Episode 462 - Stars of "Broken Arrow"

Summary

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Stars on Suspense (Old Time Radio)

Episode 462 – Stars of "Broken Arrow"
Date: July 31, 2026
Host: Mean Streets Podcasts

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Episode Overview

This episode of Stars on Suspense celebrates the Hollywood legends James Stewart and Jeff Chandler, leads from the film “Broken Arrow,” through their acclaimed performances on classic radio. The show features:

• James Stewart in “Consequences” (Suspense, 1946)
• Jeff Chandler in “The Case Against Lou Doc” (Suspense, 1952)
• Jeff Chandler as Cochise in “Broken Arrow” (Lux Radio Theater, 1951, with Burt Lancaster filling in for Stewart)

The episode highlights the legacy of “Broken Arrow” as a groundbreaking Western that depicted Native Americans with humanity, and explores suspenseful narratives performed by these stars.

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Segment 1: Introduction & Background ([00:50])

Main Points

• Host introduces the theme: celebrating Hollywood stars in radio’s “theater of thrills,” Suspense.
• Context about “Broken Arrow” (1950): First major Hollywood film depicting Native Americans as nuanced people, not simply antagonists.
• James Stewart starred as Tom Jeffords; Jeff Chandler portrayed Cochise, earning an Oscar nomination.
• Episode preview: features Stewart in “Consequences,” Chandler in “The Case Against Lou Doc” and in “Broken Arrow” on Lux Radio Theater.

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Segment 2: Drama #1 – “Consequences” starring James Stewart (Suspense, 1946) ([06:03])

Plot Summary & Key Insights

• Stewart plays Dr. Philip Martin, a successful, deeply unhappy doctor in a loveless marriage.
• At his 10th college reunion, he welcomes old friend Ted, expressing regret and bitterness about his life and marriage to Gwen.

Key Moments & Quotes

• Disillusionment with marriage:

  • “I hate Gwen. You what? And what's more, she hates me. Oh, it’s nothing that shows on the surface. …We get along because we have to, because my reputation would suffer if we didn't.”
    — James Stewart as Dr. Philip Martin ([10:01])

• Affair revealed:

  • Martin is in love with Jo, but their love is impossible due to Gwen’s control and threats. Jo decides to leave:
  • Jo: “I'm not trying to put you on the spot. …There is no answer for us, Phil. Not one that we can take. There we are.”
    ([13:23])

• Catalyst and crime:

  • Martin’s house burns down; Ted is killed inside. The public and authorities assume Martin is dead.

• Identity switch:

  • He takes Ted’s identity, flees with Jo, and starts a new life—driven by the “criminal in every man.”
    • “There must be something of the criminal in every man because it seemed that I knew automatically everything I would have to do and how I was going to do it.”
      — Stewart as Martin ([19:08])

• Paranoia returns:

  • Fate catches up when Gwen reappears. Martin and Jo plan to fake Gwen's death to protect their secret, leading them deeper into crime and paranoia.

• Dark conclusion:

  • Martin realizes the inexorable bond of guilt will ultimately destroy them:
    • “I know now that two people held together by such a frightful bond cannot both go on living… for that bond can be broken in only one way. One of the two must die.” ([32:29])

• Notable Ending:

  • The story is revealed as Martin’s confession letter following his own death, “survived by his widow, Mrs. Gwendolyn Martin.” ([34:17])

Notable Themes

• Psychological suspense
• The cost of guilt and moral compromise
• Noir-like inevitability of downfall

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Segment 3: Drama #2 – “The Case Against Lou Doc” starring Jeff Chandler (Suspense, 1952) ([36:34])

Plot Summary & Key Insights

• Based on San Francisco’s historical Tong wars. Jeff Chandler plays Dan Glasgow, a newspaperman with a personal friendship with Lou Doc, an enigmatic Chinese silk merchant and suspected tong leader.

Key Moments & Quotes

• Tong war and police raid:

  • A string of violence between rival Tongs in Chinatown; the police try to stamp out the violence.
  • “When Kum Ji Ho learned that Lou Doc's brother was in love with one of his favorite sing song girls, he…challenged the Hop Yings.” ([41:49])

• Lou Doc’s life and philosophy:

  • Chandler’s Lou Doc balances Western learning and Chinese tradition, seeking “righteous principles.”
  • “Among my people, there are certain things which the Occidental does not understand.” ([47:06])
  • “For the Hop Ying Tong, it's protection for my people.” ([47:20])

• Faked death:

  • Lou Doc fakes his death to evade police pressure, with Glasgow complicit in the affair.
  • “The dead man lying on the slab in the police morgue was not Lou Doc.” — Glasgow ([52:44])

• Climactic showdowns:

  • Glasgow struggles with his own ethics as Lou Doc survives assassination attempts, but chooses to keep Lou's secret for the sake of their friendship.
  • “I'm a newspaper man. I have to print the truth. …I also know, Dan Glasgow, you are a true friend of Lou Doc.” ([55:36 / 55:42])

• Tragic redemption:

  • Lou Doc is ultimately mortally wounded in an alley shootout, dying in Glasgow’s arms, asking him to ensure "someone will write of the man beneath the legend" ([61:24])

Themes

• Clash of cultures and codes of honor
• Loyalty versus public duty
• Complexity and humanity of “the other”

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Segment 4: Feature Presentation – “Broken Arrow” (Lux Radio Theater, 1951)

Starring Burt Lancaster as Tom Jeffords, Jeff Chandler as Cochise, Deborah Paget as Sonseeahray ([66:00])

Plot Summary & Key Insights

• Background/context:
  One of cinema's earliest sympathetic takes on Native Americans, based on the real story of Tom Jeffords and Cochise's 1870s efforts for peace.

Key Plot Events

• Jeffords’ act of mercy:

  • Tom Jeffords helps a wounded Apache boy and begins to understand the Apache as more than "savages."
  • “It never struck me that an Apache woman would cry over her son like any other woman. Apaches are wild animals, we all said.” — Jeffords ([70:10])

• Gaining trust:

  • Jeffords seeks to negotiate safe passage for mail through Apache lands and, after learning the Apache language and ways, goes alone to see Cochise.
  • “When you see Cochise, do not lie to him, not in the smallest thing. His eyes will see into your heart.” — Juan ([77:30])

• Peacemaking:

  • Tense negotiations lead to a peace experiment, with Cochise agreeing to safe passage for the mail but uncertain about white promises.
  • “To talk a peace is not hard. To live, it is very hard. I will wait three months to be glad.” — Cochise ([105:06])

• Love and cross-cultural marriage:

  • Jeffords and Sonseeahray (“Sunseer”) fall in love against the backdrop of suspicion and racism from both cultures.
  • Their union is celebrated but presages tragedy.

• Betrayal and loss:

  • Peace is threatened by both white and Apache factions; personal tragedy strikes when Sonseeahray is killed in an ambush meant for Cochise.
  • “Do you see her? She’s dead, and this peace is a lie.” — Jeffords ([116:09])

• Resolution:

  • Despite heartbreak, Jeffords and Cochise hold the peace, recognizing that true change is slow, painful, and fraught with setbacks.

Notable Quotes

• “I make a test of this peace. A test of three moons. …I break the arrow. I will try the way of peace.” — Cochise ([103:36])
• “From that day on, wherever I went— in the cities, among the Apaches, in the mountains— I always remembered my wife was with me.” — Jeffords ([117:48])

Themes

• Reconciliation and empathy across divides
• The personal cost of peace
• Humanizing “the other” in Western storytelling

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Memorable Moments & Star Power

• Jeff Chandler’s dignified, respectful Cochise:
  A rare positive portrayal of a Native American leader, delivered with conviction and gravitas.
• James Stewart’s harrowing voice-over in “Consequences”:
  Raw, confessional, and filled with self-loathing and vulnerability.
• Host’s historic context:
  • “Broken Arrow…one of the first Hollywood productions to depict Native Americans as something other than hostile and villainous.” ([00:50])

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Timestamps for Key Segments

• [00:50]: Introduction, history of “Broken Arrow”
• [06:03]: Start of “Consequences” (James Stewart)
• [36:34]: Start of “The Case Against Lou Doc” (Jeff Chandler)
• [66:00]: Start of “Broken Arrow” (Lux Radio Theater, Burt Lancaster & Jeff Chandler)
• [125:22]: Host closing remarks, tease for next episode

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Episode Conclusion

This episode offers a rich sampling of Hollywood talent in classic radio drama. The host’s selections illustrate the shift in American storytelling—from guilt-driven noir suspense to frontier tales of reconciliation—and the powerful performances of Stewart and Chandler ground each story in emotional realism.

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Notable Quotes At a Glance

• James Stewart as Dr. Philip Martin:
  “There must be something of the criminal in every man because it seemed that I knew automatically everything I would have to do…” ([19:08])

• Jeff Chandler as Cochise:
  “To talk a peace is not hard. To live, it is very hard. I will wait three months to be glad.” ([105:06])

• Dan Glasgow (on Lou Doc):
  “Beneath the cloak of the legend of his notorious reputation, there existed a man who believed in the principles of righteousness for all his fellow men.” ([62:34])

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Tone & Style

The episode maintains the suspenseful, empathetic, and introspective tone characteristic of these radio dramas, alternating between noir-tinged confessional narration and grand, humanistic Western storytelling.

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This summary provides a roadmap through the emotional and narrative highs of the episode—ideal for anyone who wants to understand why these radio classics and their stars are enduring cultural touchstones.

Transcript

[A]

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[B]

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[A]

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[C]

Susanna.

[D]

Suspect.

[A]

Ah, here we are.

[E]

Suspense.

[A]

Meaning held in doubt, expressing doubt.

[F]

The state of being uncertain, undecided or insecure.

[A]

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.

[G]

Hello and welcome to Stars on Suspense with more Hollywood legends in radio's outstanding theater of thrills. This week, our stars are the two leads of Broken Arrow, the 1950 Western drama that was one of the first Hollywood productions to depict Native Americans as something other than hostile and villainous. The movie starred James Stewart as Tom Jeffords, whose act of kindness towards an Apache boy leads him to a new life alongside the tribe. Also starring was Jeff Chandler as Cochise, the tribe's leader, a performance that earned Chandler a best supporting Actor Oscar nomination. You can rent or buy Broken Arrow digitally through your preferred retailers. You can also find it on dvd. There's a Blu Ray release out there, but it's been out of print for a few years. We'll open today's show with Jimmy Stewart in consequence, a story presented twice on Suspense, Both times with Mr. Stewart in the lead role. This is the first version of the story and it originally aired on CBS on February 21, 1946. Then we'll hear Jeff Chandler in the case against Lou Doc from January 7, 1952. And then Chandler is back as Cochise in the Lux Radio Theater with Burt Lancaster pinch hitting for Jimmy Stewart. This one originally aired on CBS on January 22, 1951. We'll saddle up with the stars of Broken Arrow right after these messages.

[A]

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[H]

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[E]

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[C]

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[B]

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[A]

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[H]

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[I]

And now a tale well calculated to

[B]

keep you in

[A]

suspense.

[E]

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[J]

Tonight, Roma wines bring you Mr. James Stewart Stewart as star of consequence.

[E]

A suspense play produced, edited and directed for Roma Wines by William Speer. Suspense Radio's outstanding theater of thrills 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 in entertaining guests. To your enjoyment of everyday meals. Yes, right now a glass full would be very pleasant as Roma Wines bring you James Stewart in a remarkable tale of suspense.

[J]

Maybe the costume was the decisive factor, or maybe it would have happened anyway. In any event, the occasion was the 10th reunion, and the class of 29, as such occasions demand, were all dressed identically in cowboy suits. And there was Ted Wolf, whom I hadn't seen in 10 years, although in college he'd been by far my closest friend. And so of course, I brought him home to dinner. Gwen managed to be quite charming, even though it was the maze night out. She you didn't even kick about the oven. And that's how it started out. Just like that. Just like any pleasant, casual little evening.

[E]

Oh, Gwen, it was a wonderful meal.

[J]

Last one I'll get like that for a while.

[K]

Thank you, sir.

[J]

Have you really got to go tonight, Ted? Can't you take another day or so? Not very well. Got my plane reservations and everything.

[D]

Anyway, I told him a fact this

[J]

week, and tonight's just about the deadline if I'm going to make it. Well, well, what time's your playin'? 3:00am oh, say, that reminds me, I can't go aboard in this thing.

[E]

You probably will.

[K]

I think you're both kind of stuck on yourselves in those cowboy outfits. Worse than a couple of kids.

[J]

Sure. I'm gonna wear them to the hospital tomorrow.

[C]

No kidding.

[J]

Old people will think I'm nuts. All right, spoil sport. I'll call the hotel later. They'll bring your bags over here. You can change here. Although I should think a cowboy suit would be a sensation in Ecuador.

[K]

Are you really going to Ecuador, Tim? At first I thought it must be a joke.

[J]

No. Well, you heard me talk about the worktage doing down there. No, but Ecuador, you gotta have medical

[E]

care out on those plantations some way.

[J]

And I like it.

[K]

I don't see how you stand it. Living like a hermit, cut off from civilization and not making. Well, I mean, they can't possibly pay you. Oh, what time is it? Oh, goodness, I've got to run.

