Episode 457 - Stars of "Stagecoach"

Summary

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Podcast Summary: Stars on Suspense – Episode 457 – Stars of "Stagecoach"

Host: Mean Streets Podcasts
Date: June 25, 2026

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Overview

This episode is dedicated to stars of the classic Western Stagecoach, focusing on their performances in episodes of the radio thrill series "Suspense." Host Mean Streets Podcasts presents four notable broadcasts: Thomas Mitchell in “John Barbee and Son,” Claire Trevor in “The Blue Hour” and “The Light Switch,” and a radio adaptation of Stagecoach featuring John Wayne and Claire Trevor. The episode delivers a nostalgic showcase of Hollywood legends and gripping old-time radio drama.

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Key Discussion Points & Episode Structure

1. Introduction: The Stars of Stagecoach & Suspense

[00:00–03:50]

• Host contextualizes the episode, connecting the cast of Stagecoach (1939) — especially John Wayne, Claire Trevor, and Thomas Mitchell — to their prominent roles in “Suspense.”
• Thomas Mitchell won an Oscar for his role in Stagecoach as an alcoholic doctor seeking redemption.
• The lineup:
  • Thomas Mitchell in "John Barbee and Son" (1945)
  • Claire Trevor in "The Blue Hour" (1947) and "The Light Switch" (1949)
  • A radio adaptation of Stagecoach with John Wayne and Claire Trevor (1949).
• "Let’s turn back the clock..." – Host sets up the tonal bridge from film to radio.

2. Segment 1: "John Barbee and Son" — Starring Thomas Mitchell

[07:48–32:11]

• A dark, emotional tale of a desperate father (Mitchell) determined not to let authorities take away his troubled son Carl.
• Key plot elements:
  • Mitchell’s character’s monologue to his deceased wife, Mary.
  • The accidental death of a kitten triggers authorities’ involvement.
  • The ruse with the home official (fake illness to delay Carl’s removal).
  • Suspenseful escape, subterfuge, and a grim conclusion about love and delusion.
• Notable Quotes:
  • “Mary, I’ve tried. I’ve kept him out of sight like you told me I did. Just like you used to..." – Thomas Mitchell [08:30]
  • “Carl, if they catch up with us, you’ll have to go back to the home…We promised your mother we would never let that happen.” – Thomas Mitchell [28:00]
  • “Your son’s dead... He thought the boy was with him right to the end.” – Detective [30:58]

3. Segment 2: "The Blue Hour" — Starring Claire Trevor

[35:50–60:58]

• A hard-boiled, noir story featuring dancer Lois LaPaul (Trevor), who becomes a suspect in the murder of her wealthy paramour, Jason White.
• Key plot points:
  • Lois arrives in New York with newfound notoriety.
  • Reporter Mahoney investigates her connection to White’s death.
  • Nightclub owner Anthony Licata sets her up for a mysterious delay in her debut; tells her she's "under contract."
  • The discovery: a diamond named "The Blue Hour," hidden in a perfume bottle — possibly the motive for murder.
  • Trevor’s character pivots between victim and actor in a high-stakes con.
  • Final scenes deliver twists, danger, and (for 1940s radio) a cheeky marriage proposal.
• Notable Quotes:
  • “Look, Mahoney, Jason White was a nice guy. He liked me. I liked his money.” – Claire Trevor [38:39]
  • “Did you notice the name of this perfume?...The Blue Hour.” – Mahoney [49:27]
  • “I know you killed Jason White.” – Claire Trevor as LaPaul [53:05]
  • “Well, what are you going to do now, beautiful? You’re a rich woman now, you know.” – Mahoney [60:25]
  • “Will you marry me?” – Claire Trevor [60:47]

4. Segment 3: "The Light Switch" — Starring Claire Trevor

[66:22–90:47]

• A psychological drama narrated from a feverish first-person perspective.
• Key plot points:
  • Mrs. Winston (Trevor) hires a P.I. to investigate her husband; paranoia and jealousy take hold.
  • Trevor’s narration becomes increasingly disoriented as she plots the murder of her husband’s lover using a booby-trapped gas-filled room.
  • Her meticulous plan unravels amid hallucinations, confusion about time, and accidental encounters.
  • By the end, she realizes she’s caused unexpected deaths and is lost in her guilt and delusion.
• Notable Quotes:
  • “At 7:30, when he switches on the lights, those tiny wires will cause the spark that’ll blow everything I despise in the world out of my life.” – Claire Trevor [66:51]
  • “I killed two people. Terry Williams and her boyfriend, Skit Webb.” – Claire Trevor (final confession) [90:47]

5. Segment 4: "Stagecoach" Radio Adaptation — John Wayne & Claire Trevor

[93:12–119:44]

• Radio dramatization of the John Ford Western Stagecoach, featuring scenes and dialogue reflecting the film’s key themes of redemption, courage, and prejudice.
• Key plot elements:
  • The passengers’ decision to risk Apache territory.
  • Ringo’s (John Wayne) escape and sense of justice, Dallas’s (Trevor) struggle for dignity.
  • The epic Apache attack, Ringo’s shootout with the Plummer boys, and tender moments between Dallas and Ringo.
• Memorable Moments:
  • “I still got a ranch down across the border and I... well, I guess I’m crazy being close to you like this, but—” – John Wayne as Ringo [110:55]
  • “What are you crying for? Nothing’s happened.” – Ringo [118:27]
• The adaptation closes with reflections from John Ford and the stars, celebrating the legacy of Stagecoach.

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Notable Quotes and Memorable Moments

• Thomas Mitchell [08:30]: "Mary, I’ve tried. I’ve kept him out of sight like you told me. Like you used to do when you were here, Mary."
• Claire Trevor [38:39]: "Look, Mahoney, Jason White was a nice guy. He liked me. I liked his money."
• Claire Trevor [66:51]: "Those tiny wires will cause the spark that'll blow everything I despise in the world out of my life."
• John Wayne [110:55]: "Well, I still got a ranch down across the border and I... well, I guess I'm crazy being close to you like this, but—"
• Ringo–Dallas (Wayne–Trevor) [118:27]: "What are you crying for? Nothing’s happened."

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Timestamps to Key Segments

• 00:00 – Introduction & Contextualization of Stagecoach
• 07:48 – "John Barbee and Son" featuring Thomas Mitchell
• 35:50 – "The Blue Hour" starring Claire Trevor
• 66:22 – "The Light Switch" starring Claire Trevor
• 93:12 – Stagecoach radio adaptation (John Wayne, Claire Trevor)
• 119:44 – Closing conversation with stars and director John Ford

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Tone & Style

The host’s approach is informative, reverent, and affectionate towards old-time radio and classic Hollywood. Narration is brisk, inviting nostalgia but never slows the pace. The original radio episodes are melodramatic, tightly scripted, and dense with suspense, delivered in the authentic language and tough-guy banter of mid-century American noir and melodrama.

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Useful for Listeners

Even if you haven’t listened to this episode, the summary provides:

• A thorough breakdown of the episode’s structure and featured radio dramas.
• Key plot arcs and the emotional highlights of each broadcast.
• Context for the historical and Hollywood significance of the actors and stories.
• A set of memorable quotes situated in their dramatic moments.

All this makes the episode a rich tribute to Hollywood’s golden age, showcasing both radio craft and screen legend.

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Transcript

[Narrator/Host]

Would you hand me that, please? Thank you. Now, let's see. Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense. Hello, and welcome to Stars on Suspense, more Hollywood legends and radio's outstanding theater of thrills. This week our stars come from the cast of Stagecoach, the classic western directed by John Ford and starring John Wayne in the performance that made him one of Hollywood's biggest leading men. Co starring with Wayne in the story of a stagecoach's dangerous trip through Apache country were Claire Trevor and Thomas Mitchell. Mitchell took home the Oscar for best supporting actor for his role as an alcoholic doctor who finds redemption on the journey. And today we'll hear both of them in episodes of Suspense. You can rent or buy a Stagecoach digitally. As of this recording, it's streaming on Amazon prime and via HBO Max. Now, there are a few versions out, one remake from the 60s and one from the 80s, so keep an eye out for that 1939 date. To find the date John Ford version, you can also grab a nice Blu Ray from the Criterion Collection. And now onto the stars of Stagecoach on Suspense. First up is Thomas Mitchell in John Barbie and son from February 22, 1945. Then we'll hear Ms. Trevor in a pair of suspense episodes, the blue hour from September 25, 1947, and the light switch from May 12, 1949. Finally, we'll hear Claire Trevor and John Wayne recreate their Stagecoach roles in an adaptation of the film from screen director's assignment from January 9, 1949. We'll hit the trail with Thomas Mitchell and Claire Trevor 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.

[Co-host/Announcer]

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

[Narrator/Host]

Say, that's for me with plenty of cats. Uh huh.

[Co-host/Announcer]

Del Monte catsup. It has such marvelous flavor.

[Narrator/Host]

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

[Co-host/Announcer]

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

[Narrator/Host]

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

[Co-host/Announcer]

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

[Narrator/Host]

Why has Hollywood star Merle Oberon switched a new improved green shampoo? Because compared to dulling soap shampoos, this wonderful new dream reveals up to 33% more sheen. Follow Merle's secret. For shining hair, it's new green for

[Co-host/Announcer]

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[Narrator/Host]

Do you like rich delicious chocolate flavored malteds? Well, you can make a malted just like that right in your own kitchen with craft chocolate flavored malted milk. Just make a tasty paste of craft chocolate flavored malted milk. And a little milk in the bottom of a big glass. Fill the glass with chilled milk, stir it once more and there. A craft malted is mighty nourishing too because it's filled with all the food values in milk. Get a jar of craft chocolate flavored malted milk from your grocer and enjoy a craft malted off. And now a tale well calculated to keep you in suspense. Now Romo Wines present. Suspense. Tonight, John Barbie and Son starring Thomas Mitchell. Suspense is presented for your enjoyment by Roma Wines. That's R O M a Roma Wines. Those excellent California wines that can add so much pleasantness to the way you live, to your happiness and entertaining guests, to your enjoyment of everyday meals. Yes, right now a glassful would be very pleasant as Roma Wines bring you suspense. This is the man in black here for the Roma Wine Company of Fresno, California, who tonight from Hollywood bring you as star Mr. Thomas Mitchell, who will soon be seen in the 20th Century Fox production, Captain Eddie. He appears this evening in a drama of desperate escape. And so with John, Barbie and son. And with the performance of Thomas Mitchell, we again hope to keep you in suspense. I'm afraid, Mary, for the first time since you've been gone, I'm afraid I'm going to have to break my promise. Mary, I've tried. I've kept him out of sight like you told me I did. Just like you used to do when you were here, Mary. But it was that kitten that wandered into the place today. Carl didn't mean any harm. What he did, he didn't mean to do. It was just that he'd never held one in his arms before. And now they're coming for him tonight. They'll take him away. They'll take him to the home. Or if I could somehow just put them off for one more night. Ah, Mary, it would be easier if you were here. Carl. Carl, I. I told you to stay upstairs till I called you. Oh, no, no, no. You're to stay in your room. I'm not going to let them take you away. Maybe I'll think of something. I've got to think of something. Carl. Carl, I've got. Be still.

[Co-host/Announcer]

Be still.

[Narrator/Host]

Go back to your room. Hide yourself. One moment. Here, take my hand.

[Co-host/Announcer]

No.

[Narrator/Host]

No. Come.

[Co-host/Announcer]

Shh.

[Narrator/Host]

Come with me. Come with me. You're to stay in your room and not make a sound. You're to be very quiet. Do you understand? If you do as I say, I might be able to keep you here one more night. Mr. Bobby? Yes? I'm Mr. Wilt from the home. I've come for your son. I know, but the boy is ill. We'll take care of him. Oh, far better than you can here alone with him. But I'm afraid it's something contagious. He's broke out in a rash. Are you sure? Yes, yes. He's got some sort of red spots all over him. Well, I wouldn't want to run the risk of infection. I mean, for the others at the home. Of course. Of course. That's what I mean. Mr. Wilkins, perhaps I'd better have a look at him. Oh, please, please, Mr. Wilk. The boy's asleep. We'll have to wake him. You don't understand, Mr. Wilk. He's miserable. Since he knows he has to go, don't wake him. You have my sympathy, Mr. Bobby, but I have my orders. Well, if you could bring a doctor first thing in the morning, Then you'd be sure of no one catching anything from him. Well, I suppose that would be better, yes. What about the neighbors? Oh, they won't know. They've never even seen him before today. If it hadn't been for that kitten. I can't go into that with you now, Mr. Bobby. No, the animal's dead. However, under the circumstances, it might be better if I brought the doctor back with me in the morning. Thank you, Mr. Wilk, but the boy's not to leave the house. Do you understand? Yes, yes. We'll be here at 9 sharp in the morning. Good night. Good night, Carl. No, no, no, no, no. It's all right. It's all right. Now, you. You can stay one more night. Well, Carl, I promised your mother that I'd never let them take you away. That I'd do anything before I let them do that. What are we going to do? I know what happens to them at the home. I've seen them. After they've been there a while, they'd be better off. Carl, how would you like to go away? Yes. Yes. How would you like to go someplace where they'd never reach you? Yes, that would be better, Carl. That would be much better. Here comes a truck. Carl. Now listen carefully. You're to hide in the bushes by the side of the road here. I'm going to flag him if he stops to pick me up. You're to climb in the back of the truck without him seeing you. You're not to make a sound. You're not to try to say anything and stay there until I call you to get out. But. Do you understand, Carl? Yes. Now get in the bushes. Hello. Any trouble? Could you give me a ride to San Diego? Sure. Hop in. Oh, thank you. Oh. Oh, just a moment. Something wrong? Yes, my glasses. I seem to have lost my glasses. Did you drop them? Yes. I'll find them. I had them a minute ago. Okay. Can you see out there? I'll take a look around back here. Flashlight. Oh, never mind. Get in the back of the truck, Carl. Do you understand? Yes. That's it. That's it. I. I found them. Yes, right by the back of the truck here. Well, thanks for waiting. Might be bright. Yeah. Tell you the truth, I don't usually stop for people. But it's so late, and you're a little. Well, a little older than most you see on the highways. I didn't mean that, but. What's the matter? You have car trouble? No, I. You know what transportation is in these days. I couldn't get a bus or a train. Lots of soldiers and defense workers in these parts have to consider them, you know. Oh, yes, of course I know. Tell me, do you. Do you make this trip often? Oh, yeah, twice a week. Oh, I. I imagine you get pretty tired of it, don't you? No, no, I. I like being out in the open. Yes. Hey, hear that? Yes. I suppose he's getting restless. Oh, then you saw. What was that? Oh, that's my cat. What do you mean? Oh, I picked up a stray cat back in Pedro. Cute little kitten. I got a box fixed up for him in the back of the truck. You know, it gets pretty cold up here. A kitten?

