait a minute. Look, he's opening his eyes. Hello, Awake? Who are you? You remember me, don't you? No. Something to quiet you. A little while ago. A little while ago. You're trying to injure yourself that we think you're insane. You've decided to give that up, haven't you? If you only let me go. Let me out of here. I have to carry out sentence, you know how. Will you carry out sentence? Be smashed? I am to be smashed as I have smashed? Smash the cat. Is that the law? An eye for an eye and a tooth for a tooth? You believe in that? If you believe in the eye for eye law, don't you feel it's right that you received the same thing you gave your victim? Yes. I smashed him with a stick and the eyes that stared at me. Stick? You mean shotgun, don't you? Why would I say shotgun if I meant stick? I. I said stick. You shot the man with a shotgun. You're out of your mind. After you smashed him with a stick. What happened? What? What? What came after he was dead? Oh, I was. I was frightened. I went home. Mama was there. She said, how did you get blood on your hands? And I said, a dog licked my hand and he had blood on his teeth. Understand? You're an actor. We are all actors. We try to act innocent when we are guilty. Doctor, come outside a moment, will you? I've got them. I've got them. Just keep playing it cold and clear. What are they talking about out there? Oh, I wish I knew. Doesn't matter. Don't matter. I have them. I know that. I've got them. I've got them. Well, I guess you'll be leaving us soon. That's what I asked for. Thank you. Thank you. You're understanding, Doctor. I am guilty and I must carry out sentence. You know that. What the doctor means is that you're going to a place where they'll help you to get well. Get well. But I am well. I'm just guilty, that's all. Of course, if you have the affidavits drawn up, I'll sign. You get a court order committing it. Right. Means you were right all along. You know, I wasn't sure until you told me about the man who was shot. About his recovery. Oh, yes. The guards told this man he'd recovered, but he didn't comprehend the cause. He went right on screaming and punishing him. See? Well, let's go what would they have given him? Were he saying? Well, that depends. The injured party refused to press charges. He'd be out of here in an hour. Free man. Recovered rec. They didn't tell me he'd recovered. How could he be recovered? I shot him. I shot him in his fat paunch. In his belly. When did they tell me? It was while I was screaming. Maybe I was really into the part then and deep in it. Couldn't have heard them. Couldn't have heard. And now. Now he will walk out of here and I will go off to an insane asylum married to a role. And I loathe that. I hate. No. No. Doctor, come back here. Come back here, please. It was all a joke. Doctor, come back. Come back. What is it? Listen, Doctor. Listen. I have a confession to make. Doctor. I'm not insane. Please believe me. Please believe me. Of course you're not. Just a little confused, that's all. Yes. Yeah, why not? Even confused? Don't you see? It was all a gag. It was just a gag. Of course it was. Now you're going to a place where you can rest and everything's going to be all right. Oh, no. Believe me. Believe me, I am sane. Why shout? I am not shouting. I only want to impress upon you. You were shouting rather loudly. Oh, look, I shot. And my lawyer said if I could prove insanity, I. I wouldn't go to the chair. Chair? I thought you were to be. You said smashed. Forget that. That was part of the method. Method? You know, the Stanislavski method. It's a system of acting. What do you think Darkness? Don't know, man. He seems to be telling me this. You think so? I can fool you all over again if you feel it's necessary to prove my point. No, I don't believe you'll be able to fool me again. Well, Dutton? Sane, I say. Sane, I say. The man is in full control of his faculties. Is aware of his crime, committed it out of what society calls sober motive. And you, sir, do you agree with the doctor? It's what I've been telling you. And I say sing. That makes it unanimous. Glad that's over. Wow. What a performance. Gentlemen, never in the history of the theater has such a performance been rendered. Nor under such adverse conditions. Just one more question. Shoot. Shoot. Why did you kill him? Kill him? But I didn't. I shot him, that's all. Shot? You mean shot, don't you? Well, don't you? No. Woman is dead and you are saved. You're going to repay society with your life. Woman is dead. Oh, treachery, Villainy. Bring down the curtain. Bring down the cur. Suspense presented by Autolite. Tonight's star, Milton Berle. Well, Wilcox, did your candidate win? Win, Senator? Why? The Autolite Stay full battery is the winningest candidate the polls have ever produced. And this winsome leader is only one of over 400 auto light winners. For cars, trucks, planes and boats made by autolight in 28 plants coast to coast. These include complete electrical systems used as original equipment on many makes of America's finest cars. Spark plugs, batteries, generators, coils, distributors, electric windshield wipers, starting motors, bullseye seal beam headlights. All engineered to fit together perfectly. Work together perfectly because they're a perfect team. So friends, don't accept electrical parts supposed to be as good. Ask for and insist on Autolite original factory parts at your neighborhood service station, car dealer, garage or repair shop. Remember, you're always right with Auto Light. Next week on suspense, Ms. Barbara Stanwyck as a woman who gambled and the stake was death in the wages of sin. And in weeks to come, you will hear such famous stars as Richard Widmark, Herbert Marshall and William Holden, all appearing in tales well calculated to keep you in suspense. Tonight's suspense play was produced and directed by Elliot Lewis with music composed by Lucian Waroweck and conducted by Lud Bluskin. Part of the this program were transcribed rave notice was written for suspense by James Poe. Milton Verrell appeared to the courtesy of Texaco. And remember, next week on suspense, Ms. Barbara Stanwick. In the wages of sin. You can buy Autolite staple batteries, Autolite standard oil resistor, spark plugs, Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night. This is cbs, the Columbia Broadcasting System. Auto light and its 98,000 dealers bring you Mr. Jack Benny in tonight's presentation of suspense. Tonight, Autolite, following a popular trend, anticipates the strange disappearance of a experimental rocket ship Y272B. The time, the year 2053. The place, the planet Mars, the star. Mr. Jack Benny. Say hap. That was quite a speech you made last night. You were as dynamic as an Autolite Stay full battery. Oh, that's flattery, Harlow. And what a battery it is. The Autolite Stay Full is the power packed Pepster that needs water only three times a year in normal car use. I really don't deserve such praise, Harlow. Why not? That's the battery with the fiberglass retaining mats protecting every positive plate to reduce shedding and flaking and give the Auto Light stay full longer life. As proved by Tests conducted according to accepted life cycle standards. That was really good. Eharl, no. What could do any better than to visit his nearest Autolite battery dealer who services all makes of batteries. To quickly locate him, just call Western Union by number and ask for operator 25. I'll tell you the name of your nearest Autolite battery dealer where you can get an Autolite staple the battery that needs water only three times a year in normal car use. And remember, from bumper to tail light, you're always