[E]

Oh, are you leaving us, Gwen?

[K]

Yes. I promised mother I'd come out to the country tonight. Anyway. I know you two would much rather talk over old times by yourselves.

[E]

I'm sorry.

[C]

Well, in case I don't see you

[J]

again, thanks for everything.

[E]

It's been swell.

[K]

Well, you're coming back sometime, aren't you?

[E]

Maybe five years, maybe 10.

[J]

Maybe never.

[K]

Oh, silly. You come back next year and plan to stay for a while. I am sorry. I have to go. But you two have a nice evening. Are there eggs in the icebox, Phil? Did he always have to have fried eggs at night when he was in college?

[J]

Ted, is Phil all right?

[K]

Well, goodbye, darling. Don't even get up to come to the door now. I'll phone you tomorrow night.

[J]

Goodbye, G.W.

[K]

have a good trip, Ted. Bye.

[J]

Bye. You're a lucky man, Phil. Am I? I suppose you know that the main

[E]

reason I came to this shindigital was to see you.

[J]

Why me? It's been a long time since you and I had the same dreams, Tim. You haven't lost them, though. You're still in there pitching. Oh, yes, yes. Private practice. Two cars in the GRAs, two chickens in the pot. That's the kind of ball I've been pitching past 10. That's the kind I'll keep on pitching until some other dog says coronary thrombosis and they carry me out. You can't get me, Phil. You're happy. And I'd just about given up the

[A]

idea that there was such a thing

[J]

as a happy man. And now you think you found one. I know I have.

[E]

I knew it the minute I came into this room.

[J]

I knew it the minute I saw her. Gwen? Yes, Gwen. I hate Gwen. You what? And what's more, she hates me. Oh, it's nothing that shows on the surface. We get along because we have to, because my reputation would suffer if we didn't.

[E]

Phil, you.

[J]

You can't be serious. No. Why do you think I've given up every dream I've ever had? Why do you think I spend my life treating the imaginary ills of a lot of wealthy hypochondriacs? So Gwen can have this and Gwen can do that. So Gwen can satisfy every greedy instinct and every petty, rotten ambition any woman ever had. Good Lord, I never realized. You've got to do something about it, Phil. You gotta get out. Go to another city, go to another country. She'd be after me like a hawk. She'd have me up before the Medical Association. Or there are a thousand on one things she'd do and would do. I've thought every way there is. There's no use. Well. Well, now. I cut that off my chest. Now, you know, I'm. I'm sorry I miss a boot. Dr. Martin. Oh, yes. Well. Well, now. Oh, right. I'll be right down. Hey, you're not going out now. I want to talk to you. No, I'm still a doctor. Even Gwen can't stop that. I'll be back before you leave, though, if you want to stick around. I'd sort of like to ride out the airport with you. Is it really important, Phil? Yeah. Now, just make Yourself at home, you can fix anything you want out in the kitchen. But look out for that up 1, though. It leaks when you turn it off. Wrong. I won't be long.

[K]

Okay.

[J]

I'll wait, Doctor. Thanks, Doctor. Kind of hoped you would, Ted. That was the second thing. Ted's just starting to stay. But I didn't know it then. All I knew was that Jo had called from the office and she was upset. Still, I. I decided to walk. I was upset too. When I got there, she was going over the accounts. Hello, darling.

[K]

Hello. That was nice.

[J]

Well, isn't that always.

[K]

Always terribly.

[J]

What are you doing? Isn't all that rush to get the

[K]

bills out there is, though, for you, huh?

[J]

Well, what is it, Joe? What's the matter, Phil?

[K]

I had a talk with Father this evening.

[J]

Something about us.

[K]

All about us.

[J]

Well, he doesn't know anything. He couldn't. Nobody does unless you told him.

[K]

You know I wouldn't do that.

[J]

I'm sorry. I'm sorry, darling. I know.

[K]

Anyway, it isn't what he knows, it's what he thinks. We had an awful row. He said he'd go to the trustees of the hospital and said he'd go to Gwen.

[J]

He said that?

[K]

That's why I'm getting the bills out for you now. Because I'm. I'm going away.

[J]

Well, where?

[K]

How long? No, darling, it's. It's not gonna be like that. It's for good.

[J]

Well, Joe.

[K]

It's for good. Phil.

[J]

Joe, I. I can't let you go. I know it hasn't been perfect. I know it's been infinitely worse for you than for me. But at least we've had something. At least I've always known you were here on the other side of the door. And I could see you and talk to you.

[K]

I can't live with a door between us anymore.

[J]

Maybe you just don't love me enough to. No, darling, I'm sorry. I didn't mean that.

[K]

Phil, I'm. I'm not playing noble, and I'm not trying to put you on the spot. Because it isn't as though there was some decision you could make. There isn't. This had to happen someday, and it has, that's all.

[J]

I could go with you.

[K]

You couldn't do that.

[J]

Well, why not? I could change my name. I could go to another city, even another country. I could get back into research. I could.

[K]

Darling, it's no go, Phil.

[J]

Oh, my God. I know. I asked her for a divorce again this morning.

[K]

You don't have to tell me the Answer. There is no answer for us, Phil. Not one that we can take. There we are.

[J]

Yeah. Yeah, there we are.

[K]

Well, you. You better go now. I've got all this to do.

[J]

Well, let me.

[K]

No.

[J]

Why not?

[K]

I could weaken, and then where would we be?

[J]

Oh, Joel, please.

[K]

Oh, please go. Please, please, please.

[J]

All right. All right. I'll go. I don't know how long I walked that night. Or where perhaps most men are weak and never know it. But when you're losing the woman you think you love, that's when you'll find it out. That's when you'll see yourself at last in the pitiless glare of all your poor, frightened, childish helplessness. And so I walked. And I was sick to the depths of my soul. And I walked some more. And somewhere in the distance, I heard a siren. There was a glow against the sky. Fire. And then I realized I was near my home. And then it wasn't just a glow against the sky of any fire. It was my own house. Burned almost to the ground. I don't know. Somebody said they think it was the gas. Stunned and confused, I began edging through the crowd. And then. And then there was a stillness. And a few men took off their hats. And I saw it. The stretcher and the blanket thrown over the shapeless form and the blackened shrivel cowboy boot. And I remembered Ted. Ted had been in the house.

[K]

Shot him out now.

[E]

Yeah.

[J]

What's left? You wouldn't hardly know. It was a manically. I started forward. And then I stopped because I thought somebody had spoke. Philip M. I know I had, baby. They weren't looking at me. They were looking on the ground. And the stretcher and that thing that lay there on it.

[K]

Dr. Philip nod.

[J]

Yeah, I knew him. Oh, he was a good doctor of.

[K]

Oh, Dr. Mark. Oh, what a powerful way to die.

[J]

Suddenly I was shaking with excitement. I pulled my hat over my eyes. I turned up my collar. I edged back through the crowd, out into the street. And I turned the corner. And then I ran.

[K]

Joe.

[J]

Joe. I'm going with you.

[K]

Phil, what did you do? You haven't.

[J]

You know. Joe. So. All right, I'll tell you about it later.

[K]

We're free. We're free.

[J]

I'm dead. I mean. I mean.

[K]

I mean.

[J]

Dr. Philip Martin is dead.

[E]

For suspense Roma Wines are bringing you a star.

[A]

James Stewart in in consequence by George

[E]

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[J]

You're right.

[E]

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[J]

And now Roma wines bring back to our Hollywood sound stage James Stewart, who as Dr. Philip Martin, in consequence continues

[E]

a narrative well calculated to keep you in suspense.

[J]

There must be something of the criminal in every man because it seemed that I knew automatically everything I would have to do and how I was going to do it.

[K]

Hotel Wilson.

[J]

Dr. Wolf, please. Dr. Theodore Wolf.

[K]

Thank you. I'm sorry, sir. Dr. Wolf doesn't answer.

[J]

Oh, well. Say, what's the number of his room again? I'd like to drop my note.

[K]

Dr. Wolf is in 502.

[E]

502.

[J]

Thank you. I knew in a hotel like that the chances of anyone remembering exactly what Ted looked like were pretty slim. And I figured that they'd give me the key all right, as long as I didn't stumble around asking for the number. I let myself in.502 and I snapped on the light. I found the plane ticket on the bureau. And then I pried open his luggage and changed into one of his suits. I put on his hat and his overcoat just in case. I packed my own things away. There were a pair of dark glasses on the bureau too. I put them on. Then I went down check out paid cash. I knew he the plane ticket to the airport. So the travel clerk at the hotel, why he wouldn't know. Ted Wolf from Adam. Yes, sir. I'm Dr. Wolf. I've been staying at the hotel. Oh, yes, doctor. I have a through plane ticket here to Ecuador. Pan American friend. And I'd like to Turn it in. One moment. Oh, that's Dr. Theodore Wolf. Thank you. Hello, Pan American. Wilton Hotel. Say, I got a through ticket to Ecuador. Dr. Theodore Wolf. Will you take it? All right.

[C]

That'll be quite all right, Doctor.

[J]

While you're at it, you might as well get me a couple of train tickets. Yes, sir. Where to, sir? All right. I said, where to, sir? Oh, Los Angeles. We've taken care of everything. A note to my bank, supposedly from Ted, enclosing Philip Martin's check for $5,000. And a letter in my own handwriting explaining that I'd agreed to lend him that amount and asking the bank to forward the money to my account in Los Angeles. My account is Ted Wolf. And we drafted a letter to the people in Ecuador. And in Los angeles, Joe became Mrs. Tadboy. First. Everything clicked. I got the kind of a job a doctor would dream about before I could write my own ticket and spend at least half my time entirely on research. And Jo started taking courses in her medical degree. Well, after all, she was only 24. And then. And then, right here, right here in broad daylight in the hospital, it happened.

[K]

Hello, Joe?

[J]

Joe, Pack a bag as quick as you can. Just enough for two or three days in the mountains as fast as you can. Phil, it's Gwen. I saw her just now upstairs in the reception.

[K]

Gwen? Are you sure?

[J]

Absolutely sure?

[K]

Oh, no. Couldn't it be a coincidence, Phil? I. I mean, couldn't Gwen maybe just have happened to be.

[J]

Maybe. Maybe. Listen, Jo, I've been thinking.

[K]

She mustn't know where we go.

[J]

That's just what I was thinking. Maybe it would be better if she did know where we were going.

[K]

If she did.

[J]

I don't know. I don't know. Maybe just a coincidence. But if it is a showdown, the mountains would be a better place than here. All right, I'll phone the landlady.

[K]

Oh, Philly, is that safe?

[J]

Gwen won't talk. Not until she's sure.

[K]

Carlton departments. Mrs. Burton.

[J]

Hello, Mrs. Burton, this is Dr. Wolf. I wonder if you'll do me a favor.

[K]

I'd be glad to, Dr. Wolf.

[J]

We're going out of town for a couple of days, and I just remembered that some friends said they might stop by. We thought they might like to join us, so I wanted them to know where we were.

[K]

All right.

[J]

Maybe you just stick a note on our door where they could see it. We're going to Caribou Lake, and we'll be in the cottage at the very top of the mountain. It's straight up a dirt road from the lake. They can't miss it.

[K]

Caribou Lake.

[J]

The cottage at the top of the

[K]

mountain, up the dirt road from the lake. Is that all?

[J]

Yes, thank you, Mr. Burton, that's all. Caribou Lake is nothing much more than just a general store where you can buy big hire boats and cottages. At that time of year, there's hardly any everybody there except the people who run the store. Our cottage was good three miles away up a twist and dirt road running above the lake. But you could see it good and plain, even at night when the lights were on. We stopped at the store and both went in to buy the things we needed. You know, food and kerosene, matches, stuff like that. Then we went on up the mountain. By that time it was almost dark and Joe fixed something for us to eat. Neither one of us could touch it. We were watching the road for lights of a car. It was about half past eight when we saw them. They went right past the store without stopping, and they came on up the mountain. They couldn't have been anyone else but Gwen. Well, she didn't waste any time.

[K]

Phil, what if the car is rented?

[J]

Oh, she'd bring her own. She loves to drive.

[K]

Bill, you're not afraid, are you?

[J]

No, not anymore. I'll go.

[K]

Well, this is a surprise.

[E]

Hello, Gwen.

[K]

Dr. Martin. Always poised. Nothing surprises you, does it?

[J]

I suppose it was the check.

[K]

Partly. Then I happened to Notice that a Dr. Theodore Wolf had married a Ms. Josephine Reynolds in Los Angeles. It did occur to me that your idealistic friend must have been an awfully fast worker. Well, aren't you and your bride going to ask me in? Come in, Mrs. March. Thank you. Quite cozy, aren't you? We have been. Well, I'm sorry to break up your little idea.

[J]

Cut it out, Gwen. What do you want?

[K]

Why, my dear man, what do you think I want?

[J]

The way things are now, you've got $200,000 worth of life insurance coming to you. Why don't you let us alone?

[K]

Philip, I don't know whether you realize how much worry and anguish you've caused me.

[J]

Sure, I know. I know just exactly how much.