[Co-host/Announcer]

Yeah.

[Narrator/Host]

What's the matter? Oh, hey, my billfold. I seem to have lost it. When did that happen? I don't know. I guess. I guess back where I dropped my glasses. I had it then. That's too bad. But I can't go back, you know. Oh, no, no, no. I wouldn't expect you to. If you'll just let me out here, I'll catch another ride back. Well, okay. If I was on my own time. Oh, no, no, no. Thank you very much. It'll be all right. Okay. Good luck. I hope you find it. Just a moment. The back end of your truck's open. Oh, it is? Oh, well, I'll. No, no, no, no. Don't get out. I'll close it for you. Oh, thanks. Get out. Get out. Carl, run back for the road. Down the road. Yes, yes, it's all right now. You can drive on. How's the kid? Oh, he's all right. He's fine. You can drive on now. Thanks. Go on. Carl. Carl. You don't have to hide anymore, sonny. He's gone now. Oh, you were a good boy, Carl. You did just like I asked you to. And you didn't. You didn't touch the kitten, did you? Come on now. We'll get other rides. We'll manage. Tonight for suspense, Roma Wines are bringing you as star, Mr. Thomas Mitchell, whom you have heard in the first act of Mel Danelli's radio play, John Barbie and Son. Tonight's tale of suspense. This is Truman Bradley for Roma Wines. Have you ever noticed the knack some women have for making their guests feel welcome? Relaxed? Well, one such woman is the renowned hostess, Elsa Maxwell. And here's what she suggests you do the next time friends come to dinner,

[Co-host/Announcer]

flatter your guests and make that dinner more enjoyable by serving good Roma California wine. You'll find Roma's golden Sauterne is delicious with all main dishes and particularly a delightful flavor. Mate with fish or foul. Two point free foods now more popular than ever. Just be sure you serve that good Roma Sauterne well chilled. You'll enjoy the delightful bouquet, the superbly delicate flavor and golden glory of this wine grower's masterpiece.

[Narrator/Host]

In any glassware, distinctive Roma wines are grown in California's choicest vineyards, beginning with choice wine grapes picked and gently pressed at the top of their flavor richness, then watched over and developed with all the ancient winemaker skill of Roma's famed wineries. The quality of Roma wines never varies, always the same tempting flavor yet all this goodness is yours for only pennies a glass. No wonder more Americans enjoy Roma than any other wines. R O M A Roma WINES and now it is with pleasure that we bring back to our soundstage Mr. Thomas Mitchell, who resumes his role as father and fugitive in John Barbie and Son. A tale well calculated to keep you in suspense. Well, it was a long walk, eh, Carl? But we'll get us a room now and get some rest. I'm going in alone. It's not good for us to be seen together. You wait here on this bench. And you're not to talk to anyone. Not to anyone. Do you understand? I won't belong. Good evening, sir. I'd like to have a room, please. Oh, you're very lucky, sir. I've just had a single vacated. Oh, you haven't? A double? Oh, I'm sorry, I haven't. I thought you were alone. Oh, well, I am, but I prefer a double bed. I'm afraid you're going to have trouble finding any kind of a room in San Diego, sir. We're lucky to have this one. Yes, I'll take it. It'll be all right. All right. Sign here, please. Yes. It's really not a small bed. It's three quarter size. Here's your key, sir. Oh, that's fine. Thank you. Oh, could you tell me, is it on the ground floor? Why, no, it isn't. Oh, had you wanted it on the ground floor. Yes, you see, I. I'm a little nervous about fires. Oh. Oh, well, there's a fire escape just down the hall from you. Oh. Oh, there is. That'll be all right. Then. I've got to get. I mean, I'm. I'm going out for a while. I'll be back later. Thank you. Yes, sir. Did you hear that, Ms. White?

[Co-host/Announcer]

Yeah.

[Narrator/Host]

Can't sleep in a single bed. Afraid of fires.

[Co-host/Announcer]

I'll tell you. You meet all kinds, don't you?

[Narrator/Host]

You certainly do. I'm right behind you.

[Co-host/Announcer]

Carl.

[Narrator/Host]

Yes, son? Nothing to be afraid of. Never been on a fire escape before, have you? It's fun, isn't it? It's only a little ways now. Here. Here, take my arm. Ah, here we are. Now, you stay back until I look in the window first. See if anyone's in the hallway, huh? It's all right. I'm sure it's awake. Yes, it's all right. Come on, I'll help you through.

[Co-host/Announcer]

Sh.

[Narrator/Host]

Someone's coming.

[Co-host/Announcer]

Stay out there, Carl.

[Narrator/Host]

No, no, no. Stay out there on the fire escape. Don't make a sound. Oh. Oh, Mr. Wilson. Good evening. Aren't you at the wrong end of the hallway, sir? Yes, I. Can't you find your room? Yes, but I was just looking around. Oh, the fire escape. Yes, I see. You wanted to try it out, huh? Well, I'm a little nervous. I understand, sir. Would you like me to show you how to get out onto it? Oh, no, thank you. I've been out there already. Oh, you have? Well, you feel better about it then? Yes, yes, thank you. Anything I can do for you, sir? No, no. I'll be getting to my room now. Well, I guess we'd better close this window. It looks like a rain spot. I'll close it. Okay, sir. Good night, Mr. Wilson. I hope you sleep well, sir. Good night. It's all right. Come on, Carl. Careful now. Follow me. Quickly. Ah, there now. Hungry, Carl? I'll get us something to eat. Then we'll have a good night's rest. Miss. Wife.

[Co-host/Announcer]

Yeah?

[Narrator/Host]

I just found the old boy up in the hallway. He was trying out the fire escape. Can you beat it?

[Co-host/Announcer]

When?

[Narrator/Host]

Just now.

[Co-host/Announcer]

Well, but how did he get up to his room? He didn't come back through the lobby.

[Narrator/Host]

What? He didn't?

[Co-host/Announcer]

No. I know. I would have seen him.

[Narrator/Host]

He must have used the fire escape then. Say, there's something funny going on around here. Hey, look.

[Co-host/Announcer]

It's his room. Office. Well, I'm sorry, Mr. Wilson, but we don't have meals sent up anymore. There's a cocktail lounge and a restaurant on the roof. Oh, it's really quite nice. And there's a terrace where you can step out and get a wonderful view of the entire city. Yes, sir. You're welcome. Meals sent up. I guess he don't know there's a war on.

[Narrator/Host]

That fire escape business puzzles me. And now he wants his meal sent up.

[Co-host/Announcer]

Say, do you suppose he's got somebody up there with him?

[Narrator/Host]

I don't know. But I'd certainly like to take a look at his room. And I think I will if he goes out.

[Co-host/Announcer]

That's a good idea.

[Narrator/Host]

Now, I won't be long, Carl. But you're not to make a sound while I'm gone. And if someone comes to the door, don't you answer it. And if someone starts to unlock it, you hide here. Here. Hide here in this closet, you understand? Remember now, no noise. Do everything I tell you, and everything will be all right. Yes, yes. I get you something to eat, and I'll be. Well. Going out again, Mr. Wilson? Yes, I am. To get a little something to eat, have a nice dinner. Thank you.

[Co-host/Announcer]

Ms. White? Yeah?

[Narrator/Host]

Have Frank take the board, let you and I go upstairs. We'll have a look around while he's gone.

[Co-host/Announcer]

Okay. Okay. Frank?

[Narrator/Host]

Yes, ma'? Am?

[Co-host/Announcer]

You saw the old man that just went out the door?

[Narrator/Host]

Yes, ma'. Am.

[Co-host/Announcer]

Well, we're going up to his room. If he comes back before we return, ring twice to warn us.

[Narrator/Host]

Yes, ma'. Am.

[Co-host/Announcer]

Why are you knocking?

[Narrator/Host]

I have a feeling someone's in there.

[Co-host/Announcer]

Well, if there is, they're not coming to the door. Not if you sneak them into the hotel.

[Narrator/Host]

Oh, yes, I suppose you're right. I guess I'd better unlock it. Well, there's nothing unusual here.

[Co-host/Announcer]

Look at this bundle of things, though.

[Narrator/Host]

What do you mean? Well, here's a cap that looks like a boy's. Still, it might be his.

[Co-host/Announcer]

Wasn't wearing a cap when he come in.

[Narrator/Host]

No, he wasn't.

[Co-host/Announcer]

Should I look in the closet?

[Narrator/Host]

No, I don't think we need bother. If he did have someone in here, they're not here now.

[Co-host/Announcer]

Well, I just think I'll take a look as long as we're here. That's Frank.

[Narrator/Host]

Well, he couldn't have had his dinner that fast.

[Co-host/Announcer]

Maybe Frank's made a mistake. I'll see Frank. Yeah. All right, we'll be out. He says he's carrying a package. Must have brought something back to eat here in the room.

[Narrator/Host]

Come on, Ms. White, we'd better get out of here.

[Co-host/Announcer]

Hey, we'd better go down the stairs. I think he'll be coming up in the elevator.

[Narrator/Host]

Come on, Miss White.

[Co-host/Announcer]

What's the matter?

[Narrator/Host]

You've walked off with the cap.

[Co-host/Announcer]

Great Scott, I have. I didn't realize. Well, what do we do? Shall I go back?

[Narrator/Host]

No, no, no, no. I don't think you'd better. He'll be up here any minute.

[Co-host/Announcer]

Well, maybe he won't miss it and we can put it back if he goes out again.

[Narrator/Host]

Yes. Yes. Come on. Yes, sir. Top floor. Thank you. Here we are. Milk and stuff. Carl? Carl, where are you? What are you doing in the closet? Was somebody here? Carl, Someone's been here. Where's your cap that was on the bed there? Who's here? Evening. I'd like to see the manager. He's not in. I'm in charge. Could I help you? I'm Detective Bowen.

[Co-host/Announcer]

Oh.

[Narrator/Host]

Oh. We're checking hotels in the vicinity for a certain John Barbee. You anyone registered by that name? No, no, I don't believe I have. But what kind of a looking man is he? Older man, about his 60s. Hey, wait, wait. Wait. Wait. I have someone here who answers that description. He's been acting peculiar too. But he's registered under the name of Wilson. Here it is John Wilson. He might be the one you're looking for, and I have a hunch he is. Is he in his room now? Yes, yes, he went up just a short time ago. I'd like to go up. Here's my badge. Oh, what's the room number? 408. Is it. Is it something serious? Yeah. Murder. I don't think he's the type to make trouble. But I think it'll be easier if he opens the door himself. Well, I. I'll say that it's something about his moving to a double room. Mr. Wilson. Oh, Mr. Wilson. I have another room I think you'd be interested in seeing. Well, I don't think anyone's there. There'll be a pass key. Oh, yes, yes. Open the door. But. But. That's all right. I have a gun. I'll stand back on a son. There's no one here.

[Co-host/Announcer]

Look.

[Narrator/Host]

Back of the door. No. Here. Maybe the closet here. No, no, there's nobody here. Say. Say, he must have had somebody with him after all. What do you mean? Well, he registered alone and I suspected there was someone with him. But look, Look. Look on the dresser there. Two bottles of milk and two sandwiches. They haven't been touched either. He must have left here in a hurry. Is there a fire escape on this floor? Oh, yes, there is. And I found him looking it over right after he moved in. Come on, let's have a look at it. Yes, right this way, please. Down the hall here. Look, the window's open. He must have gone out that way. Have a look outside. No one down below must have just missed him. Look, Mr. Bowen. What is it? There's somebody up above. Somebody climbing in the window at the top of the fire escape. That's him. Come on. Wait, wait. It'll be quicker going up to the elevator. He can't get away. There's a cocktail lounge on the top floor.

[Co-host/Announcer]

We'll catch him there.

[Narrator/Host]

There's no place else for him to go. Careful now. Careful. Go through the window. Carl. That's the boy car. They're following us. I know that. They'll always follow us. You've got to do everything I tell you now. You've got to understand. Come on. Pardon me, sir. Is there a terrace room on the floor? Yes, there is. You'll get a wonderful view of the city. It's. It's straight ahead through the cocktail aisle. Thank You.