ripe with Auto. Auto Light. And now Autolite presents Transcribed Plan X starring Mr. Jack Benny hoping once again to keep you in suspense. The car. Do you have the card yet? One more run through the machine. Touareg, when do you think the Earth rocket is arriving? Tomorrow. But if the Grand Council wanted the card before now, they should have asked me before now. Is that it? Let me see it. Here. 13756. Zeno. Assembly line worker, Atomic escalator factory. Touareg. This is the man for the job. He has the specifications called for an assembly line worker. That's incredible. Incredible. Yes, Yes. Right away. You may go in now. Zeno. The Grand Council is ready for you. 13756 called. Zeno, come forward. Yes, sir. Zeno, the Grand Council of Mars has a mission for you to perform. Me? A mission? You have been selected because of the qualities shown on your work and Identity Card Form 42A set habit patterns, attention to detail, no strong emotional or biological drives, and complete suppression of imagination. Well, I always pride myself. Do not speak unless questioned. Zeno, the Grand Council has other important matters of state. Of course, of course. You have heard the telephone broadcast that an armed rocket from the planet Earth is approaching Mars. Hmm? Oh. Oh, I did hear something about it, yes. Their course has been plotted as bringing them to a landing on the plane outside the city at 10:14 tomorrow morning. 10:14? You know, I wouldn't mind seeing that. You will see it. Citizens, Enough. Me? You? Well, I'd certainly like to, but I'm doing the atomic escalator factory at 8. I'm on stair treads, you know. And we've arranged to leave from your job. Leave? Well, I'm not arguing with the Grand Council, but I've got a pretty important job there. And 13756, you've been selected to meet and deal with the Earth rocket. Me? You will put Plan X into operation. Plan X? Citizen Zeno, every Martian for the last 50 years has been thoroughly grounded in Plan X. If and when a rocket should come from the Earth oh, oh, oh. Plan X. Oh. You see, I thought you said Plan X. Of course. Then you understand and accept the responsibility. Oh, anything to help out. Those assisting you on the mission will be in contact with you. Good, good. Have the other council members any questions? 1, 3, 7, 5, 6, Colzino, you are now officially operating under. Under the provisions of Plan X. Well, thank you. I took the aerial transmission belt directly home. Let them get along without me at the escalator factory if they could. Besides, it was almost quitting time. I went to bed early that night. Tomorrow was going to be a big day. Plan X. Out of the whole population of Mars, I was picked to carry out Plan X. Oh, I'll admit I had my criticisms of the Grand Council in the past, but this restored my confidence in them. Yes, sir. They couldn't have picked a better Martian. I think I'll have a second cup of ostrich. My Zeno. You haven't time. You'll be late for the factory as it is. As I told you, Mother, I'm on leave. Orders of the Grand Council. Oh, yes, of course. Plan X. But will the Grand Council care if you don't get your job back? There won't be any trouble. They couldn't replace me in stair treads and they know it. Pass the gorot, will you, Mother? Here. But it's fattening, Zeno. I got a hard task coming up, Mother. I owe it to myself. And you will be careful, Zeno. Oh, Mother, if I've told you once, I've told you a thousand times, it's just an invasion rocket from that stupid planet Earth. So will you stop worrying? You're just like your father was, Zeno. Too brave for your own good. I am. Well, it's nothing, really. I took my time going over to the field where the Earth rocket was to land. I got there at 10 with not another soul around. Another few minutes and I had my pocket radar screen working. Yep, the rocket was coming in right on time. Then I could hear it out in space instead. Soon after that, I could see it bearing. Our first visitors from Earth. See, I was thinking they must be a brave crew. I almost felt sorry for them. It wasn't a bad landing. Not the greatest, but not bad. After another 10 minutes, a port in the side of the rocket started to swing open and I walked over. I do say it myself. I made quite an impression. Commander. Commander, look. Great Scott. What is it, Commander? I. I think we've met our first Martian. All right, keep back, everybody. Dr. Fielding and I will deal with It. Him. Whatever it is. Hand me the Martian kit, Parker. All ready, Seth. Come on, Fielding. Be ready for anything. Right, Commander. Incredible. Absolutely incredible. I'll try to talk to him. We Earth people. We friends. Friends? We come from out there. Oh, blasted feeling. I feel like a fool. Let me try, Commander. We bring you presents here. We bring you beads, cloths of many colors. Take them. You wouldn't have something a little more conservative, Fielding? He speaks Esperanto. Incredible. Incredible. Gentlemen, welcome to Mars. It's. It's almost as if he was expecting us. Oh, yes, for some days now. Ever since you left Earth, as a matter of fact. You hear that feeling, Commander? We may very well be in the presence of a superior race. Well, thank you. You. You say you expected us. Everyone expected us. Oh, certainly. But you're here alone? Yes. Well, unfortunately, all other adult Martians are, shall we say, unavailable. For how long? Not wishing to pry, but how long are you staying? Well, they've taken to the hills. Have they? No need to be afraid of us. No need at all. There's no one in your city over there? Mainly unavailable. But I'll be glad to show you around. Martian hospitality, you know. Amazing. Can we go? Right away, Commander. I'll get Connie. You can call her, Fielding, but we don't want to blunder into a trap. All right, men, all in. Parker, take three men and stay here for rocket guard. Yes, sir. Ready, Fielding? All set, Commander. Connie, I want you to meet our first Martian. Dr. Fielding. I don't believe. Ms. Morrison, this is 13756. Call Zeno. Ms. Morrison, this is Zeno. How do you do? Well, how do you do? Incredible. But he's almost handsome in a strange way. And he speaks our language. Maybe a trick of some kind. Expedition force on tune to. It's a little difficult to prevent. Pronounce. On to the city. We march into the city, which, of course, appeared quite deserted. Plan X. I showed them a few of the sites. The canals, the OG factory and the hall of the Grand Council. I was walking alongside of Connie. This Morrison, who was most unlike the women of Mars. I caught myself showing off, riding the aerial transmission belt with one hand. Finally, I took them all to the art museum. Oh, Commander, this place, this civilization. Fantastic. Fantastic. Look at this sculpture, Dr. Fielding. The line, the detail. I've never seen anything so beautiful. It's nothing, really. Zino, you don't mean that you. Well, no, no, no. You see, I work at an atomic escalator factory. I'm in stair treads. Everybody, over here. Look at this. Oh, what is it? Isn't that what Zeno is? Is this what I think it is? I'll have to read the nameplate. Oh, yes, Yes. A flying saucer from 1950. Your calendar. 