[K]

Then perhaps you also know exactly how you stand with the law in this matter. I don't know about all this impersonation business except that it would permanently ruin your career. But I do know that the laws covering bigamy are quite drastic.

[J]

I used to think that money meant everything to you, Gwen. I guess it doesn't.

[K]

I don't feel called upon to accept rebukes from you, Philip, for anything not after what you've done, I feel that I'm being most generous to both of you.

[J]

What is it exactly you want, Gwen?

[K]

Either you come back and we'll explain the whole thing as amnesia or something, or you'll both go to jail. How could you? You shut up.

[J]

Listen, does anybody else know about this?

[K]

Of course not.

[J]

Nobody knows you came out here or why.

[K]

After all, Philip, I do have some pride left. I just said I was taking a little trip to New York to. To forget.

[J]

All right, all right. Just give us a couple of minutes to talk things over, will you? How long?

[K]

Very well. Although I don't see that there's very much to talk about.

[J]

Will you go outside or shall wait?

[K]

I'll go. I'll wait in the car. Oh, Phil.

[J]

It's all right, Joe. I don't mind. Now.

[K]

Neither do I.

[J]

Do you think you can do it? Me as I. I'll have to have an alibi.

[K]

Have you thought about how?

[J]

Yeah, yeah, all day, I guess. But it's all right. It's good she'll disappear the same way I did.

[K]

Fire.

[J]

Yeah, yeah. Only I'll have to be down at the store when it happens. This place will go up like kindly. And when they pull her out, they'll think it's you. Nobody knows she's here, and I'll be there to say it is you.

[K]

How are you going to.

[J]

I got that all fixed. I got that all fixed. It's down in the cellar. All you have to do is.

[C]

Here,

[J]

use this hatchet. Can you?

[K]

Yes, I will.

[J]

And then go out to the car and get on the floor in the back seat under a blanket, lock it from the inside. I can probably get away right afterwards.

[K]

All right, Phil.

[J]

I'll see you in the car. The whole thing shouldn't take more than a couple of hours.

[K]

Phil, you're not afraid, are you? No. I'm glad.

[J]

Gwen.

[K]

Yes?

[J]

Morning.

[K]

Well, have you decided?

[J]

Yes. You might as well eat with us. There'll be a few details to talk over.

[K]

I'm not sure I feel much like eating in this house, Philip.

[J]

Well, I'm not going to start back hungry. Give me the keys to your car, will you? It's blocking mine. I've got to go down to the store and get something for dinner.

[K]

Really, Philip.

[J]

Oh, stop griping. You've won. Give me the keys.

[K]

Very well, but I wouldn't try any mad dashes if I were you.

[J]

Now, don't be a fool, Gwen.

[K]

No, I don't suppose you would alone.

[J]

She went in. I took the Keys. First I went around back. Now, down cellar, I put a lot of old newspapers around the wood pile and doused the whole thing with kerosene. Then I cut a stub of a plumber's candle and set it on the papers and lit it. I knew just about how long it'd take the candle to burn down. About 45 minutes, something like that. Then I went out and got in Gwen's car and started down the mountain without lights. At the drop above the lake, I put it in local, crammed on the wheels and jumped out. It bounced once and then went over where there's about 40ft of water. Unless somebody told them where to look, they'd never find it. All that had taken about 15 minutes. The walk down to the store took about 20 more.

[A]

Forget something, Dr. Wolf?

[J]

Yep. Like a fool. Tobacco. I can't get through the night without a pipe. Know just how it is you walk now? Yep. Yeah. Working up an appetite. Hey, you folks have collars tonight? No. Oh, why, oh, why don't.

[A]

I saw a car go up your

[E]

way a while back.

[J]

Oh, I, I, I saw the lights. They didn't come up. Somebody must have made the wrong turn. I didn't. They come back? I don't know.

[A]

I was out back for a spell. Do you see that car come back by Daisy?

[J]

You must have seen it all right about an hour ago.

[K]

Seems like I did hear a car about there. Sure.

[J]

Sure that was it.

[K]

Yep. Pretty sure I did.

[A]

She Dooley don't always see so good, but she hears pretty.

[E]

Emma.

[K]

Look at here, Ed. Look it up there. Looks like a fire. Hey, why, it is. It is a fire.

[A]

Why, golly, Doc, that looks like your place.

[J]

Oh, it couldn't be. But it must be big too.

[A]

Well, we better get up there, Doc.

[J]

What do you have?

[K]

Your car.

[J]

We'll go in the truck.

[A]

It's right outside. The boys can bring Ma along in the car.

[J]

Do you hear that, Ma?

[K]

Yeah. Let me. Johnny, get out the car.

[J]

Come on, Doc.

[K]

I sure hope everything's all right.

[J]

Yeah, so do I. The cottage was all wood and dry, and it was completely gone by the time we got there. It was the boys who dragged her out of the embers.

[K]

Hi.

[J]

I wouldn't look if I was you, Doctor. Oh.

[K]

Oh.

[J]

Oh, Joe.

[K]

Must have been quick. Anyway, she's burnt almost to nothing.

[J]

You better go on, Doc. We'll take care of everything.

[E]

All right.

[K]

Want one of the boys to go with you?

[J]

No, no, I'll, I'll, I'll get in touch with you from town. I'll make the arrangements down there and send down for the.

[K]

Yes, well, you.

[J]

You.

[K]

You.

[J]

You just go on.

[E]

We.

[K]

We'll. We'll see to.

[J]

Everything all right?

[K]

I'm sorry, Dr. Wolf.

[J]

I climbed into the car and started down the mountain. When I was around the first bend, I reached over with one hand and touched the blanket on the floor behind me. Are you all right?

[K]

Yes, Philip, I'm quite all right.

[J]

Go ahead. Gwen has never told me how it happened. But of course she killed her. We both killed her. I know that. I'm trapped. I'm hopelessly, irrevocably trapped by the terrible burden of guilt we share between us as she is. I know now that two people held together by such a frightful bond cannot both go on living. For that bond can be broken in only one way. One of the two must die. And so I write this only to have the true facts brought to light in the event of such a death. For no matter how innocent it may appear, no matter how natural the cause, no matter how plausible the accident, it will be no accident. It will be murder. Cold, blooded, calculated, deliberate murder.

[E]

And now the local news.

[J]

Dr. Philip Martin, who has been in

[A]

ill health the past three months while

[E]

recovering from an attack of amnesia, died

[J]

today in his home from an overdose at sleeping sedative. He is survived by his widow, Mrs. Gwendolyn Martin.

[E]

Suspense Presented by Roma Wines R O M A made in California for enjoyment throughout the world. Before we hear again from James Stewart, the star of consequence tonight's suspense play, this is Truman Bradley for Roma Wines. Here's a suggestion that will make tomorrow night's fish dinner a meal to remember. Delight your family by serving delicious pale gold Roma California Sauterne. The delightful bouquet and delicate, tempting taste of Roma Sauternes bring out the flavorfulness, the real appetizing goodness of fish or fowl. Lend an air of friendly companionship to the meal. And best of all, you can enjoy Roma Sautern often. It costs so little. Actually, only pennies a glass. Join the millions who have made Roma America's first choice. The reason Roma gives you true wine Taste luxury at low price. Make Roma Sauternes with seafood a regular Friday night custom. Get several bottles of delicious and expensive Roma Saturn tomorrow. Insist on Roma R O M A Roma wines made in California for enjoyment throughout the world.

[J]

This is Jimmy Stewart again. Suspense is a radio show that got started just about the time I first found myself overseas. And with everybody, it has always been one of the two or three top favorites I've Been looking forward for a long time to my appearance with the show tonight and next Thursday, actor Richard Greene will be your star in his first broadcast since he joined the British army four and a half years ago.

[F]

Next Thursday, same time, Roma Wines will

[A]

bring you Mr. Richard Greene as star

[J]

of suspense radio's outstanding theater of thrills,

[E]

produced by William Speer for the Roma Wine Company of Fresno, California. This is cbs, the Columbia Broadcasting System.

[C]

Autolite and its 96,6000 dealers bring you Mr. Jeff Chandler in a story taken from life. Tonight's presentation of Saul Spens.

[A]

Tonight, Autolite presents the case against Lou Doc. A factual document concerning the San Francisco tong wars. Starring Mr. Jeff Chandler. Hello, Harlow.

[C]

Hi, Hap. How's it going? Oh, horrible. If you mean my car, it wastes gas.

[F]

It's tough to start.

[C]

Ah, yeah. Well, why don't you go straight, Hap? Straight, Harlow? Sure, sure. Straight to your nearest Autolite spark plug dealer for a spark plug checkup. You see, Hap, the spark plugs are the heart of your car's ignition system, and they've got to be right. Now, he's got the exclusive auto light plug check indicator that tells in an instant whether your spark plugs are right for your style of driving.

[F]

Well, suppose my plugs only need cleaning.

[C]

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[A]

And now with the case against Lou Doc and the performance of Mr. Jeff Chandler, autolight hopes once again to keep you in south spin.

[F]

Lieutenant Sunjack, take your men, go up the other end of the alleyway, plant them back in the doorways. It's plenty dark.

[C]

They won't be seen.

[D]

I'll do the same.

[F]

Done. At this end, the signal to move will be a sharp blast of the whistle.

[D]

You got that right. All right, man, you heard the captain. Where's the DA?

[C]

Over there.

[D]

Oh, yeah. Looks like I'm right on time.

[A]

Oh.

[F]

Oh, Glasgow, I'm glad you got here.

[D]

These must be an important one. Looks like the whole San Francisco police force is here.

[F]

It's a big one, believe me. Oh, you know captain of Detectives Wilburn?

[D]

Yeah, we've met.

[F]

And this Lieutenant Sonjak.

[D]

I'm glad to meet you, Glasgow.

[F]

The men all have their instructions, Da.

[C]

Good.

[F]

Then Take your positions.

[B]

Okay, men, let's go.

[F]

All right.

[C]

Thompson.

[B]

Yeah.

[F]

You want to come along with me, Glasgow? Our stakeout's down about midway in the alley.

[D]

All right with you?

[F]

It's a laundry. There's a vacant storeroom upstairs. We can watch it from up there.

[D]

The message you left for me back at the newspaper office wasn't too explicit,

[F]

Mr. Well, tonight's the night we've been waiting for.

[D]

More murder and mayhem, perhaps. Look, you've arrested hundreds of Chinese before, all members of some tong. What good did it do?

[A]

Well, none.

[F]

Just arresting the hatchet man isn't the answer now, sir. This is it.

[D]

Smells empty.

[F]

The Chinese laundryman who ran this shop was hacked to death in the last Tong battle they held.

[C]

Along here.

[F]

Come along. Up those stairs.

[D]

Who's having it out tonight?

[F]

The Hop Ying Tong and the On Sings.

[D]

Well, Kum Ji Ho and Lu Dak.

[F]

Yeah, the two most popular and powerful Tong leaders.

[D]

I agree with you as far as Kum Ji Ho is concerned. But as for Lou Doc, I'm more

[F]

determined than ever to get him. This man was a double life, Glasgow. By day, a sweet, smiling and innocent silk merchant, and by night, a ruthless murderer of his countrymen.

[D]

He won't stop the Tongs by convicting Lou Doc.

[F]

Well, we'll be able to see everything from this window. Clear night.

[D]

Yeah.

[I]

A million stars in the sky.

[D]

We stood next to the open window above the laundry shop. Fearless district attorney Red Muchia and I, we waited. From the window, we could see down into the dimly lit street called Spofford Alley. A narrow street lined on either side with butcher markets, curio shops, tea parlors, and more laundries. And some of those shops fronts were hidden gambling dens, Sultry, aeropressed opium density. Lou Doc, the man the DA Accused of being the most notorious tongue leader in San Francisco, was all of that. But he was more. Lou Doc was my friend. He was a man of principles. Born in San Francisco and wanting to adapt himself to the ways of his western brothers. He'd learned to speak, read and write a pronounced English. He'd educated himself on the thoughts and ideas of the western world. I knew Luke. I had my doubts that he was going to show up in Spofford Alley tonight.

[F]

Cigarette, Glasgow?

[B]

Yeah, thanks.

[D]

What makes you so sure Lou Doc and Kum Ji Ho are gonna show tonight?

[F]

They're bitter enemies. When Kum Ji Ho learned that Lou Doc's brother was in love with one of his favorite Sing song girls, he. He challenged the Hoppy Yings.

[D]

What's the Girl's name?

[F]

Ah, Toy. She's a dancer at the Golden Lamp.

[B]

Oh.

[F]

On surface, the incident is just a spark to ignite the flame. Glasgow, you know that as well as I do. The real battle is being fought for supremacy. Almost 12. Any minute now.

[D]

We didn't have long to wait because at exactly 12 o' clock a loud shrill cry rang out at one end of Spofort Alley. And at the other end of the alleyway, the reply

[A]

and another full scale tong war began.