[Co-host/Announcer]

Oh, isn't it beautiful? Just look at the skyline. That's Coronado over there.

[Narrator/Host]

Nice, isn't it? Carl? Carl, if they catch up with this, it means you'll have to go back to the home. You understand that, don't you? We promised your mother we would never let that happen, and we're not going to.

[Co-host/Announcer]

Oh, look at that man over there. He's climbing up over the iron fence.

[Narrator/Host]

Stay there.

[Co-host/Announcer]

You better get back. Oh, somebody stop him.

[Narrator/Host]

It isn't going to hurt much, Carl. It'll be quick. Mr. Barbie. Mr. Barbie, don't. Stay where you are. This is my affair. Mr. Barbie, that isn't going to do anybody any good. Now, just listen to me a moment. If you come a step closer. I won't. I won't. But listen to me. What do you want? Now, Mr. Barbee, don't jump. Come back with me. They'll go easy on you. You'll not take him back to that home. I know what happens to them there now. Mr. Barbee, you're ill. You don't know what you're doing. You're. I. I tell you not to come any closer. All right, all right, I won't. But listen now. I'll not listen to anything. I know what's best for my boy. I promised his mother, didn't I, son? What? Who are you talking to there, Mr. Barbee? Don't pay any attention to them, Carl. Why, he. He thinks the. The boys there with you. Are you ready, Carl? You don't want to go back to that home, do you, Mr. Barbie? Now there's nobody there with you. What? What did you say? I say there's nobody there with you. No, but what kind of a trick is this? Well, you're just imagining things. You're ill. Now they'll go easy on you, I promise you that. There's nobody here with me. No. Your son's dead. What you're going to do now won't help anything. This is my son here by my side. Oh, no, Mr. Barbie. No one's by your side. Ah, this is the trick. Oh, I see it now. You are trying to confuse me, to keep me busy talking so this man could sneak up behind me, is that it, Mr. Barbee? Now we're just trying to save your life. Now come back. Come back away from that ledge and let us talk. No, no. I've had enough of your tricks. Are you ready, Carl?

[Co-host/Announcer]

Oh, no, no, no, don't let him.

[Narrator/Host]

It won't hurt much. Carl. Take my hand, son. Take my hand. Oh, my Dear. Oh, that's terrible. May I. May I ask what he was wanted for? Murder. Murder? Yeah, he killed his son last night. The authorities are going to take the boy away to a home. And I guess his mind just snapped. It's probably better this way because he thought the boy was with him right to the end. And so closes John Barbie and Son, starring Thomas Mitchell. Tonight's study in suspense. Suspense is produced, edited and directed by William Spear. Before Mr. Mitchell returns to our microphone. This is Truman Bradley for Roma Wines. Genuine cordiality, unaffected simplicity. These are qualities that have made Ms. Elsa Maxwell's hospitality famous the world over.

[Co-host/Announcer]

In her own words, friendliness and hospitality begin at home. And there's no better or simpler way than with a glass of distinctive Roma wine. I suggest Roma Toque, a most delightful wine to be enjoyed anytime, any place. Serve with coffee or dessert as a delightful finishing touch to your meals. Or set out Roma California Toque with cheese and crackers. When friends drop in. Roma Toque is a velvety flame colored wine. Moderately sweet, light, with a slightly nutty flavor. Be sure it's Roma Toque you serve.

[Narrator/Host]

That's a mighty Worthwhile idea, Ms. Maxwell's. Try Roma Toque and the other Roma wines too. You can depend on Roma wines to be always delicious, always pleasing to the palate of unvarying fine quality. And the next time you use vermouth, sweet or dry, choose Roma Vermouth. Zestful herb flavored. Roma Vermouth is blended, mellowed and developed with all the traditional wine making skill of Roma wineries. Yet surprisingly low priced. Try Roma Vermouth soon, will you? This is Thomas Mitchell. It's been a great pleasure to appear here tonight on Suspense, a program for which all actors have a unique regard. Next Thursday, my old friend Edward G. Robinson will be your star. Mr. Spear's been telling me a little about the story. Sounds like surely the most remarkable predicament a man ever got himself into over his wife. I'm sure you won't want to miss it. I know I won't. Remember. Next Thursday, same time, you will hear Mr. Edward G. Robinson as star of suspense. Presented by Roma Waynes. R O M A Made in California for enjoyment throughout the world. Sam. This is cbs, the Columbia Broadcasting System. Suspense. Tonight's Suspense brings you Miss Claire Trevor as star. But first, a word from your announcer. In hotels, restaurants and homes of distinction, the choice in wines is C, R, E, S, T, A, B, L, A, N, C, A, Cresta Blanca. Cresta Blanca. Yes. The best serve Cresta Blanca Wines those choice selections created to please the most discriminating tastes. And there's a magnificent Cresta Blanca wine to distinguish your dining, to enrich your entertaining. So always pour Cresta Blanca wines from the finest of the vines. Shenley's Cresta Blanca Wine Company, Livermore, California. And now, Shenley brings you radio's outstanding theater of Thrills, Suspense presented by Roma Wines, that's R O M a Roma Wines of Fresno, California. Tonight's star, Ms. Claire Trevor. In the Blue Hour, a suspense play produced, edited and directed for Shenley by William Spear. Are you sure you don't know who killed White? Not even a guest.

[Co-host/Announcer]

Just one more. Oh. All right, boys, the show's over. We're taking off now. See you on Broadway. Goodbye. Goodbye. You're more than just grand. Just grand, boys.

[Narrator/Host]

Love you all.

[Co-host/Announcer]

Goodbye. Goodbye. Hey, stewardess. Where's my seat, honey? Well, that was that. From then on I had a nice quiet ride into New York with nothing to do but look down at the scenery. You never know when the break's gonna come. In show business. I've been hoofin for six years now. And the best I ever did was a one night stand and some greasy clip joint. I know I'm no ballerina from the Ballet Russe de Monte Carlo, but I can do a couple of worlds without breaking my neck. And besides, I got looks. That's what the men ask for. At least that's what Jason White asked for. He was my only connection with high society before he passed away. Oh, don't feel sorry for me because his getting bumped off was my break. They had my legs in every paper in Chicago. That's how I happened to come to New York. I got a contract to dance at an extremely chic joint called the Blue Hour. With a minimum, mind you, all the way from Chicago. I was worried no one would meet me when I arrived. But I was wrong. There were about nearly a million reporters at LaGuardia Airport. You'd have thought I was Miss America or a Bueller or somebody. I was really intriguing them until he showed up. That man Mahoney.

[Narrator/Host]

How about one more picture, Ms. Lepal?

[Co-host/Announcer]

A little more leg.

[Narrator/Host]

Ah, that's it. Thank you.

[Co-host/Announcer]

Oh, thank you, boys. Come around and see me at the Blue Hour. I'll give an extra good so if I know you're there.

[Narrator/Host]

Well, you're pretty smooth at extra good shows, aren't you?

[Co-host/Announcer]

I beg your pardon? Oh, it's you.

[Narrator/Host]

Yeah, yeah, yeah. Mahoney's her name. Alec Mahoney.

[Co-host/Announcer]

I didn't Ask your name.

[Narrator/Host]

My, my, you're touchy.

[Co-host/Announcer]

Wouldn't you like to know?

[Narrator/Host]

Carry your bag for you?

[Co-host/Announcer]

I can afford a porter.

[Narrator/Host]

Oh, I. I'd like to speak to you.

[Co-host/Announcer]

Call me up sometime.

[Narrator/Host]

Who killed Jason White?

[Co-host/Announcer]

Cop or reporter?

[Narrator/Host]

Why? You got two different answers.

[Co-host/Announcer]

Look, Mahoney, if you could read, you'd know from the papers I had nothing to do with Jason White's death.

[Narrator/Host]

I never read the papers, honey. I'm a reporter.

[Co-host/Announcer]

Well, I already gave my interview. Now leave me alone. Mahoney, I went through all this with the Chicago police.

[Narrator/Host]

Yeah, yeah, yeah, I know, I know.

[Co-host/Announcer]

Well, then why the sudden interest?

[Narrator/Host]

Because the whole thing smells. Move, Mahoney.

[Co-host/Announcer]

You're beginning to pour me.

[Narrator/Host]

Why were you afraid to tell the police you were adjacent White's apartment the night he was killed?

[Co-host/Announcer]

What are we playing, 20 questions?

[Narrator/Host]

No, no, no, no. Just hunches, honey, hunches.

[Co-host/Announcer]

Look, Mahoney, Jason White was a nice guy. He liked me. I liked his money. We got along swell as long as he was spending it on me.

[Narrator/Host]

Did you kill him because he stopped spending it?

[Co-host/Announcer]

If that's another hunch, get out of my way before I haul off on you.

[Narrator/Host]

Oh, now, look, honey, there's just two

[Co-host/Announcer]

things you can do for me. Dr. I didn't feel so good after parting with Mahoney. He made me feel uneasy, as if he knew something important. He seemed awfully nosy about who killed Jason White. He sure would have made a good lawyer. Besides, he wasn't half bad looking. Just the same, I hoped I never see him again. I finally got a cab and decided to go straight over to the Blue Hour. Come to think of it, they didn't have anyone meet me at the airport. They've got some nerve treating their star attraction that way. I'd tell them a thing or two. I couldn't believe my eyes when I took a gander at the Blue Hour. It was the most beautiful place I ever saw. Extremely chic. The walls and ceilings were covered with real satin. And the floors were so clean they glistened. There were enough mirrors around a pot of 4,000 noses at the same time. And there was an honest to goodness band. 10 pieces. They were rehearsing as I entered. Oh, anybody would look good on that stage with that music. And I wasn't going to be the exception. I was in such a daze. I didn't see him come along inside of me. But somehow he. He had the knack of making you feel his presence.

[Narrator/Host]

Ms. La Paul.

[Co-host/Announcer]

Oh, yeah.

[Narrator/Host]

How did you know you're quite famous these days. I'm Anthony Laata.

[Co-host/Announcer]

Pleased to meet you, Mr. Lakata. I love your joint. I mean place. Extremely chic. I know I'm going to like working here.

[Narrator/Host]

I hope so. Follow me, Ms. La Paul.

[Co-host/Announcer]

Oh, that band is certainly out of this world.

[Narrator/Host]

I'm glad you like it this way, Ms. La Paul.

[Co-host/Announcer]

I've never seen anything like it.

[Narrator/Host]

Why don't you sit down?

[Co-host/Announcer]

Thanks, I could use a seat. Those reporters gave me a good going over this morning.

[Narrator/Host]

What'd you tell them?

[Co-host/Announcer]

All the usual stuff, like how many offers I had. And I picked your club because it was the best and I gave them a couple of good questions.

[Narrator/Host]

Tell him anything about Jason White?

[Co-host/Announcer]

Well, they were the usual questions.

[Narrator/Host]

What usual question?

[Co-host/Announcer]

Like did I love him, Do I miss him? Do I have any idea who killed him?

[Narrator/Host]

Do you?

[Co-host/Announcer]

Look, Mr. Licata, I want to be a dancer, not an information, please.

[Narrator/Host]

I'm sorry, Ms. Le Paul, but I'm very interested in crime. Unsolved crimes, Just a hobby. Cigarette?

[Co-host/Announcer]

Oh, thank you. When do I start working, Mr. Licata?

[Narrator/Host]

You're on salary already.

[Co-host/Announcer]

Oh, gee, thank you. I could start rehearsing right away. I'd be ready by tomorrow night.

[Narrator/Host]

Well, you must be very tired from the ordeal of everything that happened in Chicago. You take a two week rest, then we're gonna see.

[Co-host/Announcer]

Two weeks? Well, I'll be deader than a mackerel by then. Mr. Lakata, I'm hot as a firecracker now. How long do you think this publicity can last?

[Narrator/Host]

I'm sorry, Ms. La Paul. I don't think it's possible.

[Co-host/Announcer]

You don't think it's possible? Well, I like that. I've waited six years for this kind of a chance and I'm not gonna sit on my. I'm not gonna just sit and watch it fizzle out.

[Narrator/Host]

Unfortunately, Ms. La Paul, you must be satisfied with the arrangement.

[Co-host/Announcer]

Satisfied, my foot. I'll get a job somewhere else.

[Narrator/Host]

You're forgetting one small detail, Ms. La Paul. You're under contract to me. I'm gonna see that you stay there.

[Co-host/Announcer]

Well, I don't get it. You chase me around in Chicago as if I was studded with diamonds.

[Narrator/Host]

You are very valuable.

[Co-host/Announcer]

What's the game, Licata?

[Narrator/Host]

Don't you know?

[Co-host/Announcer]

No, I don't know.

[Narrator/Host]

What a shame, Ms. Lapo. I'm sure that before you finished here you'll play the game very well.

[Co-host/Announcer]

I didn't like it. I didn't like it at all because it didn't take a Sam Spade to Figure out that the game he was playing had something to do with a guy I knew called Jason White. And Jason White was murdered.

[Narrator/Host]

For suspense, Roma Wines are bringing you Miss Claire Trevor in the Blue Hour Roma Wines presentation tonight in radio's outstanding Theater of Thrills. Suspense. Suspense. Radio's Outstanding Theater of Thrills is presented by Better Tasting Roma wine. That's R O M a Roma Wines, America's favorite wines. Have you discovered how much Roma California wines can heighten your enjoyment of everyday meals? Soaring food costs make this especially important today. Yes, delicate pale gold Roma Sauternes or robust Roma Burgundy can make all the difference between just eating and delightful dining. This weekend, discover how a glassful of better tasting Roma Saturn adds to your enjoyment of chicken or seafood. Or enjoy the taste harmony of Roma Burgundy with roast beef, steak or cheese dishes. To make your meals more enticing, serve Better tasting Roma Wines. Remember, always insist on Roma Wines. That's R O M a Roma Wines, America's largest selling wines. And now, Roma Wines. Bring back to our Hollywood soundstage Claire Trevor as Lois La Paul in the Blue Hour, a play well calculated to keep you in suspense.