100 years old. 1952. The year of the flying saucers. Then they did come from Mars. Oh, yes. But none of them ever landed on Earth. Why? It just didn't seem worthwhile. Nothing personal, of course. I just can't get over this planet. It's so different from anything we imagined. Now, here's something you might be interested in. Right over here. What? Looks like a weapon of some kind. Yes. You see, it's a Paralyzer Ray. It's 300 years old. But why do you have it in a museum? You don't mean that weapons like this Are 300 years obsolete? Well, you might say that, yes. You see, no adult Martian has carried a weapon for hundreds of years. Why not? Why should we? But to defend yourself? Well, we just have no aggressive impulses, that's all. If someone struck you, wouldn't you strike back? I couldn't. But it doesn't matter. No one could strike me. No Martian, that is. Yes. We've never had any trouble, Zeno. You're in the diplomatic service, the escalator game. Yet you were delegated to meet us. Yes, by the Grand Council. You see, we stopped having diplomats, handled our important missions years ago. Again, nothing personal, of course. I see. But you are empowered to deal with us. Deal with you? I certainly am. Good. Now, it seems logical to me that we should work out a mutual defense pact. Not right now, of course. Mr. Zeno. Mr. Zeno. Who's that? We look like children. We have to see him, Mr. Zeno. Just some little friends. Oh, they're darling. What's the problem? Army. We're building something. And we're all out of uranium. We need some right away. And, Zeno, does he mean real uranium? Oh, of course, Dr. Fielding. Oh, it won't hurt them a bit. We have to have it right away, Mr. Zeno. We just have to have it. This city was deserted. Where did these children come from? Oh, you know how it is with kids when they get to playing. You'll get the uranium for us, won't you, Mr. Zeno? Will you? Fascinating. What are they playing? Zeno? Yes. What's the game? I don't think you've heard of it, commander. It's called Plan X. Autolite is bringing you Mr. Jack Benny in Plan X. Tonight's presentation in radio's outstanding Theater of Thrills. Suspense. Say, Harlow, do you like to make speeches? Sure, Hap. Especially about the Autolite Stay Full battery. Friends, Romans, motorists, lend me your ears while I praise the greatest of the great, the incomparable Autolite Stay Full, the battery that needs water only three times a year in normal car use. The battery that gives longer life is proved by tests conducted according to accepted life cycle standards. The famous Autolite Stay Full has over three times the liquid reserve of ordinary batteries. And because every positive plate is protected by fiberglass retaining mats to reduce shedding flaking, the Autolite Stay Full just naturally gives longer life than ordinary batteries. And where can one get this glorious battery? From your nearest Autolite battery dealer who services all makes of batteries. To quickly locate him, just phone Western Union and ask for operator 25. And I'll tell you where you can get an Auto Light Stay Full, the battery that needs water only three times a year in normal car use. And remember, from bumper to tail light, you. You're always right with Autolite. And now, Autolite brings back to our Hollywood soundstage, Mr. Jack Benny. In Elliot Lewis's production of Plan X, a tale well calculated to keep you in suspense. For the next week. I showed the Earth expedition around the city, signed a few treaties and had several long conversations with Ms. Morrison. Well, not too long, but I felt we were building a solid friendship. It was too bad it was coming to an end. You're not going out again this evening, Zeno? Mother. So I've been out two evenings in a row. Doesn't have to be fatal, you know. This is the time of year you always get that chest cold. Oh, chest cold. Chest cold. Anyway, Mother, I have to go over to the rocket. Don't they plan to go back to Earth tomorrow? They plan to, yes. Ms. Morrison promised to take a little farewell walk with me this evening. Don't let her keep you out in the moonlight too long, Zeno. Mother, why, that's the most ridiculous thing. You just don't know how attractive you. You are. Now, Mother, Ms. Morris and I are merely friends. And to think of anything beyond that is just. Mr. Zeno. We're almost finished the game, Mr. Zeno. Good, good. All finished, Army? Just about. It's tomorrow morning at 8:45, isn't it? 8:45. Anything else you need, Army? I mean, any more uranium? No, I just wanted to make sure it was 8:45. Well, see you in the morning, Mr. Zeno. Goodbye, mister. See you in the morning, Army. Such a cute little fellow, Zeno. And smart. Is he? Mother, you have no idea. The Earth expedition was camped beside their rocket, getting ready for takeoff the next day. Connie. Ms. Morrison waved when she saw me coming. I waved back. Then she smiled at me. I smiled back. It was a beautiful evening. We walked out over the plane, Connie and I, and then we sat down quite close. Connie lit a cigarette and I opened up a package of Gurkhog. Zeno. Yes, Connie, Ms. Morrison. Connie. How is it you're not married, Zeno? Don't Martians believe in it? Oh, definitely. But there's Mother and. And what, Connie? You don't find me a little bit strange? You mean because you're a Martian? Not exactly. You see, even to Martian girls, I'm a little bit strange. I find you very attractive, Zeno. Really. You're from a superior race. Well, the Commander may not see it, but Dr. Fielding does, and I do. Your civilization, your country, culture. And you. Actually, I'm. What are the other Martians like? You know, I seem to feel there are people all around watching, waiting. And yet we've seen only you. And the children, of course. Yes. And the children. They've been playing around the rocket all day. Yes. Yes. Zeno, what'll happen to this planet, this beautiful planet, when the next Earth rocket comes? And the next one? Connie, I'd almost like to stay here. Or I wish we'd never come. None of us. Connie, there's something I. I. What, Zeno? What is it? It's just that it's getting cold. Maybe we better go back. I walked with Connie back to the rocket and then I went home. There was a message on the autofona pad. The Grand Council wanted to see me at once. You sent for me, gentlemen? 13756 called Zeno. You are nearing the completion of Plan X. I hope my work has been satisfactory. You were selected for certain qualifications, Zeno. Set habit patterns, attention to detail, no strong emotional drives. I remember. Yes. You have a assumed a responsibility based on those qualifications. I suppose you might put it that way. Are you still prepared to discharge that responsibility? Well, I. I think you might as well know that it's been my criticism in the past, as well as that of a lot of other taxpayers, that the Grand Council interferes entirely too much in the private lives of. Well, what I mean to say. Are you prepared to discharge her responsibility? But about Connie, I mean. Ms. Morrison. Isn't there some way. You know that. There is not. Well, I. I suppose not. No. Plan X will then be completed, I assure the Grand Council. At 8:45 tomorrow morning, Plan X will be complet. I didn't sleep well that night. Mother was worried when I hadn't any appetite in the morning. She thought it was the start of one of my chest colds. Purposely, I didn't go out to the rocket until almost 8:40. They were blasting the motors, getting ready to take off. See, now, I thought you were. I. I overslept, Connie. That is, I. I didn't really oversleep. But the children have been here for an hour. We're just about finished playing, Mr. Zeno. Oh, good. Army. Did you win the game Plan X? I think so. We'll know in a minute, Mr. Zeno. They're so intense. Are the children on Mars always that way, Zeno? Well, not always, no. Ah. Come to see us off, did you, Zeno? Good boy. We counted on you. Well, thank you. Come over here. Feeling? Yes. Commander. Connie Fielding. Zeno here has been so helpful to us that I've come to a decision. That's very nice of you, but I'm pretty well stocked up on beads right now. A different kind of a