[D]

There were at least 50 black suited Chinese with their plates shoved under dark slouch hatchet met head on in the alley. The hatches reflected the moonlight as they crashed open. Enemy heads and long gleaming daggers found their marks in soft, easy flesh. And as the police moved in, they scattered in every direction, stumbling over the dead and wounded. But the police were efficient. They'd hold up both ends of the alley. And it looked like they'd rounded up every one of the Buhao Doi that was alive. The District Attorney paced the floor of the storeroom. His hands nervously twisted, twisting behind him as he waited for his captain of detectives to report to him. Then we heard heavy steps coming up the stairs. In a few moments, three men appeared at the head of the landing. Captain Wilburn, his Lieutenant Sanjak, and a smiling, dark haired Chinese with his hands tied behind him.

[F]

Da. Oh. Where's the other one? He.

[D]

He disappeared.

[F]

What do you mean he disappeared? I don't know, Da. He was in mixing it up with

[C]

the rest of them. I know I saw him.

[F]

But after we had the rest of them rounded up, I couldn't find him.

[D]

How did you know it was Lou Duck, Captain?

[F]

The big head.

[A]

I recognize his big head.

[D]

You can't accuse a man because the

[F]

other one over here.

[D]

Okay, you, move.

[F]

This is the one they call Come Ji Ho. I know why you started this one. Come Ji Ho.

[B]

Oh, yes.

[F]

How did Lou Doc manage to escape? Oh, yes, Lou Duck, very fine silk merchant.

[C]

Yes.

[F]

Don't stall with me. It'll go a lot easier on you.

[D]

You know you're not gonna get this man to talk.

[F]

We'll see about that. Now, I want the names of every Boo Hao Doi that fought in the alley tonight. Chiang Talo Dian. Who's that?

[D]

I think he said he wants his lawyer before he speaks another word.

[F]

Correct. A lawyer? Yes.

[B]

Thank you.

[A]

I never heard of.

[D]

Looks like tonight wasn't the night you thought it was going to be, Da. I'm afraid your net results are zero. District Attorney Muchia wasn't going to get Kum Jiho to inform on Ludok, no matter how hard he tried. For a Tong member to testify or inform on another, even your most hated enemy, which was a rival tongue, was certain death. And in most cases, members of your own tongue would carry out the death sentence. In the wild confusion of that battle, it would have been impossible to tell whether Lou Doc had taken part in it. Captain of detectives sworn he'd seen him. I wanted to know for sure. So the following morning I went to his house of business. A little old Chinese sitting behind the counter didn't even glance up at me as I entered. I walked over to the door of Liu's office and knocked. A voice yelled Enter. In Chinese and I did. I opened the door. Seated behind a bleached rattan desk sat the man with his big head rocking back and forth. Lu Dak.

[F]

Hello, Dan. It is nice to see you again.

[D]

Nice to see you.

[F]

Please to sit. I was just about to serve tea.

[D]

Thanks.

[F]

Oh, I beg your pardon. This Dan is my beloved brother Tommy. Mr. Dan Glasgow of San Francisco Tribune. How do you do, Mr. Glasgow?

[I]

Hello, Tommy.

[F]

You take tea with lemon, I believe. Right. I am most happy of this surprise visit. Then here you are.

[I]

Thanks.

[F]

Most delicious.

[D]

There were seven men killed in last night's Tang war. Lou Dak.

[F]

Tell me, Dan, do you prefer the Chinese or Indian tea?

[D]

I said seven men were killed in last night's Tong battle. What's the matter? My words too strong for your brother's sensitive ears then?

[F]

If you were not a true friend, I would easily kill you with my own hand for such remark.

[D]

I'm sorry, Lutaka.

[F]

You As I believe in righteous principles. It was upon this discovery that I grew very fond of you.

[D]

I've honored our friendship.

[F]

In the ways of your Western world are many things that my people do not understand. Among my people are certain things which the Occidental does not understand.

[D]

But cold blooded murder is not a way that either world should have to understand.

[F]

True. But I have read in the Western world books. I read of organization called California Vigilance Committee. Oh, look. That committee was to protect the innocent from the guilty.

[E]

Yes.

[D]

No argument.

[F]

But for the protection in Hop Yingtong is protection for my people. Now comes time when most beloved brother falls in love with Sing Song girl named Ah Toy. He wishes to marry with her. She returns this love.

[B]

It must be so.

[D]

And. And so. In order to bring about this marriage, hundreds of men may lose their lives.

[F]

If it is as regards design.

[D]

Yes. There's nothing that I can say that can convince you to settle the whole

[F]

thing peaceably in China, perhaps by tribunal, but in San Francisco? Then it is not probable we must settle this difference by other means.

[D]

I'm sorry, Lu Dak. I'm sorry for your people.

[F]

There is no one upon whose heart this sorrow hangs heavier than mine.

[D]

And with that, Lu Doc rose up from his chair, stood staring at me for a moment through tear filled eyes. Then he turned and strode majestically out of the room, his large head bent as if in prayer. In the weeks that followed, for some unknown reason or other, the Tang wars slowed down to practically a standstill. There'd been only a couple of hatchet murders in two months. It seemed almost too good to be true. Then on January 4th, I received a phone call from the DA's office about four in the afternoon. His voice had a smile in it.

[F]

Well, it took someone else to do it, Glasgow. But it was done.

[D]

What was done?

[F]

About an hour ago in Ross Alley, two tong men shot a man and then hacked his face to ribbons with their hatchets. When Captain Wilburn got down there, he identified the man. Who was it? The man we've been after. Your good friend, Lou Doc.

[A]

Auto Light is bringing you Mr. Jeff Chandler in the case against Lou Doc.

[C]

Tonight's production in radio's outstanding Theater of Thrills, sow spend.

[F]

Say, Harlow, just what does ignition engineered mean?

[C]

Well, Hap, it means that Autolite spark plugs are tops in quality and performance. That's because they're designed by the same Autolite engineers who design the coil, distributor and all the other important parts that make up complete ignition systems used as original equipment on many leading makes of our finest cars, trucks, and tractors. That's a pretty good reason to use them, Harlow. It's the best, Hap. So have your Autolite spark plug dealer replace worn out spark plugs with either standard or resistor type Auto Light spark plug for smoother performance, quick starts and gas savings. They just don't come any better than Autolite. Auto Light Spark plug dealers offer the best spark plug service money can buy too, Harlow. Right you are, Hap. So, friends, to quickly learn his address, call Western Union by number and ask for operator 25. She'll gladly tell you the location of your nearest Autolite spark plug dealer. And remember, from bumper to tail light, you're always right with Auto Light.

[A]

And now Auto Light brings back to our Hollywood soundstage, Mr. Jeff Chandler in Elliot Lewis production of the Case Against Lou Doc. A dramatic report well calculated to keep

[C]

you in South Spence.

[D]

Lou Doc had been my friend and the realization of what an impact his death would have on his following hit me was to be a great loss for them. I hung up the phone and decided to go down to the police station. When I got there, the desk sergeant lifted a tired finger and told me that Captain Wilburn was back in the morgue with Lieutenant Sonjak.

[F]

Come in, Glasgow. The DA said you might be down.

[I]

So you finally got Lou Doc.

[F]

We didn't.

[B]

It was a couple of rival tongmen that did the job.

[D]

Did you pick him up?

[I]

Nope.

[F]

Got away.

[A]

Want to take a look at him?

[F]

Pretty bloody.

[D]

Yeah.

[F]

Over here. All right, Sonjak, turn down the sheet.

[I]

Oh, no.

[F]

See what I mean when I say bloody? His own mother wouldn't recognize him.

[D]

How do you know it's Lou Duck?

[F]

By the head.

[C]

Take a look at the head.

[F]

What's left of it. Duck had a big head.

[C]

Almost out of proportion to the rest of his body.

[F]

That's how I know it's him.

[C]

But still I. Glasgow, the DA told

[F]

me how you feel about this guy. I don't want any trouble from him. This man is Lou Dark. I positively identify him as the notorious Tang leader of the Hop Yings. Do you care to challenge that statement?

[D]

No, no, of course not.

[C]

Then you will admit this is Lodak?

[D]

Sure, Captain. I admit it. That's Lou Doc. I admitted it because the thought suddenly occurred to me that here was the opportunity I'd been waiting for. The dead man lying on the slab in the police morgue was not Lou Doc. The police had no clue. Positive identification as to who the man was. But it looked like a perfect way to ease the pressure that was being brought to bear on them. Captain Wilburn knew that faceless man was not Lou Doc as well as I did. The following morning, I went to the business house of Lou Doc, the silk merchant. Just as I'd expected, the name on the door had been changed. Next door was a gambling parlor. I gave the password at the door and was admitted. I sat down at one of the fan tan tables and began playing. I hadn't been playing long when I suddenly felt the presence of someone familiar standing next to me.

[F]

Three sheep.

[D]

Hello, Ludok.

[F]

Hello, Dan. Happy to meet with you.

[D]

Is there somewhere we can talk?

[F]

Come. Owner of this establishment is a good friend of mine. We shall use his office.

[D]

All right, you lead the way.

[F]

Come. In here. Now we are alone.

[D]

You still hale and hearty even though you're dead?

[F]

That is not good. Joke.

[D]

Take it you read the morning papers.

[F]

Oh, yes.

[D]

In time to change the name on your Place of business.

[F]

You were pleased to see elimination of Rudak, weren't you, my friend?

[I]

You want the truth?

[F]

Our most precious bond, then. Yes, Lou Duck, I was.

[D]

Because now it's no longer necessary for you to work with any tongue.

[F]

It surprises me that you, of all persons I respect should think that way. There's great work yet to be done among my people.

[D]

Forget the work, Lou. It's a battle that won't be won until every tongue is disbanded.

[F]

And if I leave, what then? Kum Jiho and his tongue take over leadership in San Francisco. The terror that exists now will seem, my friend, a mere particle.

[D]

What about the police?

[F]

The police are satisfied. You know that the notoriety and publicity that have gone before will no longer continue to follow me.

[D]

The Hopkins will continue to exist and you still behind them.

[F]

Yes, my friend. To make decisions, I will set up puppet leader. But their rival, Kum Ji Ho will always know that still sitting on the throne of the Hop Yings is Ludok, the man he fears.

[D]

I'm a newspaper man. I have to print the truth. You know that.

[F]

Yes, my friend, I know. I also know something else.

[D]

Yeah?

[F]

I also know, Dan Glasgow, you are a true friend of Lodak.

[D]

And he was right. I knew the fight within myself had begun to know that he was still alive. And yet never to print that fact. Because in doing so, I'd have to betray his friendship. A windy night in February. I was working late in the office. It was about 8 o' clock when one of the reporters came in and told me that Tommy, Yu Shu Lu, Doc's brother, had been trapped in the cafe of his dancer girlfriend, Ah Toy. I rushed down to Dagger Alley. There wasn't a soul in sight. I started to walk. It was cold and heavy. Wind was blowing, but my hands were soaking wet with perspiration. As I made my way up the cobblestone walk to the golden Lamp, I imagined a hundred eyes staring at me from dark doorways. Then I was in front of the cafe. I walked up to the door. It was bolted. Tommy. Tommy.

[I]

You sho.

[D]

It's me. The newspaper man, Dan Glasgow.

[C]

Let me in.

[D]

Let me in. Tommy.

[K]

Hurry. Hurry.

[D]

Thanks.

[B]

What are you doing here?

[D]

Word leaked out. The Onsings had you holed up here.

[B]

They sure do.

[F]

You took an awful chance coming up that alleyway.

[D]

Would you risk your neck here for coming here?

[F]

A toy. Mr. Glasgow.

[D]

I see.

[B]

We planned to leave tonight. Secretly. Somehow they learned of our plans.

[F]

It was Ah Toy's father who betrayed us.

[I]

Her father.

[B]

Please, Tommy.

[K]

My father was threatened. There Was nothing he could do.

[H]

I'm willing to die with Tommy.

[D]

Does Lou Doc know you're here?

[F]

No.

[D]

Then call him. Tell him to call the police.

[F]

You have talked with my brother, Mr. Glasgow.

[B]

You know he would never do that.

[C]

But you'll never get out of here alive.

[F]

Then it must be so.

[D]

I don't understand it. You'd be willing to commit suicide because of some silly, superstitious and clannish idea that the only way to deal out justice is through force. Well, you and your brother and everybody who thinks that way, Tommy, are wrong. Maybe the idea of tongs originally were good ideas, but the goodness has gone out of them. I'm gonna call the police.

[B]

One moment, Mr. Glasgow. I am sorry, but I cannot allow you to do that.

[I]

All right, Tommy.

[D]

You can put away the gun. I won't call him. Can I call your brother?

[F]

Perhaps that is best.

[D]

Thanks. Tommy gave me a number to call. Lou Doc answered the phone himself. His voice remained strangely calm. When I turned, told him what the situation was. He told me he was coming right down, warned me to stay in the cafe. Then I hung up. The three of us, Tommy, Yushu, the singsong girl, Odd Toy and myself, sat down and waited. Twenty minutes later, I heard a car screech to a halt down at the end of Dagger Alley. I opened one of the small windows, stuck my head out and looked down the narrow street. A long black car was parked in the curb. Then the car door opened and Lou Doc stepped out alone. And he began his long walk up the cobblestones to the cafe. He walked slowly, staring straight ahead, his body firm, rigid in one position. It was just the movement of his legs. Wearing a long black coat, he looked like a giant as he took a long strides, holding his oversized head high.

[F]

Lou.

[I]

Hello.