[Co-host/Announcer]

I may have felt uneasy when I left Mahoney, but I was downright scared when I left Anthony Licata's office. I must be a real square. Everybody seems to be talking riddles. I know there's something cooking that just concerns me, but I'll be darned if I know what. Mr. Licata had an apartment for me. In fact, he had me driven there. I wasn't blind enough to miss the stooge he planted outside my door. I was in a fine fix. Lois La Paula was gonna burn up the big city stuck in an apartment with a bodyguard. The sad part of it all was I didn't know a soul to turn to for help. Except. Except? No. No, it wasn't possible. He wouldn't help me, so there was nothing for me to do but sit there and eat. Who is it?

[Narrator/Host]

My Homie?

[Co-host/Announcer]

Oh,

[Narrator/Host]

hello there, beautiful.

[Co-host/Announcer]

Shut up and come in.

[Narrator/Host]

Well, I'm honored, Ms. Le Paul. Tell me, is this to be a. A social visit or.

[Co-host/Announcer]

I'm scared. I need help.

[Narrator/Host]

Well, your attitude seems to have changed.

[Co-host/Announcer]

Did you see a man outside?

[Narrator/Host]

An autograph hunter?

[Co-host/Announcer]

More like a headhunter. He's planted there to watch me.

[Narrator/Host]

Who planted him?

[Co-host/Announcer]

Anthony Licata of the Blue Hour.

[Narrator/Host]

Lakata, huh? Well, this is developing faster than I figured. He sure is impatient.

[Co-host/Announcer]

Nuts. He's impatient. He's making me sit around doing nothing for two weeks. It's some game we're playing. Only I don't like games, and I'm scared.

[Narrator/Host]

Well, well, you do have human instincts.

[Co-host/Announcer]

Oh, my. Honey, what's going on? Why am I involved?

[Narrator/Host]

Close the faucet on those crocodile tears.

[Co-host/Announcer]

Why don't you believe me?

[Narrator/Host]

Because you're not playing square with me.

[Co-host/Announcer]

What do you want from me, Mahoney?

[Narrator/Host]

The truth.

[Co-host/Announcer]

Oh. White.

[Narrator/Host]

You were in Jason White's apartment the night he was killed, weren't you?

[Co-host/Announcer]

Yes, I was.

[Narrator/Host]

What were you doing there?

[Co-host/Announcer]

I went to see him.

[Narrator/Host]

Oh. Oh, just like that, huh?

[Co-host/Announcer]

He called me and asked me to come right up.

[Narrator/Host]

Do you always run when a man asks you to come up to his apartment?

[Co-host/Announcer]

He sounded frightened. He told me to hurry. I grabbed a taxi and got there as fast as I could. I knocked several times, but there was no answer. So I walked in. Every light in the place was lit. Every chair, table and drawer was upset. You know that from the newspaper stories. Jason was sitting in the one and only chair left upright. I remember he. He smiled as I walked in.

[Narrator/Host]

You got here very quickly, my dear. Thank you.

[Co-host/Announcer]

Jason, what happened? What's been going on here?

[Narrator/Host]

Oh, forget about that. Come over here beside me.

[Co-host/Announcer]

I don't understand this.

[Narrator/Host]

Never mind, my dear. It's unimportant. Listen to me carefully.

[Co-host/Announcer]

You sound sick. What's the matter?

[Narrator/Host]

Not nothing, my dear. Don't worry. Here, take.

[Co-host/Announcer]

It's a bottle of perfume.

[Narrator/Host]

Yes, I've had it for you for a long time. But like most men, I forgot to give it to you. Take it now.

[Co-host/Announcer]

You mean you had me rush all the way up here for this? What's the gag? Jason. Jason, you're bleeding. You've been hurt. I'll call the doctor.

[Narrator/Host]

No, Lois, please don't do that. I'd rather have it this way. Oh, dear.

[Co-host/Announcer]

You did it, Jason. I don't know.

[Narrator/Host]

Alois promised me one thing. Don't open that bottle of perfume until I catch and convict whoever attacked me. If you do, your life will be in danger.

[Co-host/Announcer]

I. I promise. Jason,

[Narrator/Host]

you better go now. Forget that you were ever here tonight.

[Co-host/Announcer]

God bless you, my dear, and thank you.

[Narrator/Host]

Thank you for everything.

[Co-host/Announcer]

Jason. Jason. Jason. And that's exactly what happened, Mahoney. I swear.

[Narrator/Host]

Do you still have that bottle of perfume?

[Co-host/Announcer]

Of course I have.

[Narrator/Host]

May I sit?

[Co-host/Announcer]

Thinking of using it, Perhaps. I keep it in my makeup kit here.

[Narrator/Host]

Wow. Very interesting.

[Co-host/Announcer]

What's very interesting?

[Narrator/Host]

Did you notice the name of this perfume?

[Co-host/Announcer]

Yeah, it's in French. I have a hard enough time with my English. Huh. Sounds like your tongue Got stuck.

[Narrator/Host]

Oh, I get by, honey. I get by. Bleu means the Hour. And bleu means blue. The Hour of Blue. Or better known as the Blue Hour.

[Co-host/Announcer]

The Blue Hour. That's the same name as the nightclub.

[Narrator/Host]

Well, well, well, well. You catch on fast, don't you? And here's something else for you to mull over. Jason White bought a diamond in Antwerp in 1929 called the Blue Hour. It was called that because it was a perfect blue white stone worth about a half a million bucks.

[Co-host/Announcer]

Holy mackerel.

[Narrator/Host]

Now, do you know what's in this bottle?

[Co-host/Announcer]

Perfume.

[Narrator/Host]

If you're telling the truth, honey, the Blue Hour diamond is floating around in there.

[Co-host/Announcer]

You mean 500 grand worth of. Oh, brother.

[Narrator/Host]

Yeah, well, we'll find out in just a minute.

[Co-host/Announcer]

No, no, don't. I told you what Jason said about my life being in danger. If that's open before his murderer is

[Narrator/Host]

convicted face, your life is already in danger. Well, cross your fingers. Here goes.

[Co-host/Announcer]

Oh, Mahoney.

[Narrator/Host]

Oh, brother. Look at that thing dazzle.

[Co-host/Announcer]

Oh, gee, it's beautiful.

[Narrator/Host]

So that's the Blue Hour diamond.

[Co-host/Announcer]

Boy, on my finger. Would that look extremely chic?

[Narrator/Host]

Look, baby, look. If you want to live to enjoy it, we've got to beat the early bird to the worm. Now, here, sit down here. You've got a full evening in front of you, honey. Now, here. Here's what you're gonna.

[Co-host/Announcer]

Alec wasn't kidding when he said we had a full evening in front of us. He had a plan and I had to memorize it. I was gonna do some acting, and here I come to New York to be a dancer. I was so mixed up with all that happened, I wasn't sure of anything except that I fell in love with Alec Mahoney. He didn't know it yet, but as soon as things were settled, I was gonna let him know. Meanwhile, I felt that Mahoney was staging a play and I was his leading lady. He said things, had me repeat them till I thought I'd scream. But he assured me one mistake would be fatal. He then picked out my chicest evening gown and had me put it on. I thought I detected a gleam in his eye as I paraded before him. But he pulled himself together, gave me a quick pat on the shoulder and left. I waited 10 minutes by the clock. We still had Licata's fair haired boy waiting outside. I then opened the door noisily and stepped out.

[Narrator/Host]

Hey, you going someplace?

[Co-host/Announcer]

Look, stupid, I'm going down to the Blue Hour.

[Narrator/Host]

If you want to come Along.

[Co-host/Announcer]

Just fall in line behind teacher Nesta.

[Narrator/Host]

Come in.

[Co-host/Announcer]

Good evening, Mr. La Carta.

[Narrator/Host]

What are you doing here?

[Co-host/Announcer]

I came to see you.

[Narrator/Host]

Was there something you didn't understand this afternoon?

[Co-host/Announcer]

On the contrary, it was all too clear. Aren't you going to ask me to sit down, Tony?

[Narrator/Host]

Sit down. Don't call me Tony. My name's Anthony.

[Co-host/Announcer]

I'm sorry, Anthony.

[Narrator/Host]

You look pretty good for second rater.

[Co-host/Announcer]

See? I'm flattered.

[Narrator/Host]

I still don't know why you're here.

[Co-host/Announcer]

I came to play the game.

[Narrator/Host]

I see. What caused this sudden change of mind?

[Co-host/Announcer]

It's a woman's prerogative, isn't it?

[Narrator/Host]

Maybe.

[Co-host/Announcer]

You see, I know something about you. And I think you've guessed something about me.

[Narrator/Host]

Stop beating around a bush.

[Co-host/Announcer]

All right, Anthony. I know you killed Jason White.

[Narrator/Host]

For a dumb babe, you think you know an awful lot.

[Co-host/Announcer]

I was in the room when you killed Jason.

[Narrator/Host]

Can you prove it?

[Co-host/Announcer]

If I tried hard enough, I might be able to. But that's not why I'm here.

[Narrator/Host]

Then what did cause this social visit?

[Co-host/Announcer]

I think you know. I have the Blue Hour diamond. I have. Put your eyes back in your head, Anthony.

[Narrator/Host]

So you do have it.

[Co-host/Announcer]

Up to this point, you only thought I had it. Isn't that right?

[Narrator/Host]

What's the deal?

[Co-host/Announcer]

I'll make it short and simple. I need money. I couldn't possibly pass that rock. You know your way around. Pass it. Split 50. 50. And I'll forget I ever saw you in Jason's apartment.

[Narrator/Host]

I never said I was there. So you didn't give me the diamond?

[Co-host/Announcer]

Don't be stupid. I never carry it around. It's too heavy.

[Narrator/Host]

Where is it?

[Co-host/Announcer]

Come to my apartment in about half an hour and come yourself, Anthony. Leave that hairy ape home. If there's any funny business, you'll never get it.

[Narrator/Host]

I'll be there alone.

[Co-host/Announcer]

I'm sure you'll do as I say, Anthony. Because that diamond must mean a lot to you. After all, you committed murder for it. When I left the Carter's office. The taxi back to my apartment felt like a Turkish bath. But so far everything went exactly as Mahoney said it would. He would have been proud of me. I didn't muff a line now. The worst that could happen to me was getting killed. The prospect of this didn't appeal at all. And besides, it took me 25 years to find a guy like Mahoney. I wanted to stay around and enjoy him. Once I got back to my apartment, I had nothing to do but wait for Licata. That's like waiting for poison to take effect. I turned on every light and the radio. I figured the soft music would help my nerves relax. It didn't. I smoked 16 cigarettes. I know I counted them. I was sitting there trying to keep my mind, such as it is, off of unpleasant things. And then. Then I heard. Was the window opening very softly in my bedroom? Somebody had come up the fire escape into my room. I should have known that Lucada wouldn't take a chance and come to see me alone. Like I told him, he had one of his gorillas in my other room to make sure that I'd be in his power. This apparently had not occurred to Mahoney, who thought he was so smart. I got up from the couch and stood there listening. The guy in there was coming closer because I heard him knock my sewing basket over. I looked around for an effective weapon. Then I spotted it. Just the thing. My big makeup case. I picked it up, hefted it, and I quietly kicked off my shoes and stole over to the bedroom doorway. I leaned back against the wall, out of sight. As the door started to open, I could see that big gorilla standing there with a gun in the dark with his hat pulled down over his face. Then he started to push his face out into the room.

[Narrator/Host]

Now, look.

[Co-host/Announcer]

Fell back into the bedroom. And I shut the door and stood there. Oh, Mahoney, wherever you are, don't fail me now. Who is it?

[Narrator/Host]

Lakada.

[Co-host/Announcer]

Oh, come in, Anthony. I'm glad to see your prompt. It's a sign of good upbringing.

[Narrator/Host]

You gotta play that radio.

[Co-host/Announcer]

Oh, I'm sorry. Shouldn't keep such late hours, Anthony. It's making you nervous.

[Narrator/Host]

Where's the diamond?

[Co-host/Announcer]

You're in a hurry. Got a date?

[Narrator/Host]

I gotta get back to the club.

[Co-host/Announcer]

All right, Anthony. But remember, I don't care what you do with the diamond. I just want 250 grand. My share. Is that clear?

[Narrator/Host]

You'll get your share.

[Co-host/Announcer]

Good. Here's the diamond. Had it in my handbag all evening.

[Narrator/Host]

The Blue Owl. I saw it only once, but I knew then that someday I'd have to have that.

[Co-host/Announcer]

You saw it in Antwerp in 1929, isn't that right, Anthony?

[Narrator/Host]

How do you know I have a crystal ball. You know too much.

[Co-host/Announcer]

Not any more than you do now,

[Narrator/Host]

Anthony, what was that reporter Mahoney doing here this evening?

[Co-host/Announcer]

Mahoney? I don't remember.

[Narrator/Host]

My man told me he was here. Oh.

[Co-host/Announcer]

Oh, yeah, yeah. He came for an exclusive interview of my life.