present. Zeno. I have decided to invite you to come with us to Earth. To Earth. How about it, Zeno? We're taking off in 16 minutes at 09:00'. Clock. How about it? Well, it's not that I don't appreciate you're thinking of me, but Mother would worry. And you see, we need you, Zeno. That's not true. Well, I'm afraid it is. You see, I think Zeno is a much more important man than a worker in an elevator factory. Escalator. I'm in staircase. And if we have Zeno along, the next time we come back to Mars, we'd be much less likely to run into, well, an ambush. I'm afraid. He's right, Connor. He's not right. How about it, Zeno? Thanks, but no. Commander. Those kids, they've got some sort of a ray gun setup. Fielding. Is it real, Fielding? It looks like it, Commander. Get Zeno over in front of us quick. Now. They can't shoot without hitting him. Get your gun out, Parker. You mean the kids, Commander? If we have to, yes. Tell them not to fire on us, Zeno. I'm sorry, Connie. Really sorry. Oh, it's all right, Zeno. Do what you have to do. Shall we shoot, Mr. Zeno? Have your gun ready, Parker. It wouldn't do any good, Commander. All right. Army. Plan X. Did you. Did you fire, Parker? Me, sir? Fire a gun? Well, I couldn't. I couldn't do a thing like that. No, no, of course you couldn't. I. I don't know what made me ask. The rocket. Its motors have stopped. Its motors have stopped, Commander. Well, we aren't going anywhere, are we? Someone said something about going back to Earth. Back to Earth? Oh, no, of course not. Of course not. Everybody all right? What happened? Commander? What happened? Nothing, really. It's just that army and his little friends built a maturity ray. It takes people who are, shall we say, less advanced and increases their IQ by several thousand years. It's amazing. Child's parents. Zeno. Do you mean to say, Commander Dr. Fielding Parker. Connie. Permit me to congratulate you as fellow Martians. Utterly amazing. Connie, look. Here come the Martians. Our fellow Martians. Thousands of them. They're coming to welcome us. Connie. Oh, look at them. Oh, they look so handsome. So intelligent. So. Connie. Yeah? Excuse me, Zeno. I'll be back, Commander. I have to go to them. I'll be back. Well, she did like me for a while before Plan X. But she did like me even just for a while. That's something, isn't it? Suspense Presented by autolight. Tonight's are Mr. Jack Benny. This is Harlow Wilcox again speaking for Autolite. World's largest independent manufacturer of automotive electrical equipment. Autolite is proud to serve the greatest names in the industry. That's why during the early months of 1953, as we did last year, the Autolight family will join in saluting the leading car manufacturers who install Autolite products as original equipment. Our Autolite family is a worldwide family and numbers among its members some 30,000 men and women in Autolight plants in the United States, Canada and many foreign countries. And the 18,000 people who have invested a portion of their savings in Autolite, as well as thousands of Autolite distributors and dealers and the many leading manufacturers who use Autolight products. Products as original equipment. Our Autolight family will salute the Dodge division of Chrysler Corporation on the next Autolite suspense program on television. If you live in a television area, check the day and time of suspense so that you'll be sure to see this program. Next week. The dramatic report of a man's desperate race for freedom. A true story with names and places changed in order to protect the lives of the principals. The story is called the man who Cried wolf. Our star, Mr. Jeff Chandler. That's next week on Suspense. Suspense is transcribed and directed by Elliot Lewis with music composed by Lucian Morowic and conducted by Lud Gluskin. Plan X was written for suspense by Richard Powell. Featured in tonight's cast were Mary Jane Croft, Norma Varden, John McIntyre through to Marson, Howard McNear, William Conrad Jackson, Mac Cruchen, Joseph Kearns and Stuffy Singer. The Jack Benny show may be heard every Sunday on the CBS Radio Network. And remember next week Mr. Jeff Chandler in the man who Cried Wolf. The 1953 March of Dimes has nearly passed by. If you haven't given your dime or dollar to help in the crusade against polio, why not do it now? Send your contribution to your local March of Dimes headquarters. This is the cbs radio network. Autolite and its 98,000 dealers bring you Ms. Ethel Merman in tonight's presentation of suspense. Tonight, Autolight presents the story of a good humored lady with a big voice and a soft spoken boy with a very sharp knife. The story is called Never Follow a Banjo Act. Our star, the queen of musical comedy, Miss Ethel Merman. This is Harlow Wilcox with $100,000 news. You may get your own church, hospital or other community or national charity. A big share of that sum. There's nothing to do except write your name and address on a registration form at any Autolite family car dealer showroom. If you're one of 25 persons selected, you will name your favorite recognized charity or charities to share in this one home Autolyte family gift. Now it is my privilege to introduce Mr. Basil O', Connor, National Chairman of the March of Dimes. Thank you. I'm sure everybody in America will open his heart to this most generous offer. Of course, those selected can give to church, hospital or any other recognized charity. But I for one am hoping a big share goes to my favorite charity, the March of Dimes, whose crucial campaign is underway. But for that once in a lifetime thrill to be able to give thousands of dollars to the March of Dimes or any other charity. Be sure to register with your local Autolite family car dealer tomorrow. Thank you, Mr. O'. Connor. Friends, visit your DeSoto, Hudson, Plymouth, Studebaker, Dodge, Willis, Nash, Packard, Kaiser or Chrysler. Dealer, help your favorite charity share in $100,000. And now autolight presents transcribed Never Follow a banjo act starring Ms. Ethel Merman. Hoping once again to keep you in suspense. You're a hero. A Nero Apollo. The wizard of Oz. Uber kingdom, power and glory. The old old, old oldest of stories is new true. You've built your room in just one day. Life is mystic amidst summer's night. We live in a Turkish delight. You're in heaven. It's well when you're really. It swell when you're really. Love. How about that, huh, folks? Great. I mean it. Ladies and gentlemen, Rosie Jones, come on. Take one more bow, Rosie. Man, she really does come on, that girl. Well, ladies and gentlemen, all you lovely uptown types, you came, you saw and you heard the one and only, the immortal Rosie Jones, right at 52nd street in the club Nightshade. Hey, sing well and go and praise me. And now we bring you Chico and his Mambo Rascals. Get it, boys? Sing Melancholy Baby. Hey, no, Doll, no. No what? Don't unhook. You got company coming back. Listen, Benny, if I've told you once, I've told you you a million times. This is different, doll. Oh, this is different. Yeah, it's always different. Come on, come on, fix your hair. May I come in? It's open. I can't stop you. My name is Cram, Rosie. Ray Cram. I'd like to talk to you. Ray Cram, huh? Beat it, mister. I don't think you got the name right. Or maybe you never heard of me. Every guy who wants to make a big impression back here claims he either is or is representing a big agent. Doll, this is Ray Cram. I assure you, Ms. Darns, this is Mr. Cram. And who, my dear, are you? I'm Johnson, assistant to Mr. Cram. Tell you what, Mr. Cram. Show me your driver's license. Oh, hey, R. Oh, have a chair. Call me Ray. You know, I've been an