[D]

You better get inside. There must be at least 25 of them out there.

[F]

I'm all right. Tell Tommy to come out.

[D]

Lou, you don't have a chance.

[F]

They won't attack me. They haven't the nerve. Tell Tommy to come up.

[D]

Tommy, he wants you to go with him.

[F]

I've got to go, aren't I?

[C]

But I'll be back for you.

[F]

Do not fear, my beloved. Tell him to hurry.

[D]

Tommy.

[C]

I'm going.

[B]

Hello, my brother.

[F]

And you can see you. Goodbye, Dad. I see you soon again.

[D]

Soon, Ludak. The two of them began their long walk back to the end of Dagger Alley. Lou Doc's hand closed tightly around his brother's arm, walking slowly but steadily toward the black car. They weren't 10ft from it when from out of one of the dark doorways, a figure jumped into view. Was Come Ji Ho. Come Ji Ho let go with four wild shots. Ludok World covering his brother. At the same time whipping out a gun and firing. Tommy opened the door of the car, got got in and started it up. Then Lou Doc fell to his knees, still firing. Tommy gunned the car away. Lou Doc pitched forward on his face, emptying his gun. Come Jiho dropped to the pavement, clawing at his bloody face. He twitched for just a moment, and then he lay still. When I got to Lu Doc, he was still alive, but bleeding badly. He looked up at me.

[F]

Much pain, my friend. Much pain.

[D]

There'll be an ambulance any minute now, Lou. Just hold on.

[F]

This is not death. I prayed my ancestor to give me death. I died lying on wet pavement in dark alley at night. My wounds bleed.

[D]

You're not gonna die, Lou.

[F]

Our most precious bond. Truth in our friendship. Promise free promise as you hold me in your arms, my friend. That in stories that will be written, in one of them. Someone will write some. One will write. Very neat.

[D]

Beneath the cloak of the legend of his notorious reputation, there existed a man who believed in the principles of righteousness for all his fellow men. Who is there who can sit in judgment and proclaim that there was any case but goodness against the man named Lou Duck?

[A]

Suspense presented by Autolite Tonight star, Mr. Jeff Chandler.

[C]

This is Harlow Wilcox speaking for Autolight, world's largest independent manufacturer of automotive electrical equipment. During the early months of 1952, the autolite family will join together in saluting the leading car manufacturers who install Autolite products as original equipment right on their assembly lines. Our Autolite family is made up of the nearly 30,000 men and women in 28 great autolite plants from coast to coast and in still other Autolight plants in many foreign countries. Our family also includes more than 18,000 people who have invested a portion of their savings in Autolite. As well as 96,000 autolite distributors and dealers in the United States and thousands more in Canada and throughout the world. The Autolite family will have the privilege of saluting the Plymouth division of Chrysler Corporation on the next suspense television program. If you live in a television area, check the day and time of suspense on television so that you won't miss this program. And remember, from bumper to tail light, you're always right with Autolight. Next week, our star will be the first lady of suspense, Miss Agnes Moorhead as Lizzie Borden.

[A]

In a dramatization of the most famous unsolved American murder mystery, A True story we call the Fall River Tragedy. In weeks to come, we shall also present Mr. Clifton Webb, Mr. Charles Boyer and Mr. J. Carol Nash, all on Salspend. Suspense is produced and directed by Elliot

[C]

Lewis with music composed by Lucian Morowic

[F]

and conducted by Lud Gluskin.

[A]

The case against Ludoc was written for suspense by Richard George Pedicini. In tonight's story, William Conrad was heard as Lou Doc and Joseph Kearns as much. Featured in the cast were Lillian Byeff,

[C]

Sam Edwards, Herb Butterfield, Byron Kane and Jack Crucian. Jeff Chandler can now be seen in the Flame of Araby, a Universal International Technicolor production co starring Maureen O'. Hara.

[E]

And remember next week the First lady

[A]

of Suspense, Ms. Agnes Moorhead as Lizzie Borden in the Fall River Tragedy.

[C]

This is the CBS Radio Network.

[A]

Lux presents Hollywood. Lever brothers company. The makers of lux flakes bring you the lux radio theater. Starring burt lancaster, jeff chandler and deborah padgett in broken arrow. Ladies and gentlemen, your producer, Mr. William keeley.

[L]

Greetings from Hollywood, ladies and gentlemen. Too often in our Western pictures, the American Indian has been cast in the role of villain. For according to the Western movie code, the white man is always the hero. However, in tonight's play, Broken Arrow, we have two heroes. One, an American Indian, famous leader of the ferocious Apache tribe. The other, an American frontiersman whose understanding of his savage enemy brought peace and goodwill to the early West. As the stars of this current screen Success, from the 20th Century Fox Studios, we have Burt Lancaster, who was kind enough to step in and play the role when James Stewart suddenly became ill. Co starring is Jeff Chandler, who, by the way, is a special favorite of ours. Because when he was a supporting actor in this theater, we knew it was just a matter of time till Hollywood claimed him. And for romance we have adorable little Deborah Padgett, whom we first welcomed to this stage as a starlet. And as a starlet, Deborah told us how much she relied on luxe flakes to maintain her personal wardrobe. Lux flakes are always a favorite of stars and their studios because of the gentle, protective care they give. Now, Broken Arrow, starring Burt Lancaster as Tom Jeffords, Jeff Chandler as Cochise and and Deborah Padgett, essenceire. This is the story of a land of the people who lived on it in the year 1870. And of two men, one named Cochise and the other Tom Jeffords, who tells our story.

[B]

Cochise was an Indian leader of the Chiricahua Apache tribe. What I have to tell happened just as you'll hear it. The only change will be that when the Apache speak, they will speak our language. Since getting out of the Union Army, I'd been prospecting in Arizona for gold. One day I got word from a new colonel arrived in Tucson and said he wanted to see me. I was passing through the mountain country when I saw some buzzards circling in the sky. Well, I figured it was a herd deer. A rabbit maybe, or a snake. Only it wasn't a deer. Not a rabbit either. This kind was more dangerous than a snake. He was an Apache. An Apache boy. For 10 years we'd been on a savage war with his people. A bloody no give, no take war. The boy was badly hurt. I gave him some water. He thanked me by lunging at me with his knife. And he just stared at me, waiting for me to kill him. Now, don't move. If I wanted to kill your boy, I'd have done it before. Let me see just what's happened here. He had eight pieces of buckshot in his back. I stayed with him for three days. Then on the fourth morning, I saddled my horse.

[A]

You are going now?

[B]

Well, I must go. But you stay. Too soon for you in the wikiup.

[A]

My mother is crying.

[L]

My father looks for me.

[A]

I am their only one now.

[B]

No brothers or sisters? White men kill my brothers and my sister at Big Creek. My mother is crying, he said. It never struck me that an Apache woman would cry over her son like any other woman. Apaches are wild animals, we all said.

[A]

Before you go, tell me, do you

[H]

pray to kill her of enemies?

[B]

Why, no.

[H]

Apaches pray for all white men to die.

[A]

But now I pray to keep you safe.

[H]

Here, you take this. My necklace.

[B]

Well, thanks, boy. Thank you.

[A]

And is very big against headache and disease. Now it is yours.

[B]

You wear it. Suddenly an arrow slammed into a tree trunk. Then another and another. I dove of the rocks.

[H]

Put away your gun.

[B]

The arrows are only to warn you.

[A]

This white man is my friend. He is my friend. He must not be hurt. When did my son become a tame Apache? Father, look.

[H]

My back.

[A]

He gave me life again when the soldiers wounded me. This one. He was with the soldiers?

[H]

No.

[A]

He found me later.

[H]

He healed me.

[I]

It would be wrong to harm him.

[A]

You do not give orders. You speak our tongue?

[I]

A little.

[A]

White men pay many dollars for the scalp of an Apache. Why did you not take his scalp?

[B]

If I kill an Apache, it will not be for scalp or money.

[A]

You are a woman, Maybe.

[B]

It is well known that Apaches do not take scalps either. They are not women.

[A]

You did not kill. We will not kill this time. But not again.

[B]

They wanted to kill me, all right, but they were letting me go. They stood there watching me as I went to my horse. And then from a distance, I heard a bird cry. Suddenly, the Indian swarmed over me, tying my arms and gagging me. Before I could shout a warning, the bird call had come from a guard down the canyon. He'd seen something. A party of white men. Later, they brought me to the scene of their ambush. Three white men were dead.

[A]

Learn well. This is Apache land. You have no right here where Cochise lives. No white man can live. Now go. Go far. Let your face not be seen again.

[B]

I reached Tucson the next morning. The new colonel was waiting for me.

[A]

I'm glad to know you, Jeffers. I'm Colonel Bernal. I've come here with orders to clean out Cochiste and his Apaches from the Graham Mountain area.

[B]

Well, that's a pretty big order, sir.

[A]

Wipe them all out. Butcher them like hog, every one of them. That man, I've just been talking to him. He was with a party of miners. They were ambushed yesterday morning. Half of them were killed. He said they wanted Cochise. He said they got 10 or 12 Apaches out of a war party of 50.

[B]

There weren't 50, Colonel. There were only five. And not one of them got scratched.

[A]

How do you know?

[B]

I saw what happened.

[A]

You saw? It? Seems to me most men with a lot of hands.

[B]

I was hogtied. The Apaches jumped me earlier.

[A]

So you just fought your way out, huh?

[B]

No. They let me go.

[A]

They let you go? I never heard of a thing like that happening to a white man. Did you, John? No. How about you, Wes?

[B]

I'd helped a wounded Chiricahua boy and I guess they thought they owed me something.

[A]

Apaches playing fair?

[B]

Oh, hello, Mr. Lowry.

[A]

I don't understand this, Jeffords. You found a wounded Apache and you didn't kill him?

[B]

That's right, Mr. Lowry. I didn't kill him.

[A]

I'd like to ask you why, Colonel Manal.

[B]

Just what was it you wanted to see me about?

[I]

Him.

[A]

I think I know how we can stop cochise. I have 250 men in town. Fresh, disciplined troopers from the East. But I need you to do a little reconnoitering for me. In six months, the war will be over and we'll have Cochise up by the neck. No.

[B]

No, sir. No, you won't. Cochise can't even read a map. But he and his men know Every gully, every foot of mountain and every waterhole in Arizona. Why, he can't even write his own name. But his intelligence service knows when you got to Fort Grant and just exactly how many men you've got. He stopped the Butterfield stage from running, and he stopped the US Mails. No, you're not gonna string him up in six months, Colonel. Not in six years. Good day, Jeff.

[A]

Jeffords, wait.

[I]

You.

[A]

You will scout for me, though?

[B]

You can find somebody else.

[A]

Maybe Jeffords don't know which side he's on. That's right, Slade. That's right. I'm not looking for trouble, Jeffords. But if you don't fight against him, then you're with him, and I got a right to say that.

[B]

What's your name, mister?

[A]

My name's Slade. I own a ranch only a mile out from Fort Grant. Even so, Apaches burned my house last month. My wife was inside. Seems to me a white man would want to see that sort of thing stopped.

[B]

That's right. Anybody would.

[A]

Then why won't you help the colonel?

[B]

Well, that's private business.

[A]

War ain't private business. Not when they're murdering our women and kids, it ain't.

[B]

Big Creek, we murdered Indian women and kids.

[A]

Oh, Chief started his thing, and any man who's. Now, hold on, Mr.

[B]

Smart Aleck. Little Lieutenant, fresh out of the east, start of this war. He flew a flag of truce, which Cochise honored. And then he hanged Cochise's brother and five others under that flag.

[A]

Well, you hear all sorts of stories.

[B]

You want to know why I didn't kill that Apache boy? For the same reason that I wouldn't kill your boy or scout for the Army. Because I'm sick and tired of all this killing. Besides, who asked us out here in the first place?

[A]

Now, look here, Tom. I don't claim the white man's always done right, but we're bringing civilization here, ain't we? Wipe them all out, Butcher them like hogs. It's the only way.

[B]

Well, I had one good friend in town, Milt Duffield. Milt ran the mail depot. I wanted to see Milt. And I wanted to see a man

[I]

who worked for him.

[B]

An Indian named Juan, one of the few tame ones in the territory.

[A]

You turned the colonel down, Tom. Well, it's up to you, I guess.

[B]

Yes, Milt, I guess it is.

[A]

Meantime, no eastern mails come in or

[B]

gone out of here for seven weeks now. I know, but maybe there's a way to get it through. A new route. Oh, no. Same old route. Juan. Juan, I got some work for you.

[A]

Not much work here anymore.

[B]

Well, if you want to earn some money, I'd like to hire you for say. Well, say a moon maybe. I want you to teach me to speak Apache good. I want you to learn me about Apache spirits, about Apache ways.

[A]

No white man has to learn these things.

[I]

Why you?

[B]

I want to speak to Cochise.

[A]

You crazy?

[B]

I tell you, Milt, I'm sick and tired of having people like Slade and Larry ask me which side I'm on. I'll be willing to take a chance up in Cochise's territory to look for gold.

[A]

All right.

[B]

Now I'll take a chance on something else.

[A]

Cochise will not speak with white man.

[B]

Well, we'll send up smoke signals.