[Narrator/Host]

Did he tell you it was gonna end tonight?

[Co-host/Announcer]

No.

[Narrator/Host]

You think for one Minute I was gonna let you run loose, knowing what you do about me. I still don't know how you could have been in that apartment when I had to kill Jason.

[Co-host/Announcer]

So you did kill him. Mahoney was right.

[Narrator/Host]

Oh, Mahoney. I thought so. Only don't count on him, sister, because my boys are out looking for him.

[Co-host/Announcer]

Now, Anthony, let's. Let's talk this over, huh? You can keep the diamond. It's yours.

[Narrator/Host]

You should have stuck to those clip joints back in Chicago. That's where you belong.

[Co-host/Announcer]

No, no.

[Narrator/Host]

You're pregnant. Lois, are you all right? It's me, Mahoney. Mahoney, are you all right? Beautiful, Are you all right?

[Co-host/Announcer]

I'm alive.

[Narrator/Host]

Oh, good. Well, what did you have to hit me on the head for, you big dope?

[Co-host/Announcer]

Was that you?

[Narrator/Host]

You know, I almost didn't make it.

[Co-host/Announcer]

Well, I never would have spoken to you again, Mahoney. In fact, I never would have spoken to anybody again, would I?

[Narrator/Host]

Oh, you're gonna be all right now, honey.

[Co-host/Announcer]

I must have lost £4 tonight.

[Narrator/Host]

Well, I never heard a woman complain about that before. Come on, come on, get up. Honey, you're all right. You're not hurt. Hey, what's wrong?

[Co-host/Announcer]

Nothing. I'm just saying my prayer. Okay.

[Narrator/Host]

Ms. Lepal, would you mind facing the sun just a little more so we can see the sparkle?

[Co-host/Announcer]

Yeah, that's it.

[Narrator/Host]

Hey, you gonna collect the reward for turning up White's killer? Yeah, Mr. Paul.

[Co-host/Announcer]

What about that? Well, I didn't turn him up. Somebody else?

[Narrator/Host]

Yeah, not the way I heard it. Well, why are you going back to Chicago all of a sudden?

[Co-host/Announcer]

Oh, that's all, boys. I'm sorry.

[Narrator/Host]

Goodbye, Mr. Paul. Thank you.

[Co-host/Announcer]

Bye. Bye.

[Narrator/Host]

Well, now you're really famous, aren't you?

[Co-host/Announcer]

Oh, Mahoney, I thought. When? When I didn't hear from you, how I thought.

[Narrator/Host]

Well, I've been busy. You didn't think I was gonna let you run out on me, did you?

[Co-host/Announcer]

Oh. Oh, that. I never really thought about it one way or the other. No, no, I'm still extremely angry with you, as you may well imagine. You haven't even bothered to explain.

[Narrator/Host]

Well, honey, it was this way. Licata was with Jason White on his trip to Antwerp. And he saw Jason buy the Blue Hour Diamond. He offered him all sorts of dough for it, but he wouldn't sell. And Licata never got over it.

[Co-host/Announcer]

Holy mackerel. Well, he's over it now. There's just one thing about want to know from you, Mahoney. How did you know Licata? Killed Jason White.

[Narrator/Host]

Well, I didn't.

[Co-host/Announcer]

You. You. You mean everything I did, risking my life, playing games with a maniac was all because you had a hunch?

[Narrator/Host]

That's right, baby. Never go wrong, Mahoney.

[Co-host/Announcer]

Oh,

[Narrator/Host]

well, what are you going to do now, beautiful? You're a rich woman now, you know.

[Co-host/Announcer]

How do you think of.

[Narrator/Host]

Well, the diamond legally belongs to you. I think it would hold up in court.

[Co-host/Announcer]

Well, I know one thing for sure. I'm giving up the ballet. And for two things, I think I'll get married.

[Narrator/Host]

Oh, society, I suppose.

[Co-host/Announcer]

Holy mackerel. You're a big dope, Mahoney. It takes a lot of courage for a girl to do what I'm about to do. Will you marry me?

[Narrator/Host]

Oh, I suppose so. Suspense. The Blue hour starring Claire Trevor. Presented by Roma Wines. That's R O M a Roma wines. Selected from the world's greatest reserves of fine wines. You get more enjoyment for your money when you serve Roma wines. Because Roma makes absolutely sure of better taste by pressing only the choicest California grapes. Then, with age old skills and winemaking resources unmatched in America, Roma Master ventners guide this luscious grape treasure unhurriedly to taste perfection. These finer wines are laid aside with mellow Roma wines of years before. And from these, Roma later selects for your pleasure. This weekend, treat your family and friends to glorious nut like Roma sherry, fruity Roma port or mellow Roma muscatel. You'll enjoy these fine Roma wines, so delicious, so inexpensive too. That's why Roma, that's R O M a Roma wines are America's largest selling wines. Ms. Trevor will next be seen in the independent artist production the Velvet Touch. Tonight's play was by Marty Schwartz. Next Thursday you will hear Kirk Douglas as star of suspense. Produced and directed by William Spear for the Roma Wine Company of Fresno, California. Daylight saving time ends in certain areas. September 28th. This may change the time at which suspense is heard in your community. Please check your local newspaper for the time at which this program will be heard. Next Thursday and each Thursday thereafter. In the coming week, suspense will present such doctrines. Stars as Louis Jourdan, Agnes Moorhead and others make it a point to listen each Thursday to suspense radio's outstanding theater of thrills. This is cbs, the Columbia Broadcasting System. Now Autolite and its 60,000 dealers and service stations present suspend. Tonight, Autolight brings you Academy Award winner Ms. Claire Trevor in the Light Switch, a suspense play produced and directed by Anton M. Leader. Friends, it's the peanuts, popcorn and baseball season and the Time to replace worn out narrow gap spark plugs with a set of those revolutionary new wide gap Autolyte resistor spark plugs. You'll get smooth idling, more positive firing on leaner gas mixtures. Actually saving on gas. Yes, these winning benefits are all made possible by a newly developed 10,000 ohm resistor built right into every Autolite resistor spark plug. This exclusive Autolite resistor makes practical a wider spark gap setting. And that's what does the trick. What's more, Autolite resistor spark plugs with this exclusive auto light resistor cut down on radio and television interference. So folks, see your Autolite dealer and have him replace old worn out narrow gap spark plugs with a set of the new Autolite resistor spark plugs. Remember, you're always right with Autolite. And now Autolight presents Claire Trevor in a tale well calculated to keep you in suspend it.

[Co-host/Announcer]

Every window was locked now. Every jet of gas was on full. There was nothing impulsive left in me. My actions were purely mechanical. I moved as if guided by a subconscious force. I selected a light fixture near the door, tapped the globe with an ashtray until it broke and the grass fell to my feet. For an instant the naked little wires that had made up the filament seemed to Hypnotize me. At 7:30 when he switches on the lights, those tiny wires will cause the spark that'll blow everything I despise in the world out of my life. Everything I despise, everything I loathe, and yet everything I love. The gas in the little room was beginning to make my eyes smart and I realized I had to get out of there. I started to open the door when something told me to stop. It was lucky. I pressed my ear against the panel. I could hear voices outside. People were talking in the hall. I'd have to wait. Wait. Couldn't get panicky. Just had to wait. That was all. I thought of shutting off the gas, but they'd be gone in a second. Seconds. It seemed like hours before the vices finally died away. I heard a hall door shut behind them. Now I had to be fast. The gas was beginning to make me feel strange. I listened for an instant more, then turned the knob and started out just in time to see two men getting off the elevator, stepped inside again and shut the door. I have to wait. I don't know how long I'd been waiting. I tried to piece together what it. What had happened, how. How I'd gotten here. I. I was getting dizzy. Skit web. It all started With Skids. My head was whirling. Lights were flashing in front of my eyes. Lights like the ones down on East Main street on the burlesque marquee next door to Skit Webb's office. I'd never been down on Main street before. I remember it was a strange, dirty. It frightened me. I remember running upstairs to Skit's office.

[Narrator/Host]

Hello.

[Co-host/Announcer]

Is this the office of Mr. Webb? Private detective?

[Narrator/Host]

That's what the sign says. Who are you?

[Co-host/Announcer]

I'm Mrs. John Winston. I'm in a hurry, so I'll make it clear exactly what I want.

[Narrator/Host]

There's a banker named John Winston. Your husband?

[Co-host/Announcer]

Yes. Now, Mr. Webb, I'm certain there is nothing wrong. You understand? I just want to check, that's all. I want you to watch John for a few days. Then we'll just forget the whole thing.

[Narrator/Host]

Better start at the beginning.

[Co-host/Announcer]

I don't think that's important.

[Narrator/Host]

It is to me. They call it background, Mr. Webb.

[Co-host/Announcer]

I came here to tell you what to do, not to be questioned. Perhaps I should point out that I could certainly have afforded a more, shall we say, prosperous agent.

[Narrator/Host]

Yeah, let's say prosperous.

[Co-host/Announcer]

I've been married a long time, and John has never given me any reason to believe that there was anything or anyone else. You understand?

[Narrator/Host]

You mean until lately?

[Co-host/Announcer]

I mean never.

[Narrator/Host]

In other words, out of a clear sky, begin to suspect something?

[Co-host/Announcer]

I'm here to hire a private detective, not to listen to your insinuations. If you don't want or need the job, there are others.

[Narrator/Host]

Sure, I need the job. We both know that, don't we, Mrs. Winston?

[Co-host/Announcer]

Hello?

[Narrator/Host]

Hello, Mrs. Winston? Can you talk? I mean, are you alone by.

[Co-host/Announcer]

Yes. Who is this?

[Narrator/Host]

This is Webb. Skit Webb. Remember last week?

[Co-host/Announcer]

Who?

[Narrator/Host]

Skit. Web. The private investigator you hired.

[Co-host/Announcer]

Oh, yes, I. I'd almost forgotten about that. I'm afraid I was acting quite foolishly that day. I had some sort of a silly argument with John about his working so late. You understand?

[Narrator/Host]

What I call about, Mrs. Winston is that I've been telling John Boy all week. I think maybe you might have something after all.

[Co-host/Announcer]

You don't mean that. You lie.

[Narrator/Host]

No, Mrs. Winston, I really mean it.

[Co-host/Announcer]

You lie. Do you hear me? You lie. You're a liar. Oh, eight

[Narrator/Host]

hello?

[Co-host/Announcer]

Hello? Hello, is this Mr. Webb?

[Narrator/Host]

Well, well, Mrs. Winston.

[Co-host/Announcer]

I didn't expect I'd hear from you again, Mr. Webb. Tell me, where was he? What was her name? Do you know that.

[Narrator/Host]

Take it easy. Look, first you come in the office and give me no information. Then when I dig something up, for you. You throw a tantrum. What's on going with that?

[Co-host/Announcer]

All right, I'm sorry. I'll try to be more sensible. Now. Tell me.

[Narrator/Host]

Well, it's going to take a little time before I can make a definite report. A little time and a lot more work.

[Co-host/Announcer]

But I hired you. Well, want your dough back? No, no. I'd like you to find out anything you can.

[Narrator/Host]

Okay, then play it my way. Just for a short time. As soon as I can, I'll give you some definite information.

[Co-host/Announcer]

All right. But I want you to tell me everything as it goes along, Mr. Webb.

[Narrator/Host]

Okay. And why not just call me Skit?

[Co-host/Announcer]

I'd rather leave it at Mr. Webb, if you don't mind.

[Narrator/Host]

No, I don't mind.

[Co-host/Announcer]

No, I never want to call you Skit. My head throbbing. Splitting. I was on the floor. Gas. 7:30. 7:30. It would be all over gas. I could smell it. Horrible. No, it wasn't gas. It was wisteria. Yes, the odor of wisteria as it was in the park that day. I was standing on the edge of a walk near a bed of white tulips in the wisteria. I love wisteria.

[Narrator/Host]

Have you been waiting long, Mrs. Winston?

[Co-host/Announcer]

No.

[Narrator/Host]

Come on, let's go over that bench.

[Co-host/Announcer]

What do you have?

[Narrator/Host]

Well, John Boy seems to have pretty well settled down to one gal.

[Co-host/Announcer]

Another woman. I don't believe you, Mr. Webb. Girls, perhaps, but not another woman.

[Narrator/Host]

Okay. Well, you can't tell yet.

[Co-host/Announcer]

Anyway, you're making the whole thing up.

[Narrator/Host]

Then forget it.

[Co-host/Announcer]

It's your type that. That gut.

[Narrator/Host]

I said forget it. Look, Mrs. Winston, I don't take that from anyone. You think just because you came down Main street and you were hiring a two bit snoop.

[Co-host/Announcer]

Just a minute, Mr. Webb.

[Narrator/Host]

I'm not through yet. Just because I don't have a plushie suite on the west side, you think that's the biggest case I've ever had? Sure. I've got a cheap officer to run down. Giant. Sure, I've had better times. Let me tell you about that.

[Co-host/Announcer]

I'm not interested in your past and I thoroughly resent your insolence.

[Narrator/Host]

Ever hear of Juanita call Mrs. Winston? No. Well, I guess you wouldn't have. Juanita had an insurance deal, filled the room with gas and hooked up a cigarette lighter to an alarm clock so that at a certain time the lighter would spark and blow the whole joint up. Would have worked too, except the clock stopped. Yeah, it was a clever stunt. You know who broke the case? I did. Yeah, me. The two bit snoop. You wanted to hire, and I can name other cases just as big.