admirer of yours for many years, Rosie. Many, many years. You can skip the many years stuff I get. I guess we all know how long I've been around. Sorry, Rosie. For some time, I've been casting about in my mind, speculating as to how your mature talents could best be utilized. Benny. Listen to Mr. Cram, doll. Benny, if this is a rib, so help me, I'll kill you. Go on, Mr. Cram. Last night, it came to him. I know you want me to replace Marilyn Monroe. Rosie, you're a sensitive, insecure girl because somehow these last few years have passed you by. But I want you to shut up and listen. All right? But so help me, if this is a rib. Shut up. You know I'm representing Terry Dane, and you know who he is. And you know what I got, right? And no cracks, right? Right, right, Right. The hottest thing since Frankie was first discovered. That's it. We've had new ones and new ones, they come, they go. But this Terry Dane's a million dollars a year gross with tousled hair, face you'd like to put in your lap and hug and kiss. And a voice like, well, the answer to a maiden's prayer. Personally I go for men. But what's the pitch? She goes for men. Great. Little kidder, huh? Listen, Rosie, ask me, what's the pitch? I'll tell you. We're opening Terry at the new Cactus retreat in Vegas two weeks from Saturday. He gets 25 GS a week. I read it in Billboard. Big deal. We need somebody to work. Somebody who's got the experience and the talent and a voice you could lay bricks on. Somebody who can really go along with him. It is a rib. Will you shut up? So may my mother be struck dead if I should say one word that isn't the truth and sincere from the heart. Go on. Benny's paying you 275, Rosie. I want to buy a contract from him. I'll give you an even grand. Legitimate expenses, plus transportation. You like to work with Terry Dane. Four weeks guaranteed. Maybe a bonus. Who knows? Benny. I seen the contract, Rosie. And you, I assure you, Ms. Jones, I give you 10 seconds to give me a firm answer. Say yes. We finalize it here. Now, you don't mind if I seem a bit in the dark. That's nine seconds. What happened to that big My Darling Died campaign your office was spreading when you had him singing I'll Never Smile Again and so forth over the cute little girl who was killed in that accident? Constance Green. Boy got over it. So why don't you get him another young thing like she was? Never follow a banjo act with a banjo act, Rosie. Whole show business model. Gee, she was cute. And that accident, what was it? She fell through a shower door or something. Bled to death. Five seconds. Four, three, two. I'll take it. That's my girl, Rosie. Now, while you're signing these, gentlemen, if you'll just leave us alone for a minute. Sure thing, Mr. Cran. Now, the pen just. Yeah, that's. That's it. Standard form. No riders. No riders, Rosie. But there's one thing I want to make clear right from the outset, so there's no misunderstandings later. Why, Mr. Cran. Serious, dear. About Terry. Keep away from him. Okay? I mean away, dear. He's a moody kid. Terribly shy. Remember what I said before about liking men? Yeah. And that's what I call being mature. He's just a boy. You got no interest. You'll develop none. You'll keep clear, clean and away. Is that right? Right. Oh, I'll make it look good on stage, Ray. But after hours. After hours, I'm going hunting for one of those Nevada cow poke. Terry Dane. Me and Terry Dane. You're right. This Rosie it was a good arrangement, Terry. Go on. They're queuing your solo. Who cares about solos? I like duets. I like doing it with you, honey. What a passionate one you are. So get on with you and passionize that mob. Terry. They're calling for an encore, sugar. An encore of you, my boy, of you. They like you, love you. Every last dame in the play. So get out there. They love me. It's true. Every last one of them out there. Everybody seems to. I don't intend to try to explain it. It's just a thing that happens to women when I sing. That's right, that's right. Now sing for them. That's the boy. Somehow it just doesn't seem to happen to you, Rosie. Now why would that be? Why would that be be. Lady wages. Two bits on the 23 red. Rosie. Hello, Ray. Get me a two bit plunger after your turn in the last show. Yeah. Gary was whispering to you. What about? Oh, he wants me to join his fan club. Something. I don't know. And what else? Nothing else. Sure. Hey, look, what is this anyway? Nothing. There. Keep up the good work and keep on keeping away from Terry. That's right, dear. A pleasure. Bye now. Toodaloo. Uh, Ms. Jones, ma'. Am. Why, hello, Texas. Oh, my name ain't Texas, ma'. Am. It's Earl. Earl White Earl. But that's such a short name for such a long man. I just wanted to tell you how much I liked your singing, Ms. Jones. Really? Oh, you're not just single saying that? Oh, no, ma'. Am. You're one in a million, Earl. Yes, I'm. Blurt it out, Earl. Well, I'd sincerely like to buy you a drink, Ms. Jones. Well, let's saddle up Pod and get with it. M. You know, it's a right smart stretch since I've seen the sunrise, Earl. Finest time of the day, Miss Rosie. And look at those mountains, all purpley and gold. Yeah, man could look at those mountains for quite a spell. Here's my bungalow, Earl. So I guess I'll be saying good night. Or is it good morning? Don't rightly know which to say, ma'. Am. Let's just make it so long till later. We still got that riding day. Yes'm. Oh, yes'm. So long, pardner. Who's there? Who's that in my bedroom? Hey, dream boy. What do you think you're doing in my bungalow, dream boy? Terry. Oh, come on, Terry. Time to go home to your beddy bye. Gotta look good tonight, pally. Yes, indeedy. So come On. Stand up. Hey. You're gonna cut yourself playing with that butcher knife. Put it away. You're like Connie. Connie. You're like Connie. And like that other one when I was little. Connie. You mean Constance Green? That little girl used to sing with you. The one who died. Connie was like you. Oh. When? Not in the least. Connie didn't like me. Gad, don't. Don't snap that so close to me. Don't. Connie didn't like me. You don't like me. Everybody likes you, Terry. You don't. Yes, I do. I do. Why? Because when you sing. When you sing, it does something to me. Way inside. It doesn't. Yeah. It makes a lump in my throat, and I. I just want to swoon. You don't mean it. I do. I do. I've never heard anything like you, Terry. And your hair. Oh, I love your hair. I just wanted to tousle it, do that. Do what? What you said. Huh? Well, don't you remember? Oh, that knife. It's making me nervous. You don't like me. You do what I said. Oh. Oh. Put down the knife and I will. All right. Like this? Yes. Do you like to do that? Oh. Oh, yes. I love to tousle your hair, Terry. You do? Yes. You do, don't you? I can tell. Yes, Terry. How about you'd like to kiss my eyes now, Connie? Oh, yes. Yes. Towels all your hair and kiss your eyes. Yes. But I won't let you. It's time I went back to my bungalow. All right, honey. If you insist. When I saw you lying there all in blood, I knew you finally loved me. And it was right. And it was right. Yes. Yes. Yes. Well, I'll see you tonight, darling. It's mean making you wait. Yes. Yes. Yes. Auto Light is bringing you Ms. Ethel Merman in. Never follow a banjo act. Tonight's presentation in radio's outstanding theater of thrills, suspense. Hi, Harlow. Well, hello, Bob. Hey. Got new Plymouth, eh? Yes, sir. And what a car. Just like they say, under the beauty, there's solid value. Say, you know, we're saluting Plymouth tonight on Suspense as a distinguished member of the Autolite family. Plymouth's a distinguished member of my family too, Harlow. The