[A]

He will not come to see you.

[B]

No, no, no. I. I want to go to see him.

[A]

To his stronghold?

[B]

That's right.

[A]

No white man seen Cochise in 10 years and lived to tell it.

[B]

Don't try it, Tom. One.

[L]

One.

[B]

Will you teach me? I want to speak to Cochise about letting the mail go through. Maybe even about peace.

[I]

I will teach you.

[B]

Thanks.

[A]

But for this, I will not take gold. It will end bad.

[I]

Cochise will kill you.

[B]

From Juan, I learned all he could teach me about Cochise and the people he ruled. Then came the day when Juan rode with me out of Tucson. At the fringe of the canyon country, we built a fire and made a smoke signal.

[A]

Smoke says that you are coming into the land of the Aptachis in peace. They will not believe it, but maybe it will make them want to find out.

[B]

You've been a good friend, Juan.

[A]

No.

[I]

They will kill you.

[B]

Maybe so. You better go on back to town.

[A]

Now remember then, if you see Cochise,

[I]

do not lie to him.

[A]

Not in the smallest thing. His eyes will see into your heart. He is greater than other men.

[I]

I remember.

[B]

So I started into the canyons. I never felt so lonely or so. So dog scared in my life. There wasn't a sign of an Apache. Well, I knew that the smoke signal had been seen. And not a movement I made went unwatched for three days. I climbed higher into the mountain. Every sound the rolling of a stone, the call of a bird, or the coyotes at night. Maybe this would be the last sound I'd hear. I kept my hands visible, away from my weapons. I tried to look at ease. And then I saw it. The Apache village. Great stone crags guarding the approaches in a forest beyond. I rode by the sentinel rocks and Suddenly, out of nowhere, the trail behind me became alive with Indians. And far ahead, I saw them pouring out of the wickiups, their rifles in their hands. No one said a word. When they surrounded me, they stopped my horse. Finally, one of them spoke.

[A]

Get off the horse.

[B]

You. We have met before.

[A]

Before we let you live. You are a fool.

[B]

I have come to speak to Cochise. Even a fool knows that he respects truth as he respects bravery.

[A]

Take his weapons.

[B]

I hand them to you. I will want them when I leave.

[I]

How do you know you will leave here alive? I am Cochise. Speak.

[B]

When the Indian wishes to signal his brother he does so by smoke signs. This is the white man signal. This in my hand, this is a letter. My brothers, far away can look at this and understand its meaning. We call this mail.

[I]

We have seen such signals before.

[B]

The men who carry the mail seek no trouble. Yet your warriors kill them. I have come to ask you to let these men travel in safety.

[I]

This mail carries war signals against us.

[B]

No, no. This is used for other talk. War signals are sent by the military.

[I]

You have carried such messages against us.

[B]

When I was a scout for the army, yes.

[I]

You have fought us.

[B]

Yes. In the battle of Apache Pass.

[I]

Come with me.

[B]

I could hear the click of their rifles as Cochise led me through the angry files of his people. He said nothing until he entered his wiki up and sat down.

[I]

I am the leader of my people. We fight for our land against Americans who try to take it from us. You give me no reason why I should not kill. American mail riders kill you too?

[B]

Mail riders do your people no harm.

[I]

There were Apaches who did your people no harm. They were hanged. One was my brother.

[B]

My people have done yours great wrong. I say this to you as I have said it to them.

[I]

You think because I am an Indian I'm a fool? You can trick me.

[B]

I would not have come here if I thought that the Apaches are warriors without equal. But compared to the whites, they are small in number and tomorrow they will be smaller.

[I]

I will not talk with you of that. Your people do not want peace. They have taught me that.

[B]

I ask you to think on it.

[I]

Why should not the white man act first? You want me to be better than the white man.

[B]

A white man has come here. I ask you to think of tomorrow.

[I]

My mind must work on it. You will rest in my wikiup tonight.

[B]

It is my strong wish.

[I]

But first you will walk with me so my people will see us together and you will be safe.

[B]

With the coming of darkness, Some of the Indians dotted with chant song of some kind. And then around the fires, I could see the dancers approaching. Warriors in full paint with masks and costumes like nothing I had seen or heard about before.

[I]

This is a spirit dance. The spirits of good and evil.

[B]

I think that this must be the dance that comes before the sunrise ceremony For a young girl.

[I]

Yes. You are very different from otherwise. You learn to speak our tongue, try to understand our ways. Maybe someday you will kill me or I will kill you. But we will not spit on each other.

[B]

That is how I feel.

[I]

The girl we dance for is in the holiest time of her life. It is good luck to visit her now. Would you like to visit her?

[B]

Yes.

[I]

Come with me. Were you ever wounded?

[A]

Wounded? Why, yes.

[B]

In my arm.

[I]

We will tell her. For this night only, this girl is even more holy than most. Maybe because she has been away from us for a long time. She is very old for this ceremony. It is very special.

[B]

There was a faint light in the wikiup. A glow from the fires. She sat there alone, her eyes closed.

[I]

Young, beautiful.

[B]

Before her, even Cochise was humble.

[I]

White painted lady. I have old wounds. I hold out my hands before you.

[H]

Each scar is a mark of love for your people. The path of your people is stretched long behind you. And you are the head. And you are the heart. And you are the blood. Killer of enemies is your father. And you are his son. You will be well.

[I]

I have brought someone with me.

[H]

Then he is welcome.

[I]

He has an old arm wound.

[H]

Give me your arm. Does it hurt you?

[B]

Sometimes.

[H]

It will never hurt again. Your life will be long. The good things will be yours. The sun will shine for you.

[B]

We stood there in the silence for a moment. Then Cochise let me out again.

[I]

At such a time as this, she sees and knows many things.

[B]

What is her name?

[I]

Sansere.

[B]

Sansere. Morning Star.

[H]

Hiss.

[I]

Morning Star.

[B]

Cochise took me back to his wikiup. He would see me in the morning, he said. But I couldn't sleep, even long after the drums and the dances were finished. I lay there thinking. Cochise the savage. Cochise the killer. Cochise as strong and as wise as any man I'd ever known. Then he faded from my mind. And in this place, I saw a girl.

[I]

The girl.

[B]

Sunseer.

[A]

Before our stars return with Act 2 of Broken Arrow. Here's Libby Collins, our Hollywood reporter with sensational news. Listen. Listen to what Hollywood is saying about it.

[H]

Marvelous. Sensational. It's perfect. Nothing like it.

[A]

Joan Caulfield says.

[H]

I could hardly believe My eyes.

[A]

Claudette Colbert says it's simply wonderful.

[H]

Alexis Smith says it's better than ever.

[A]

It's sensational. It's new lux.

[H]

A better than ever luxury.

[A]

New luxe with color freshener.

[H]

The most thrilling improvement since luxe was invented. New luxe with color freshener is a real beauty bath for fabrics. It gives new life to all colors every time they're luxed.

[A]

Hollywood screen stars, women everywhere are saying it's a washing miracle.

[H]

Smart prints are brighter and gayer. Look glowingly alive.

[A]

Wait till you see what it does for white things. They stay frosty white, dazzling white. Whiter than you'd ever dream possible.

[H]

All colors sparkle with new life and beauty every time you wash them.

[A]

No other way of washing. Makes all your nice things look so fresh, so bright, so truly new. And this wonderful new luxe is mild and safe as ever.

[H]

Now more than ever, New luxe with color freshener is the favorite wardrobe care of Hollywood screen stars.

[A]

The luxe in your neighborhood store right now is new luxe with color freshener. Get a big box tomorrow. Give all your nice washables that nice as new luxe.

[I]

Look, here's our producer, Mr. Keeling.

[L]

Act two of Broken Arrow, starring Bert Lancaster as Tom, Jeff Chandler as Coches, and Deborah Padgett as San Sierra.

[B]

The next morning, I found myself free to come and go through the village. I walked to the stream to wash, but I discovered I wasn't alone there. Full of curiosity, aren't you, San Sere? Well, what I'm doing, it's. It's called shaving.

[L]

It's all right.

[B]

You can come closer. See?

[A]

Shaving.

[H]

I thought you were skinning yourself.

[I]

No.

[H]

How did you know I was there?

[B]

Well, I saw you through this. We call this a mirror.

[H]

Well, I see my face. Oh, what a thing it is.

[B]

Mirror. Here it is.

[I]

Yours.

[H]

Mine?

[B]

You can look at yourself every day. You can see how beautiful you are. No, wait a minute. Please don't go away.

[H]

I must. It is not fitting.

[I]

But why?

[H]

I am not married.

[B]

Well, aren't you allowed to talk to Apache men?

[H]

Only at ceremonies or in the dancing.

[B]

But I was told that Apache boys and girls, why, they. They often pick those they want to marry. How can they do that if they. If they don't get acquainted?

[H]

Oh, they get acquainted. There are ways.

[B]

Which ways?

[H]

They meet by accident when no one sees them. Oh, I leave you now. I have work to do. To pick juniper.

[L]

Where?

[H]

There, in the forest.

[B]

I was going to walk up that way myself by accident.

[H]

No, please, you must not.

[B]

You told Me not to follow you. But I had to. I don't know when I may see you again.

[H]

When do you leave?

[B]

Cochise said he would talk to me soon.

[H]

Will you come back?

[B]

I hope so. I want to. It's important to me.

[H]

Why?

[B]

May I speak truly from my heart.

[H]

It will be all right.

[B]

All my life I've been mostly alone. I wanted it that way. But when I saw you last night and you touched me and you prayed for me, I felt bad being alone. I knew that I needed to see you before I left so that I could find out if it was the same as it was then.

[H]

Is it the same?

[B]

Yes. Now when I go away, I will be lonely for someone. For the first time in my life,

[H]

I think maybe I, too will be.

[B]

You will be what?

[H]

Cochise. Cochise? Athena.

[B]

She ran off. I waited for Cochise, but whatever he was thinking, he made no mention of Sunserei.

[I]

I have decided about the mail.

[B]

You have kept your word.

[I]

If I let the mail riders go in safety but no one else, there will be little loss. It will show the whites what power the Apache has. The idea makes me laugh a little.

[B]

It is a good step. The seed is small, but maybe the tree will grow big. I will be happy to tell my people.

[I]

It would be wise if you leave now. Your horse is saddled. You will reach Tucson without harm.

[B]

It was big news that I took back to Tucson. Big enough to bring out quite a crowd in front of Mill Duffield's mail office.

[A]

You're trying to tell us, Jeff, you saw Cochise himself? That's right, Mr. Slade. I did.

[B]

Gave me his word.

[A]

He let the mail riders through. What's that worth? The word of an Apache?

[L]

Murder.

[A]

While you were up there with him, his fighters attacked the wagon train just 40 miles east of here. Killed every person in it.

[B]

Cochise never said anything about calling off the war. He just said that the mail could go through.

[A]

Well, if you're so full of faith in the word of an Apache, will you lay a little bet on it?

[B]

You name it, Mr. Lowry.

[A]

$300 that five mail riders in succession leave here and that five come back.

[B]

You've got a bet, Mr. Lowry.

[A]

You heard him, gents. Mail Ross guaranteed. Save for Tom Jeffords and his pal Cochise. Now, who writes first? What's the matter? No volunteers? Looks like you'll have to go yourself, Jeffords. All right, Slade, I will. Oh, no, you won't. That won't prove a thing. I'll go. That'll prove something. You better think it over, Milt. Milt's your friend, Jeffords. You gonna let him go out there and be butchered?

[B]

When can you leave, Milt?

[A]

I'll leave right now.

[B]

Thanks. Milt came back. So did the next rider. And the next and the next. I was so proud of Cochise, I was ready to bust. Then Colonel Bernal sent for me.

[A]

Come in. Come in, Shepherds. Well, I've just been speaking to the mail riders. They tell me it's real peaceful on the trail these days. So peaceful, in fact, that I'm going north for a while. I'm going to bring in a wagon train from Mesila.

[B]

A wagon train?

[A]

Why not?

[B]

Well, I don't want to tell you your business, Colonel, but Cochise made no agreement about wagon trains. You could be jumped anywhere along that trail.

[A]

That's exactly what I'm hoping for. And for once, we'll have all the men we need.

[B]

Well, he'll have enough, too.

[A]

No, I don't think so. I'll have 75 cavalrymen in plain sight. Then the mule drivers, each fully armed and in the wagons out of sight. 50 more troopers.

[B]

Well, I hope you make it, Colonel.

[A]

Don't be a fool, Jeffords. It's not a wagon train I'm interested in. I'm out for Cochise. This time I think we'll suck him in. I want you to come with us.

[B]

I can't go with you.

[A]

Very well. But when we come back, they'll be ready to make a deal with us. Maybe you would object to helping us with a treaty.

[B]

No, sir. I won't object. Five nights later, three drivers from Bernald's wagon train staggered into Tucson. They'd been ambushed.

[A]

We were cut to pieces. 50 dead and 100 wounded. Colonel Bernal's killed 5,000 pounds of grain. Every wagon, every gun, every mule. Bernal never should have tried it.

[F]

Maybe not.