[Co-host/Announcer]

Mr. Webb, I don't see what all of this has to do with me, but if you're quite through now, I.

[Narrator/Host]

Oh, you don't, huh? Well, I'll tell you, I'm sick of this high and mighty routine you've been giving me. I've got you pegged, Mrs. Winston. I know what's going on inside that head of yours. You told me you were 32. In your case, that means maybe 40.

[Co-host/Announcer]

That's not true.

[Narrator/Host]

You know you're slipping. You can't face it.

[Co-host/Announcer]

What do you mean?

[Narrator/Host]

Your husband, he's lost interest. No, you've been put on a shelf. He's found somebody else. You can't take it.

[Co-host/Announcer]

Shut up. Shut up.

[Narrator/Host]

Okay, I guess that covers it. And don't bother firing me. I quit.

[Co-host/Announcer]

What?

[Narrator/Host]

Get yourself another boy.

[Co-host/Announcer]

No, no, no, no, no. You can't quit.

[Narrator/Host]

I already have.

[Co-host/Announcer]

But I'm depending on you. You can't leave me now. I've got to find out. Please. Please, I need you. I need somebody.

[Narrator/Host]

That's no lie.

[Co-host/Announcer]

You've got to help me.

[Narrator/Host]

Well, maybe that depends on you.

[Co-host/Announcer]

On me?

[Narrator/Host]

Maybe. If we were to climb down off that high foresight.

[Co-host/Announcer]

Oh, I will. I will. Anything.

[Narrator/Host]

Okay, okay. All I know so far is that instead of being at a board meeting like he told you last Wednesday night, remember?

[Co-host/Announcer]

Where was he?

[Narrator/Host]

Had dinner at the gourmet. Private room. After that, I lost him.

[Co-host/Announcer]

What? What did she look like?

[Narrator/Host]

Typical line. About 25, theatrical looking pretty well put together.

[Co-host/Announcer]

Oh, stop it.

[Narrator/Host]

You asked me

[Co-host/Announcer]

what else.

[Narrator/Host]

She met him for lunch on Friday. I think she may be in a show downtown. That's all I know now, but I'll keep checking.

[Co-host/Announcer]

Yes, yes, yes, keep checking.

[Narrator/Host]

But you've got to promise not to get all hot and bothered until we're ready to move.

[Co-host/Announcer]

I promise, Mr. Webb. I'll be as cold as I.

[Narrator/Host]

Misses Winston. Skid Webb. This is it.

[Co-host/Announcer]

Oh.

[Narrator/Host]

John Boy's girlfriend is a dame named Terry Williams, an ex choruser from the Latin Club. Ex since she nailed onto John Boy, that is.

[Co-host/Announcer]

Go ahead.

[Narrator/Host]

She's living in a hotel downtown. Now, look, you can do one of two things. Either rush right down there, tip them off. Now, clam up. Or play it clever and wait for the kill.

[Co-host/Announcer]

I'll be clever.

[Narrator/Host]

Okay. It's a pretty good joint, sort of upper middle. The Bren Carlton.

[Co-host/Announcer]

Thank you. Skit.

[Narrator/Host]

Shouldn't be long now. I'll let you know when? At a crucial time. You know what I mean? Then We'll. Hotel Bryn Carlton.

[Co-host/Announcer]

Oh, yes, BranCarlton. Oh, do you have a Terry Williams there?

[Narrator/Host]

Terry Williams? Yes. It's apartment 504. I'll ring her.

[Co-host/Announcer]

Oh, never mind. After I hung up, all the strength seemed to drain out of me. I leaned heavily against the nightstand and the lamp fell to the floor. For one instant after the globe had broken, the light glowed on. That's how life was. There was always a final spark after the brightness was gone. Now I knew what I was going to do about John and me. No long drawn out divorce. I was going to kill him. I'd be clever enough even for skit web. But John would die.

[Narrator/Host]

For suspense. Autolight is bringing you Claire Trevor in radio's outstanding theater of thrills. Suspend. Say, Harlow, it's the 9th inning. 50,000 people hap. I can't resist it. I'll tell them. Hey. Tell them what, Harlow? Here goes. Take out those old narrow gap spark plugs. Go to bat with a set of wide gap auto light resistor spark plugs. They make your engine idle smoother, give better performance on leaner gas mixtures. Actually save gas. Why, that newly developed 10,000 ohm autolite resistor found in no other automotive type spark plug increases electrode life 200% and more. Harlow, the slugger is up. It's a four bagger, HAP. And so are sensational wide gap auto light resistor spark plugs. What's more, that exclusive auto light resistor cuts down on radio and television interference too. So see your Autolite dealer and get a set of those remarkable, irresistible, sensational new wide gap Autolite resistor spark plugs today. Come on now, Hollow. We gotta switch from baseball to suspense. And now Auto Light brings back to our Hollywood soundstage. Claire Trevor as Mrs. Winston in the light switch. A tale well calculated to keep you in suspense.

[Co-host/Announcer]

I could hear the steady hiss of gas. The gas filling the room. The trap I'd set for my husband John and his girlfriend wasn't working out the way I'd planned. I had to get out of the room. My plan was falling to pieces. My life falling to pieces like a picture person drowning. I was remembering. You.

[Narrator/Host]

What were you expecting?

[Co-host/Announcer]

I told you not to come here. John hired a private nurse to be with me all the time.

[Narrator/Host]

Is that why I didn't get my money this week?

[Co-host/Announcer]

Of course not. Come inside and be quiet. I'm all right, Mr. Webb. I've been trying to contact you anyway.

[Narrator/Host]

To pay me. My expenses have been running up. You know, I figure maybe a couple of hundred Would.

[Co-host/Announcer]

Oh, forget that. Do you want to make some good money? You kidding, Skit? I'm very clever now. Very clever.

[Narrator/Host]

Switch.

[Co-host/Announcer]

I'll play it any way you like. You say where and when and I'll stay quiet. But first I've got to trust you. And I don't now?

[Narrator/Host]

Why? I've given you the straight all along. When the time is right, we'll be able to put John Boy right where he belongs.

[Co-host/Announcer]

Fine, but all I have gotten from you is here. Say, certainly you gave me the name Terry Williams and I checked myself.

[Narrator/Host]

I didn't.

[Co-host/Announcer]

I didn't do anything. Just found out she lived in 504. But still, she could be any girl. I've got to know.

[Narrator/Host]

Well, what do you want?

[Co-host/Announcer]

I want to see them myself.

[Narrator/Host]

Well, now, look, that's just about impossible. They're very cagey. The only reason I can tag them is because I know my business. That is, unless you want to take the chance of tipping the whole thing off.

[Co-host/Announcer]

No, I just want to see them at the Brancarlton.

[Narrator/Host]

Well, I haven't caught them there myself yet.

[Co-host/Announcer]

All right, Skit. Until then, you are off the payroll.

[Narrator/Host]

Well, it may not be as easy as all that. How much? If I can. I'm not a mind reader, you know. I can't tell what they're going to do before they do it.

[Co-host/Announcer]

500. And from then on, I won't question you.

[Narrator/Host]

I don't know. May take a week, maybe a month. I don't have much to go on.

[Co-host/Announcer]

Please understand, I have to know myself.

[Narrator/Host]

How about last week's dough? Can you get it now? Yes, I'll do my best. You go get what you owe me.

[Co-host/Announcer]

You wait here in the hall. Hello, Skit, you told me you were going to call this morning. I've been sitting by the phone all day.

[Narrator/Host]

Well, I didn't have anything to report this morning, but I do now. I was just gonna call you.

[Co-host/Announcer]

Tell me quickly.

[Narrator/Host]

You called me yesterday and said that John Boy was going away for a weekend.

[Co-host/Announcer]

Yes.

[Narrator/Host]

Well, get the 500 bucks ready. I was able to tap a phone conversation. Pretty tricky job, too.

[Co-host/Announcer]

Go ahead.

[Narrator/Host]

He's picking Terry Williams up in a taxi tonight at 7:15. They'll arrive at her apartment around 7:30 for dinner. Got that?

[Co-host/Announcer]

Yes.

[Narrator/Host]

Okay. You wait in your car across the street. I'll join you there.

[Co-host/Announcer]

All right.

[Narrator/Host]

Now listen, don't lose your head and mess up the whole deal.

[Co-host/Announcer]

No, I won't.

[Narrator/Host]

I may be a little late. I've got a tail in this afternoon. Make sure everything runs Right. So they may beat me there. If they do, you can watch them go in. But wait for me. Be clever, Mrs. Winston. Clever?

[Co-host/Announcer]

Yes, get clever. You'll never know how clever. I managed to get away from my nurse, came here, got the key from one of the pigeonholes when the desk clerk wasn't looking, and let myself in. Apartment 504, Terry Williams apartment. That's clever, Mr. Webb. Then I locked the windows, turned on the gas and cracked a light bulb so it would spark when the lights were switched on. And now? Now you'll see how clever I am at 7:30 when they. 7:30. I've got to get out the door. The door. I've got to get to that door.

[Narrator/Host]

Are you kidding? Eva? Of course she's drunk.

[Co-host/Announcer]

I tell you, she ain't Harry.

[Narrator/Host]

Oh, look at her eyes. She's loaded.

[Co-host/Announcer]

Lights, though. Turned on the light. They're already on, honey. Where am I? How did I get here?

[Narrator/Host]

You got me there, baby. Even I just got off the elevator and there you were staggering up and

[Co-host/Announcer]

down the hall like I got into the hall. What room is this? Why, it's our room, honey. You folded right in front of our door. I'm Eva, and this here's Harry.

[Narrator/Host]

Harry and Eva. Honey, you remember Harry and Eva. Vaudeville, played all the big time. Palace, Chicago, Detroit. You remember.

[Co-host/Announcer]

No, she don't.

[Narrator/Host]

Well, why don't she?

[Co-host/Announcer]

Please. I mean, what's the number of this room? 505. Oh, then 504 is next door.

[Narrator/Host]

Yeah, that's real smart. Yeah, 504 is next door. Then comes 503. 502.

[Co-host/Announcer]

Please help me up. I, I, that's where you come from.504. Terry having a party or something? No, no, that isn't where I came from. Oh, fine girl, Terry. She was overdue, you know.

[Narrator/Host]

Hey, hey, if Terry's having a party, maybe we ought to drop in.

[Co-host/Announcer]

Oh, no.

[Narrator/Host]

Why not? We haven't seen much of her since she started running around with her new boyfriend.

[Co-host/Announcer]

Come on. No, I mean, there's no party there, and I, I didn't come from there.

[Narrator/Host]

Then how do you know there's no party there?

[Co-host/Announcer]

Please help me up. I got to get out of here right now. I don't know, honey. You don't look so good to me. Why don't you just lie down a few minutes and then meet. What time is it?

[Narrator/Host]

It's time for a drink. That's what time it is. Now, you wait just right here and I'll get in.

[Co-host/Announcer]

Oh, please tell me what time it is. Oh, about 7:30. No, I mean the exact time. Say, you're pretty particular, honey. Okay. It's exactly 7:26. That good enough for you? Four minutes. I've got to leave. You've got to help me out of here right now. Do you understand? Right now. Help me up, I tell you why. Ok, honey. Okay. Don't get so upset. Here. Oh, thank you.

[Narrator/Host]

Well, here. Here you are, girls. Here's your drinks.

[Co-host/Announcer]

No, thanks. I don't care.

[Narrator/Host]

Come on, sit down and drink it and do your drink.

[Co-host/Announcer]

No, please.

[Narrator/Host]

I said sit down.

[Co-host/Announcer]

Oh, why'd you want to push her, Harry?

[Narrator/Host]

Well, what's with this babe, anyway?

[Co-host/Announcer]

I don't know, but she don't look so hot to me. Maybe we ought to send for a doctor. I don't need a doctor.

[Narrator/Host]

Wait a minute.

[Co-host/Announcer]

I just figured out what's wrong with you. What? You're unhappy, that's what's wrong.

[Narrator/Host]

And that's something I can't stand to see, anybody unhappy. Well, we got just a thing for that, even me. We'll give you a little routine. Yes, sir. It'll snap you right out of it in no time. Come on, Eva. Oh, I'm just wild about Harry. Come on, Eva. Come on. Oh, I'm just wild about Harry, and

[Co-host/Announcer]

Harry's wild about me.

[Narrator/Host]

Now, watch this stuff. Well, how about that? How about that? We're giving her class and all she can say is stop that. Now, look here, I'll let her alone.

[Co-host/Announcer]

Harry, can't you see she don't feel. Here, honey, you let me help you. Maybe. Maybe what you need is a drink.

[Narrator/Host]

Well, what do you think I offered her a couple minutes ago? That ain't what she needs. She's loaded already. What she needs is air.

[Co-host/Announcer]

Air? That's right, air. What I need is some air. Look, go out, get some air.

[Narrator/Host]

Well, what's wrong with just opening the window? Hey, Eva, look.

[Co-host/Announcer]

Huh?

[Narrator/Host]

Terry and that new boyfriend getting out of a cab. Now we can have a party.

[Co-host/Announcer]

I don't want to party. I want to get out right now. Can't you understand? Get me out of here. Maybe we better get her out of here. I'm kind of worried about her. Yes, we must get out. We got to help her downstairs.

[Narrator/Host]

Harry, how come we always get tangled up with like this?