kids love its looks. My wife loves the comfort. And I really go for the economy. And we all go for a drive every time we can. Because with Plymouth, driving is the real pleasure. It should be. Yeah. And, hey, talking about drives, you get a choice of three, don't you, Bob? Yes, you do. Harlow. Synchro Silent or if you Wish automatic overdrive or no shift high drive. They're all available on this great new Plymouth. And of course you know, Harlow, four is auto light equipped. I sure do, Bob. You're justly proud of your new Plymouth. And Autolyte is also proud of its long association with Plymouth and Plymouth dealers everywhere. And now Autolight brings back to our Hollywood soundstage, Ms. Ethel Merman in Elliot Lewis production of Never Follow a Banjo Act. A tale well calculated to keep you in suspense. Oh, good morning, Ms. Jones. Let me in. It's me, Ray. Come out here. I've got to see you. Well, what are you doing up this time of day there? What's the problem, Rosie? It's your boy, your client, your tousel headed million dollar gross. Terry. Yeah, what's the rascal up to this morning? Murder. Very funny. Come on, Rosie, what's going on? You mean you don't know? No. No what? No jokes, Rosie. Now what's this about, Terry? In words of one syllable, Ray, that boy is a nut. He was in my bedroom just now with a knife this long, suggesting that I should maybe flip every time he opens his mouth. I tell you, he scared the living daylights out of me. This is serious. You bet it is. He darn near cut my throat. No, because he said I didn't like him. Didn't like him? Yeah. And you know what you said about the old show business motto? Never follow a banjo act with a banjo act. Well, Ray Cram, you've done it. He's got me all mixed up with her. And something about lying in a pool of blood and oh, this isn't for a baby. To that boy, I'm another banjo act. Well, well, what should we do? Call the police? Let them handle it. We can't very well do that, can we? Why not? The kid's sick. He's insane. He could do anything. Aren't you exaggerating a bit? No. Think now, dear. Don't you think it might have been just a little joke, huh, Ray? Nobody makes jokes like that. Sure they do. Don't they, Johnson? Yes, Mr. Crab, quite often. So why don't we forget about this, huh, Rosie? Forget about it? Yeah, forget about it. Hey, now, you're getting a grand a week, dear. Top publicity, a swell time. So why don't you relax? I'll have a little talk with Terry. There'll be no more jokes, I promise. Okay. You know. Know what? The kids may be a little loopy, you know. You know about him and that little knife of his. Don't raise your Voice. And maybe you know how that other girl, that Connie died? She fell through a shower door. I read about it. She was cut up pretty bad, wasn't she, Johnson? Yes, Mr. Crab. Give me a drink. Yes, Mr. Crab. You want to drink, Rosie, at 6:00 clock in the morning? What I want is a good explanation. And after that I want to use your phone. Now listen, Rosie, and listen good. You've been around a long time, dear. And you know what can sometimes happen to a Weisenheimer who goes popping off when it's uncalled for. But this is called for. That kid belongs in an asylum or someplace. That kid represents a million dollar gross. Of which you get 10%. Of which I get a whole lot less than that. He's divided up a half a dozen ways, Rosie. Some of the holders are very influential parties. One of the parties in particular wouldn't like it if anything happened to make the money stop coming in. That party's name's a secret. But I'm gonna tell it to you, Rosie. Cause you've been around and you'll appreciate this. Who? The syndicate. So explain. They're human beings, sort of. Tell them the truth. Tell them they bought in on something bad, just like you. You don't understand. I sold them their piece. Me, Ray. Crammed. You're in trouble. Not unless you talk. And if you do, you're in trouble too. Here's your drink, Mr. Graham. Ah. You put ice in it. I'm sorry. It hurts my caps. So sorry, Mr. Cram. Come on, fix it. Yes, Mr. Cram. How do you mean I'll be in trouble too? The syndicate. I'd be forced to tell them who blew the whistle on their golden goose. And then, well, you know. Oh. So take the realistic view, huh, Dear? We'll protect you. We'll keep Terry away from you. You got nothing to worry about. Nothing to worry about. Now I'm real reassured. Look, Ray, couldn't I just slip out of town? Oh, I saw the boys after the show. They liked you. You stay. That's the word from the boys. You know, this is kind of a hysterical situation. Here you are, Mr. Graham. CAPS. They cost me 3,500. All they do is ache. I wish I were dead. And dear. Yes, dear? You're singing good on your solo, but don't sing too good on your duet. Don't take away from the boy. No, no. That's it, dear. Bye now. Dear. When you smiled at me I heard a melody it haunted me from the start Something inside of me started a symphony Sing with the strings of my heart twice Like a breath of spring. I heard a robin sing About a nest set apart. All nature seemed to be in perfect harmony. Zing went the strings of my heart. Your eyes made sky seem blue again. What else could I do again. But keep repeating through again? I love you, love. I still recall the thrill. I guess I always will. I hope twill never depart, dear. With your lips to mine A rhapsody divine. Zing. With the strings of my heart. Never could carry a tune. Never knew where to start. You came along when everything was wrong. And put a song in my heart, Dear. When you smiled at me. I heard a melody. Something inside of me started a symphony. Sing with the strings of my heart. Just like a breath of spring. I heard a robin sing. All nature seemed to be in perfect harmony. Sing with the strings of my heart. Your eyes made skies seem blue again. What else could I do again. But keep repeating through again? I love you, love you. I still recall the thrill. I guess I always will. I hope twill never departs, dear. With your lips to mine A rhapsody divine. Sing. When the strings of my heart. Thank you. And now the moment you've all been waiting for. Ladies and gentlemen, Terry Dane. Oh, baby. Hi, folks. Isn't she great? Isn't he great, Terry? Yeah, doll. What are you thinking about, Terry? All things. What kind of things? Terry Moon, June Spoon. Tune. Got a tune? Oh, I got a tune. Good little tune. Happy little tune. I like a happy little tune. Is there a boy in it? No, just a girl. What kind of a girl? A very quiet girl. And she was right. Right and dead. And red as red can be. Oh. What are you gonna sing, Terry? She was red. It was all red. Get hold of yourself. Why are they whispering? Sing. Don't they like me? Sing. I'll make them like me. Make you like me, Sonny. And now that we've done our little crazy bit, folks, we're going to carry on in the. Look out. He's got a knife. Hey, watch out. You can't watch me out. Not out of your hearts. God. Close me up. Hold him. Hold him. Rosie, get out there. Sing something. Oh, I'm dead. I'm ruined. Yeah, I. I got his arm. Keep hold of him. There's no business like show business. Business like no business. I know. Yes, sir, but. It's all right, folks. Just one of those little things and so let's go on with the show. Concerned. If I can figure what makes a fella like that tick, I think I'll play the black tonight. He Went just plum loco, didn't he? Took six men to get him into that there special airplane. I swan flying a man to the bug house. Too many banjos. That's all, partner. Too many banjos. I beg your pardon, ma', am, but I don't rightly follow you. Let it pass, handsome. Let it pass. Suspense presented by Autolike Tonight