[A]

But how did Cochise know we had men hidden in the wagons? He must have known. He knows what goes on at Fort Bowie. He knows what goes on here. Oh, I don't think he does. Then how did it happen? Who's telling him? Who's his spy?

[H]

Find him.

[A]

Find him and string him up. Maybe I can tell you, Mr. Boucher.

[L]

Yeah?

[A]

You were with them miners, weren't you? Maybe a lot of us can tell you. Oh, ho. Who is he? Mr. Duffield. Over here, Juan. What do you want? The mail writer has come in from Bowie. He is unharmed. You hear that, Larry? That's number five Looks like you lost your bet. Yeah, it sure looks like it. You don't pay to bet with Tom Jeffords, now, does it? He's in with Cochise. He's a personal friend of that murderer coach.

[L]

None of that.

[B]

Anybody else want to call me a renegade?

[A]

I'll never call you a renegade, Jeffords. A man's a liar who says. You are getting kind of soft, aren't you, Lowry? Shut up and let me finish. How come Cochise is so partial to you? How come he lets the mail through, then wipes out a whole wagon train?

[B]

Because he gave his word and he's a man of honor.

[A]

Man of honor? No Indian's a man of honor.

[B]

The first Peace move in 10 years and you're all too blind to see it.

[A]

Peace, movers. We'll have peace when every Apache is hanging from a tree. Here's your $300, Jeffords.

[B]

Here's what I think of your $300. The drinks are on me.

[A]

I don't drink with any Indian lover. He's a copperhead. He sold us out. Hurry him up. What are we waiting for? Release that man. I said release that man. Hey, who is this? My name is General Howard. Just come in from Fort Bowie. Isn't there enough trouble going on without this sort of thing? I've got a dozen troopers around this building. There'll be no hanging tonight, gentlemen. Come along, Jeffords. I'll hear what you've got to say alone. My office,

[B]

Then when the. The mail rider got through tonight, why, they were all sure I'd sold them out. Well, that's the story. I don't think I'm not grateful to you, General.

[A]

But, Jeffords, I want you to take me to see Cochise.

[B]

Why do you want to see him?

[I]

If I can.

[A]

To make a treaty of peace.

[B]

Who sent you here?

[A]

The President of the United States. With full power to make a fair treaty.

[B]

Yeah, to be changed later.

[A]

Any treaty I make will stand.

[B]

I warn you, General. I'm not going to sell Cochise down the river. Now, what's your idea of a fair peace?

[A]

Suppose you tell me.

[B]

All right, I will tell you. Equality. The Apaches are a free people. They have a right to stay free on their own land. With no soldiers on it.

[A]

What else?

[B]

Well, you can talk the rest over with Cochise.

[A]

Then you'll take me to see him?

[B]

He'll go alone, without troops?

[A]

Is that the best way?

[B]

That's the only way.

[A]

Then I'll go alone.

[B]

Once again, I was Back at the Apache stronghold, only Cochise had not yet returned from the ambush of the wagon train. But someone else was there. Sancer, there is something I need to know. I have been away almost a moon. Has anything changed with you?

[H]

No. When you went away, I became frightened. I thought, he won't come back. And even if he does, when he returns from his own people, he will look at me with cool eyes. But now I am no longer afraid.

[B]

You're trembling.

[H]

You put such new feelings in my heart. It is there I am trembling.

[B]

I love you, Sanzere. I love you.

[H]

They are returning. Cochise and the warriors.

[B]

You can welcome them later. Not now. Sunseere?

[H]

No, Tom, not now.

[A]

This is the warriors return. Let it be told at our campfires how the Chiricahuas fought, how the great Cochise led us. A great wagon train destroyed, their wagons and horses taken, corn for the whole winter, blankets and guns. And listen more. In battle there are losses. Some of our men have gone to

[I]

live with their fathers.

[B]

They were brave.

[I]

They died honorably.

[A]

Now, for the last time, listen to their names. They will be angry if their names are ever mentioned again. Ponce. Victorio. Fiance and his stuff. Joking.

[B]

So I have come to you again, Cochise, Only this time to speak of an end of the war.

[I]

This man you call General Howard. If I make a peace with him, a bigger general will throw it away. No, no.

[B]

He speaks for the chief. Of all Americans, there is no one greater.

[I]

How do I know they will keep a peace?

[B]

How do they know you will keep it?

[I]

My word is my life. I do not break it.

[B]

I know that. But they do not. You trust me, Cochise. There are Americans that I trust, but there are Indians that I would not trust.

[I]

Me too. I would talk now of other things. Ah, it is good then. Listen all evening, my friend. Your eyes have gone to the maiden son, sire.

[B]

I'm glad you speak of her. I want her for my wife. I will do all the things expected of a husband here.

[I]

So where will you live? Here there will always be Apaches who have suffered from white men who will hate you for it. Tucson, maybe. Will there not always be white men who will hate your wife because of the color of her skin? You'll go far away then, in new places. But your eyes will never see anything. Always they will turn toward home. And San sire? They will look at her as a strange animal. I ask you to think on it.

[B]

I have thought of nothing else for a moon.

[I]

San sire is young. She does not know. Besides, I have Listened to her mother. She will refuse you.

[B]

I'll take her away from here. She'll go with me too.

[I]

She will not refuse. I make a joke always. The girl's mother is a good joke.

[B]

Then I can marry her.

[I]

Bring three horses and saddles to her parents.

[B]

I'll bring them back from Tucson with.

[I]

No, no. You will let me give them for you.

[B]

Oh, no, no.

[I]

They're almost yours anyway. They came from your people. I want to do this for you, my friend.

[B]

And. And the marriage now.

[I]

Not now. First you go back to Tucson. Look into the heart of this general. Do not bring him back unless you are sure of him. Tomorrow I will send out runners. Apaches from all tribes will come here. To talk of peace is a big thing. I cannot decide it alone.

[B]

That is not expected.

[I]

And remember, I make no promises.

[B]

I returned to Tucson for a solid week. I studied and I questioned General Howard. By the time I brought him back to Cochise, I knew he could be trusted. I prayed that a decent peace would come from the meeting of these two men. I wanted it for my country. I wanted it for Cochise and his people. And I wanted it because I loved a girl.

[H]

Tom. Tom. You are back. But it is not permitted to visit me.

[B]

Cochise will allow it. For a short time only.

[H]

Cochise, he is in council.

[B]

Yes. Soon he will send for me to join them.

[H]

But not now.

[B]

No, not now.

[H]

My mother is in the wikiup. We will sit out here.

[B]

Closer.

[H]

No, not closer. We must not even touch our hands. I have been very busy these days. I prepare my clothes for the wedding. I must build a special wikiup for our honeymoon across the lake, away from everybody. In all this, my mother helps me and teaches me. And I try to do as I think she did when she was a girl.

[B]

And she couldn't have done it neater.

[H]

What is that? What does it mean?

[B]

Oh, that's something that the Americans say.

[L]

It means.

[B]

Well, it means that I love you and I'll honor your parents. But most of all, it means that I love you.

[A]

The American, he is wanted now.

[H]

Always. When we are alone. We are never alone, Cochise.

[B]

I think he plans it that way. Big joke. The Indian leaders had been in council together. They called for General Howard too. There would be questions, and upon our answers could rest the fate of all the Southwest territory.

[A]

And you understand, Cochise, about the signing of these maps? I will place my name upon yours. You will place your mark upon mine.

[I]

What is the purpose of this?

[B]

It is a way of showing to all people, for all time any agreement that you and General Howard make.

[A]

If we make peace with the Americans, can we still raid the Mexicans? There cannot be war against the Mexicans either. Let the white eyes be sent back. Wait.

[I]

We will talk further by ourselves. Now is the time only for questions.

[A]

If the chief of the white men dies, what will follow? His word is a bond on the chief who follows him. Suppose some white man wants yellow iron and he comes in our land to take it. Can we kill him? Such a man should be captured and given to our military. Then he will be judged and punished.

[I]

Suppose he is not captured until he has killed one of us?

[A]

If a white man kills an Indian on your territory, we will hang him.

[I]

That will be something for Cochise to see. The two white men will go now. I will bring you our decision.

[A]

I trust none of this. They offer a piece of paper that marks where we can go and where we cannot go. Our land gets smaller then. He says we cannot go into Mexico and our land grows still smaller. Where will we get corn and horses if not by taking them as we always have?

[I]

The Americans will give us cattle. We will raise them and trade them for our needs.

[A]

The answer of a woman. I am not afraid. I speak from my heart.

[L]

You speak well.

[A]

Speak more. It is not the Apache way to be grandmothers to cattle. Cochise is ready to surrender us all. It is not this false peace we need, but a new chief. Now I say this.

[I]

It is not easy to change, but sometimes it is required.

[A]

The Americans are growing stronger while we grow weaker.

[I]

If a big wind comes, a tree must bend or be lifted out by its roots. I say this also. I will make a test of this piece. A test of three moons. I take one of my arrows.

[A]

I break the arrow. I will try the way of peace. Those who stay with me must keep my word. Let all others walk away. I walk away. I walk away. I walk away.

[I]

I walk away.

[A]

Who else comes? Who else? Who else?

[I]

Take your women, your children, your horses, your weapons.

[A]

Leave our territory. I leave you my name also. Now I am ashamed to be a Chiricahua. I will take the name the Mexican enemies have given me. From now on, I am Geronimo.

[B]

I'm worried, General. They're taking a long time. Too long.

[A]

Meanwhile, I find this food delicious.

[L]

What meat is it?

[B]

Pony. In your honor, sir.

[I]

Pony?

[A]

What kind of meat is that?

[B]

A pony is a small horse, General.

[I]

A small horse. The council has ended. We will try this piece. There must be a time for testing. Three Moons.

[A]

Why is it needed?

[I]

The white man has not shown in the past that he will keep a piece.

[A]

A three month armistice. Well, maybe it's a good idea.

[I]

I have placed a stone before my Wikiup. For every day without war there will be another stone. When three moons have passed, the pile will be high. Then we will place a white flag upon it. There will be peace.

[B]

My heart is glad, Cochise.

[I]

I am not yet glad. To talk a peace is not hard. To live, it is very hard. I will wait three months to be glad.

[B]

Not everyone was happy about the treaty. There were those in Tucson who still thought that Cochise was a liar and a murderer. But I saw and I heard of things that never before happened in the Southwest territory. For the first time in years, the Butterfield stage was running again. Some of Geronimo's men attacked it and they were driven off not by American soldiers, but by Cochise's Indians. It was almost too much for the people of Tucson to believe. I could go back to the canyons now. Back to San Sierra.

[A]

Ali's gone. Lowry Jeffords is back with the Apaches. What are we waiting for? Slade, you're a fool. There's no need for us to stir up trouble. Sooner or later the Apaches will start it again. Yeah, and when they do, some more of us will be dead. It's time we pick the place of the moment ourselves. There'll never be a piece as long as Cochise is alive. I say give them a chance to prove it. Did I give my wife a chance? Your own sister and her kids. You can be with us or not. Lowry. I've got a plan. I'm gonna kill Cochise.

[L]

Tonight I have chosen two guests to share the spotlight. My first is Hollywood born Kathleen Hughes, who won a contract at 20th Century Fox without the knowledge or help of her uncle Fu Herbert, the famous writer. Our second is a glamorous new star. But more of that later. Kathleen, I understand that your first screen role was on location.

[H]

That's right, Mr. Keeley, in Nevada. It was the first time I'd ever been out of California.

[L]

And would you like to travel?

[H]

Oh, yes. I want especially to visit England. Maybe if I were a star, I might even be presented to the King and Queen as Irene Dunn was when she made the Mudlark there.

[L]

Well, we'll all have a chance to see her superb characterization of Queen Victoria soon. The big charity premiere on January 30th at the Chinese Theater will be Hollywood's most spectacular in years.

[H]

I wouldn't miss the mudlark for the world.

[L]

And tonight I have news of another premiere. New Lux with Color Freshener. A better than ever Lux that is winning new fame in leading Hollywood studios. And in the homes of Hollywood's most glamorous screen personalities.

[H]

It's really terrific. You know, when I was on location in Reno, the first thing I did was to buy a box of the new luxe. I used it for my lingerie again and again. And the colors stayed so bright and so fresh. I thought I was dreaming.

[A]

It's the most sensational improvement in Lux ever made all colors look brighter, gayer, more sparkling than ever before. Smart prints come alive. Look sharper, clearer. And whites. Never have you seen white things look so dazzling every time you wash them.

[H]

Yes, I'd call it a real beauty bath for colors.

[A]

Hollywood's most glamorous screen stars agree with you, Kathleen. No other way of washing keeps lovely colors.

[B]

So bright.

[A]

White. So white. And as mild and safe as ever. Ladies, why don't you try New Lux with Color Freshener for your pastel slips and 90s. Your white blouses, your gay printed dresses. See them glow with new beauty every

[I]

time you wash them.

[A]

If you're already a Lux fan, you'll discover New Lux with Color Freshener is more wonderful than ever. Get a big box tomorrow. Give all your washables that nice as new luxe look. Thank you for coming tonight.

[I]

Kathleen Hughes.

[A]

We pause now for station identification. This is cbs, the Columbia Broadcasting System.