[Co-host/Announcer]

Come on, Harry. Come on. Finally we were out in the hall and Harry started to ring for the elevator. Only John would be coming up on the elevator. I insisted we take the stairs. Told them elevators made me dizzy. I knew they thought I was crazy, but I didn't care what they thought. Just as we reached the lobby, I caught sight of John's gray coat disappearing into the elevator. And she was right behind me. Eva and Harry tried to drag me with them to the bar down the street, but I refused and they went on without me. I waited in the lobby. The indicator over the elevator door stopped at the fifth floor. They were just getting out of the elevator, and now they must be walking down the hall. I could only see John fitting the key. I walked quietly out of the hotel lobby to my car down the street. I felt better now. As I let myself in the front door. I knew I'd done everything right. I'd been clever. And now there was only one thing to remember. I must act shocked when they call me to tell me John is dead. John. John.

[Narrator/Host]

Hello, dear.

[Co-host/Announcer]

John.

[Narrator/Host]

Why, yes, Yes, I came back for my coat. Incidentally. Where is it? The gray one? I was positive it was in the hall closet, but I can't find it. Who could have taken it? Did someone borrow it? Darling, what's the matter?

[Co-host/Announcer]

I thought you.

[Narrator/Host]

Where have you been, dear? Oh, you shouldn't worry me like this.

[Co-host/Announcer]

You didn't have your coat.

[Narrator/Host]

But I just told you. I started on my trip and discovered I'd left it behind, so I came back for it. Please, dear, you mustn't get so upset about trifles. You're not well and here you go running around when you're not supposed to leave the house. Really, I. I've tried to be considerate with you, but I.

[Co-host/Announcer]

You. You have been considerate, John. Very considerate. You've been a perfect husband. The police will be here any minute. When I called, they said they'd be right over. It's strange how it all worked out. He intended to make a lot of money off me, but I never had a chance to give him the 500. He thought he was so clever, but all he made was expense. And I. I thought I was being clever, too. I killed two people. Terry Williams and her boyfriend, Skit Web.

[Narrator/Host]

Thank you, Claire Trevor, for a splendid performance. Oh, Ms. Trevor.

[Co-host/Announcer]

Yes, Mr. Wilcox?

[Narrator/Host]

Remember what you said at rehearsal?

[Co-host/Announcer]

You mean that some women don't know a spark plug from a hill of beans?

[Narrator/Host]

That's right. Well, just in case you're one of those women, I went out to my car and got a spark plug. Now, you see how you can tell the difference?

[Co-host/Announcer]

Oh, why, of course. On this spark plug you handed me, it plainly says autolite resistor. And I doubt whether a hill of beans is marked at all.

[Narrator/Host]

I doubt it too. And besides, a hill of beans is not made by Autolight, which makes more than 400 products for cars, trucks, airplanes and boats. In 28 auto light plants from coast to coast. Yes, sir. And Autolight 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 Autolight original factory parts at your neighborhood service station, car dealer, garage or repair shop. Remember, you're always right with Autolight. And now, Here again is Ms. Claire Trevor.

[Co-host/Announcer]

It's been a pleasure to appear here tonight with this great cast of suspense actors and actresses. And I'm expecting almost as much pleasure from listening next week when radio's Outstanding Theater of Thrills brings you. Jimmy Stewart in Revenge. Another gripping study in suspense.

[Narrator/Host]

Claire Trevor will soon be seen co starring with Fred McMurray in Borderline Productions fourth grade coming picture, Borderline. Tonight's suspense play was written by Richard Vodra. With music composed by Lucian Morowek and conducted by Leith Stevens. The entire production was under the direction of Anton M. Leader. In the coming weeks, Suspense will present such stars as Frederick March, Joan Crawford, Agnes Moorhead, John Lund and many others. Make it a point to listen each Thursday to suspense Radio's Outstanding Theater of Thrills. And next Thursday, same time, here, James Stewart in Revenge.

[Co-host/Announcer]

You can buy Autolite resistor, spark plugs, Autolite staple batteries, Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night.

[Narrator/Host]

This is cbs, the Columbia Broadcasting System. The NBC theater presents. Screen directors guild assignment production stagecoach coach. Director john ford stars john wayne, claire trevor, ward bond. This is the Screen Directors Guild production of the United Artists motion picture classic Stagecoach. Starring John Wayne, Claire Trevor and Ward Bond. And introducing the director of the film, John Ford. Before we begin our story, here are a few words about the entertainment you will hear tonight and in future weeks. At this time, the NBC theater is proud to welcome the president of the Screen Directors Guild and the eminent director of such films as Variety Girl, the Perils of Pauline and Taproots. Mr. George Marshall. Thank you. Thank you and good evening. This is the first performance of a series of Screen Directors Guild productions in which the directors will personally bring you their favorite film assignments. Along with the stars who created the original roles. Tonight your director is John Ford. John, if you remember, is the winner of five Academy Awards. The guiding hand behind such great pictures. As the informer, how green was my valley. And of course, Stagecoach. You're on the set, John. Thank you, John. And good luck on our first production. Stagecoach is ready to roll. The last time I made that crack was about 10 years ago. I first had the opportunity of putting on film this romance of the west for the cast, the picture authors an array of colorful character types ripe for the actors talents. Now the story and the cast are united again. Here is Stagecoach, with John Wayne as the Ringo Kid, Claire Trevor as Dallas and Ward Bond as Doc Boone. Where the coyotes.

[Co-host/Announcer]

How.

[Narrator/Host]

And the wind blows free. In 1885, the stagecoach was the only means of travel on the American frontier. And in those days, no name struck more dread into the hearts of travelers than Geronimo, leader of the warlike Apaches. This, folks, is a story of a party of people who travel from Tonto to Lordsburg by Stagecoach in 1885. It's a story still told by the Indians. In the land of Arizona, land of the Apache Indian War, where the roaming Chiricahua fought the mighty white invader. Stood the white man's city, Tonto. Tonto, where the flying wagon that the white man called a stagecoach stopped to take men to the westward where Geronimo was leader, chief of the Apostle a

[Co-host/Announcer]

gen.

[Narrator/Host]

Well, that's how it is, folks. Geronimo's Apaches on the war path up ahead, burning every ranch inside. Then the question before the party assembled in this stage coach is, shall we continue?

[Co-host/Announcer]

I say yes, continue.

[Narrator/Host]

But Mrs. Mallory, should you be traveling in your condition?

[Co-host/Announcer]

My husband is in Apache Wells with his troops. I want to be with him when our baby arrives.

[Narrator/Host]

Madam, I am a gambler and I admire and respect a bull gamble. But aren't you gambling with a life besides your own? Oh, I forgot to tell you, Mr. Hatfield, we're getting a cavalry escort for Apache whales.

[Co-host/Announcer]

That settles it. I'm going on.

[Narrator/Host]

Count me in. Of course, Buck. All right. I will find my shotgun guard. You don't have to go no further, Buck. What, Curly? Well, dog gone. How are you, Sheriff? Fine, thanks. And I'll be riding shotgun up next to you. This Chip Burke. You? What for? The Ringo Kid escaped from prison. I'm looking for him, the fellow who shot Jed Michael dead. I hear he's heading for Lordsburg to shoot it out with the three plumber boys. So I'll be right up there next to you, Buck. All the way to Lordsburg. There she comes. Top of the hill now. There comes the stage coach. Better stand back a bit, Doc. Yeah, stand. Stand out of the road there, Dallas girl.

[Co-host/Announcer]

Thanks.

[Narrator/Host]

Hail the stage brush chariot.

[Co-host/Announcer]

Doc. Doc, why do I have to leave town? Because. Because all these women here say I have to. I don't want to go to Lordsburg

[Narrator/Host]

no more do I, Dallas. But you are a lady somewhat too hospitable to gentlemen. I am a doctor somewhat too hospitable to spirits. We, girl, are the dregs and Thompson they send us from their midst. Come, Dallas. Be a glorified Drake like me.

[Co-host/Announcer]

Hi there, Buck.

[Narrator/Host]

You have acquired two more eager passengers. The engines are rising, Doc. I thank them for that mark of respect. Tell them they may be seated now. Enter, Dallas.

[Co-host/Announcer]

Thanks, Tom.

[Narrator/Host]

Take your place beside the other lady. Then forward on to Lardsburg. Watch you driving through this canyon, Buck. Well, I aim to be hard to shoot at in case Geronimo's Apaches are in these hills. I'm with you, Buck. Bark the law.

[Co-host/Announcer]

That don't make me bullet pool kingdom high.

[Narrator/Host]

Here she comes, Apache. Keep your shirt on and stop the coach. It ain't Apaches. Someone up ahead blocking the road with a rifle. Here he comes, whoever he is. What? It's the Ringo Kid? That's right, Buck. Hiya, Curly. Ringo. Didn't expect to find the sheriff riding shotgun. I was heading for Lordsburg, same as you, Ringo. Well, my horse went lame, so you got another passenger. I'll take that rifle first, Ringo. That's so, Sheriff. You're under arrest. The murder of Jed Michael. Sorry, Curly, but this Winchester here says different. Sorry, Ringo, but if you look back up the road a piece, you'll see our escort of United States Cavalry coming up. Oh, I'll take that rifle now, Ringo. Sure, Sheriff. You better hold onto it. You may need it before we get to Lordsburg. Thanks. You can get into the coach now. Much obliged, Sheriff. Get going, Buck.

[Co-host/Announcer]

Yep. Sully. Yap, Nelly. Hiya.

[Narrator/Host]

So you're the famous Ringo Kid, huh? My friends call me Ringo. Right. Name's Henry. Henry. I remember you. Say, I fixed your arm when you was just a little sprout. He was no higher than a quart of bourbon. That was my kid brother. Broke his arm. You did a good job, too. Documentary, even if you was drunk. Well, thank you, son. How's your brother now? He was murdered.

[Co-host/Announcer]

Oh, no.

[Narrator/Host]

Him and my dad. By the three plumber boys. Well, good luck when you get to Lordsburg, son. Thanks, Doc.

[Co-host/Announcer]

Mrs. Mallory, you're tired. Would you like to rest your head on my shoulder? No, thank you. Mr. Hatfield, would you mind if I sat over on your side? Of the coach.

[Narrator/Host]

Not at all, ma'. Am.

[Co-host/Announcer]

Excuse me. Yes, of course.

[Narrator/Host]

Right here, Mrs. Mallory.

[Co-host/Announcer]

Thank you, Mr. Hatfield.

[Narrator/Host]

I must have the plague, huh? Dallas, you.

[Co-host/Announcer]

Oh, no, it's not you.

[Narrator/Host]

Have a drink, Hatfield. No, thank you. No, thank you. He says have a drink, Doc. Yes, thank you. You're not gonna move away from me, are you?

[Co-host/Announcer]

No, Ringo.

[Narrator/Host]

Well, I guess I can't expect to break out of prison and into society in the same week. Shh.

[Co-host/Announcer]

She'll hear you.

[Narrator/Host]

I guess I'm pretty dumb for sitting down beside a lady like you, Dallas.

[Co-host/Announcer]

A lady.

[Narrator/Host]

Thanks for not moving.

[Co-host/Announcer]

Don't. Don't, please. Why are you looking at me like that?

[Narrator/Host]

It. Had I seen you someplace before?

[Co-host/Announcer]

No. No. No, you haven't.

[Narrator/Host]

I wish I had, though.

[Co-host/Announcer]

I know you. I mean, I know who you are.

[Narrator/Host]

I used to be a good Callahan. Few years back, things happened.

[Co-host/Announcer]

Yes, things happen.

[Narrator/Host]

Drink up, Doc. Doc's getting his note bowl.

[Co-host/Announcer]

Things happen. And now they'll take you back to prison.

[Narrator/Host]

Not till I finish a job in Lordsburg.

[Co-host/Announcer]

Ringo, I. I wish you wouldn't.

[Narrator/Host]

Wish I wouldn't what?

[Co-host/Announcer]

Oh, nothing, nothing.

[Narrator/Host]

Confound that driver. Why doesn't he drive more carefully? He's playing it smart, Hatfield. He took to the mountains. Apaches don't like snow. Well, he might have snow. Some consideration for Mrs. Mallory and her condition.

[Co-host/Announcer]

I'll be all right, Mr. Hatfield. Thank you.

[Narrator/Host]

Apache Wells just ahead.

[Co-host/Announcer]

Mr. Hatfield, why didn't my husband and his troops meet us here?

[Narrator/Host]

The wrangler tells me that Captain Mallory has been sent ahead to Lordsburg.

[Co-host/Announcer]

Lordsburg?

[Narrator/Host]

Well, we'd better turn around and follow the cavalry escort to Tomto.

[Co-host/Announcer]

Oh, we can't do that.

[Narrator/Host]

With the patches on the war path, it ain't safe to go through Apache country without escort. I say we ought to turn back. There's only one way to find out. Take a vote. What do you say, Mrs. Mallory? On to Lordsburg or back to Tonto?

[Co-host/Announcer]

I want my husband with me when our baby's born.

[Narrator/Host]

Doc. Ain't you forgot this, lady? You mean Dallas?

[Co-host/Announcer]

Oh, I. I say go. I have nothing to go back to, Doc.

[Narrator/Host]

Lordsburg. Press the bottle. Pass the bottle. Ringo. Ringo's my prisoner. I'm voting his proxy. I say Lordsburg. Hatfield, I am at the service of Mrs. Mallory. Thank you, Buck. Lord Burg. It is. Alistol. Step inside and get some grub. Looks fine. You better take my arm up these steps, Mrs. Mallory.

[Co-host/Announcer]

No, thank you. Really. I'm quite. I'm quite.