star Ms. Ethel Merman. Friends, sign up tomorrow for the big Autolight family charity drawing. If you are 18 years or older, you can be one of 25 persons selected to pick your favorite charity or charities to share in $100,000. As March of Dimes chairman Basil O' Connor said earlier, for that once in a lifetime thrill to be able to give thousands of dollars to the March of Dimes or any other recognized charity. Be sure to register with your local Autolite family card dealer tomorrow. Just fill out a registration form and have the dealer sign it. There's nothing to buy, nothing to write except your name and address. But you may help your church, hospital or other favorite recognized charity share in $100,000. So visit any DeSoto, Hudson, Plymouth, Studebaker, Dodge, Willis, Nash, Packard, Kaiser or Chrysler dealer tomorrow. Next week, a true story. The report of two murders and the heroic man responsible for these necessary atrocities. It's called Death at Scrankarude pond. Our star, Mr. Jeff Chandler. That's next week on Suspense. Suspense is transcribed and directed by Elliot Lewis with music composed by Lucian Marowick and computer conducted by Lud Gluskin. Never Follow a Banjo act was written for suspense by James Poe. The duo pianists were Walter Gross and Vic Piemonte. In tonight's story, Shepard Menkin was heard as Terry with Joseph Kearns as Cram. Featured in the cast were Jerry Hausner, Ben Wright, Paul Freeze and Jess Kirkpatrick. 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. The radio actor is a very special kind of of thespian. He has no assistance in creating illusion. He cannot call upon the magic of makeup nor the protective coloring of costume. He has only his voice and your ears. Yet this is enough for the superb radio artist and such a one we present tonight. See how he runs. Starring Mr. Jim Backus. A tale well calculated to keep you in suspense. Late evening paper. Read all about it. He dime. Hi, Mr. Parker. Hey, that's a half rock. You got 40 cents change coming, puppy? I'll bet you can hear the difference between a 10 and a $20 bill hitting the ground need to run a newsstand. This town. You have to. People just as soon cheat me as anybody else. Being blind don't make me an exception. It. Here you are, Mr. Barker. That's a 40 cents change. Keep it. No, I. I can't do that. Go on, keep it. Maybe I could put it on a number for you, Mr. Barker. You know me, Poppy. Never play the numbers. My sainted mother used to say to me, ed, you're gonna break the law. Never play for pennies. Make it pay. See you tomorrow night, Mr. Barker. Yeah? You left your umbrella, Mr. Barker. What? Here's your umbrella, Mr. Barker. What are you talking about? You know I never carry an umbrella. Here you are, Mr. Barker. Mr. Barker. You all right, Mr. Barker? Who's that? Answer me. Who? Who's there? Hey, you. You. You with the tops on your shoes. Come back here. You got the wrong idea. Come back here. Come back. Give us some names. You can be a big help to us, Poppy. Boy. Boy. Poppy's been blind since he was 14. How am I supposed to tell you who rubs out Big Ed Barker when I can't see them? Think you're nice young fellas. Let a poor old man go home and. And get his rest. All right, Poppy, knock it off. This isn't a couple of housewives you're trying to set up for a touch. We got your record laying right here on the desk in front of us. 1938, a record. Arrested and convicted for petty theft. 1943, arrested and convicted for an attempt at defraud. That was the year you posed as a blinded war veteran. 1949, arrested and. All right, all right. So I got a record. You. You want to hang me on it? I. I serve my time. Ain't you guys happy? That's. There's one thing about you cops. A guy tries to go straight, you don't care. But let him make one little mistake. And you. You hound him until the day he dies. Don't try to paint any pretty pictures for me, Poppy. I know you people call you the only man born without a conscience. Is that right? What's the price for fingering a man as big as Barker, Poppy? Who contacted you, Poppy? Give us a name. Now. What is all this? All of a sudden? The poor news is in charge of who gets rubbed out on his corner. You're the police department. This is your town. You're in charge. Getting so an honest man is afraid to walk the streets anymore. Cut it out. Look, Poppy Barker was the second syndicate boy to get knocked off in the last month. That means new talent is trying to move in, Carl. And I have to know who, Poppy. We have to have names to fit faces. You can help now. If I knew, I'd tell you. Ed Barker was my friend. Don't make me. You'd set up your mother for a price. What did you get for Barker? Somebody contacted you, Poppy. Who? Come on, come on. You ain't deaf and dumb too. Give some names, Poppy. Some names. Now you look, cop. This ain't your citizen you're trying to punch in the back. This is Poppy. I've been in this crummy police station before and I, I know my way around. You try to hang anything on me, I'll have my lawyer slap a false arrest on you so fast it'll make your head swim. Because you and I both know you don't have enough evidence to make it stick. You ain't gonna charge me. I'm, I'm, I'm gonna go home. Now you listen to me, you small time loss. You don't give orders to me in my police station. You take them for your information. We shook down that little rat hole you call a new stand upon a fistful of number slips. That stand was clean. You only thought it was, you lousy fink. You planted them. That's your nose. Find him. A policeman dead. He'll testify in court. That stand was clean. Why? Were you expecting the place to be crawling with cops before the night was over? I don't touch your numbers. Not since the last time I got busted. I, I, I learned my lesson. That's why you send me to jail, ain't it? To learn a lesson? Well, yeah. Give me a minute. Okay, Poppy. You can go home now. What is this? Take a good look at our little friend here, Al. This is probably the last time we'll see him alive. What are you talking about? Word just came over the phone, Poppy. Somebody must have seen you finger Barker. People on the street say that the syndicates passed a death sentence and they passed it on you. That's a lie. Okay? It's a lie. You, you, you guys made it up. If we made it up, what are your hands shaking for? It's a straight scoop, Poppy. If you go back out on the street now, you're dead. On the other hand, if you turn state's evidence, we can place you in protective custody and send me up the river when you, when you're through with me. That's better than being dead, is it? Okay, Poppy. That's all. Get out of here. Ain't you got no more questions. Not me. Ain't you gonna hold me for your numbers, Poppy? You could throw rocks at City hall right in front of me and I wouldn't touch you. You're going right back where you wanted to be all along. Back on the streets. In a couple of days, you'll be out of my hair forever. Well, what are you waiting for? Ain't nobody gonna take me home. You know the way. Well, at least lead me to the front door. I, I I can't find it by myself. You know your way around this crummy station. You said so yourself. So find the Do. You in there? Answer me. No. Go away. Telephone for you. Well, tell them I'm not home. Tell them I don't live here anymore. All right, suit yourself. No, no, wait. Wait. I'll, I'll answer it. Maybe the cops change their mind. I'll answer it. I'll. I'll answer it. Well, it's all the same to me. I'll just turn off this light. You don't need it anyway. I keep forgetting that I have to save every penny. I. Turn it off. Turn it off. Just leave me alone. Hello? Is