[L]

The curtain rises on act 3 of broken arrow. Starring burt lancaster as tom, jeff chandler as cochise and deborah padgett as san s.

[B]

The day had come for my marriage to Sancere. It was on that day that tochis placed the 12th stone on the mound in front of his wikiup.

[I]

So far it has gone well, my friend.

[B]

Yes, and the signs are good here as well as Tucson.

[I]

I will still wait to be glad. But now you will forget about peace and war. Now you will think only of your bride.

[B]

The ceremony, is it a long one? No.

[I]

With us the ceremony of love takes place in the heart. The rest is small. Come, they are waiting for us. Let the woman who is to marry come here.

[H]

I am here.

[I]

Let the man who is to marry take his place beside her. The woman's left hand, the man's right hand. With my knife I bring a drop of blood from each. And with this cord I bind your hands together. Now you will kneel down upon the earth. Now your blood mixes. Now for you there is no storm for one is sheltered to the other. Now, for you, there is no cold. For one is warmth to the other. Now, there is no loneliness. Now, forever, there is no loneliness.

[A]

Go now. Ride the white horses to your secret place.

[H]

Look at you. The sun is high and still you sleep.

[B]

No, not asleep. Just quiet. Because I'm so happy. I'm afraid if I open my mouth, my happiness will rush out into a funny noise like. Yahoo.

[H]

What does that mean? Is it an American word?

[A]

No.

[B]

I think it was a word that was made by Adam when he opened his eyes and saw Eve.

[A]

Who are they?

[B]

Well, they. Well, don't you know?

[H]

I know so little. Sometime will you grow tired of me and go back to your people?

[B]

That is a bad thought, Sunseer. Never think it again. You are my people.

[H]

Will you tell me that often?

[B]

Each day of our life together, I will tell it to you. I will always remember the moments of these days.

[H]

We will remember them together. In the quiet of the nights, we will talk of them a little. And in time to come, we will see our children ride white horses. Maybe.

[B]

When we returned to the village, I saw that the pile of stones had grown higher still.

[I]

There is still peace in the land, Talwan.

[B]

But your men, so many of them seem to have disappeared.

[I]

I have sent them out. From now on, we will protect all whites leaving Tucson and Futboy. Also, we guard Apache Pass. If this peace does not hold, let it be the whites who break it. Now, where is your woman?

[B]

In the wikiup, I think she.

[I]

You will get her and we will walk into the canyons. I think I will teach you how to use the bow and arrow.

[B]

Well. What's so hard about shooting a bow and arrow?

[I]

Nothing, my friend. I think even you can learn.

[H]

Look, Cochise, he misses again. What sort of man did I marry?

[I]

Never mind, girl. By the time he is a grown

[D]

man, he will know how.

[B]

Now, you just take it easy. Where's another one of these arrows? This is ridiculous.

[A]

I bring a stranger.

[B]

Who's that?

[I]

One of my men.

[A]

What stranger?

[I]

Bring him here.

[A]

I find him in the canyon. He carries this gun.

[B]

Why, that's Ben Slade's boy. I know this boy, Cochise.

[I]

Then you will talk to him.

[A]

It's all right, Bob. Come on up.

[B]

Your name's Slade, isn't it?

[A]

That's right, Mr. Jefford. I've sure been praying you'd be around here.

[B]

Well, now, nobody's going to hurt you. What happened? You lose your way?

[A]

No, sir, not exactly. You're the one who said these Apaches Wanted peace. I don't call it peaceful when they go right on stealing.

[B]

Well, what got stolen?

[A]

Two young colts of mine.

[H]

Beauties swiped by Apaches the night before last.

[A]

I've been tracking them in the canyon when this redskin jumped me.

[I]

None of my people took them.

[A]

The boy lies.

[B]

I know his father. He's one of the worst haters of the Apaches. If we can show that he's wrong, it would be a good thing. People will hear about it. Maybe you still have some men like Geronimo. Maybe they talk your way with their tongues, but not with their hearts.

[I]

You speak wisely. I will see these horse signs.

[B]

San. Sire, maybe you better go back to the village.

[H]

No. No, Tom, please let me go with you.

[B]

All right. If you want to.

[A]

All right, Bob.

[B]

Now, you take us down there and show us these tracks.

[A]

It's not much further, Mr. Jeffords. You'll see him plain just the other

[H]

side of the creek.

[I]

Whose horse is that over there?

[B]

Yours, huh?

[A]

Yes, sir. That's the mare. I was riding her. Is it all right if I get her now?

[B]

Sure, go ahead.

[H]

You call the boy Bump? Is that his name?

[B]

No, that's just to be friendly.

[A]

If you'll come down this way, you'll see the tracks real good.

[I]

Why does he mount the horse?

[B]

I don't know.

[L]

Hey.

[B]

Hey, come back here.

[A]

I'm in the clear.

[H]

Go ahead.

[A]

Start shooting.

[H]

Wait, man.

[A]

Look on the clock.

[I]

Wait.

[B]

I don't know how long it lasted. One of their first shots had hit me. When I came to, I was alone. Then I saw something lying in the rocks below me. I got to my feet. The haze disappeared. Some theory. God in heaven.

[H]

No.

[I]

Ambush.

[A]

My friend.

[I]

It was me they were after. You. You are hurt bad.

[B]

She's dead, Cochise. Sunsera is dead.

[I]

They fired and ran. One I killed with an arrow. One was wounded by my men. He still lives.

[B]

Give me a knife and bring him to me.

[I]

It will not be done.

[B]

Bring him to me.

[I]

No.

[B]

It will not be done. Some things a man cannot bear. Do you see her? She's dead. And this peace is a lie.

[A]

I don't want peace.

[I]

It is not a lie. I will not let you make it a lie. Are you a child that you thought peace would come easy? You, who taught me so well? Is it my brother who asks me to spit on my word?

[B]

Why do you speak to me? Speak to her. When she hears, I will hear.

[I]

You will hear me now. You will hear this. This was not done by the military. Geronimo in the south breaks the peace no less than these whites. As I will bear the murder of my people, so you will bear the murder of your wife. I am Cochise. I do not betray my people or their children. And no one on my territory will open war again. Not even you.

[B]

He carried me back to the village. A few days later he told me that some men from Tucson had come to see me. Milt Duffield was with them and General Howard.

[I]

Tom. We.

[B]

We've come to pay our respects, Tom. Thank you, Milt. We've rounded up every man that had anything to do with the ambush. They're going to pay the full penalty for what they've done.

[A]

Jeffords, I know nothing can compensate you for the terrible thing that has happened. But your friends here are trying to tell you that your very loss has finally brought our people together in the will for peace. Without that will, treaties are worth little or nothing.

[B]

General Howard's words meant very little to me then. But as time passed, I came to know that the death of San Sire was like a seal upon the peace. And from that day on, wherever I went, in the cities, among the Apaches, in the mountains, I always remembered my wife was with me.

[A]

And now here's Libby Collins, our Hollywood reporter with the Lux movie news of the week.

[H]

I'm practically bursting with news tonight, John. First, my movie news. It's payment on demand. RKO's timely story of modern marriage. Superbly acted by Bette Davis as the brilliantly ambitious wife. And Barry Sullivan as the husband who is bored with his business success.

[A]

With two such stars, no wonder it's outstanding.

[H]

Well, it's a challenging domestic drama. Barry Sullivan wants to be a quiet small town lawyer, but Betty craves wealth and position and by her relentless scheming makes him a wealthy but unhappy executive of a big steel company.

[A]

For a role like that, Betty must wear gorgeous clothes.

[H]

Uh huh, she does. And here's where my second big news comes in. News about a washing miracle. New locks with color fresheners. This new locks was used to care for all the fine washables of the entire cast. You should hear the wardrobe women rave in the picture. Betty wears some ravishing blouses with her beautifully tailored suits. A navy and white dot, a cream colored crepe and white lawn. Every time they were locked, they looked as sparkling and fresh as new camera. Perfect. Michael Wolf, famous RKO designer, could hardly believe his eyes. It's the most thrilling improvement ever made in luxe flakes.

[A]

Imagine that, ladies colors actually renew their brightness every time you wash them.

[H]

Brighter than you ever dreamed possible. Prints come alive as never before. Looks so gay and exciting. They're positively breathtaking and white. Stay cloud white. Whiter than any other way of washing

[A]

can make them your gayest prints, your most delicate colors, your frostiest whites sparkle with new beauty every time you wash them. Lux has been the favorite of screen stars. Smart women everywhere for years now. New Luxe is even more wonderful than ever. For blouses, washable dresses, lingerie, all your nice things. And safe and mild as always.

[H]

Notice Betty's blouses when you see payment on demand. They were luxed again and again. Look as nice as brand new.

[A]

When you try this new luxe, you're in for a thrill. You'll agree with screen stars, Hollywood dress designers and heads of wardrobe departments. New Luxe is the most wonderful clothes care you've ever discovered. Get a big box of luxe flakes tomorrow. It's in your store. Now give all your pretty washables that nice as new luxe look. Now here's Mr. Keeley with our stars.

[L]

And here they are. Bert Lancaster, Jeff Chandler and Deborah Padgett for a special curtain call. Bert, we want to doubly thank you for stepping in at the crucial moment when Jimmy Stewart was taken ill. You were wonderful, Bert.

[A]

I was glad.

[B]

Thank you. I was glad to do it. Bill and Jimmy to you. Hurry up and recover. You did such a great job of Tom Jeffords in the picture, but I hate it to follow you. You can have the pot back now, but I am going to keep your Lux flakes.

[A]

That's okay, Bert.

[L]

But confidentially, we're going to send Jimmy a double supply. We understand that he may become the papa of twins.

[B]

Don't tell me that's why he collapsed.

[A]

Uh oh, when he heard the news. No, no, Bert.

[L]

Just the case of that old virus. Jeff, we want to congratulate you on your new and successful picture career. But we do miss you here. I hope you'll come back and visit us often.

[I]

Thank you, Bill. I'd like that. Just call me anytime.

[B]

You better call Deborah too. She and Jeff are becoming quite a team.

[I]

Not exactly, Bert. I barely spoke to her in Broken Arrow.

[H]

Put in our new picture for 20th Century Fox. Bird of Paradise. You're my brother.

[I]

This is an improvement this time. You marry Louis Jourdan.

[B]

Well, Jeff, there's no reason why we handsome fellows shouldn't always win the girl.

[H]

I think you'd better tell us about next week's play, Mr. Keeley, before the Apaches declare war again.

[A]

Yes, I agree with you.

[L]

Well, Deborah, it can't be too long since you read the book Robert Louis Stevenson's immortal classic, Treasure Island. And as our stars, we will have that distinguished British actor, James Mason and the new and talented youngster, Bobby Driscoll and that fine character actor, Nigel Bruce. We know the entire family will want to hear this great adventure story as it was brought to the screen by Walt Disney.

[I]

It sounds great, Bill. We'll be listening. Good night.

[H]

Good night.

[L]

Good night. You are all wonderful.

[A]

Here's a tip from one of Hollywood's beautiful stars, Joan Fontaine. She says it's easy to be luxe lovely. I depend on my daily luxe soap facials. They do wonders for the skin. Leave it softer, smoother, exquisitely fresh. Why don't you try this gentle care Joan Fontaine uses for her million dollar complexion? Work the rich, creamy luxe soap. Lather well in. Rinse with warm water. Rinse again, this time with refreshing cold water. Now pat your face dry with a soft towel. Your skin is so much lovelier after this beauty facial. Active lather does the trick. Give skin that lux lovely look. Put Hollywood's beauty soap on your shopping list. Now discover for yourself why 9 out of 10 screen stars use fragrant white luxe toilet soap.

[L]

Lelever Brothers Company, the makers of Lux Flakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theater presents James Mason, Bobby Driscoll and Nigel Bruce in Treasure Island. This is William Keeley saying good night to you from Holiday.

[A]

Deborah Padget can soon be seen in the 14 Hours, a 20th Century Fox production also starring Paul Douglas. Jeff Chandler appeared through the courtesy of Universal International Pictures, who will soon release Bedtime for Bonzo starring Ronald Reagan and Diana Lynn. Introducing Bonzo. Our play was adapted by S.H. barnett and our music was directed by Rudy Schrager. This is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Treasure island starring James Mason, Bobby Driscoll and Nigel Bruce. St. Peter. Tuned for my friend Irma, which follows over the same station. This is cbs, the Columbia Broadcasting System.

[G]

We just heard Jimmy Stewart and Jeff Chandler, the stars of Broken Arrow, that will do it for this week's show. Thanks so much for joining me. I'll be back next week with more Hollywood legends, but in the meantime, you can check out down these Mean Streets, my old Time Radio Detectives active podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts. Or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meansts OTR. I'll be back next week with more Hollywood legends, each of them appearing in tales well calculated. To keep you in

[B]

suspense.

[F]

Ladies and gentlemen, the chief hope of

[A]

our enemies is to divide the United States along racial and religious lines and thereby conqueror us. Let's not spread prejudice.

[D]

A divided America is a weak America.

[A]

Through our behavior, we encourage the respect of our children and make them better neighbors. Neighbors to all races and religions.

[D]

Remind them that being good neighbors has helped make our country great and kept her free.

[F]

Thank you.