[Narrator/Host]

Mrs. Mallory. I've got her, Dr. Boone, Mrs. Mallory needs your help.

[Co-host/Announcer]

Oh, it's no use. He's drunk. Ringo.

[Narrator/Host]

Yeah.

[Co-host/Announcer]

I don't know for sure, but I think you better go inside and start heating some water.

[Narrator/Host]

All you want. And then some. And then some.

[Co-host/Announcer]

Carry her inside, Mr. Hatfield.

[Narrator/Host]

Oh, allow me. Allow me. I'll carry her myself, you sot. Thank you, sir. You drunken swine. Thank you. Now, if you'll open the door for me, Dallas.

[Co-host/Announcer]

Yes.

[Narrator/Host]

Drunken swine of a doctor, Doc. Honest. Ain't you ashamed? Did. Did I understand that swine to call me a drunken swine? Oh, I wish I could do something. There is something you can do, Buck. Yeah, but what can you do in your condition? I can drink all of the hot black coffee you can make. I, sir, am a doctor. Now get busy. Get busy. The NBC theater is presenting the screen directors guild production of stagecoach, starring claire trevor, john wayne and ward bond, with screen director john ford. Where the coyotes dull and the windows free Apache wells, the white man called it Here the white squaw had her child While the flying wagon waited Waited While my tribesmen gathered. On the hills and on the desert Gathered the Apache warriors While the white squaw had her child and the flying wagon waited oh, it makes me nervous being held up like this in Apache country just when they're mad at us again. Quiet, Buck. Huh? Someone's coming. Dallas,

[Co-host/Announcer]

Look. It's a little girl.

[Narrator/Host]

A girl? Let me see it.

[Co-host/Announcer]

Well, I'll be dogged on.

[Narrator/Host]

That's real fine, ain't it, Dallas? Real fine.

[Co-host/Announcer]

Oh, yes, Curly, it's. It's fine. A baby? How?

[Narrator/Host]

I mean, I'll explain it to you sometime, Buck. Listen, boys. Doc Boone. Three cheers for Doc Boone. Never mind the three cheers. Just pour me four fingers instead. I'm thirsty. Dallas. Oh, it's me, Ringo. Oh, you oughtn't to be outside here at night alone. Patches like to pick off strays.

[Co-host/Announcer]

Well, you're here now.

[Narrator/Host]

I watched you with that baby today. You looked. You looked. Well, nice.

[Co-host/Announcer]

I just wanted to hold it a minute.

[Narrator/Host]

Visiting in Lordsburg.

[Co-host/Announcer]

I have friends there.

[Narrator/Host]

Oh, good.

[Co-host/Announcer]

Ringo, why don't you escape?

[Narrator/Host]

I aim to in Lordsburg.

[Co-host/Announcer]

Why not now? Why not go over the border now?

[Narrator/Host]

My father and brother were shot down by the plumber boys. I guess you don't know how it feels to lose your folks that way.

[Co-host/Announcer]

My folks were killed by Indians when I was a kid.

[Narrator/Host]

Oh, that's tough. That's a hard country, especially for a girl.

[Co-host/Announcer]

You have to live no matter what.

[Narrator/Host]

That's it. Look, Ms. Dallas, you got no folks. Neither have I. Maybe I'm crazy to ask you, but. Well, I still got a ranch down across the border and I. Well, I guess I'm crazy being close to you like this, but.

[Co-host/Announcer]

Ringo. Ringo, you don't know me. You don't know who I am or.

[Narrator/Host]

Or I know I want to marry you, Dallas.

[Co-host/Announcer]

Ringo.

[Narrator/Host]

That ain't an answer, Dallas.

[Co-host/Announcer]

Oh, Ringo, you. You can't go to Lordsburg. Not now. The Plummer boys will be three to one against you. You'll get killed. Can't tell you can't win.

[Narrator/Host]

Can't run away from it either.

[Co-host/Announcer]

How can you talk about our life together when you want to throw your life away?

[Narrator/Host]

Well, what do you want me to do?

[Co-host/Announcer]

Get away. I'll follow you.

[Narrator/Host]

You mean that, Dallas?

[Co-host/Announcer]

Well, I just can't leave Mrs. Mallory and her baby now.

[Narrator/Host]

But.

[Co-host/Announcer]

But listen, there's a horse all saddled and ready for you in the corral.

[Narrator/Host]

What?

[Co-host/Announcer]

Yeah, there's a rifle in the saddle boot. Now get going. I'll come after you.

[Narrator/Host]

I'm counting on that, Dallas, with my life.

[Co-host/Announcer]

Goodbye, Ringo. Watch out for Apaches.

[Narrator/Host]

I got a rifle now. And I got you. Don't worry, Dallas. I'll be waiting. Hold it. Whoa. Hold it. Hold it, boy.

[Co-host/Announcer]

Easy.

[Narrator/Host]

Smoke signals on the ridge. Apaches. I gotta warn Dallas and the others. I gotta go back.

[Co-host/Announcer]

Yeah, yeah, yeah.

[Narrator/Host]

On the ridge and on the mesa smoked our Chiricahua fires rise the fires told my nation strike the white man's flying wagon rise my kinsmen rise. Apaches, chieftains, Horsemen, Lances, rifles. Stagecoach on the Lordsburg Trail. Thus the signals on the mesa Thus the writing in the sky. Thus my fierce Apache horseman follow on the Lordsburg trail. We're making good time. I say we're out of danger now, thanks to Ringo here. Very decent of you to come back, Ringo. I wouldn't be too sure we're out of danger yet, Atfield.

[Co-host/Announcer]

We'll be in Lordsburg soon then. Very soon. How's the baby? Sleeping. Doc told me what you did for me. Thank you very much, Dallas.

[Narrator/Host]

You know danger whets my appetite. Indeed it does. Let me see. There must be a bottle of something left in this bag. That a bullet? It just missed your head, Doc.

[Co-host/Announcer]

On the floor.

[Narrator/Host]

Ms. Mallory. Dallas, you and Ms. Mallory get down. Apaches. Hundreds of of him. Hey. Hey, Ringo. Curly's calling you from the driver's seat. Ringo. Here's your in chest to use it, man.

[Co-host/Announcer]

Use it. Thanks.

[Narrator/Host]

Got my rifle, Ringo. Look out.

[Co-host/Announcer]

That a on that painted pony.

[Narrator/Host]

Got him. See that engine on that mustang coming alongside?

[Co-host/Announcer]

Don't talk. Shoot.

[Narrator/Host]

Well, now you see him and now you don't. You ladies all right?

[Co-host/Announcer]

We're all right.

[Narrator/Host]

Now you see him and now you don't. Baby. All right.

[Co-host/Announcer]

Yes, baby.

[Narrator/Host]

Hugh Channel will be good enough to shoot Indians instead of. Hatfield's been hit. Get that Apache. I'll help Hatfield. Got it.

[Co-host/Announcer]

Faster. Drive faster.

[Narrator/Host]

Fire. Fire.

[Co-host/Announcer]

Can't you see they're all around us?

[Narrator/Host]

Now, Mrs. Mallory, you'll get hurt. Easy, Hatfield, easy. I could use some more help up here.

[Co-host/Announcer]

Give me your pistol, Doc.

[Narrator/Host]

Take it. Hatch, Organelles, those engines, Patches all have big families.

[Co-host/Announcer]

Don't talk. Shoot.

[Narrator/Host]

I can't. Ammunition.

[Co-host/Announcer]

Why have Buck and Curly stop firing. Outside.

[Narrator/Host]

Buck's hit. Curly's empty too. This looks like it. No. No.

[Co-host/Announcer]

I have only three bullets left.

[Narrator/Host]

That's enough. Indians won't get you or Mrs. Mallory or the baby.

[Co-host/Announcer]

No. No, they won't let. Listen. Get out.

[Narrator/Host]

No.

[Co-host/Announcer]

Listen. It's a bugle. Listen.

[Narrator/Host]

It's a cavalry from Lordsburg.

[Co-host/Announcer]

The Apaches are breaking. They're running away.

[Narrator/Host]

Glory.

[Co-host/Announcer]

Glory.

[Narrator/Host]

How's that feel? Dead. Glory.

[Co-host/Announcer]

Glory. Well, good night. Ringo.

[Narrator/Host]

This is. Is this where you live? In Lordsburg?

[Co-host/Announcer]

I told you. I warned you. I told you you didn't know me. This part of town is no place for a nice girl. But. But it's all right for me now. Say goodbye, Ringo. Say goodbye.

[Narrator/Host]

I asked you to marry me, didn't I?

[Co-host/Announcer]

I'll never forget you asked me.

[Narrator/Host]

Go on back and wait for me in the stagecoach.

[Co-host/Announcer]

Where are you going?

[Narrator/Host]

Business with the plumber boys. I'll just take a slow walk down Main street and see what happens.

[Co-host/Announcer]

Dear Lord, this stagecoach don't pass much for a church. But I'm praying till you hear please, Lord. It's three to one against Ringo out there. And the plumber boys are dead shots. Awful dead shots, Lord. Like I was saying, Lord, it's two to one. Lord, he's all I got and all I ever want. So please, dear Lord, please let me have him back. Please, please, please carry me back

[Narrator/Host]

to the loop.

[Co-host/Announcer]

Who's that out there? Ringo?

[Narrator/Host]

Yeah.

[Co-host/Announcer]

You hurt? No. I prayed for you.

[Narrator/Host]

I prayed you did good.

[Co-host/Announcer]

Let's get out of here, then escape.

[Narrator/Host]

Don't have to anymore. Before he cached in, Luke Plummer confessed he killed Jed Michael.

[Co-host/Announcer]

You're free.

[Narrator/Host]

Yeah.

[Co-host/Announcer]

And they didn't even hurt you. Dead shots. Like the plumber boys.

[Narrator/Host]

Deadest dead shots you ever saw.

[Co-host/Announcer]

Oh, Ringo

[Narrator/Host]

Dallas. What are you crying for? Nothing's Happened. Thus the story of those brave men, riders of the flying wagon in the land of Arizona where Geronimo was chief. In the great land in the desert where the flying wagon galloped that the white men called the stagecoach. Bringing brave men to the West.

[Co-host/Announcer]

Sam.

[Narrator/Host]

Our stars will return in just a moment. The NBC Theater has presented the Screen Directors Guild production of Stagecoach. Starring John Wayne, Claire Trevor and Ward Bond, and introduced by John Ford. In the weeks to come, the Screen Directors Guild will bring you Douglas Fairbanks, Jr. Robert Montgomery, Rosalind Russell, James Mason and Irene Dunn. And next week, the NBC Theater presents screen director Richard Wallace. Introducing the current film comedy, let's Live A Little, starring Robert Cummings. And now, here again is our special guest, the president of the screen Directors Guild, Mr. George Marshall. The premier production of the Screen Director's entry into radio has now joined the Stagecoach itself in that great fund of memories known as the past. And speaking for the Guild, I'd like to express our gratitude to the National Broadcasting Company for the opportunity to better acquaint the public with the work and role of the screen director. Take it away, John Ford. Well, how do you, hardy frontiersman like pioneering in an NBC studio instead of the badlands of Arizona?

[Co-host/Announcer]

Very much. You know, just the memory of that dust is enough to send me running home to wash my hair.

[Narrator/Host]

Abby, this is wonderful. Wonderful. What do you mean? No getting up early in the morning and arguing with a horse.

[Co-host/Announcer]

You know, I think it's wonderful that the screen director is being honored like this. He's the fellow who really makes the movie. As for us actors and actresses, where

[Narrator/Host]

would we be without you, Pappy and others like you?

[Co-host/Announcer]

That's right.

[Narrator/Host]

You tell us our business. That's all I can say. Thanks. They talking about wonderful things. It's a wonder that Pappy here hasn't yet displayed his fine, tyrannical hand. How do you do that so war, John. Now, look, as long as we're speaking about fine, tyrannical hands. Look, are we going to do this again? Because if so, I'd like to take you first home. Yeah, I thought so. You'd have something to say about it. We had that same trouble 10 years ago.

[Co-host/Announcer]

That's right. Now, look, John, don't you remember? This is radio. There are no retakes. Good night, everybody.

[Narrator/Host]

Our thanks to our stars, John Wayne, Claire Trevor and Ward Bond. And to screen directors George Marshall and John Ford. Also heard were Barbara Fuller, Peter Leeds, Horace Murphy, Norman Field, Dan Riss, Ken Carson and Eddie Fields. Tonight's story was adapted by Milton Geiger and Original music was composed and conducted by Henry Russell. Production was under the supervision of Howard Wiley. Your announcer, Frank Barton. John Wayne can soon be seen in John Ford's Argosy production Three Godfathers. And Claire Trevor appears in the soon to be released Amusement Enterprises picture the Lucky Stiff. Ward Bond is currently appearing in the Victor Fleming production Joan of Arc. Listen again next week when the NBC Theater presents Screen Directors Guild assignment production let's Live a Little. Director Richard Wallace. Star Robert Cummings. Don't miss an hour now of America's favorite music, old tunes and new hits over most of these stations. This is NBC, the national broadcasting Company. We just heard the stars of Stagecoach, Claire Trevor and Thomas Mitchell. That will do it for this week's episode. Thanks so much for joining me. I'll be back next week with more Hollywood 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 legends of Hollywood, each of them appearing in tales well calculated to keep you in suspense. Ladies and gentlemen, the chief hope of our enemies is to divide the United States along racial and religious lines and thereby conflict 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.