that you, puppy? Yes, who is it? You didn't show at your newsstand all day today. Who. Who is this? Tonight, Poppy. Who are you? You get yours tonight. Who is this? Hello? Hello? Hello? Who is this? Hello? It wasn't a lie. Oh, I marked. They called up. Find out where I am. He'll be here in a minute. I've got to get out of here. Could have called. Bobby? Bobby, is that you? Bobby? Bobby. Yeah. You. Come here a minute, boy. Why are you hiding there by the phone? You. You come here, Bobby boy. I want you to do me a favor. What? Come here and I'll. I'll tell you. Tell me. Here, why don't you? Oh. Here's a whole quarter for you. I want you to run to the store. Can I keep the quarter? Yes. Bless your little heart. All for yourself. You come here so blind old Poppy can put it in your hand. Son. Here, Give me your hand. Shut up. Shut up. Shut up or I'll kill you. Feel that? That's a switchblade. Knife. And one more Peabody, and I'll. I'll cut your little head off with it. No, you listen to me. Just do as I say and you won't get hurt. One word, or you try anything funny and I'll cut you to little pieces. You understand? Bobby? Yes? You know where that old Morton warehouse is, down by the river? Yes. We're going there. Why? Never mind why. You just. You just come with me. You hurt my honor. It'll hurt you a lot more than that if you don't do what I say. There's a car in the street beside us, moving very slowly. Who's in it? Two men. What are they doing? I don't know. Answer. I don't know. Looking for house numbers, I guess. You're driving away now, aren't they? Yes. Let me go home, Bobby, please. You don't need me. You walk around all the time by yourself. Shut up. Oh, please stop crying now. I'll kill you right here on the street. I swear. Now, look, Bobby, I don't want to hurt you. I need you to help me this. There's some bad guys after me, Bobby, and they'll kill me if they catch. I can get around town all right because I use my ears and I memorize things, but I still can't see. Those two men in that car could have had a gun on me and I'd never have known it. That's why I need you, Bobby. I need your eyes to see with. Are they like the bad guys on television? Yeah. Yeah, that's right. Have you got a gun in the warehouse? No, Bobby. But I can hide there. I own that warehouse, Bobby. Lots of people think I'm just a poor old blind man. But I've got lots of property in this town. More than people that drive big cars. Save my money, Bobby. That's the difference. Why are the bad guys after you? Because I'm a good guy. If they don't get us on the way, we'll be safe. And I need you to see who's behind us and things like that. Okay? Okay, listen. There's someone walking behind us with taps on his shoes. What does he look like? Oh, he's not a bad guy. What does he look like? He's just one of the big kids with a black leather jacket. That's the idea, Bobby. You keep your eyes open and we'll make it. Okay? We're. We're getting there. The warehouse is at the end of the block. Can you see anybody hanging around down there? No. Look. Careful. Boy, I am. It's too dark. Just the street lights are on. I don't see anybody there. Good, Bobby. We'll make it. Listen. What? Two men are walking behind us. What do they look like? They're so far back, it's hard to see. And now they're under the street light. What do they look like? Oh, they look like bad guys. We walk faster and you Tell me if they walk faster. They're walking faster, aren't they? Yes. We gotta hurry. You keep up with me. I can't. Two warehouses. Just a few more steps. I want to go home. Now. Here's the door. You stand still while I get this key in a lock. I want to go home. You come back here, you can do double crossing. You. We want to talk to you. Drop dead, punks. We're in my territory now, blast it. Go ahead and blast it. You'll never find me in the back here in this empty crate. We know you're in here, Poppy. Yeah. Try and find me. Get those lights. I tried. They. They don't turn on. There ain't any electricity. Poppy. Chief Beanie. You can't see your hand in front of your face. We got him trapped in here. We're supposed to be finding you. Go along that wall. Chief Beanie. This place gives me the creeps. Maddie. Scared of a blind old man? No, I just can't see. You got any matches? Yeah, yeah. Light them. Go ahead. Go ahead. For all the good it'll do you. What's that? A rat. Big furry rat. Oh, God. Don't let it run over me again. I can't stop them. I heard him. He's moving around over there. Hold it. If you're sure you see him, listen. He's over there someplace striking on the match. He's gone now. Listen. You can still hear him moving around. Look. Look. Halfway at that, lad. Light another match. He got the war. Come on. Come on. Move to where we see that ladder we can did of. Easy. Now we know where he is. He. He was pl. That. That catwalk up there. We'll nail him up there. He's got no place else to go. Bobby. You might as well give up. You're a dead man. He come to the door up there. Yeah. Must go out the roof. Shoot for shooting. He's never tried to kill a fox in his own hole. By the time you dumb punks figure out how to get me out, I'll be over on the roof of the building next door and down through that condemned tenement and out the back way. Parapet between the two should be right about here. Yes, that's right. That's funny. I can't feel anything on the other side of the parapet. Did I get turned around? No. It should be right here. You feel it along the edge here someplace. Now, what was. What was that? Somebody's up here. Hey, I hear you. Who are you? Answer me. No, no. Stay away. Look. Look, Look. I'LL pay. Give me a chance. I got money and I'll pay you. Tell me what they pay you, and then I'll pay you double. No. Stay away from me. Get away from me. But we never laid a hand on him. You mean to stand in front of Poppy's poor mangled body and tell me I caught you guys down here taking the air? Yeah, yeah. Something like that. Ah, look. You little. Yeah. Come here. What is it? Looks like they're leveling. They couldn't. That pushed him off. The only way onto that roof is the door from the catwalk. Poppy had barred it from his side. He was all alone up there. You ain't trying to tell me he jumped? Poppy wasn't the type. I don't know. Either that or he ran for the edge, not knowing that they tore down the old tenement next door because there wasn't anything else up there but him and an empty tin can blowing around in the wind. Suspense, in which Jim Backus starred in William and Robeson's production of See How He Runs, written by George Bamber. Supporting Jim Backus and see How He Runs were Gail Bonnie, Norm Alden, Lou Krugman, Barney Phillips, Dick Beals, and Sam Peter Pierce. Listen. Listen again next week when we return with another tale well calculated. To keep you in suspense, We just heard the stars of It's a Mad, Mad, Mad, Mad World World each appearing in suspense. That will do it for this week's show. Thanks so much for joining me. I'll be back next week with more stars on suspense. In the meantime, you can check out down these Mean Streets, my old Time Radio Detective podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can read 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 appearing in tales well calculated to keep you in suspense. Sam. Ladies and gentlemen, the chief hope of our enemies is to divide the United States along racial and religious lines and thereby conquer us. Let's not spread prejudice. A divided America is a weak America. Through our behavior, we encourage the respect of our children and make them better neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.